Making Frames E-Book

A. Linnette Bell

• Herausgeber: Crowood
• Kategorie: Lebensstil
• Sprache: Englisch

Veröffentlichungsjahr: 2018

Beschreibung

Making Frames is an essential and practical guide to the process of framing artwork of all types. It explains how to measure the artwork, cut a window mount, attach the image, cut the moulding and make the frame before preparing the backing board and glass for assembly. Having explained the basic process, it then describes more advanced techniques such as using different mounts and framing other three-diamensional items. It is illustrated with over 300 photographs and gives clear detailed instructions along with tips and advice throughout to give your frame a professional finish. Contents include: instructions to frame paper-based artwork such as photographs, prints, drawings and paintings; advice on equipment and materials to buy, as well as tips on how to store them; guidance on conservation methods to preserve valuable artwork; specialist methods for framing canvas, panels and other types of supports that are thicker than paper; methods for advanced mounts, framing fabric art and different types of deep-box framesIdeas for creative framing and unique effects, including hand decorated mounts, gilding and paint effects on bare wood moulding. This essential and practical guide to framing artwork of all types will be of interest to artists, crafters, needle workers, interior designers as well as beginners and experienced framers. Superbly illustrated with 353 colour photographs.

Leseprobe

MAKING

FRAMES

A. LINNETTE BELL

THE CROWOOD PRESS

First published in 2018 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR

www.crowood.com

This e-book first published in 2018

© A. Linnette Bell 2018

All rights reserved. This e-book is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of thistext may be a direct infringement of the author’s and publisher’s rights, and those responsible may be liable in law accordingly.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 78500 396 7

Acknowledgements

Special thanks to Duncan McDonald and the team at All About Framing for their support and encouragement. To my husband David, for all his help with photography, computers and extreme patience in wading through the sea of creative clutter which has filled our home during the making of this book. To my mother June Bell, friends, customers, artists and students for providing artifacts to demonstrate framing methods and ideas. My thanks to Joseph McCarthy Fine Frames Ltd, and the many proof readers who have given their valuable feedback.

CONTENTS

INTRODUCTION

1. MATERIALS, TOOLS AND EQUIPMENT

2. MEASURING

3. CUTTING MOUNTS AND MOULDING

4. FIXING AND JOINING

5. BACKING BOARD, GLASS AND ASSEMBLY

6. VARIATIONS ON MOUNT CUTTING

7. HOW TO PREPARE AND FRAME FABRIC ART

8. HOW TO FRAME A THREE-DIMENSIONAL ITEM

9. HOW TO CREATE DECORATIVE EFFECTS ON MOUNTS USING PAINT AND METAL LEAF

10. HOW TO CREATE DECORATIVE EFFECTS ON FRAMES USING PAINT, DYE, WAX AND METAL LEAF

GLOSSARY

CONTRIBUTORS

FURTHER INFORMATION

INDEX

INTRODUCTION

INSPIRATION

There will be a reason for leafing through the pages of this book. You may enjoy the challenge of designing bespoke framing and be looking for new and interesting ways to frame. By doing your own framing you can be sure that your artwork is framed to a good standard, or it may be a natural extension of the creative process of producing a piece of art. You may wish to save money, as the cost of quality framing can be expensive for the simple reason that the process can be time intensive, especially when it is of a more specialized type.

Traditional watercolour line and wash.

PRESENTATION

Framing is the finishing touch for presenting and if it’s well designed and carried out correctly, will enhance and protect your artwork and precious items. The item to be framed might be linked to a hobby, or career as an artist or photographer. The perception of the value of artwork can also be affected by the framing. For example, when photographers enter their work for competition, it is usual to be marked down by the judges if mounts and frames are of poor quality, or the choice of framing is ill considered. You may want to present collectables or special events like sport, weddings, births and so on.

STYLES AND FASHIONS

Manufacturers of mount board and moulding follow the current trends in the interior design industry, launching new mount board colours, moulding profiles and finishes now and then, while also supplying standard designs and colours that never go out of fashion. Popular interior design styles can be described as classical, modern, retro, shabby chic, art nouveau and art deco. The type of items or artwork to be framed can also be subject to changing fashions.

Random paint effect using masking gum and sponge paint effect.

Mount with a slip on the inside edge

Double mount: top mount with a painted bevel and angled corners and bottom mount with straight sides. Artwork by the author.

