demand quality framing
WHAT TO ASK YOUR FRAMER
This page has been designed to give customers a better understanding of custom picture framing and what to look for in deciding on who will frame their item. The page has three sections:
Overview of Framing Components (back to top)
The application of the following components depends on the level of framing required. Refer to the Guilds standards to further information.
Frame: The frame is the structure that houses all the individual component that make up the completed framing job. Frames can be made from materials such as timber, aluminium, and plastic. Typically quality frames are made from timber in a vast array of profiles and finished, using compo to impress decorative designs, and further finished by gilding or painting. The hanging system is attached to the frame. For more information go to http://en.wikipedia.org/wiki/Picture_frame
Glazing: The glazing is designed to protect the item from environmental pollutants. Glass or acrylic sheet can be used and the choice of either depends on your specific requirements. Acrylic is used where there a concern about glass breakage and the possibility of damage to the framed piece as a consequence. It is marginally lighter than glass however standard acrylic can be easily scratched. Scratch resistant material is now available. There are several types of coating or finishes that can be applied to the glass or acrylic. These include ultraviolet (UV) filtering, non glare, and anti reflection. UV glass is recommended for conservation framing as it blocks most of the harmful radiation that is responsible for fading of pigments and the creation of harmful acids in some mat boards. For more information go to http://en.wikipedia.org/wiki/Picture_framing_glass
Matboard: The matboard serves as a design element and a spacer between the glazing and artwork. Generally it is positioned over the artwork with the window edges just covering the art. They are made from wood pulp based product (cardboard) or cotton. Because these products can come into contact with the art the latter is seen as the better choice for conservation framing. Cotton matboards do not degrade and leach harmful by products onto the art. Some matboard manufacturers are producing wood pulp based matboards that offer a similar level of protection as cotton matboards. See also http://en.wikipedia.org/wiki/Mat_board
Air Space: The air space has the function of separating the glazing from the item being framed. This function is vital because any moisture condensation that develops on the inside of the glass can be transferred to the piece if they are not separated, resulting in water damage, mold or mildew. It is important that photographs be separated from the glass because the photographic surface is particularly fragile and any moisture can cause the photo to stick to the glass. Art made using pastel or chalk should also be separated because of these mediums can easily smudge and transfer to the glass.
Mounting Hinges: Mounting hinges are used to attach art on paper or similar material to either the backing board or under mount and allow the art to expand or contract dependant on environmental conditions such as temperature and moisture. Hinging materials are usually quality pressure sensitive tapes (specifically designed for the purpose) or archival papers with water-based paste.
Backing Board: This is typically a thick board used behind the mounted artwork to give it a 'back', added rigidity to the structure and provide a base onto which the artwork can be hinged or mounted. See also http://en.wikipedia.org/wiki/Foamcore
Under Mount: This item is placed between the back of the art and the backing board. It is generally used in conservation framing and made from conservation grade mat board.
Dust Cover and Seals: Dust cover are generally used to close in the back of stretched canvas art. This prevents environmental pollutants and insects from settling in the space between the canvas and stretch frame. These pollutants can have a damaging effect on the artwork if left for long period of time. Generally it is made from a breathable membrain such as calico or Tyvec. Foam core board can also be used which offers a higher level of protection for the back of the canvas against physical damage. Framed items with glazing should be sealed at the back to prevent the ingress of insects and pollutants.
Hanging System: This refers to a stapled nylon cord or a wire and two Dee rings screwed to the back of the frame. It is used as a mechanism to hang the framed piece on a wall.
'Bump-ons': These are two or more, small felt or rubber pads attached to the bottom corners of the back of the frame. These prevent the frame from touching the wall and allow air circulation at the back of the frame.
Important Information You Should Know (back to top)
Acid free: “Acid Free” is a term frequently used in the picture framing industry however its meaning is often confusing. All papers are currently made from plant fibre either wood pulp or cotton fibre. At the cellular level plants have both a cell membrane and a cell wall. The cell wall is either of cellulose or lignin and cellulose. Lignin is present in the cell walls of larger plants to provide the strength for their upright habit and size e.g. eucalypts, pines. Cellulose is present in the cell walls of small plants and those of drooping habit, e.g. cotton/ground covers.
The breakdown of products of cellulose, particularly lignin, produces acid residues that accumulate in the matboard over time in unfavorable conditions. It is these acid residues which ultimately damage artworks on paper. Most matboards and papers are buffered to resist accumulating residues and prevent acidic conditions. A buffer is a solution that is formulated to resist a change in pH* when a small amount of either acid or alkali is added. This solution, applied to the raw product during manufacture, will lengthen the neutrality of the matboard. The breakdown products of lignin are more acidic than cellulose and will, in unfavourable conditions, overcome the buffer and bring the matboard to an acid pH more quickly. Cotton rag mats or mats specifically designed for conservation framing are less at risk of deterioration when small changes in pH occur.
*pH is a measure of acidity or alkalinity of a solution or substrate such as matboard or paper. The scale is numbered from 1 – 14 and each number represents a 10-fold increase. No 1 is the most acidic with 7 being considered neutral. Number 14 are the most alkaline. Buffered papers typically have a pH between 8.5 – 9.5.
(Source:Jennifer Beale, Frames and Finishes)
Damage from Ultaviolet light: Ultraviolet light is present in sunlight and is emitted from artificial light sources such as flouorescent lights. UV glass is recommended for conservation framing as it blocks most of the harmful radiation that is responsible for fading of pigments and the creation of harmful acids in some mat boards. For more information on Ultraviolet radiation visit http://en.wikipedia.org/wiki/Ultraviolet.
Framing Textiles: Textiles include cross stitches, embroideries, tapestries, items of clothing, football jumpers, etc. Textiles require very special treatment. Ideally these items should be lace-mounted or hand-stitched to an inert fabric backing such as polyester as the preferred mounting techniques. Textiles should never be mounted with glue or adhesives and should never be stapled to a timber backing.
The Need For Regular Inspections: Be aware that natural deterioration of framing components is normal. Over time environmental factors may result in subtle changes. If you notice such things as discoloration of paper, brown spots (foxing), mould spores, insect activity or anything unusual behind the glazing you should contact your framer for advice. Check also the rear of the frame for sealing tape security and damage to hanging wire. Faulty items should be repaired immediately. Art on canvas may require periodic attention. Problems to be aware of here include loose or sagging canvas, discoloration of the art surface due to yellowing varnish and or environmental pollutants. A five yearly inspection period is recommended by the PFGA of items framed at Conservation and Museum levels.
Questions You May Wish to Ask Your Framer (back to top)
What professional organisation do you belong to?
Members of the Picture Framers Guild of Australia Inc. are committed to being accountable for their work. They are also committed to upholding and promoting the Guild's Industry Standards and adhere to the Guild's 'Code of Ethics'.
What standard will my work be completed to?
Your framer should be able to recommend an appropriate framing standard for your work. They should be able to explain the products and processes used.
What guarantee comes with the completed work?
Will my work be protected?
You should safisfy yourself that your chosen framer is competent and will provide the quality and service required.