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Back of most hobbies that are expanded into a successful and profitable business venture lies an interesting story and Glenda Charkey's picture framing hobby is no exception. A few years ago the American Association of University Women, of which Mrs. Charkey is a member, inaugurated a picture lending service in Fort Collins, Colorado. The purpose of the project was to create greater appreciation for good pictures and their use in the modern homes of today. The picture lending service was conducted on a rental basis through the public library, the system of lending being similar to that used in lending books. For a fee ranging from twenty-five to seventy-five cents people could check out pictures from the library and keep them in their homes for as long as six weeks.

Since the main purpose of this service was to interest patrons in the worth of good pictures the framing of them was of secondary importance. However, club members realized frames of suitable styling would do much to bring out the good points of the pictures but such frames were hard to find at prices within the budget of the organization. At first it seemed the best they could do would be to put the pictures in cheap factory-made frames which doubtless would lack the individualistic touch they felt would be so helpful. A happy solution was found, however, for this perplexing problem when the discovery was made that a certain member of the organization was experienced in making picture frames. That person was talented and energetic Glenda Charkey.

IT WAS while attending an art study group some four years previously that Mrs. Charkey had learned how to prepare prints, such as can be purchased from picture publishing companies, so they could be used in frames without glass. One thing just naturally lead to another and soon she was also making frames for the pictures. Mrs. Charkey gave generously of her time and talent in teaching A.A.U.W. members the methods to use in preparing the pictures for framing as well as how to make suitable frames for them. Various members took an active part in the picture mounting and frame making project and soon the picture lending service was successfully started. However, at the end of the first year when the A.A.U.W. wished to take up another branch of service it was deemed advisable to discontinue the picture lending project. Upon learning of the intention of the organization, city officials, feeling it was a cultural asset to the city, decided to take over the project and continue to operate it in conjunction with the public library.

While working on the A.A.U.W. picture lending project, Mrs. Charkey had not only remade and refinished old picture frames but had also carried out many original ideas in making frames from new materials. Partly to save money for the organization but more particularly because she enjoyed utilizing odds and ends she often used such inexpensive materials as door casings, molding of various kinds and even unfinished scrap lumber in the making of the frames.

Craft work of one kind or another had held an important place in Mrs. Charkey's life since childhood days but the thought of commercializing on any of her various hobbies had never occurred to her. However, to most versatile hobbyists there comes a time when the urge to expand beyond the just-for-fun stage becomes dominant, and so it was with Mrs. Charkey when her work with the A.A.U.W. project ended. She reasoned, and quite logically, that if people were interested enough in good framed pictures to rent them for use in their homes many might welcome an opportunity to purchase similar pictures if they could be obtained at reasonable prices. She had learned that there was a growing demand for framed pictures that were especially appropriate for the particular spot where they were to hang. Mrs. Charkey realized many people cannot judge just what type pictures are suitable by merely looking at them as they hang in a shop where they appear quite different than when hanging on the walls of a home. This thought gave rise to the idea of offering a "try-it-in-your-home" service.

SINCE MRS. CHARKEY had made quite a study of art and home decorations she believed she was qualified to go into a prospective customer's home and analyze the surroundings and offer advice as to what picture and type frame would be most appropriate for the particular place where it would hang. A service such as this would be something new in her home town and she realized it might be a difficult job to "sell" the idea to the public. Believing in the truth of the old saying "nothing ventured nothing gained," she decided to try the plan.

Once this decision was made she ordered an assortment of prints, both traditional and modern, from picture publishing companies that she had done business with while working on the A.A.U.W. project. Pictures such as these vary considerably in price depending on size, the quality of the paper they are printed on and whether they are American or imported prints. The average price of a twenty-four-by-thirty-six-inch size print (American) is about $15. Imported prints of the same size cost about $18. Smaller size prints cost considerably less, the price of some being around $2. Neither expensive tools nor materials are needed to prepare the prints for glassless framing.

Lacking a glass the picture must be mounted on some kind of a strong backing that will not buckle but will hold rigidly in the frame. Mrs. Charkey finds Masonite, which may be purchased at a lumberyard for nine to eleven cents a square foot, to be very satisfactory for this purpose. Since the frame will be nailed directly onto the Masonite she makes allowances for the width of the frame as she cuts the Masonite.

