Question Will an air pressure v nailer do the job?

Roland

Grumbler in Training
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St Cloud, Fl
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Hello.

I'm a new member to your forum and thank you. I'm an artist and I just started to make my own frames for my artwork which can be from small to 4 ft. When searching the Internet learning more and more about what it takes to make a picture frame, not so easy , I've ended up here at this forum which increased my knowledge greatly. I have also seen a lot of YouTube videos where wood makers make frames with their completely outfitted workshops using expensive hardwoods and showing their expertise. That's not me, I don't want to be a woodworker. I want to be an artist who makes his own frames. I do want to make frames with as close to perfect mitered corners as possible without buying an, out of my budget, vnail under pinner. My ideal would be once I've got the faming process down I would like to be able to set a day or two aside and make a few frames without having to leave one clamped up to wait for the glue to dry which would hold up the process. At this stage using cheap pine to be painted or stained is good enough for me. As I progress I might also use poplar. Both woods being available at the local lumber store. Without a serious under pinner maybe I am asking for too much.

I have a DeWalt miter saw, a router table with bits, an air compressor with a staple gun, a Pittsburgh corner clamp, and a cheap frame strap along with little bits and pieces to get the job done. After making my molding profile with the router the best I've come up with is shooting the edges of the miter joint with brads using the staple gun while clamped to my one clamp then undoing the clamp I move on to the next joint until all four are done. I'm not too happy with the process and was considering to get the Logan f300 which, after reading posts from this forum, is more of a hobbyist tool and I agree it does look it. My current idea is get three more of the Pittsburgh clamps and an air pressure v gun. I would glue all the joints in place with the clamps and then shoot the underside of the frame moldings with the v nailer, take off the clamps, set the frame aside to let the glue dry and move on to the next frame to build.

Any feedback would be greatly appreciated and thanks again to this forum for all the good information I've already received.
 
You could get all that equipment and kind of limp along, but there's a ton of used, professional quality equipment out there for very little money. I think you could probably find a v-nailer that would serve your needs practically forever for $700 or $800. It would be money well spent just for the saving of frustration and the improvement in quality. Look on line or call AIM at (330) 405-9421.
 
Thanks for that. But that's a bit over my budget right now. Also I only have an outdoor covered space to work, I bring my indoors when I'm done. I'm not sure what I could do with one of those heavy duty industrial type tools. I wouldn't want to leave them in that covered outdoor space.
 
OK, get the Logan F300 It will be a step up from how you're doing it now. There's brand new one on Ebay for $204.00. Get it. Get it now. You'll thank me. Life will be easier.
 
If you could post a photo of the profile of the mouldings you are making, it would be helpful in making suggestions about joining techniques.

You might want to look into a 22 gauge pneumatic pin tacker since you can easily conceal the holes when doing the finishing.

Another inexpensive tool is the band clamp. I have several from Bessey and use them fairly often when gluing, and then insert v-nails after the glue has set.
 
If you want your art to be taken seriously, ie to make a living from it, presentation is everything. you wouldn't turn up to a job interview in the torn shorts and singlet you wear when mowing the lawn so why present your artwork in second-rate cobbled together frames?

Framing, as you have discovered, is not just four sticks of wood stuck together. You need to get the proprer equipment and learn to do the job properly or take your artwork to someone who can.
 
Welcome to the G, Roland

I understand the need to stick to a budget. I do agree with artfolio and it is something I tell the artists I frame for, frequently
The wrong, or not quite right, frame can devalue your art more than you think. At that point, it is often better to not frame it at all.
I don't know in which medium you create your paintings. For watercolors, presenting it with a mat and a clear cellophane bag is often enough.
Paintings on canvas can be sold without a frame.

The right frame, color, 'feel' can bring out the best of your art.

You could also ask a framer to sell you 'open back' frames. You do all the fitting, framer just builds the frame.
'cheap painted frame made out of pine' does not sound too appealing to a potential buyer.
 
Have you considered hand-finishing your frames rather than buying factory-finished stuff?

I started as an artist and decided to make my own frames. I learned as I progressed.


