Behind the Art, Behind the scenes, Drum December, Drum Works, How Po Makes Hand Drums, Kingston Artist, Po's Drum Making Process, Portia Chapman, Studio Process, Sustainable Craft, Uncategorized, woodworking

Drum December Day 11 – How to Clamp a Drum Frame

Portia Po Chapman and an assistant carefully applying a blue metal clamp to a glued drum frame in a sunlit Kingston art studio.
Day 11: Applying high-pressure clamps to the glued frame is the final step to ensuring a rattle-free, resonant instrument.

Drum December Day 11: Mastering the Compression and Clamping of Your Drum Frame

Welcome back to Drum December! Today, we are diving into one of the most transformative stages of the process: using my innovative dry-bending technique to compress and clamp the drum frame. This method is born from my preference for non-polyurethane glues, which we explored in our Day 10 tutorial.

By utilizing sun-steamed wood that has been “trained” during the pre-bending phase, we gain incredible creative flexibility when it comes time for the final clamp. If you missed the early stages of this journey, you can catch up on Day 5 and Drum December Begins to see how we prepare the wood to be shaped.


The “impossible” C-Shape

After trimming the frame on Day 9, you are left with a piece of wood that has a massive 16-inch gap between the ends. It looks like a giant letter “C,” and honestly, it looks impossible to close. But this is where the magic happens.

Choosing Your Bending Method

There are two primary ways to bring those ends together:

  1. Mechanical Bending: Using a dedicated jig or form to force the wood into a circle.
  2. Freehand Bending: Bending the wood by hand and clamping the ends using only hardwood cutoffs as buffers.

I personally prefer the freehand dry-bending method. My clients love it because it results in a more organic, natural shape and a superior sound.

The Critical Decision: Inside or Outside?

Before you apply a single clamp, you must decide which end of the wood will overlap on the outside. This might seem minor, but it is vital:

  • The choice of which end goes on the outside literally alters the final shape and resonance of the drum.
  • The inner end experiences a much tighter curve than the outer end.
  • Even with identical ends, swapping the overlap order can create a completely different hoop shape.

The Miracle of Elasticity

The most remarkable part of this technique is the elastic response of the hardwood. Because of the sun-steaming and pre-bending, the wood becomes incredibly flexible. In my demonstrations, you can see a cherry wood frame compressed over 16 inches with ease.

I view myself as a facilitator for the tree. When you encourage the wood to bend naturally, it “sings”. If you force it, the wood rebels, cracks, and the sound becomes muted. A drum makerโ€™s job is to unlock that voice, not silence it.

Letting the Tree Sing: The Philosophy of the Bend

It is truly a remarkable thing to witness, and I often wonder why this method isn’t the gold standard. When we dry-bend, the results are simply superior to clamping freshly steamed woodโ€”especially when crafting those challenging, small-radius frames.

Using this technique feels less like “construction” and more like an act of listening. In the forest, trees are designed to dance; their limbs are built to bend when the wind caresses them. In my workshop, I see myself as a facilitator of that natural expression.

When you allow the wood to bend on its own terms, it sings. When you force it, the wood rebels; it cracks, it groans, and its spirit becomes muted. As a drum maker, my calling is to encourage the drum to find its voice, not to silence it through force.

The “Vet Visit”: Understanding Woodโ€™s Resistance

Once the wood has agreed to take its shape and the decisions of Day 10 are behind us, we move into the physical intensity of the clamping stage.

Even a willing tree has its limits. Wood has a memory and a will of its own, and it behaves much like a dog on the way to the veterinarian. The pup is perfectly calm in the car until you turn that final cornerโ€”the moment she realizes whatโ€™s happening, she “flips out.”

The drum frame does the same. It will rest quietly in your hands until the moment you bring the glue bottle near. It is the strangest, most miraculous sensation: you can feel the frame shift from a gentle yield to a spirited push-back against the compression. To navigate this, you need a sturdy vice and quick clamps within arm’s reachโ€”or a very strong, steady assistant to help you hold the tension.

The Trick of the Trade: Precision and Protection

Because the wood is alive and moving, using C-clamps is a high-stakes, time-sensitive dance. The second the clamp touches the wood, everything wants to slide and shift. I used to panic during this stage, but I eventually learned the secret: The One-Inch Rule.

  • Keep it Tight: Ensure your C-clamp is open less than an inch. This allows you to turn the handle and lock it down before the wood has a chance to escape.
  • The Safety Net: If you canโ€™t turn the handle fast enough, snap a couple of quick clamps on either side of the joint. They will hold the frame long enough for you to seat your heavy-duty C-clamps properly.
  • Honor the Surface: Never let metal touch the frame directly. A C-clamp is a powerful tool that can easily dent the wood. Always use hardwood cutoffs as a barrier between the clamp and the frame. Even with light-duty clamps, these barriers are essential for protecting the integrity of the wood.

