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Cutting the Wood
The first task after measuring the image is to cut the wood for the frame.
Some of my frames are made up of several pieces of wood (I once made a frame
with over 50 separate pieces). This task is made easier since many of the
mouldings are made specially for me to my specifications, so the moulding
planes and chisels can stay on the shelves more of the time!
Preparing the Wood
The frame is then left to sit for a while - it takes time for the glue to
dry thoroughly and for the wood to settle down to the new stresses upon
it. Later the frame is sanded down and a preparatory warm thin gesso is
applied to act as a strong bond between the wood and the successive layers
of thick gesso.
Gesso: a mixture of chalk powder (called whiting) and glue (made from rabbit skin - if you think this odd, Cennini in his The Craftman's Handbook, written in 15th century Florence, describes a glue made out of lime and cheese).
Applying the Gesso
When this initial layer is thoroughly dry the thicker layers are applied
- usually 5. These are allowed to dry and then sanded smooth as marble where
appropriate. (Of course chalk is calcium carbonate, just like marble, it
just hasn't been squashed as much).
Preparing for the Gilding
The areas to be gilded are then covered in several layers of bole which
is a very fine clay. This comes in many colours, traditionally reddish for
gold leaf and blue for silver. These areas can then be gilded.
Gilding
I use both water and oil gilding depending on the effect that I want to
achieve. Water gilding is where the glue used is water based. This is burnished
to a high sheen with an agate stone (medieval framers used a dog's tooth).
Since newly burnished leaf is rather garish, I dampen it down with a range
of antiquing techniques, again depending on the effect that I want to achieve.
All my gilding is water gilding unless stated otherwise.
Oil gilding uses, well, oil based glue. This cannot be burnished and so gives a mat finish which when antiqued radiates a wonderful warm glow.
Painting
Painting is the final stage where I use my own colour mixes built up through
several washes to create the right depth and feel.