You could get by with quite rudimentary frame making kit and still produce a 'pro' job.
Underpinners are not essential. Clamping and cross-pinning (hammer, nails, punch) do the job
and nail holes will vanish as you apply the finish. This is how all frames were joined not so long ago.

Pros: Less waste. You need only buy a few raw wood profiles. You can create any finish which
nobody else has - your own 'signature' style. If the frames get damaged they can be repaired
perfectly - not possibly with most pre-finished mouldings. Cutting/joining the frames is less
stressful as you know any gaps/defects will be made good in the finishing process.
NONE of your fav profiles will ever get truly discontinued. 😅 You can have them custom milled
for not an enormous amount of cash. Your frames will look more 'classy' and you can produce
them to your customers individual requirements if necessary.

Cons: It takes more labor and is a tad messy. But in your situation you aren't making 100s.
Other than that it's a no-brainer. It's not rocket science. 😁
 
If you could post a photo of the profile of the mouldings you are making, it would be helpful in making suggestions about joining techniques.

You might want to look into a 22 gauge pneumatic pin tacker since you can easily conceal the holes when doing the finishing.

Another inexpensive tool is the band clamp. I have several from Bessey and use them fairly often when gluing, and then insert v-nails after the glue has set.
Thank you. Right now I am using cheap pine to learn on. The included photo shows the profiles I have created frames from. I like the profile of the second from the left and the floater next to it. The two pieces of wood for the floater moulding I created by gluing first in long lengths. Though I have found getting 90 degree angle where the back and the bottom meet can be tricky to get.

How long do you wait for the glue to dry before taking the straps off and shooting the pin nails?
 

Attachments

  • rolands first frame profiles with text.webp
    rolands first frame profiles with text.webp
    88.5 KB · Views: 14
If you want your art to be taken seriously, ie to make a living from it, presentation is everything. you wouldn't turn up to a job interview in the torn shorts and singlet you wear when mowing the lawn so why present your artwork in second-rate cobbled together frames?

Framing, as you have discovered, is not just four sticks of wood stuck together. You need to get the proprer equipment and learn to do the job properly or take your artwork to someone who can.
Learning to do the job properly works for me. Thank you.
 
Welcome to the G, Roland

I understand the need to stick to a budget. I do agree with artfolio and it is something I tell the artists I frame for, frequently
The wrong, or not quite right, frame can devalue your art more than you think. At that point, it is often better to not frame it at all.
I don't know in which medium you create your paintings. For watercolors, presenting it with a mat and a clear cellophane bag is often enough.
Paintings on canvas can be sold without a frame.

The right frame, color, 'feel' can bring out the best of your art.

You could also ask a framer to sell you 'open back' frames. You do all the fitting, framer just builds the frame.
'cheap painted frame made out of pine' does not sound too appealing to a potential buyer.
Selling artwork without a frame is definitely an option. Thanks for that and your help.

When I started as an artist, painting, I felt that people should appreciate the art work as is. No need for a frame. I have changed my tune and I agree the art work needs a frame, a pedestal, something to say it is special. A well chosen frame can make a painting soar. I know my frames will not be any where near the quality that framers produce. I agree, the wrong frame makes the artwork harder to appreciate. I am selling at art festivals, my hope is that I can make frames that do not detract and at least serve as a presentation platform for artwork and let a collector take it home and immediately hang it.
 
Any of the profiles with a flat back will work with band clamps.
One suggestion on the floater is to make the piece seen from a single piece of wood, and glue the foot to it. That way you will have no joint line to deal with, and the angle won't be as critical in the joining process, just make sure the back of the frame is firmly against the fence of the saw when cutting.
I would also upgrade your pine selection. What you have there is construction grade pine which presents challenges of its own with winding, warp, and knots. The Radiata pine, sold in the home shelter stores, is going to produce much better results. Be sure to pick through the sticks to get the straightest possible.