In the video below, you can see this “C-clamp dance” in action as we bring the ends together for the final time.

Pro-Tips for Successful ClampingA Summary for You to Remember

Keep these clamping tips in mind:

  • Speed is Key: If using C-clamps, keep them open less than an inch so you can tighten the handle quickly before the wood shifts.
  • Use Backups: If you can’t move fast enough, use quick clamps on either side of the joint to hold the position while you set your C-clamps.
  • Always Use Barriers: Never put a C-clamp directly on the frame; it will dent the wood. Always use hardwood cutoffs as a barrier between the clamp and the drum.
  • Clamping Numbers: Use at least six clamps to secure the joint while it dries.

Barrier Dimensions: Use wood cutoffs approximately 1″ x 3″ for the inside of the frame, and 2″ x 3″ for the outside.

Whatโ€™s Next? Tomorrow, on Day 12, Iโ€™ll show you exactly how to arrange those six clamps so they donโ€™t get tangled or interfere with the curve of the frame. Itโ€™s a bit like a puzzle, but Iโ€™ll walk you through it!

Love Art by Po creates 3 grades of frame drums: Drum Circle, Instrumental and Gallery. Also, Po makes 10″ drum, DIY drum kits. Go to the Drum page to read more about the grades and how to purchase them. Here is the link.

See you tomorrow!

๐Ÿ“ง Portia@loveartbypo.ca

One response to “Drum December Day 11 – How to Clamp a Drum Frame”

  1. Drum December Day 12 – How to Make a Drum Frame Using 6 Clamps – Love Art by Po Avatar

    […] Day 11, I explained how the shape changes depending on which end overlaps on the outside. Today, we focus […]

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Find Love Art by Po’s Portia “Po” Chapman Kingston Art studio on Google Maps at this link.

Behind the Art, Behind the scenes, Drum December, Drum Works, How Po Makes Hand Drums, Kingston Artist, Po's Drum Making Process, Portia Chapman, Uncategorized

Drum December Day 9 | Trimming the Drum Frame to Size

Kingston Artist Po pointing to the trim line. The white oak steam-bent drum frame sits on the chop saw awaiting the first trim.
Po trims the white oak to the desired drum frame size at her Kingston Art Studio

Kingston Artist, Portia “Po” Chapman trims the white oak drum frame to size at her studio.

On day 8, my trusty assistant compressed the dry bent oak to the size that I wanted for the finished drum to become. As he held it in place, I marked the board with a pencil. Day 9, also marks the mid stage of drum frame creation.

Once we cut off the white oak at yesterday’s pencil markings, we will see the drum frame coming into its drum shape for the first time. I have a smaller trim miter saw, but I prefer using my 12″ chop saw with a trimming tooth blade installed. The larger blade alleviates the fiddliness of cutting the large hoop with a small blade.


Oh, and this trim will remove the breakage that we found on day 6. Phew!

Come back tomorrow, Day 10, when we move on to our next stage of drum frame creation: gluing and dry-bending. The next couple days are going to be exciting; we are on the homeward stretch now.

Come back tomorrow for Day 10 – when we apply the glue. There are 4 types of glue that we can use, I will explain the options on Day 10.

New to the blog? Read more about Po and her art here.

See you tomorrow!

๐Ÿ“ง Portia@loveartbypo.ca

One response to “Drum December Day 9 | Trimming the Drum Frame to Size”

  1. Drum December Day 11 – How to Clamp a Drum Frame – Love Art by Po Avatar

    […] trimming the frame on Day 9, you are left with a piece of wood that has a massive 16-inch gap between the ends. It looks like a […]

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Behind the Art, Behind the scenes, Drum December, Drum Works, How Po Makes Hand Drums, Kingston Artist, Po's Drum Making Process, Portia Chapman, Uncategorized

Drum December Day 8 – Compressing and Marking the Drum Frame

On Day 8 of Drum December, at the Love Art By Po Kingston Art Studio, Po's assistant compresses the bent oak drum frame while Po marks the board where she will cut it on Day 9.
On Day 8 of Drum December, Po’s assistant compresses the bent oak while Po marks the board where she will cut it on Day 9.

Thank you for watching along as we engage on this drum making adventure. This is the first time that I have made a white oak drum frame and as you can see, it has been an adventure.

