Shadow frame, beginner level
A floating frame gives the illusion that the artwork is suspended within the frame. Its purpose is to leave a small gap around the edge of the artwork, creating a sense of depth. This technique is also meant to draw the viewer’s eye to the artwork rather than the frame – at least in theory. This particular frame was made from a single length of angled-edge moulding, eliminating the need for any glue-ups before cutting the pieces to length. Very convenient, though not the most economical method due to the cost of these mouldings.
I started by calibrating the saw to ensure it cut at a true 45º angle. This model isn’t particularly accurate, but with a few extra steps, it can get the job done. Once I had all four pieces cut to approximate lengths, I attached a sacrificial fence to the back of the saw. That made it easier to use a stop block and ensure the pieces would match in pairs. After the first cut, I saved the offcut and reused it as an angled stop block, which helped improve accuracy. From there, it was simply a matter of cutting all the pieces to final length, keeping them either flat or up against the sacrificial fence. It shouldn’t have made a difference, as the moulding was symmetrical.
I sanded off the sharp edge – the one that would face the front of the frame. Using my finger, I patted a few drops of glue onto the mitred surfaces, let them dry for a minute or two, then reapplied the glue. This technique helped make the joints significantly stronger. I glued all the pieces together and clamped them with a strap clamp. After allowing the glue to set for a while, I removed the squeeze-out using a pocket knife. The frame turned out nice and square, with mitres of acceptable accuracy. They closed tightly at the outer corners, at least.
The next day, I removed all the hardened glue spots and sanded the frame. I had to be very gentle, as its delicate construction made it thin and prone to breaking. That was simply how it was designed – to work together with the artwork, which would add some structural strength to the combo. One can’t live without the other. Initially, I considered using beeswax or Danish oil for their ease of application. However, I was also working on another project that required an old-fashioned polyurethane varnish finish. So I killed two birds with one stone and applied the varnish to both. Once the single coat had dried, I buffed it with Danish oil using a steel wool pad.
To install a picture hook, I first drove the screws through the thin frame, then removed them to clip their tips with pliers. I also added a pair of plastic spacers so the frame could hang parallel to the wall. At that stage, the frame itself was complete, but of course, the project also involved the artwork. I decided to fix it to the frame using four small nails, and for the sake of consistency, all the hardware I used was brass.
I used frame offcuts as spacers and long-nose pliers to safely hold the nails during installation. The table was also covered with soft cloths to protect both the frame and the artwork. Both pieces made it through these final steps intact, which proved that the frame had been built strong enough for the purpose. I sometimes enjoy walking the line between making things sturdy enough and keeping them lightweight.
Even though the artwork wasn’t finished at the time, it was successfully framed and had already become one with the frame. My job was done, and I could hand it over to the right person – the one who places those little diamonds in just the right spots on the sticky canvas. I’m glad the frame held up during hardware installation and that the mitres are still solid. Visually, it came out looking quite professional, with just the right amount of shadow cast inside the frame. The gap of about 4-5 mm (~3/16″) around the artwork feels perfectly sized for the application. I can’t wait to see the artwork completed and proudly displayed on the wall.