Since you have a router, why not cut a rabbet in the base of the vertical piece of the floater and use something like lattice strips for the foot. Using 3/4" stock is a bit of overkill and eats up a good deal of space that could be used with deeper canvases.
IMG_2138.webp
 
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Have you considered hand-finishing your frames rather than buying factory-finished stuff?
No. Very interesting. I also assumed buying factory-finished had to be in bulk. A non starter for me.
I started as an artist and decided to make my own frames. I learned as I progressed.
Excellent.
You could get by with quite rudimentary frame making kit and still produce a 'pro' job.
Underpinners are not essential. Clamping and cross-pinning (hammer, nails, punch) do the job
and nail holes will vanish as you apply the finish. This is how all frames were joined not so long ago.
I think I am trying to figure out what a rudimentary frame making kit is.
Pros: Less waste. You need only buy a few raw wood profiles. You can create any finish which
nobody else has - your own 'signature' style. If the frames get damaged they can be repaired
perfectly - not possibly with most pre-finished mouldings. Cutting/joining the frames is less
stressful as you know any gaps/defects will be made good in the finishing process.
NONE of your fav profiles will ever get truly discontinued. 😅 You can have them custom milled
for not an enormous amount of cash. Your frames will look more 'classy' and you can produce
them to your customers individual requirements if necessary.
All new information to me. To me "a finish" would be either stain or paint. Staining seems doable but painting I would think you need a spraying gun and practicality says you paint a lot of frames at once in the same color....I do you like the idea of a 'signature' style.
Cons: It takes more labor and is a tad messy. But in your situation you aren't making 100s.
Other than that it's a no-brainer. It's not rocket science. 😁
Works for me. Thank you.
 
Any of the profiles with a flat back will work with band clamps.
One suggestion on the floater is to make the piece seen from a single piece of wood, and glue the foot to it. That way you will have no joint line to deal with, and the angle won't be as critical in the joining process, just make sure the back of the frame is firmly against the fence of the saw when cutting.
I would also upgrade your pine selection. What you have there is construction grade pine which presents challenges of its own with winding, warp, and knots. The Radiata pine, sold in the home shelter stores, is going to produce much better results. Be sure to pick through the sticks to get the straightest possible.
Very good. Thanks for that. I did know about Radiata pine.
Since you have a router, why not cut a rabbet in the base of the vertical piece of the floater and use something like lattice strips for the foot. Using 3/4" stock is a bit of overkill and eats up a good deal of space that could be used with deeper canvases.
View attachment 51045
Excellent. Is it good enough that the lattice strips are put in without being mitered, with 90 degree corners? Thanks
 
Excellent. Is it good enough that the lattice strips are put in without being mitered, with 90 degree corners? Thanks
It depends on the finish, but joined to the vertical piece prior to mitering would be the cleanest joint for staining.
 
OK, get the Logan F300 It will be a step up from how you're doing it now. There's brand new one on Ebay for $204.00. Get it. Get it now. You'll thank me. Life will be easier.
It look's like Jerry's Artarama has them for $203 new.

If you prefer a Pneumatic tool, this works better than I expected:
 
The thing is with hand-finished stuff is that you are in total control. You can 'fine-tune' to the nth degree.
A working artist will typically be hauling pictures around exhibitions and frames can start to look 'tatty'.
If you did the finish to start with you can touch them up perfectly. Not the case with factory moulding where
damage can mean the cost of a new frame.
A (Trade) customer once brought me a big leafed frame that they had stuck a red SOLD sticker to. They
removed it to leave a red bald spot. Impossible to retouch as the leaf had a subtle toning on it.
I removed the leaf (not real gold) by putting strips of packing tape on it and pulling off - like leg waxing.
This left a smooth bole surface which I regilded using my patent method. (no leaf) Came out looking great.
The next week they brought me another one. 🤣

Another customer was in a display tent when a freak gush of wind blew the tent over and a framed (by me)
picture went skittering 100yds across a grass paddock. It suffered few dings and scuffs and one corner
cracked slightly. I repaired it perfectly. I didn't even charge him. I make frames tough. 😛
If it had been a factory frame it would likely have been a 500 GBP loss.
 