On Day 8 of Drum December, my assistant and I prepare the steam-bent white oak which is to be cut off in order to create my preferred drum diameter. The reason I mark the wood this way is because the best sounding drums have the least glue. So by marking it with both ends overlapping, I can judge how large the completed joint will become. I aim for a 2″ drum frame joint when the drum is complete.

For more information about Love Art by Po drums see here.

The Art of Compression Without Snapping the Frame

The process of compression without snapping the frame is exceptionally nuanced and requires much attention. This is the reason why I prefer dry-bending the final bend. The stunning personality of every piece of milled and bent timbre is felt as the compression reaches its limit. I have tried mechanical bending methods but those methods remove the connection with the fibres, and this process needs to be gentle and understanding.

Hugging Drums is Like Hugging Trees

Just because a tree is cut down and made into lumber, it never stops being a tree. I grew up listening to trees. For 18 years of my life, they sheltered me, comforted me, and taught me ancient lessons of beauty and strength. I met my ancestors as they stooped down, inviting me to sing as their branches drummed a beat for me to follow. In my second year of my BFA, the apple tree, that I used to climb as a child, died and began falling to the ground. In a way, I felt to blame for its loss of health.

You see, I left it in the field when I went away to University. So for my first large sculpture installation, I gave it back its voice by sculpting it back to its life giving form – even with birds nests and robin eggs. I could once agin hear it whisper. In the spring, when I returned to the field, the apple tree, at the very top, was growing leaves reaching to the sky. Today, as I make frame drums, it is my way of giving back to the trees – to hear their voices sing again. For me, I feel blessed to be a drum maker. It is a calling. It is LIFE! When shaping drum frames, I hug them just like I hug trees still able to stand. Every drum frame is realized out of love and respect.

To read more about Indigenous relationships with trees, follow this link. But please come back.

Gentleness Guided the Bend

For the compression, you will notice in the video, my assistant has rested the white oak on his lap. By doing so, he makes full contact with both sides of the new drum frame shape. He can feel the oak tighten and relax. He makes it look so easy after many years of woodworking, but this critical step truly requires inner stillness. After all, I learned to hug trees because of him. As he bends it, he can hear the oak say when it has coiled enough. Just as it reaches its chosen limit, I can sense it too.

This white oak, has required understanding more than the other hardwoods. But, when it reached its bend limit, instead of screaming out, it gave a relaxed sigh of relief, like it said: “Finally back home.”

Marking the Board

Due to the length of the video, it is unclear where I marked the piece. In this case, I marked it in two locations. Often, I do one continuous mark across both edges. Again, this is not a science. I wish that I could give a clear instruction, but it really is again about… Knowing the right spot(s).

To read more about my art practise, please click this link:

When I set out to write this post about this seemingly simple bend and mark, it was not my intention to share the spiritual, soulful relationship of bending drum frames. I guess, the ancestors thought that it was a good time to remind us that drum frames and drums are just as much part of this life as they were as trees. Please know that when you buy (adopt) one of the drums that I make, your drum has been nurtured into existence with care.

Come back tomorrow for Day 9 – the painful moment of cutting the frame to size.

See you tomorrow!

๐Ÿ“ง Portia@loveartbypo.ca

2 responses to “Drum December Day 8 – Compressing and Marking the Drum Frame”

  1. Drum December Day 10 | How to Glue Before Clamping Drum Frame – Love Art by Po Avatar

    […] To solve this, I developed a proprietary dry-bending technique. The wood is pre-bent and shaped before the glue is ever applied. You can see the foundation of this technique in my previous posts: Day 5, Day 7, and Day 8. […]

  2. Drum December Day 9 | Trimming the Drum Frame to Size – Love Art by Po Avatar

    […] day 8, my trusty assistant compressed the dry bent oak to the size that I wanted for the finished drum to […]

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Behind the Art, Behind the scenes, Drum December, Drum Works, How Po Makes Hand Drums, Kingston Artist, Po's Drum Making Process, Portia Chapman, Uncategorized, woodworking

Drum December Day 6 โ€” A Small Split, But a Successful First Bend

A close-up of Portia โ€œPoโ€ Chapman examining a freshly bent white oak drum frame outdoors, pointing to a small split formed during the tight first bend, with bright flowers and summer greenery behind her.
Day 6: A small white oak split appears after the first bend โ€” an expected part of pushing hardwood to its limits.

Today marks the moment of truth for the first bend of the white oak drum frame. After spending the night under clamps, the wood finally revealed how it responded to yesterdayโ€™s bending session โ€” and as always, the material had a story to tell.

If youโ€™re new here and want to learn more about who I am and the work I do, you can visit my About & Contact page.

When I brought the frame into the studio this morning, the very first thing I did was check the inside curve. And there it was:
a small split along the tightest part of the bend.