"I find regular wallpaper paste to be the best adhesive agent to use in securing the picture to the Masonite," says Mrs. Charkey. "Aside from its excellent sticking qualities it is less expensive than some other materials such as glue or liquid cement that could be used. A one pound package costs about twenty-five cents and this amount is sufficient for mounting twenty or more large pictures. The dry paste is quickly and easily prepared by mixing with cold water. The paste should be stirred well so there are no lumps and should be made about the consistency of waffle batter."

Mrs. Charkey lays a picture face down on a worktable or bench and, using a paint or paste brush, covers it evenly with paste. She has found a good way to avoid missing any spots is to brush the paste first up and down then crosswise. Care is also used to make certain the paste extends to all edges of the picture. She then carefully places the paste-covered picture on the Masonite. "While there are other means of pressing the picture onto the Masonite I find none to be as satisfactory as the rolling pin method which I learned of sometime ago," says Mrs. Charkey. "Place the rolling pin on the edge of the picture nearest you, then roll exactly as if you were rolling out pie dough—except you need to use more pressure, enough so all air bubbles and wrinkles disappear as rolling is done. Using a moist cloth, wipe off any paste which may have accidently got on the right side of the picture. Place on a flat surface and weight down with books or other flat heavy objects until paste dries."

When dry the picture is given several coats of clear lacquer to produce a hard, durable surface. Mrs. Charkey uses commercial wallpaper lacquer, which costs $2.50 a quart, for this purpose. Although a picture is often given as many as seven coats of lacquer only a small amount is used for an average size picture. Each coat is allowed to dry before another is applied. The lacquer dries quickly so if several pictures are being sprayed at one time the first pictures are usually ready for another application by the time the last ones are finished. If the lacquer-covered pictures become soiled with long usage they can be freshened up by washing with soapy water.

In the early days of Mrs. Charkey's picture framing hobby she used an ordinary insect sprayer for applying the lacquer to the pictures but later as the need for conserving time and energy became greater she purchased an air compression spray gun. This piece of equipment cost $49.50. She has found it to be a good investment since it is not only labor saying but also conserves the lacquer and other liquids which she uses. The sprayer attachment is screwed onto a fruit jar into which the lacquer is placed; any remaining lacquer is left in the can after attachment is removed and a lid is then screwed on tightly to prevent evaporation. After using lacquer or similar liquids the sprayer should be cleaned with lacquer thinner to prevent the working parts from becoming clogged. To clean, place a small amount of the thinner in a jar, screw on attachment and operate sprayer a few seconds. Remove attachment and if there is any thinner left in the jar it may be kept for future cleaning purposes.

BEFORE ANNOUNCING the opening of her home picture framing business and her services as an art consultant, Mrs. Charkey made up a varied assortment of framed ready-to-hang pictures. Possessing a mind teeming with new ideas, she constructed many frames that were a far cry from the run-of-the-mill kind usually shown in shops. Her styles ranged from flat frames to reverse types that give a picture the appearance of standing out from the wall. Also included in her assortment were many interesting shadow box varieties.

Just as she had done when framing pictures for the A.A.U.W. project, Mrs. Charkey again utilized odds and ends of inexpensive materials which she purchased at the lumberyard. In addition she remade old picture frames, many of which she purchased at slight cost at auction sales and secondhand stores. Sometimes very ornate frames, when taken apart, provided enough material for more than one frame. Such frames usually required some repairs and a thorough cleaning. A sharp pointed instrument and a stiff brush often were needed to remove the accumulation of dirt and old paint from the fancy curlicues which were a part of this kind of frame. Cleaning solvent or soap and water were used to complete the renovating job. After frames were remade she refinished them by applying either gold or off-white paint to carry out the antique appearance.

WHEN MRS. CHARKEY had completed enough framed pictures to give prospective customers a varied assortment to choose from, she placed an advertisement in one of the local newspapers. Response was much greater than she had expected. Many people, especially those setting up housekeeping for the first time, were quick to seek her advice as to what type picture and frame was most suitable for their particular furnishings.

Under Mrs. Charkey's try-it-in-your-home plan a customer is given an opportunity to keep the picture hanging on his wall for several days to make certain it is one he really enjoys living with before making a final decision. If a picture does not meet with his expectations he may try others until he finds one he is entirely satisfied with.

