Mount decoration (part 2

A MASTERCLASS WITH JON PRICE GCF (APF)

For many framers the pressure of trying to make a living means they don’t make time to experiment with new ideas. If you’re a bespoke framer, that’s a mistake. Bespoke framing is a creative profession. Be creative! One of the things I really enjoy about making the Masterclass videos is the freedom to be as creative as I like.

The following framing concepts are designs 3 and 4 from the new ‘Jon Price Masterclass’ Mount Decoration video (https://larsonjuhl.co.uk/haven/vids/jon-price-masterclass) in which I demonstrate four different framing concepts for one piece of artwork. Here the emphasis is on mount design. Designs 1 and 2 are highlighted in issue 39.

Design 3 – Different coloured bottom mounts on opposing corners, with matching mixed mouldings:

The idea of different coloured bottom mounts at opposing corners came from playing around with the mount chevrons that matched the colours in the image being framed; Vanilla 8701, Silver Grey 8008 and Sepia 8024. The idea is subtle, too subtle for the Masterclass videos. So, I found a range of different coloured mouldings with matching profiles and finishes. Two of these matched my mount colours and meant that I could have opposing moulding colours which matched the bottom mounts; 307 453 107 to match the Silver Grey and 307 453 414 to match the Sepia. The Sepia and the 414 moulding don’t actually match that well but with the 90mm/100mm separation of the Vanilla top mount between them they appear to match more closely than they really do. To execute this design, cut a double mount. In this case I chose to display 3mm of the bottom mount. Then, cut an additional second mount to the same dimensions as the first. Place the two second mounts exactly on top of one another and cut through both mounts diagonally from the top left to the bottom right, making sure the cut runs perfectly through the aperture corners. Now, align opposite sides from each second mount (Sepia top/right, Silver Grey bottom/ left) and adhere the top mount to them with 3mm of the bottom mounts showing. If your cut went right through the aperture corners of the two second mounts these should line up perfectly (see fig.1)

Fig.1

The only complication with the two opposing mouldings comes when underpinning. Think about final positions so that you do end up with opposite moulding colours at opposite corners and they are at the same corners as the matching mounts!

Eight years ago Jon Price GCF(APF) was just a bloke who knew as much about picture framing as he did about lion taming. Since then Jon has been awarded a Larson-Juhl Fine Art Trade Guild Scholarship, qualified as a Guild Certified Framer and framed for world renowned museums, artists and photographers. Jon owns Handmade Framing and Gallery near Bude, Cornwall and still knows nothing about lion taming.

Design 4 - The 3D double bevel shadow inlay:

The ‘3D double bevel shadow inlay’ isn’t actually an inlay mount. However, I had the idea whilst looking at an inlay mount and wondering what it would look like if I combined it with a shadow mount. So, the ‘3D double bevel shadow inlay’ name stuck. Call it what you like. It’s the design that matters!

To emphasise this design I chose two mountboards that contrasted in colour but matched in tone; Silver Grey 8008 and Sepia 8024. The 462620 moulding from the magnificent ‘looks like the rusted steel of a beached Cornish ship wreck’ Anvil range, perfectly matches the colour and texture of the sepia. If a client is willing to pay for your time and skill in creating a mount like the 3D double bevel whatchamacallit, they’ll also want top notch glazing. I used AR70 anti-reflective glass.

Before you start cutting, lightly draw an ‘X’ on the back of the top mount, using a pencil. This helps to correctly reassemble the mount after cutting. As a minimum the ‘X’ should cover the area where all the cuts will be on one side of the mount. Then, cut the first window in the top mount. To explain the process as easily as possible I’ll use my measurements. Of course, your measurement will depend upon your artwork. For this first aperture I left 55mm (top/sides) and 65mm (bottom) mount borders.

Once cut, put the cut out back into the aperture and tape it in place using an easily removable tape. Use the ‘X’ to get the cut out the right way around. Next, cut another window in the reassembled top mount. This time, my borders were 90mm and 100mm. To clarify, this second aperture is taken from the centre of the taped into position cut out from the first window (see fig.2). Discard the cut out from the second window.

Fig.2: Having taped the first cut out back in to its aperture, cut a second window in the centre of that first cut out. Remove the tape joining the original cut out and the outer mount boarders. At this point, you should have two sections of top mount; the original window mount and the original cut out, which now has a window aperture in it.

Place the original cut out back on the mount cutter, but put it in the other way up i.e. if your standard apertures are cut face down, the mountboard should now be face up. Set the mount cutter Matguide Limit Stop to 15mm, the Start of Cut Limit stop to zero and the End of Cut Limit stop to more than the longest side of your mountboard. Trim 15mm off each side of the original cut out using the bevel blade cutter (see fig 3). This completes the cutting of the top mount.

Fig 3: Trim the original cut out with the mountboard the other way up to create a reverse bevel cut.

Cut the second mount as a standard window mount. My second mount boarders were 950mm (top/sides) and 1050mm i.e. 5mm wider than the top mount borders.

To create the ‘shadow’ aspect of this design, cut foamboard strips that are wide enough to support the raised sections of the top mount but narrow enough not to be easily seen. I used a 12mm strip of 5mm board under the double bevel section and 70 and 80mm under the outer borders. Adhere the foamboard between the sections of the top mount and the bottom mount (see fig 4).

Fig. 4: The raised sections of the top mount are supported by foamboard strips.

With both pieces, I T-hinged the artwork to 8950 undermount using 999 000 026 gummed paper tape. I used the same tape to book the window and undermounts and finished the piece using AR70 glazing, 999 111 000 backing board, framers points and 999 000 068 gummed brown tape.

This series of articles are written as an accompaniment to the second batch of Jon Price Masterclass videos. Watch them via Larson-Juhl’s website to get a full understanding of the techniques used. As I’ve said before, these are not designs that people will come in to your workshop and ask for. However, experience tells me that having these kind of mount designs on display will create demand for them and highlight your skills. Creativity stands out! 29