For many people, that might feel alarming. But for me, this isnโ€™t unusual at all โ€” especially with a dense hardwood like white oak. Pushing any wood to the minimum bend radius it can tolerate means youโ€™re working right at the threshold where the fibres must stretch, compress, and adapt. Sometimes, a small split appears as part of that process.


What a Split Really Means in Drum Making

A split doesnโ€™t automatically mean failure.

Itโ€™s a diagnostic clue.

It tells me:

  • how far the wood was willing to travel,
  • how much internal tension remains in the frame,
  • and whether the second bend โ€” the glued dry-bend โ€” will seat properly.

In this case, the split is shallow and controlled. That tells me the clamps did exactly what they were supposed to do:
prevent the fibres from opening too far while still allowing the bend to hold.

This is why clamp placement is a true art form in drum making. You donโ€™t just tighten clamps to tighten clamps. You tighten them in anticipation of how the wood is likely to react.

If youโ€™d like to explore my handmade drums, see past builds, or learn about upcoming workshops, visit my Drum Page here.

White oak is expressive โ€” and today, it expressed itself in a way that still sets us up for a strong final frame. As well, the location of the minor breakage will be cut off before gluing the final bend. I don’t sweat these things now, but when I first started bending drum frames, I was totally panicked when the first breakage happened. It was a learning experience – that is for sure!


Reading Tension, Relaxation, and โ€œFeelโ€

Every wood species responds differently during the first bend.
White oak? Well…It hums with a very particular kind of density.

When I picked up the bent frame today, I could feel subtle tension still living inside the curve. Thatโ€™s not unexpected โ€” in fact, with white oak, itโ€™s quite normal. White oak, unlike red oak, doesn’t particularly like being bent.

The key for Day 6 is simply evaluating:

  • Did the bend hold its overall shape?
  • Is the curve even?
  • Is the split stable and non-progressive?
  • Does the wood want to spring open dramatically or gently?

All signs today point to a solid first bend. It was a success. PHEW!!!


Come back tomorrow, Day 7, to watch and read about the what happened when I released the clamps.

The next step โ€” which comes tomorrow โ€” is the careful release of the clamps. Thatโ€™s where I discover how much reflex the wood has stored and whether it settles into the intended diameter or pushes back aggressively.

For now, the job is simply to observe, interpret, and prepare.

White oak may be challenging, but todayโ€™s results show that this drum frame is very much on track.

See you tomorrow for Day 7 of Drum December!

โ€” Po

๐Ÿ“ง Portia@loveartbypo.ca

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Behind the Art, Behind the scenes, Drum December, Drum Works, How Po Makes Hand Drums, Kingston Artist, Portia Chapman

Drum December Day 3: Poโ€™s Bendy Wood Reveal

Po Chapman holds a freshly sun-steamed hardwood plank in her backyard studio, demonstrating how flexible the wood has become during Day 3 of her Drum December drum-making process.
The Bendy Test โ€” Po checks the flexibility of her sun-steamed hardwood before shaping it into a drum frame.

Today, Po reveals the next step in her innovative sun-steaming process โ€” the moment when three days of sunlight, water, and patient preparation finally transform kiln-dried hardwood into a material that is ready to bend.

Testing the Wood After Three Days of Sun-Steaming

Today marks the moment when Po checks the results of the full three-day sun-steaming cycle. In yesterdayโ€™s post, we watched her begin this method by sliding the hardwood into the long ridged tube and filling it with water to let the sun do the work. By this morning, the fibres within the wood had warmed, expanded, and begun to relax. Now it was time to see whether the wood had softened enough to become flexible โ€” or whether it needed more time in the sun.

After pouring out the steaming water, Po slid the hardwood out of the tube and laid it gently on the grass. The board emerges from the tube hot, ridged, and stiff โ€” the opposite of what you might expect from a piece of wood that will soon become a circular drum frame. But this is where Poโ€™s ingenuity comes in.

Still too hot to handle with bare hands, Po begins a technique she discovered through experimentation: walking on the wood. Wearing proper shoes, she carefully steps along the length of the board, back and forth, allowing her weight to massage the fibres into motion. The grass protects the surface from dents and provides the perfect soft foundation for the wood to ease into its new flexibility.

For about five minutes, she continues this rhythmic movement โ€” a sculptorโ€™s touch expressed through her feet rather than her hands. And then comes the test.

With one foot still grounding the board, Po gently lifts the opposite end.

In todayโ€™s video, you can see the moment the wood answers.

It bends โ€” cleanly, smoothly, willingly.

This once rigid hardwood is now supple enough to be shaped into the elegant circular frame of a drum. What seemed impossible only days before becomes possible through Poโ€™s blend of patience, innovation, and the natural power of the sun.