PROTECTION

The framing should not only complement the artwork and allow it to be seen without taking over due attention, it should be made using methods and materials that will preserve the contents. Picture framers from around the world have collectively established proven methods and materials for protecting valuable and fragile artwork and collectables. Presented here will be methods and materials recommended by the Fine Art Trade Guild (FATG).

MODERN EQUIPMENT AND METHODS

This book presents the most convenient methods and latest equipment available. The availability of good-quality framing equipment has increased to the extent that some former methods of making mounts and frames now appear unnecessarily arduous.

FRAME CONSTRUCTION

The basic components of a frame, from left to right: frame, glass, mounted artwork and backing board.

In general, most frames will be constructed using a rigid outer wood, resin or metal frame with a rebate to hold glass, window mount and backing mount for containing the artwork and a rigid board behind to protect the back. The whole construction is generally held together with V nails, tabs or pins, tape and glue.

LAYOUT OF THIS BOOK

This book will take you through the basic process, from measuring to assembly for framing paper-based artwork with alternatives for other types of artwork or collectables. Handy tips are highlighted along the way. It is intended as an overall introduction to framing that will hopefully give the reader encouragement to get started, or if they have some basic experience, the inspiration to try out some extra ideas, to add more flourish to their projects.

CHAPTER ONE

MATERIALS, TOOLS AND EQUIPMENT

GETTING STARTED

The huge range of materials and equipment required for framing can look daunting and expensive. However, with careful planning, you can buy just the basic necessities to get started and complete your first projects. A basic set of equipment includes a mount cutter, a saw and a joiner, plus consumable items like V nails and glue. Before purchasing equipment, many suppliers will demonstrate, and some will let you have hands-on experience, so that you know it is suitable for your particular needs. If you have limited space to store materials and equipment, some stages can be done for you. This might be cutting the moulding. For example, suppliers can offer a 45-degree mitre chop service, for which you must supply the correct glass size plus an extra 1–2mm on each side. Glass and mount should fit a little loosely in the frame, to allow for expansion and contraction. The chop service helps to avoid the accumulation of bits of moulding, and the need to store long lengths. By purchasing bare wood moulding and hand finishing with paint, dye or gilding as needed, which is explained in Chapter 10, you can minimize the accumulation of partly used lengths of finished moulding that may never be used. Glass cutting is another job that can be done for you, to avoid the danger of glass particles in areas where children and pets may be moving around.

If only the occasional circle or oval mount is needed, it may not be worth the expense of buying a specialist cutter for the purpose. A framer who leases a computerized mount cutter can create circles, ovals and other variations such as arches very quickly at a reasonable cost.

WHEN BUYING GLASS CUT TO SIZE

Take your made-up frame along to the glass supplier and give it to them so they can measure and place the glass in the frame. Check before leaving the premises that there are no scratches or other marks on the glass and that it is cut to allow a little movement in case of contraction of wood in a warm room. The frame then serves as a support for transporting the glass safely.

MATERIALS

Mount board

Double mount with black core. Lake Windermere photograph by the author.

A selection of colours with black core.

A selection of mount board colours.

Mount board is generally composed of an inner pulp board covered with a front face of paper that can be either smooth or textured and a back face of plain paper. It is known as paper-faced board. Some mount boards are solid, with no layers for front and back. A range of colours, tones, tints and metallic finishes vary according to fashion but white, cream and black are constantly available. Mount board manufacturers usually give their mount colours descriptive names, evocative of current fashionable colours in the interior design industry. Manufacturers also produce a mount board with a colour core, most commonly a white or black mount board with a black core. When a bevel is cut, the result is a black line facing onto the artwork.

A code number is also given to each colour, which can be found on the back of paper-faced mount board. You will need to look hard for it on mount board with a black core, as that side will be almost black. Different qualities of mount board are described as standard, conservation and cotton museum by the Fine Art Trade Guild (FATG).

Standard mount board

Standard mount board is the least expensive and is available in a wide range of colours. The core will become brown after a while, as the board becomes acidic, due to the lignin in the wood pulp from which it is made. Acid from a standard mount will leach into the framed artwork and cause unsightly brown marks, known as foxing, making it unsuitable for framing artwork of value.

Conservation mount board

Conservation mount board is treated to remove the lignin, so the core remains white. It is widely available in a good range of colours and is suitable for most projects.