Mrs. Charkey frequently uses very commonplace material to add originality to her picture frames and to emphasize some certain thing shown in the picture. For instance, when making a frame for Rembrandt's "Young Girl" she wanted to highlight the texture of the girl's dress and also her chain necklace. This was achieved by the manner in which she made the frame as well as by the materials she used.

The basic part of the frame was constructed from 2⁵/8-inch wide lumber called standard bed moulding. The wood was then covered with Vintex, a powder form of texture paint. This type of paint is often used for plastered or dry-wall construction or for restoring old cracked walls. Vintex, as well as similar paint sold under different trade names, may be purchased at lumberyards. The cost for a ten-pound package is about $1.95. After mixing the paint with water to make about the consistency of thick cake batter, Mrs. Charkey painted it on the frame with an inexpensive paint brush to a thickness of about one-eighth inch. Next, she textured the frame by brushing the paint with a whisk broom. For this picture she followed the straight lines of the frame as she drew the whisk broom across the wet paint but in some instances if a picture is such that a swirl effect seems more appropriate she simply gives a circular motion to the whisk broom as she swishes it over the paint. By regulating the pressure on the brush she can make either deep or shallow ridges. Mrs. Charkey points out that the most pleasing texture effects are achieved if the ridges are of uneven depths. While the paint was still wet, Mrs. Charkey placed an electric light pull chain around the inner edge of the frame, pressing it slightly so it was partially submerged in the paint.

When the paint hardened (this usually takes six to eight hours) the chain was securely set in place and the frame was then ready for an undercoat of paint. For this purpose Mrs. Charkey used flat coat paint. To bring out the best of the mellow-toned coloring of the old masterpiece she used three different colors—red, yellow and brown. Mrs. Charkey mixed the different colors by adding a little oil tube paint to some of the white flat coat, mixing each color separately in a small container. Then, using a small brush, she applied the different colors to the frame in a haphazard manner—one color here, another there. With a very light touch she brushed the paint to blend the colors. After paint was thoroughly dry she applied a partial coat of antique or off-white paint. Instead of completely covering the frame with the paint she missed certain spots to allow the different colors vaguely to show through. The original manner in which Mrs. Charkey combined texture, chain trim and coloring in making the frame brought out with subtle continuity the fine points of the picture and clearly shows her ability as a picture framing artist.

Another method Mrs. Charkey uses to give a different type of texture to a painted frame is done by pressing cheesecloth against the wet surface. With a piece of cheesecloth, about eight inches square, in her hand she pats it up and down on the paint. As this is done the imprint of the weave of the cloth is left on the paint. To achieve a pebble-like texture a sponge or piece of crumpled paper may be used instead of the cheesecloth.

MRS. CHARKEY finds some pictures are more attractive when framed with a mat. When this is done the Masonite is cut so the over-all size of the picture includes the mat, which is glued directly onto the Masonite. The picture is pasted in the center of the Masonite and sprayed with lacquer before the mat is made.

"Mats may be made from any number of commonplace materials," says Mrs. Charkey. "I watch for bargains in scraps of decorative burlap, odd place mats and such things. These can usually be purchased at slight cost and can be used most effectively for mats." When using burlap or similar material, Mrs. Charkey cuts the material the same size as the Masonite. The center is then cut out allowing the picture to be exposed. The material is then glued or pasted onto the Masonite. To make a neat but inconspicuous trim where the material meets the edge of the picture, Mrs. Charkey nails or glues a narrow strip of window screen molding or similar wood, which she has first cut with mitered corners and painted or varnished, to the Masonite. The picture is then framed the same as when no mat is used. Sheet cork also is sometimes used for mats.

Mrs. Charkey also makes miniature pictures. Like the larger pictures these are framed without glass. Since the cost of these tiny pictures and the material needed to frame them is slight she is able to make a nice profit and still keep the selling price down to $1.25 each. Customers who buy these miniature pictures usually use them in children's rooms and give them as gifts and bridge prizes.

WHEN MAKING a double frame which calls for the use of both wide and narrow wood, Mrs. Charkey nails or glues the two widths together before starting to construct the frame. She finds cove stripping, such as is used at the bottom of baseboards, or window screen stripping is suitable wood to use at the outer edge of the frame or to give a neat trim at the inside edge next to the picture. Any kind of lumber, two or more inches wide, may be used for the wider part of the frame. If it is to have a textured paint finish even rough unfinished lumber may be used. By securing the two widths of wood together before sawing, the mitered corners will fit together better than if the two frames were made separately and then assembled.