Tomorrow, Po will continue the transformation as she prepares the wood for its first bends toward the circle it is destined to become.

Drum December unfolds one authentic, beautiful step at a time.

Stay tuned for Day 4.

๐Ÿ“ง Portia@loveartbypo.ca

One response to “Drum December Day 3: Poโ€™s Bendy Wood Reveal”

  1. Drum December Day 21: Drumming in the New Year 2026 – Love Art by Po Avatar

    […] how beautiful the Drum December drum turned out. This where we started with Drum December. You can learn exactly how we crafted this instrument by visiting the previous 20 days of the […]

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Behind the scenes, Drum December, Drum Works, Kingston Artist, Po's Drum Making Process, Portia Chapman, Sustainable Craft, woodworking

Drum December Day 2: Poโ€™s Sun-Steaming Method Begins

Po Chapman lying in the sun wearing yellow sunglasses and a green shirt, beginning Day 2 of her sun-steaming drum-making process.
Day 2: Po begins her sun-steaming process for crafting hardwood drum frames.

Welcome to Day 2 of Drum December!

Today, Po begins the very first step in her innovative sun-steaming method โ€” a sustainable process she personally developed to prepare kiln-dried hardwood for her premium drum frames and exposed stretchers.

Sun-steaming is a technique that Po pioneered to reduce the environmental impact of traditional wood steaming. Instead of soaking the kiln-dried wood for two days and then heating it with electricity, Po slides the carefully milled hardwood into a long black tube with ridges along its interior.

The ridges guide the wood as it slides in, producing a distinctive sound โ€” the beginning of the transformation.

Once the hardwood is inside the tube, Po fills it with water and lets the sun do all the work. For three full days, the water naturally heats within the sealed tube, allowing the wood fibres to relax and prepare for bending.

An Energy-Conscious Method for Steaming the Wood:

  • Removes the two-day soaking stage
  • Uses no electricity
  • Reduces water consumption
  • Produces a more responsive bend
  • Creates the smooth, elite-quality curves Poโ€™s drum frames are known for

This is where Poโ€™s craftsmanship begins โ€” with innovation, patience, and the sun itself.

Tomorrow, weโ€™ll continue documenting this process as Drum December unfolds, one beautifully authentic step at a time.

Tomorrow, Po continues the transformation as she assesses the wood to see whether it has relaxed enough to become bendy and ready for shaping.

Stay tuned for Day 3!

๐Ÿ“ง Portia@loveartbypo.ca

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Behind the Art, Drum Works, How Po Makes Hand Drums, Portia Chapman, Studio Process

Drum December Begins at Poโ€™s Studio

Hands bending a wooden drum frame over the knees of a person seated on grass.
Shaping the curve of a drum frame โ€” one of the first steps in Poโ€™s rhythm-making process.

Today marks the beginning of Drum December, a month-long glimpse into the rhythm and process inside Poโ€™s Studio. Instead of presenting finished pieces, this series brings you into the quiet, hypnotic motions that form the foundation of Poโ€™s drum works.

The first video is just five seconds long โ€” a looping moment that feels like it could play forever. Simple. Repetitive. Almost meditative. It captures a small piece of the energy that moves through Poโ€™s creative process: the balance of sound, gesture, material, and breath.

Po has always worked from rhythm. Whether sheโ€™s painting, shaping rawhide, or exploring new concepts for future installations, thereโ€™s a pulse beneath everything she creates. Drum December is a way to share that pulse with you โ€” not through explanation, but through small, visual experiences.

Throughout the month, youโ€™ll see short clips from the studio: textures, movements, tools, surfaces, patterns, and the making behind upcoming work. Some loops will be raw; some will be visually polished. All of them come from Poโ€™s hands and her way of seeing.

This series also sets the stage for the work she is developing for her upcoming installation, where drums and light will play an important role. Think of Drum December as the first heartbeat of that larger project.

Thank you for stepping inside her studio.
More rhythm, more movement, and more behind-the-scenes moments will arrive soon.

Have a question about Drum December or Poโ€™s Studio? Email Poโ€™s Studio

โ€” Artwork and murals by Portia โ€œPoโ€ Chapman, Love Art by Po

One response to “Drum December Begins at Poโ€™s Studio”

  1. Drum December Day 11 – How to Clamp a Drum Frame – Love Art by Po Avatar

    […] for the final clamp. If you missed the early stages of this journey, you can catch up on Day 5 and Drum December Begins to see how we prepare the wood to be […]

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Artist Portia Po Chapman Mural, Portia Chapman, Uncategorized

The Rich History of Hand-Painted Kitchen Murals: From Ancient Hearths to Modern Homes

Contemporary Kitchen Mural

History of Hand-Painted Kitchen Murals

Hand-painted kitchen murals may feel like a recent design trend, but their history stretches back thousands of years. As long as humans have gathered around food and fire, we have decorated the spaces where we cook, eat, and connect. These murals reflect cultural values, artistic innovation, and the evolution of the kitchen itself. (See the original sample kitchen without mural.)