This was in the nature of an academic exercise in that I never built a full frame like it.
It was a copy of an old frame I was given. It's 5" wide and 4" deep. Try buying that 'off the shelf'.
I sliced up a few offcuts of various profiles and stuck them back together. With a bit of 🤔 you can
build anything, I keep the chevron on the wall and wheel it out now and then as my 'party piece'.

giantframe001.webp



giantframe002.webp
 
The thing is with hand-finished stuff is that you are in total control.
I am liking that idea. It gives room for creativity. The attached distressed frame opens up lots of ideas to me. As a novice at making frames the tricky part will be to have the frame embellish the artwork.

guess there are many paint types that can be used to finish a frame. Do you have a preference? Do you clear coat after? Or maybe wax...? Thank you

Ditto on getting frames dinged as they are transported to Art Festivals. For me it is still work in progress to figure methods to protect my artwork from storage to Festival and back again. The effort requires constant attention and is maddening.

The chevron cut away is amazing. Quite the lesson in frame construction. I can't figure out how the fine surface lines were created. I assume the finished moulding is overlayed with gold leaf.

I
 
No leaf on that frame. It's bronze powder bound in varnish over an acrylic paint base.
The key thing is how it's applied.
I usually apply a glaze or opaque 'wash' over the top.

Nothing exotic or particularly expensive in the materials. 🙂

Of course it does take a bit of practice and experimentation but it I can do it anyone can.

** You can also re-finish factory mouldings. I have a shed full of 'bargain' stuff that I have
acquired over the years. Handy if you want to incorporate decorative elements.


DSCF0126.webp
 
No leaf on that frame. It's bronze powder bound in varnish over an acrylic paint base.
The key thing is how it's applied.
I usually apply a glaze or opaque 'wash' over the top.

Nothing exotic or particularly expensive in the materials. 🙂

Of course it does take a bit of practice and experimentation but it I can do it anyone can.

** You can also re-finish factory mouldings. I have a shed full of 'bargain' stuff that I have
acquired over the years. Handy if you want to incorporate decorative elements.


View attachment 51062
Interesting. Thanks for that.
 
Selling artwork without a frame is definitely an option. Thanks for that and your help.

When I started as an artist, painting, I felt that people should appreciate the art work as is. No need for a frame. I have changed my tune and I agree the art work needs a frame, a pedestal, something to say it is special. A well chosen frame can make a painting soar. I know my frames will not be any where near the quality that framers produce. I agree, the wrong frame makes the artwork harder to appreciate. I am selling at art festivals, my hope is that I can make frames that do not detract and at least serve as a presentation platform for artwork and let a collector take it home and immediately hang it.
Another option that I've always offered the artist's here who host an Open Studio each year is to frame only a couple, thus providing the "look" for clients who cannot imagaine the pieces framed. Next to the 2 framed pieces you have a good looking bin with art that is matted and in a poly bag. You can then take orders for making the frames that are winth in your wheel house. Having a couple framed to their full potential really helps sell!!
I agree that poorly represented framing gives the impression that you don't think your art is worth a well done job. Stick to what you are good at and elaborate as your skills do.
I remember going to an art exhibit and this great watercolorist cut her own mats with a hacksaw! Of course I'm kidding, but it looked awful! All the corners were chewed up and their was dust and tiny hairs under the glass. It demeaned her talent. Good luck and I'm excited for you!
 
Another option that I've always offered the artist's here who host an Open Studio each year is to frame only a couple, thus providing the "look" for clients who cannot imagaine the pieces framed. Next to the 2 framed pieces you have a good looking bin with art that is matted and in a poly bag. You can then take orders for making the frames that are winth in your wheel house. Having a couple framed to their full potential really helps sell!!
I can definitely see that working for an Open Studio. That would allow me not to have so much effort in frame building. Sort of "frame on demand". For the festivals, one coming up in two weeks, I will price the pieces, paintings, with or without frame. Since my pieces stick to set sizes I will be able to use another artwork for the frame.
I agree that poorly represented framing gives the impression that you don't think your art is worth a well done job. Stick to what you are good at and elaborate as your skills do.
I remember going to an art exhibit and this great watercolorist cut her own mats with a hacksaw! Of course I'm kidding, but it looked awful! All the corners were chewed up and their was dust and tiny hairs under the glass. It demeaned her talent. Good luck and I'm excited for you!
Agreed, framing should not lessen the artworks appeal or bring attention to itself. The artwork should be the main attraction not the frame.

Thanks!
 
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