Museum mount board

Museum mount board is the best quality and the most expensive, made from 100 per cent cotton rag. The colour range is fairly limited and not all suppliers carry it in stock. It is recommended (FATG) for high-value artwork, or museum exhibits.

Mount board is available in various thicknesses, which are commonly measured in microns. A micron is equal to 1 millimetre (FATG). It is available from 900 microns up to 3,500 microns. Conservation grade mount board is usually around 1,100 to 1,400 microns thick and up to 3,500 microns in a few colours.

Mount board in a variety of thicknesses.

Tapes

White archival gummed tape, pH-neutral self-adhesive tape, linen hinging tape, brown gummed tape, brown self-adhesive picture tape.

Basic tapes needed for picture framing are archival white gummed tape for fixing artwork into a mount, and a brown picture tape, which is available as gummed or self adhesive, for finishing the back of the frame. For artwork of an insignificant value, a self-adhesive pH-neutral white tape is all right for fixing into a mount, but it is the only type of sticky tape that should be used. Sellotape, masking tape or any other sticky tape will cause irreparable damage by leaving stains and a sticky mess. Sello tape and masking tape also eventually dry out, allowing the artwork to drop out of the mount.

Moulding

The range of moulding designs is vast, and potentially bewildering to the new framer. Manufacturers compete with each other to produce ever more unique patterns. As each style is copyrighted, it is not possible to buy the exact same moulding from a different manufacturer. Watch out for lookalike mouldings with slightly different dimensions as this might be how they have imitated another manufacturer’s shape without infringing a copyright. They often give a range of moulding names which follow the latest interior design styles, though each moulding will have a manufacturer’s or supplier’s code for reference.

It is possible to design and make your own moulding, to create a very exclusive appearance to your framing. Some manufacturers will make bare wood moulding to your design for a minimum order, or anyone who can use a bench-mounted router can make a moulding for you.

Moulding shapes include: Flat, hockey stick, reverse bevel, spoon, tray or inlay, cassetta and pasta.

Oak, ash, pine, obeche, tulip, beech.

Rebate (rabbet) depth and rebate lip.

A feature unique to all moulding is the depth of rebate. It is most often the reason why a particular moulding is chosen. It will be important to see if the glass, mounts and backing board are going to fit into the rebate space. The lip rebate is the inside edge that comes in front of the glass and mount, which holds all the components of the frame together.

Though moulding shapes and finishes change with fashion, it is possible to classify some basic moulding shapes as flat, cushion, hockey stick, reverse bevel, spoon, cassetta, pasta and tray, which might make your selection easier.

Flat, cushion and hockey stick mouldings are good for a minimalist or modern style effect. Reverse bevels look good on bold, single-item images that appear to be very close, while spoon-shaped moulding is effective in leading the eye inwards into an image with pictorial depth, and is often used for traditional landscapes. A cassetta is an elegant classical, Italian style with a flat middle and raised pattern on either side. Pasta is made of wood powder and glue and pressed into raised patterns onto a wood base. It is available in a variety of patterns and is perfect for adding gilding and paint effects. Tray, sometimes known as inlay, is a modern style especially suited to framing stretched canvas. The canvas is placed in the frame from the front and screwed to the frame from the back. There is no rebate lip to cover the edges of the canvas so the whole image is in full view.

Moulding that can be cut by a framer is made from a range of wood types or plastic resin. Woods are classified as either hard or soft. Some examples of hard woods are oak, ash, beech and obeche. Obeche is a large tropical tree from West Africa. Although it is physically not hard, it is classified as such because it has a close and uniform grain. Along with pine it is now one of the most commonly used types of wood for picture framing. Many obeche bare wood mouldings are available, which are perfect for decorative painting and gilding. Pine is a soft wood and the grain can be an attractive feature, although wood knots and resin can be a problem.

CHOOSING AND BUYING MOULDING

For your first few projects, select a moulding shape that will be easy to join, such as flat, and which will remain stable when a V nail is inserted into the back.

Before buying moulding check that it isn’t warped in any direction by holding one end towards your eye, looking down to the other end. Any warps or twists in any direction will be visible. Warped moulding will not join neatly and the resulting frame may not sit flat, causing gaps to open in the corners when glass, mount and backing board are put in.

Slips and fillets

Fillets of various size, slips in various shapes and a slip with gilt finish.

Slips are thin decorative additions than can be placed inside the main moulding for extra width or inside the mount window. Sometimes they are covered with canvas, velvet or linen as a contrast to the finish on the moulding.