Below is a journey through time exploring how kitchen murals began, how they changed, and why they continue to flourish today.

Ancient Beginnings: Art Around the HearthFrom Cave Paintings to Early Communal Kitchens

Long before contemporary kitchens existed, early humans adorned the walls of communal living spaces with painted symbols and scenes. The spaces where people prepared food were often decorated with images of animals, hunts, and daily life.

These early images did more than beautify spaces, they told stories, marked traditions, and connected communities.

Egyptian and Roman Domestic Art

In ancient Egypt, homes of wealthy families featured painted walls depicting food, agriculture, and abundance. These symbols reflected the householdโ€™s prosperity and honoured deities connected to nourishment.

The Romans pushed wall painting even further. In Pompeii and Herculaneum, frescoes decorated kitchens, pantries, and dining areas with images of fruits, fish, wines, and market scenes.

Medieval and Renaissance Kitchens: Function First, Decoration Later

During the Middle Ages, kitchens were utilitarian, smoky, and often separate from the main living quarters. Decoration was limited due to soot and open flames. Still, some monasteries and noble estates painted devotional symbols near hearths as blessings for safety and abundance.

With the Renaissance came a renewed interest in beauty within the home. Frescoes began appearing in dining halls and hearth rooms, including scenes of feasts, harvests, and nature. These early murals set the precedent for connecting kitchens and dining spaces with artistic expression.

The 17thโ€“19th Centuries: Folk Art and Cultural Identity

As homes became cleaner and better ventilated, painted kitchen walls became more common, especially in rural communities.

European Folk Art Traditions

Regions such as:

  • Bavaria (Germany)
  • Scandinavia
  • Eastern Europe
    became known for bright, hand-painted kitchen motifs: flowers, birds, vines, and symbolic patterns.

These murals were typically done by local artisans or homeowners, making the designs deeply personal. They celebrated family heritage, religious beliefs, and seasonal cycles.

Colonial North America

Early North American settlers brought European traditions with them. Hand-painted stencils, sweeping floral garlands, and pastoral scenes decorated hearth rooms and kitchens. Many of these murals doubled as storytelling tools to record harvests, travels, or family events.

The Early 20th Century: Murals Meet Modern Design

As kitchens became more central to the home as gathering spaces, rather than just practical spaces, kitchen murals experienced a revival.

Arts & Crafts Movement

This movement celebrated craftsmanship and natural motifs. Hand-painted tiles and wall panels featuring fruits, flowers, and farm life became common, particularly in English and American kitchens.

Art Deco & Art Nouveau Eras

Sleek, stylized murals with geometric or botanical themes brought elegance to kitchens, often blending artistic flair with the eraโ€™s growing interest in beautifying the home.

Post-War Boom: Murals as Cheerful Homemaking

The 1950s and 1960s brought bright colors, optimism, and a quickly growing home dรฉcor industry.

Popular Themes Included:

  • Fruit baskets
  • Vineyards
  • Roosters and country motifs
  • Cheerful kitchen scenes
  • Checkerboard patterns
  • Decorative borders

Hand-painted murals and stencilling kits became widely available, allowing everyday people to personalize their kitchens for the first time.

Late 20th Century to Today: Custom Art for Modern Lifestyles

The contemporary kitchen is a social space, and murals have reemerged as a sophisticated and creative form of self-expression. Todayโ€™s hand-painted kitchen murals combine historical inspiration with contemporary design and technique.

Current Trends Reflect:

  • Nature and botanicals โ€” a nod to earlier folk traditions
  • Food and wine themes โ€” inspired by Roman and Tuscan frescoes
  • Minimalist line art โ€” echoing modern aesthetics
  • Cultural motifs โ€” celebrating heritage
  • Large-scale abstract murals โ€” turning kitchens into art installations

Artisans now use durable paints, sealants, and washable surfaces, allowing murals to stand up to heat, moisture, and daily use.

Why Hand-Painted Kitchen Murals Remain Desired

Across centuries, cultures, and artistic movements, kitchen murals have persisted because they provide:

  • A personal story: They connect the homeowner to heritage, memory, and meaning.
  • A sense of warmth: Art transforms a utilitarian space into a welcoming space.
  • A celebration of food and community: Murals reinforce the kitchenโ€™s emotional significance.
  • Timeless craftsmanship: Hand painting creates authenticity that printed murals canโ€™t fully replicate.

