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1. Why are we framing pictures: - it is easier to hang them on the wall, - framing makes them more presentable and they can complement and enhance the beauty of the picture like nothing else, - for protection against damage: |
- light - dust - humidity and heat |
2. Some advice for painters on how to get the picture ready for the framing process: - sign the painting away from the edge - so that it does not look crammed or even get covered - paint more than one painting of the same subject - people like groupings - use paints that are light fastened If you plan on matting (watercolor, photos, etc.) - leave a border or enough empty space around the image that you do not have to cover more than 1/8" of the image. |
3. Considerations on framing art work: - cost - what fits - what style do we want - technique for mounting the artwork (sometimes called "hinging") - materials: |
- it is important that materials are acid free and mats also lignin free!!! I have seen a lot of damage caused by regular mats and corrugated cardboard as the backing - if you use glass: glass should not touch the artwork due to chemicals in it; especially photos; I've seen photos adhere to the glass and when we tried to remove them the top layer stayed exactly where it was - if you decide to have it framed by a professional than you want to chose a professional that does conservation framing |
- and if you are a painter: who is going to have or buy it. |
4. When you start the process of framing your first task will be a choice of mat-s: a. Color: - one theory states: we decide which color was used the least in the image and match the color of the mat with it. My experience is that usually causes a distraction unless there is a specific thing that you want to bring out. |
- my theory: we try to find mats that blend well with the frame and picture, which enhances the painting and does not distract from it. |
Advice for painters: paintings that will be entered into a competition where white mats are required: try an off-white mat that matches the white in your painting. |
For "do-it-yourselfers": When you have all the mats that you want you will have to cut them. For this you will need a mat cutter. There are lots of different types. I use the one in the photos. It took me quite a few months to get a straight cut out of it. A sharp blade is essential. If you have never cut mats before than I would recommend a class - you will save a lot of hours trying and a lot of money in matting materials… After your mats are cut you have to attach the artwork to the mats. I use acid free framers tape. |
5. Than you will have to choose the frame. There are millions of choices. You will have to decide what material, style and color you want. If you know where your picture is going to hang than choose something that matches that interior. If you do not know where it is going than go ahead and select a frame that matches the style of your artwork. |
Make sure the frame is deep enough to allow for all the mats, glass, artwork and backing. Determining the size of the frame: - size of the image plus the width of the mat (both sides). Example: If the width of the image measures 10 inches and you determine that the width of the mat is 3 inches per side, than the inside width of the frame equals 16 inches. We order our frames precut and assemble them. That way we have a larger selection, although my boss has made them himself if there is a special need or request. |
6. Glass choices: reflection control (non-glare) or clear or something else? Non-glare glass sometimes takes away some detail - solution: fewer mats so that the glass is closer to the image. a. Premium clear - regular glass: effectively blocks only 45 % of the dangerous UV light, reflects around 8 % of the light and its light transmission is 90% b. Conservation clear (conservation framing) effectively blocks a minimum of 98% of the dangerous UV light, reflects around 4.6% of the light (how much light is "bounced back" causing glare) and its light transmission is 93% (how much light reaches the art work, allowing it to be seen) c. Reflection control (non-glare) effectively blocks only 45 % of the dangerous UV light, reflects around 8 % of the light and its light transmission is 90% d. The best glass is museum glass - clear: effectively blocks a minimum of 98% of the dangerous UV light, reflects only 1 % of the light and its light transmission is 96% so basically you can not see it. If you cut the glass yourself you will need a good glass cutter but any glass selling store will be happy to do it for you. |
7. Backing: foam core - different thickness - protects against dust - offers stronger support. It does not touch the picture directly so it does not necessarily have to be acid-free (although I would recommend it). Order of assembly: - first the glass, - than mats with artwork and - finally the backing. Frame points are driven into the frame to hold the backing in place. Than a double-stick acid free-tape is applied to the back edges of the frame and a paper cover is applied. Hangers are attached and you are done. Make sure you have a strong hanger system - especially for bigger paintings. |
TRYING TO MATCH THE COUCH… |
- often people want to match the colors of their interiors but pick an artwork that has non of those colors and than try to save it by adjusting the mat colors to the interior which most of the time makes artwork look like crap. |
A solution if necessary: choose a bottom mat that matches the painting - remember, we can choose more than one mat. b. The width of the mat: I would recommend that you do not go under an inch and the only other rule is that the mat should not be the same width as the frame. The rest of it depends on your taste and current fashion. |
Regular glass |
Museum glass |