A fillet is a spacer bar for creating distance between the artwork and the glass. It is essentially needed when a mount is not desired, to prevent the glass from touching the artwork and transferring moisture.

Wood glue

For applying to the 45-degree mitres before fixing together with V nails. Ordinary white PVA wood glue is sufficient for adding extra stability to the join, particularly towards the front face of the moulding. The V nail won’t reach the last quarter to one third of the height.

V nails or wedges

15mm, 12mm, 10mm, 7mm and 5mm deep V nails.

V shaped metal wedges designed for use in a hand-operated joiner or foot-operated underpinner are a quick and convenient way of fixing a frame together. They are usually taped together as a flexible ribbon ready for loading into a foot-operated underpinner and have a sharp cutting end, which drives into the moulding. Some manufacturers supply them in a cartridge designed to fit their particular model of foot-operated underpinner. The V nail is available in various heights, such as 5mm, 7mm, 10mm, 12mm and 15mm. Select a V nail which is about three quarters of the height of your moulding. Different V nails are often described as being suitable for either hard or soft wood.

Glass and acrylic glass

Standard glass for picture framing is 2mm thick float glass. It can be scored and snapped apart easily using a hand-held glass cutter. If glare from lamps or windows is a problem, non-reflective glass may help to reduce the reflection. Non-reflective glass has been etched on one or both sides to give a matt surface. It is suitable for framing paper-based subjects which require just a single mount, as greater distance between glass and image will reduce clarity. It is generally about twice the cost of standard glass.

Acrylic glass may be a preferable option, as it will reduce the final weight of the frame; allow the frame to be posted without breakage; or allow safe use in a child’s bedroom. Acrylic glass is also available as non reflective. When using acrylic glass, don’t forget to remove the protective plastic sheeting from both sides, after scoring and snapping it. This is best done just before assembling, as acrylic glass attracts dust due to static electricity.

A superior range of glass with special coatings that keep out 90 per cent of ultraviolet rays, or which is virtually invisible because it doesn’t reflect, is available at about six times the cost of standard glass. Presently these speciality glasses are being used more commonly as standard in the picture framing industry.

Backing board

Backing board is the final protective board at the back of the picture frame. It is rigid for strength, mostly brown in colour and can be easily cut with a sharp craft knife. It should not be a tight fit in the frame, but allow about 1mm all round for possible expansion or contraction of the frame. For a frame that needs a backing board larger than the size that is available, good quality hardboard or thin ply from a DIY store will be adequate. It is worth getting the store to cut it to size if possible for a neat edge.

Brown craft board, ply board, cords, wire, strap fittings, D-rings, bendable metal plates, turn key, corner braces, self-tapping screws and bumpers.

Fixings, cord, wire and bumpers

D-rings and self-tapping screws are commonly used for their neat appearance, as they lie flat against the frame. They are available in three sizes. For narrow frames use small, wider frames use medium, and for larger, heavier frames, a large or double-D with two screw holes. For very heavy frames long strap fittings are safer, as a D-ring may split apart under the weight.

Nylon cord in a variety of thicknesses and breaking strengths, chosen according to the weight of the frame, is commonly used. The weight of the frame should be no more than a fifth of the breaking strength of the cord. Metal cord made of brass is available if preferred and has a more aesthetic look, especially if the picture is to be hung from a picture rail and it will be in view from the front. For seaside locations, a non-corroding wire made from stainless steel, silver in colour is advised. Picture wire is available with a clear plastic coating to make the wiring process easier.

Bumpers are adhesive pads made of felt or cork, which are applied to the bottom corners of a frame to hold it away from the wall so that air can circulate behind it.

SPECIALITY MATERIALS

Brushes, rag and sponge

Soft pastels, rag, sponges, masking tape, art masking fluid, gold ink, acrylic paints, artists’ watercolour paint, designers’ gouache, brushes and lining pens.

Brushes

A range of brushes is needed for preparation of surfaces as well as application of paint and gilding onto frames. A wire brush is used for brushing the surface of bare wood to open the grain ready for applying liming wax. Artists’ watercolour brushes are used for painting broad areas of wash for mount decoration. A bristle sash brush is needed for applying gesso and size to a bare wood moulding and a soft hair brush for applying coloured bole and varnish. A nylon brush is sufficient for applying wood dyes straight onto a bare wood moulding. Wonderful paint effects can be achieved with a toothbrush, or a worn-out artists’ hog bristle brush.