Final Thoughts

The history of hand-painted kitchen murals is a history of home, family, and creativity. From ancient frescoes to contemporary custom artwork, these murals have always served as more than decoration; they are symbols of nourishment, heritage, family, and the beauty of everyday life.

Contact Po, if youโ€™re ready to create a mural that sets your kitchen apart from your friends and families’ kitchens with a bold, contemporary, and hand-painted mural. Book your complimentary e-consultation and you can collaborate to design a wall that leaves a lasting impression and tells your story.

Request a Custom Project Quote

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Artist Portia Po Chapman Mural, Portia Chapman, Uncategorized

Why Organic Colour Blocking Is Perfect for Kingston Homes

Colour Blocking in Kingston Hand Brushed Mural painted by Portia Po Chapman
Po painting a 6’D mural with a brush in Kingston.

Organic Colour-Blocking Murals in Kingston | Contemporary Hand-Painted Art by Po

Kingston homeowners are increasingly choosing original, hand-painted murals over traditional prints or wallpaper. Why? Contemporary interior design trends incorporate murals because they are more than decoration โ€” they are living, breathing elements of your home.

My style,ย organic colour blocking, uses precise brushwork to create vivid, flowing shapes and razor-sharp edges. Itโ€™s contemporary, sophisticated, and impossible to replicate digitally or with spray cans. Each mural interacts with the light, architecture, and atmosphere of your room.

Not sure what colour blocking is? See: History of Colour Blocking

Benefits of organic colour-block murals for Kingston homes:

  • Custom fit for your space: Every curve and colour is tailored to your room, wall, and lifestyle.
  • Adds personality: Your mural reflects your taste, energy, and story.
  • Timeless impact: Hand-painted murals remain striking for years, unlike printed designs that can fade or feel flat.

A mural in your foyer, living room, bedroom, or studio is more than art โ€” itโ€™s a statement. It changes how you feel in the room, how you move through the space, and how visitors experience your home.

Colour Blocking Hand Brush Painted Mural Kingston Residence
Colour Blocked Mural over Fireplace by Po in Kingston

Using a brush when painting a mural featuring colour blocking achieves crisp, opaque lines and shapes. It takes a painter many years of practice to produce sumptuous, flowing edges that are crisp and fluid. My own technique produces “flat” brush strokes that appear almost textureless.



The power of the murals I paint is the seamless connection with the viewer and the space – only achieved through exactness. The mind and soul immediately understand the imagery because without blurred edges, one need not interpret – just enjoy.

If youโ€™re ready to bring contemporary, hand-painted mural energy into your Kingston home, I can help design and create a space that feels alive, intentional, and completely unique.

Request a Custom Project Quote

Let Me Know What You Think! Start or Join the Convesation

How Po Makes Hand Drums, Portia Chapman, Uncategorized

Step-by-Step Guide to Stringing a Rawhide Drum with Portia “Po” Chapman, Kingston

A Photo Reference – Your Step-by-Step Guide

Po Stringing the Spokes of a 14″ Rawhide Drum
Po has Drawn on Shape and String Holes
and is Ready to Cut the Rawhide

In order to cut the shape, I first draw on the pattern. In order to do this, I lay the drum frame on the soaked rawhide and draw the shape with an HB pencil that is not very sharp. The size that I draw on is usually about 2-1/2″ larger all the way around the frame. So for a 14″D frame, I draw on a 19″D shape that is the same shape of the frame. After I do this, I mark the string pleating holes, to be punched out later. This can be a very frustrating step, so I create a paper template and fold the paper to assure that the pleat holes are perfectly symmetrical. I will be posting another how-to concerning this step, but basically the two holes close together are for the pleat and the wider space is where the hide will lay flat against the frame when dry. The number one thing to remember is, the pleats must be evenly spaced and even in number, such as 8, 12, 16 pleats and so on. Keep the string holes about 3/4″ from the edge, all the way around. Premium drums have 16+ pleats. But to begin, I would only use 8 or 12 pleats.

Po Cutting Soaked Rawhide to be Stretched Over
the Drum Frame

Cutting rawhide is fairly easy to do if the hide is thin. In this step-by-step guide, I am using opaque elk because this drum head will be painted. Elk and deer are from the same family. Deer is typically the more thin of the two. I will be posting another guide concerning the different rawhides, but for now a rule of thumb is: 14″D and smaller drums use deer or elk. In the photo at the top of this post, I am stringing a 14″ D drum with a coiled white cedar frame that I have painted. In order to cut thin elk, I find that using kitchen sheers or fabric scissors does a good job.

