Video

The Art of Framing by J-Philippe

Par J-Philippe

14 December 2011

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The Centuries-old European
Joinery Techniques.

Joinery and Carving.

Jean-Philippe Haure, even though trained at the Ecole Boulle in Paris to use French pat­terns, chooses to uses tra­di­tional Balinese pat­terns (pepa­tran) on the frames that orna­ment his painting. His pat­terns are all floral, a reminder of the pres­ence of Nature. One finds the sam­blung pat­tern, derived from the flower of the same name; the sari pat­tern, so called after the pistil of the flower; and sev­eral orig­inal floral pat­terns cre­ated for Jean-Philippe by I Gusti Ketut Dartha from the vil­lage of Lebih in Gianyar. The design, tech­nical setup and joinery of each frame are all painstak­ingly hand-made by the artist him­self, using cen­turies-old European tech­niques that he learned at the Ecole Boulle.The making of a single frame, including drawing on wood, carving, and joinery work, as well as gilding and fin­ishing, requires no less than a month and a half.


The wood carver, Gusti Dartha at his workshop
The wood carver, Gusti Dartha at his workshop

The cabinetmaker, J-Philippe at his workshop
The cabinetmaker, J-Philippe at his workshop

See the step by step video

Samblung pattern drawing
Samblung pattern drawing
Onglet joinery process
Onglet joinery process
Wooden door after carving
Wooden door after carving
Jean-Philippe at work
Jean-Philippe at work
The corner motif is inserted within the frame's structure
The corner motif is inserted
Application of Gesso
Application of Gesso

Gilding.

Gilding is used in Eastern and Western tra­di­tions to enhance the beauty of wooden carving. Jean-Philippe Haure`s carved frames are all gilded using the fol­lowing steps:

  • -The wood surface is subjected to a meticulous process of sanding, so as to smooth it as much as possible.
  • -One or more layers of gesso are then applied to the sanded surface so as to totally fill up the pores of wood and thus obtain a perfectly smooth surface.
  • -A liquid synthetic glue is then applied to enable the gold leaf to adhere to the surface.
  • -Before the glue dries, gold leaves are carefully laid, one by one, over the surface of the carving with a brush, until all of it is covered, down to its smallest corner.
  • -After drying for a few days, a varnish is applied to protect the gold surface. In ancient times, one would burnish the gold to obtain a brightly reflective shine.

A gold leaf being laid on the carving
A gold leaf being laid on the carving
After the varnish is sprayed
After the varnish is sprayed


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