Rag and sponge

Soft cotton rag and natural sponge can be used to create special paint effects on a prepared bare wood moulding.

Artists’ watercolour paint, designers gouache and soft pastel

Artists’ quality fade-resistant watercolour paints are for decorative effects on mount windows and for use in a wash lining pen. Designers’ gouache is an opaque water-based paint, which can be used in a lining pen for a bolder effect. Soft pastel can be powdered onto masked-off areas on mount board.

Artists’ acrylic paints

Tubes of artists’ paint for creating paint effects on window mounts and moulding. They dry fast, which is an advantage for applying layers of different colour.

Speciality tapes and glue

Mount bevel decoration tape, double-sided easy-lift tape, spray glue, Scotch 811 removable sticky tape, high tack spray glue, archival mounting strips, Mighty Mounts, miniature cable ties, mounting corners and clear archival polyester.

Removable sticky tape or masking tape

Removable sticky tape (such as Scotch 811) is for masking areas on the front of the mount board for adding a painted decorative effect. It can be removed easily without damaging the surface.

Double-sided tape

Used for taping two flat surfaces together. Finger-lift double-sided tape is easier to use.

Mount and bevel decoration tape

Used for creating deep bevels, it is available in a range of colours.

Glue

As a spray or paste for mount decoration and fixing fabric to mount board.

Wood dyes

Water-based wood dyes are the easiest to use. Brushes for applying dye can be washed out in water. If hard wood mouldings such as ash, beech or oak are to be dyed, a spirit-based dye will be needed. Brushes will need to be cleaned in white spirit. Spirit dye has a very strong odour, so those who are sensitive might rather avoid it, or at least use it in a well-ventilated area. Overalls are recommended to protect clothing when using dye and acrylic paints.

Liming wax, wire brush, wood waxes, fine grade sand paper, wood dyes, disposable gloves and rag.

Wood waxes

After a dye has been applied, a wood moulding needs sealing. Applying a coat of wax is a quick and easy method. Waxes are available as clear, or in various wood colours.

Liming wax

A white wax made of lime and paraffin wax, which is very easy to apply and creates the distinctive limed wax look, which gives textural detail to wood grain. Looks best on oak, but can be used to create an effect on other types of wood. Liming wax has a strong odour and when applying it, the use of thin, disposable plastic gloves is recommended for anyone with sensitive skin.

Rabbit-skin glue

Animal glue used to bind whiting to make gesso and to size a bare wood moulding before applying gesso. It can be purchased from a framing supplier, or an art material supplier. The granular form of glue is easily dissolved in a little warm water and heated gently in a bain-marie or double saucepan to make a thin liquid glue.

Gesso

It is used for creating a smooth, even surface on bare wood moulding in preparation for gilding. It can be purchased ready made, but it is better made fresh as required. It is made of whiting and rabbit-skin glue.

Clay bole

It is used to give a rich effect under real gold leaf gilding, or imitation metal leaf. Different coloured clays are used for different purposes. For example, red clay is used under real gold leaf because it looks especially rich with gold and is suitable for burnishing to a shine. Clay bole can be purchased ready made but it is also better made fresh as required. The clay can be purchased in one piece, which needs to be grated into a powder and mixed with a little rabbit-skin glue.

Gold, silver and metal leaf

Whiting, sash brush, rabbit-skin granules, yellow and red clay bole, gilders’ cushion, knife, real gold leaf, gilding brush, agate burnishers, metal flakes, aluminium silver and metal leaf in sheets and a roll, rottenstone, Japan size, Wundersize acrylic size, gilt cream, gilt varnish, nylon gloves and varnish brushes.

To create a beautiful, unique shiny finish on bare wood moulding, real gold, silver or imitation gold and silver are needed. Thin leaves of metal are available in small, square sheets, or on a roll. Leaf that has been pressed onto wax paper, known as transfer, is much easier to handle, especially for applying to broad areas, but loose-leaf sheets are needed for gilding in nooks and crannies as on a classical swept design.

Acrylic glue size and Japan gold size

Acrylic glue size is a convenient modern size for applying metal leaf. As a little goes a long way, a small bottle will last for ages. For oil gilding, Japan gold size is needed. Winsor and Newton make a Japan gold size with a short drying time.

