in the frame/ 2009 framing competition
words ‘love’ and ‘peace’ and the four stylized jasmine fl oated a little above the inner frame.
fl owers at the corners were drawn on the gesso in “Suitable fabric was obtained and a 95mm obeche
pencil. Th e relief was built up using the medieval reverse was selected for the outer frame, with a deep
technique called pastiglia, where gesso is applied by spoon for the inner. Th ese were sanded and treated
brush to create low relief designs. Layers of bole were with sanding sealer to prevent adhesive absorption.
applied to the frame, using the colour Victorian Grey Next, four strips of fabric were cut for each frame,
for the fl at ground and Baroque Brown for the raised taking care to preserve the lay of the pattern. Th e
sections. Th e whole frame was then water gilded in moulding was cut into pieces, but left slightly oversize.
silver-leaf which was distressed with wire wool, the Sprat adhesive was applied to the fabric and the
corner fl owers were burnished lightly and the gilding wood; both were left to become tacky before being
was brushed with Renaissance wax to stop silver carefully brought together. Th e fabric was sprayed with
tarnishing. Th e frame was given a dusting of pigments Scotchgard to resist marking.
[Indian red, rottenstone, titanium white] to add some “Th e sections were then mitred to size and assembled.
subtle colour.” Th e print was fi tted within the ‘scoop’ of the inner
He continued: “ Th e slip was made from Rose & frame, raised by a foamboard spacer. A 95mm white
Hollis from A293 obeche and gilded in the same way mount was cut to fi t between the frames and the space
as the frame, the only diff erence being that at the gesso behind was fi lled with a pine sub-frame. Th e signature
stage the corner fl owers were incised. Further, double eyelashes were added and the fi nished item was then
mount in Colourmount 202 bright white museum sealed in the usual way.”
board, glazed with Schott Mirogard Plus and backed Richard Christie
with Art Bak conservation was used.” Denis McInerney wins a cheque in the sum of
When it comes to the design technique Richard said: £1,000, Richard Christie wins £500 and Karensa
“Th ere is a sense of fun and relaxed atmosphere about Carr £250. In addition, all three will receive a printed
the image. I wanted to keep the framing as simple, award document announcing their various successes,
understated and elegant as possible, with a sense of as will the remaining seven short-listed entrants
quirky fun, but I also wanted it to look quite formal detailing their position as fi nalists. Th e pieces are to
and important as the three men in the image are be auctioned off in aid of charity. Th is year’s favoured
popular fi gures that have contributed much to many recipient is the Multiple Sclerosis Society.
people. I made sketches of about fi ve basic frame
designs and decided that I would take three antique Picture Business would like to take this opportunity of
frame styles; the Italian cassetta [16thC], the fl ower thanking the competition sponsors, namely Arqadia
corner frame [17thC] and the Kent or Palladian and the UK School of Framing for their extensive
frame [18thC/19thC] and create my own modern input as well as iconic sixties photographer, Philip
interpretation of these frame styles.” Townsend for supplying the images and Spring Fair
International for their wall space at the entrance to
Th ird placed Kerensa Carr advised Picture Business Hall 12.
thus: “Th is print of model Rory Davis from 1965 is
full of patterns and textures. I wanted to enhance that It is anticipated that full details of the 2010
essence, without detracting from the subtlety of the competition will be announced in the May/
photograph. June edition of Picture Business.
“To replicate the highlights of the chrome sunglasses,
I avoided the use of standard tapes and silver boards
in favour of stainless steel foil, which was wound over
Kerensa Carr
a combination of Alphamat mountboard & acid free
foam core to create the diff erent sized bevel accents.
“To give a tactile sense of the use of fabrics at the time,
and to mimic the refl ection of the cobblestones on
the glasses, I covered a gessoed wood profi le with real
leather hide purchased from a company specialising in
the manufacture of leather upholstery for the motor
industry.”
Kerensa concluded by stating: “Th e print is hinged to
2-ply Alpharag board with Alphamat Artcare for both
reverse bevel window mounts. Th e package is sealed
with Schott Mirogard Plus to reduce refl ections and
protect the image, and fi nished with Art-Corr backing
board.”
In 4th position, and just out of the money, the entry
by Joanne Hanlon and David Peart proves well worthy
of a mention. Th e business partners chose the ‘Twiggy’
image for their entry.
David advised Picture Business thus: “It was decided
to present the print in a retro ‘psychedelic’ style.
Rather than employ elaborate mount decoration etc.,
a multi-coloured frame was created with a matching
Dennis McInerney Joanne Hanlon & David Peart
inner frame. Th e photo was mounted on a board to be
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