Po Punching Hole in Rawhide for Stringing the Frame Drum

This step is quite simple, once you have the hole spacing figured out. After I mark on the dots for stringing the drum skin pleats, I use a leather hole punch. There are two hole punches that are readily available to purchase at craft and building supplies stores, they are: ones that work like scissors (as in the photo above), and punches that resemble awls that you hammer through the rawhide. The former is usually strong enough for deer and elk, but the latter may need to be used when punching moose and bison. Punching holes through rawhide is not like punching holes through note paper. Rawhide is fibrous, almost stringy. When it is soaked, it becomes thick and rubbery too. In other words, every hole punches differently from each other.

Po Placing Drum Frame in Centre of Cut Rawhide

Before stringing, I check to make sure that everything fits and is evenly spaced. I place the finished drum frame in the centre of the cut and punched rawhide. To assure that it fits the way I want it to fit, I use a ruler and measure the distances between the frame and the edge. All the way around, there should be the same amount of rawhide outside the drum frame.

Po Stringing Through First Punched Hole
After Measuring Out Sinew String/Lace

I use synthetic sinew for stringing. Some people call the sinew, “string,” and other people call it, “lace.” There are 4 types of string/lace, that are commonly used, they are: sinew (from a deer’s Achilles Tendon), synthetic sinew (buy by the spool), rawhide (thin strips that are cut from the perimeter of a soaked piece of rawhide), and rope for large moose, double headed, pow-wow drums. Measuring out the sinew is a tricky, nerve wrecking procedure. The length you need, needs to be one continuous strip. I measure about 5′ of string for every 1″ of drum frame diameter. So for a 14″D drum, I measure out 70′ of sinew. For a 24″ drum, I measure out 120′ of sinew. Also, just to be safe, I measure out another 20′ of sinew. I ran short once. I never want that to happen again. So now I wheel off extra! “Better safe than sorry,” as they say. This is the number 1 reason I use synthetic sinew. It is the best choice to use 120′ of continuous string.

While Stringing the Drum, Po Measures the Edges
to Assure that the Drum Frame
has Remained in Place

To string a drum, I pull one end of the string through one hole and then through the hole on the exact opposite side. Please note, I pull the entire strand through both holes, leaving about 2′ hanging outside the first hole. Then I continue to do the same, all the way around the drum, crossing the strings through the centre. In the image immediately above, notice that the string passes through the frame-side of the pleats (the two closest hole pairs). This allows for an attractive, elegant pleating of the hide. So when stringing, pass your needle through the outside of the hide, across the inside, and then through the inside to the outside. You’ll catch on. The practical reason I do this is due to physics. By pleating through two holes, rather than one, creates a stronger hold while applying less pulling on the individual holes. If you use one hole, you stand a pretty good chance that the rawhide will rip through. Believe me when I say: “YOU DO NOT WANT THAT!” Please note that I am creating a video to illustrate this more clearly and will be posting in the near future.

After Stringing, Po Creates Spokes to Hang Onto While Drumming

Before I begin with this step, take a look at how the pleats look after the rawhide has been stretched and strung. By stringing through the frame side of the pleats, a uniform pleating is created and the pulled holes are firm and uniform. If you want to make a premium drum, you will need to master this step with this method of drum stringing. Now onto the spokes. From what I can tell, in various traditions, the spokes are formed by wrapping cord, sinew, or deer hide. Locally, they are formed and wrapped using split deer hide. I prefer using the continuous synthetic sinew because it is strong and I prefer the appearance. So what I do is, I wrap the sinew around multiple pleat (forming) strings. As you can see in the photo, I am wrapping 10 strings (5 pleats’ worth) together. I wrap them as far up as I want to achieve the desired tightness of hide. When I reach the furthest point desired, I weave the sinew through the individual strings 3 or 4 times. This creates a basket weave appearance. I do this to anchor the spoke so that it won’t slide out of place. When the weaving is complete, I wind the sinew back down the spoke. Once the centre knot of the strings is reached, I wrap the centre knot a few times and pull it tightly. Then I proceed to create another spoke. Once all 4 spokes have been created, I knot off the string behind the main centre knot. At this point, the drum is complete. I then sit the drum in a dryish (50% humidity) location with good ventilation above and below the drum. In just a few days the drum is ready to be drummed.

Materials you need:
– scissors ($10-$50)
– darning needle ($2)
– pencil ($1)
– paper and tape ($10)
– hole puncher ($30)
– finished drum frame ($100-$300)
– soaked rawhide ($300-$700)
– synthetic sinew ($30)
– patience (priceless)

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