Most woodworking shops yield quite a quantity of sawdust, which most woodworkers do not regard as a useful commodity as does Mrs. Charkey—she uses it to give some of her picture frames and mats an unusual rough textured surface. To do this she first brushes glue onto the frame or mat, making certain the entire surface is well covered, then scatters the sawdust over the wet glue. A generous amount of the sawdust is used so the glue is well covered. After glue hardens she shakes off the excess sawdust and then covers it with the desired color paint.

In making frames for sea pictures, Mrs. Charkey achieves a driftwood effect by scorching the wood with a blowtorch to bring out the grain. The surface of the wood is then rubbed with paint.

All framed pictures are fitted with screw eyes and wire at the back for convenience in hanging.

Such lumber as combed plywood, mahogany, walnut and similar hard woods constitute a large part of the more expensive material used by Mrs. Charkey in making picture frames. Her ability to turn less expensive lumber such as pine and fir door casings, moldings, window screen strips and door stops into attractive frames affords her an opportunity to sell them at budget-wise prices.

REALIZING THAT one of the best ways to attract customers would be to have some of her framed pictures on display in an establishment in the business district, Mrs. Charkey made arrangements with a book store owner to hang pictures in his place of business. Since only a limited space is available, she displays only one picture at a time, changing pictures each week. The price of the picture on display, as well as her home address is placed along with the picture. The pictures range in price from $1.25 for miniatures to $35 for extra large ones.

Another means of advertising which often brings Mrs. Charkey customers is done through the cooperation of a friend who is a real estate agent. When the agent makes the sale of a home he gives the new owner Mrs. Charkey's business card, which states briefly the service she has to offer as well as the availability of framed pictures at her home.

The public library not only frequently orders additional framed pictures for the picture lending service from Mrs. Charkey but indirectly often helps in bringing her new customers. Many people, renting pictures from the library, become so attached to them that they decide to try to buy duplicate pictures. When inquiry is made at the library where such pictures may be purchased they are referred to Mrs. Charkey. Mrs. Charkey deals with many picture publishing companies so is able to order any picture which is available in the United States.

LONG AGO Mrs. Charkey's picture framing business grew to such proportions that it was necessary for her to seek outside help. Fortunately she did not have to go outside her own neighborhood to find a competent helper. Mrs. Ada May Gaurd, who lives less than a block away and who had worked with Mrs. Charkey on the A.A.U.W. project, was delighted to become a partner in the profit-producing business.

Working as a team, the two women have turned out more than fifty different styles of frames. Numbered among their customers are people living in distant parts of Colorado as well as from parts of Wyoming.

One room in Mrs. Charkey's spacious basement is used as a workshop and stock room. The main piece of equipment is a power saw. Many people voice the opinion that this is a rather masculine type of tool for women to work with. However, both women operate it with the greatest of ease. Long before she started her picture framing hobby, Mrs. Charkey had constructed numerous bookcases, tables and other small pieces of furniture for her home so was familiar with the use of saws and other tools.

Since most of their frames are made up on special order and lumber used in making them is usually available at all times at local lumberyards the women do not keep a large stock of this material on hand. They find it is more economical and convenient to purchase the lumber after an order is received since then they will know the exact kind and amount to purchase.

Since both Mrs. Charkey and Mrs. Gaurd have home duties that come first, they do not wish to expand beyond the limits of a part-time home business. As it now stands they are both reaping very substantial monetary rewards for work done during their leisure hours—a type of work that is proving to be both fascinating and enjoyable.

Here is a partial list of companies where prints suitable for glassless framing may be obtained:

New York Graphic Society, 95 East Pulman Avenue, Greenwich, Connecticut.

International Art Publishing Co. Inc. 243 West Congress Street, Detroit 26, Michigan.

Erich S. Herrmann, Inc., 385 Madison Avenue, New York 21, New York.

Marboro Book Shops, 8 East 59th, New York 22, New York.