Varnishes

Used for sealing imitation metal leaf to prevent oxidization, or to make final adjustments to the colour by adding a little pigment. For a permanent surface, Japan gold size can be used as a varnish. It is applied with a soft brush, which can be cleaned with white spirit.

Rottenstone

A grey mineral powder that creates an aged, antique effect when dusted into the crevices of a classical swept frame or pasta moulding.

TOOLS AND EQUIPMENT

Rulers, tape measure, pencil, glass paperweights, eraser, putty rubber and bone paper folder.

Paperweight and magnifier

Dome-shaped glass paperweights will hold down curly artwork without damage and magnify areas for closer inspection.

Sharp pencil

A sharp HB pencil is needed for marking borders on the back of the mount board before cutting.

Clean eraser

A clean eraser is needed for removing pencil lines on the back of the mount board, after cutting. To clean any marks that accidentally appear on the front, use a putty rubber to lift out the mark without damaging the surface.

Bone paper folder

For smoothing down any raised corners on a mount after the window has been cut and for folding white archival gummed tape when making hinges for attaching artwork.

Metal rulers, T square and squaring arm

A metal ruler which starts from zero and with millimetre increments will help to save time when measuring mount board, as the ruler can be easily lined up to the edge by touch. Use a 60cm (24 inches) or 1 meter (40 inches) and 15cm (6 inches) for small jobs. A T square or squaring arm is useful for checking that the corners of mount board are a perfect 45 degrees and for cutting glass.

Notepaper or planning sheet

For keeping a record of measurements as you work through each stage of a framing project. It can save time, and could form a useful record for repeating the same idea later.

Calculator and tape measure

A calculator is useful for working out how much mount board and moulding to buy along with a 3-metre (10ft) metal tape measure for checking moulding lengths.

Mount cutter

A simple mount cutter with straight and bevel cutting heads and a mount cutter mounted on a board.

A mount cutter can be a simple ruler with rubber beading on the underneath to grip a prepared cutting surface and include a rail for a hand-held mount cutter head to slide along. This simple mount cutter is available in various lengths. It is easy to store, as it takes up very little space. Because the rubber beading both grips and raises the edge of the ruler, it can also be used for cutting glass and drawing watercolour lines on mount board.

A mount-cutting rule that is mounted onto a board will give more stability, and may have some extra features, such as start and stop gauges, a border marker and a scaled right-angle arm, which aids in measuring and cutting an accurate 90-degree corner. Board-mounted cutters are available in various lengths. They may be fixed so that the mount board slides between the rail and the board, or with a hinge, which allows the cutter to be opened for easy insertion of the mount board.

A board-mounted cutter kit generally will include two cutters. A bevel, or slanted cutter head which slopes down toward the artwork being mounted and a straight cutter for cutting the outside edges of the mount board. The bevel cutter head is either pushed away or pulled towards the operator. Even pressure is achieved when using a mount-cutting head that is pulled towards you, as the mount is pulled into the corner of the mount cutter. As a push-style mount cutter head moves forward, it is necessary to prevent the mount from moving as it is cut. Additionally, a pull-style cutter may be easier for a left-handed user.

Push style cutter, pull style cutter.

If space and cost are not an issue, for about twice the cost of a large board-mounted cutter, a more professional cutter will offer some useful extra features, such as a dual-headed cutter, which changes angles at the flick of a switch and which will generally be a much heftier machine made of stronger quality materials to stand up to frequent use.

Blades

Logan Platinum Edge mat cutter. (Photo: Logan Graphic Products, Inc. USA.)

Mount-cutter blades are rectangular and for most cutters are designed to be turned round, so that both corners are used, leaving the centre still sharp. When blades are not designed to be turned around, they are only sharpened on one side, which allows for a more stable cut because the blade will not bend. They are designed for use in a combined straight and bevel cutter system.

Saw blades are available for sawing hard and soft wood and will need replacing when worn out. Mitre trimmer blades and mitre guillotine blades can be re-sharpened, which must be done by a professional.

Mitre saw

Mitre saw with measuring system.

A good-quality saw will make mitre cuts accurate enough to fit together without gaps. There are 45-degree markers on each side, which click when the saw is lined up to them. Only one mitre can be sawn at a time. There are usually drill holes to attach the saw to a bench for stability and adjustable clamps to hold the moulding in place. A gauge on the measuring arm will allow the user to cut a second piece of moulding to the same length. Moulding with a maximum width of about 10cm (4 inches) can be cut on a mitre saw.

Mitre guillotine