How to Make a Picture Frame

MOLDINGS FOR picture frames may be purchased in a variety of shapes or the craftsman can make his own from scrap pieces of wood usually found in the home workshop. Simple moldings can be made with hand tools but if you plan to go into this work very extensively a circular saw and jointer will help speed up the job. A molding cutter head with a variety of cutter shapes is also a handy accessory and the different shapes of molding you can produce with it are almost unlimited. Another very handy tool for picture frame work is a mitre vise, which costs about $15 or you can make a jig from a few scrap pieces of wood. The clamping jig shown in the drawing is very easy to make. To use the clamping jig place picture frame molding in jig as illustrated in drawing. With clamping blocks in position, place C-clamps across backing and clamping blocks and tighten. This holds ends of frame in correct position to drill pilot holes for nails. After holes are drilled, apply glue and cross nail the mitre (one nail driven into the end of each molding strip). Materials used for making molding will depend upon the finish or color of wood desired. Walnut, maple, mahogany, white pine and oak make beautiful picture frames. The real test of all good framing is the close fitting of corners. The 45-degree mitre may be done in a mitre box, but if you have a circular saw fitted with an accurate mitre gauge you can obtain excellent results.

MATERIALS NEEDED:
2 pcs.—Wood, 1" x 1¾" x 21"
2 pcs.—Wood, 1" x 1¾" x 17"
8—Wire Brads, 4d—1½"
Glue
Sandpaper—Medium and Fine
Finishing Materials (to obtain desired finish)

TOOLS NEEDED:
Circular Saw (with mitre gauge)
Jointer or Jack Plane
Clamping Jig or Vise
Hand Drill
³/64" or ¹/16" Twist Drill
4—"C"-Clamps (for jig, not needed if mitre vise is used)
Hammer
Nail-set

PROCEDURE:

1. Cut molding strips to within approximately, ¹/32" of finished size.
2. Run strips across jointer or plane with jack plane to bring them to exact dimensions. Note: Molding strips must be uniform in width and thickness throughout their entire length.
3. Cut rabbet for glass, mat, picture and backing, ½" wide and ³/8" deep. Note: A set of dado cutters for the circular saw is very handy for this operation. Dado may be cut on jointer too.
4. Cut 45-degree mitre on one end of the four molding strips.
5. Layoff proper length of each piece, measuring from outside corner of mitre to opposite end. Note: This is a critical operation and must be done accurately or your corner joints will not close up tight even though you have cut perfect 45-degree mitres.
6. Cut 45-degree mitre on other end of all four pieces. Note: Be sure the two mating pieces are exactly the same length. Also check before cutting mitres to be sure they are cut in the right direction.
7. Clamp one end molding strip and the top molding strip in jig and drill nail holes into corner of each piece so mitres can be cross nailed. Cross nailed frames are less liable to open up at the corners.
8. Apply glue to center area of joints only, so it will not squeeze out when joint is fitted together.
9. Nail this pair of moldings together. Sink the heads of the brads with a nail-set, just enough so that wood filler will stay in holes.
10. Repeat steps 7, 8 and 9 to join the other pair.
11. Nail each of the two pairs together to form the complete frame—using same procedure as described in steps 7, 8 and 9. Note: Check frame for squareness and be sure it is not twisted.
12. Sand all outside surfaces smooth.
13. Apply finish. Procedure followed is same as that used in finishing wood articles. Open grained woods require filler for shellac, varnish, lacquer, or plastic finish. Beautiful toning or accentuating of the grain may be obtained by using tinted fillers.
14. Assemble picture: Cut glass (single strength) slightly smaller than the rabbet of the frame (for glassless framing omit). Most pictures, especially color prints, etchings and photographs need a mat the same size as glass. Use a razor blade to cut opening. Use a straight edge for a guide, and hold razor blade at an angle of about 55 degrees, which gives the opening edges a nice bevel. Be sure to cut all the way through with one draw of the blade—a razor blade holder helps give you more leverage. Mat boards may be purchased in a variety of tones and finishes—some are smooth, others are pebbled. For backing use a stiff material such as chip board which may be purchased in various thicknesses. The backing material should be thick enough and stiff enough to hold the picture firmly against the glass. To assemble, place clean glass in rabbet of frame, then the mat, next the picture, and the backing. Nail these items in place with brads about one and one-half inches apart. To give your picture that professional touch, put paper on the back to keep out dust and dirt. Use Kraft paper (about 70-lb.) cutting a piece the size of the frame. Dampen Kraft paper with a sponge. Apply glue to the back of the frame molding and place dampened paper in place and press paper down against frame. As paper dries it will shrink and pull itself tight. Be careful not to apply paper while too damp as it might shrink enough to damage joints of frame.