Function vs. Good Looks
SEPTEMBER 18, 2007
As a framing company, we have had to handle quite a few historic and delicate pieces of art. Animation art cels are just that. A cel stands for celluloid acetate, the transparent material upon which animated films are created. With their extraordinary value and their hand crafted art, animation cels are extremely sensitive and can be easily damaged when being framed.
Animation cels are particularly vulnerable to drastic temperature and humidity changes. The cel can crack or peel from these drastic changes or even from pollution and ultraviolet lighting. Because of this, it is recommended that animation cels be reframed, remounted, and have their glass and matting changed every few years. The following tips will help you get an idea on the correct and safest ways to frame, change the glass and mount the animation cel.
Frame: A proper frame for an animation art cel will allow the cel to expand and contract as the temperature and humidity fluctuates. For this reason, it is important NOT to secure all four sides of the cel. To preserve the cel in its most original context, use edge and corner supports. Pressure-sensitive tapes are not necessary for animation cels because the tape hardens with time and fails to stick to the surface of the cel causing damage to the animation. The following frame and mat consist of Carved Wood Frame, 100% Acid Free Cotton Matting, UV protected Glass, High Quality Acid Free Backing and is 100% Archival.
Glass: It is important for animation cels to be safe and free from danger of certain environmental risks. When deciding on a glass, make sure it is ultraviolet light protected; meaning the glass blocks any UV lighting that can permanently damage and discolor the animation cel. This is also recommended to help keep the brilliant colors within the animation safe as well. It is always best to keep the animation cel in a low-lit environment even with ultraviolet light protected glass.
Mounting: When hanging any piece of art, especially an animation cel, consider certain areas that are in continuous movement. For example, an area with a door that is constantly being closed or shut produces shock and extreme vulnerability to the animation cel. Consider a low-lit area with minimal vibration. Also, sturdy mounting brackets or hangers are a must. If glass was ever to break over the irreplaceable animation cel, this could permanently damage the art beyond reparability. (should we add in something about Level-Lock here?)
Visit the following sites for more information and resources for framing your animation cel:
Animation Cel Handling Requirements
Animation Sensations
The Cartoon Factory
Glimpses- Matting and Framing Animation Cels
AUGUST 28, 2007
As televisions have evolved from large, bulky tube models into sleek, flat panel devices you can hang on a wall, many people have taken to framing their televisions to disguise their presence in the home. For people who feel the television set is an eyesore or disrupts the flow and decor of a room, framing offers a unique and inconspicuous way to hide the set, or maybe even fool a few guests into believing it's a part of your art collection.
The market for television frames is expanding quickly, and flat panel owners can buy frames of varying sizes and styles: from simple and contemporary designs to high-end reproductions of classic museum pieces. Owners can even have a glass panel inserted in front of the TV, which appears to be a mirror when the set is off, but is completely transparent when the set is turned on.
Television frames can be an attractive addition to your home, and a clever disguise for an unwelcome eyesore One of the benefits to framing your flat panel is that you have a wide array of cusotm options available to you. You may select from black lacquer moudlings or brushed nickel and pewter for a contemporary environment, or match wood tones and textures from your furnishings, or even choose an ornate gold leaf frame for a formal, traditional room. Check out www.framemytv.com or www.gizmodo.com to see examples of available framing options for your television.
If framing your flat panel TV sounds like a good idea for your home-be prepared, these frames can be costly. A good frame can start at around $400, and prices increase steadily from there, a higher-end model can cost you into the thousands. With the idea beginning to catch on, expect more choices and more competitive pricing in the future.
In the meantime, if you’re looking for something truly special and one-of-a-kind, the renowned Eli Wilner and Company frame gallery can design for you a reproduction of a classic American or European frame in the range of $20,000 to $50,000. Or, for a true period frame, you can expect to pay anywhere from $30,000 to $250,000 depending on frame size and complexity.
After considering the cost of framing your television, if you still decide to go down this path, here are some tips to consider when choosing a frame for your TV:
1.) Since television frames are a large expense, decide on your price range first. If you know how much you want to spend or are willing to spend on the frame, this will help you narrow down your options and determine what frame style will be best for you.
2.) Consider the placement of the frame. Will you be hanging this in a more formal living room? Or will it be placed in a casual family room or bedroom? Whatever the location, the frame should reflect the atmosphere of the space. Having a set location for the frame will also help you narrow down your options.
If you are considering moving the television from one room to another, choose a neutral frame that will fit in, in either location.
3.) Size matters! Carefully measure the size of the space you want the frame to go in. Remember, although you know the size of your TV, mouldings can be very wide and will add several inches to the outside of the TV. The last thing you want is to spend several hundred dollars on a frame that is too large to fit in the desired location.
4.) Ultimately, you should choose a frame style that compliments both your home and your style. If you are framing the TV to disguise it, don’t choose a frame that will stand out and draw unwanted attention to it. The frame should blend in with the rest of your décor, and look like it belongs there.
5.) Consult an expert in this area for guidance. Remember, you will need to select frames with enough depth to encompass the flat panel, so even from the side the electronics are hidden.
Framing your flat panel television can be a great way to turn an out-of-place television set into an attractive part of your décor. However, the cost of this transformation can be quite high. Before running out and buying a frame for your flat panel TV, investigate all of your options. Look in stores and online for media stands made specifically for flat panel televisions, and ask if the company you purchased your television from offers any options for mounting or framing your television for you. You can also consult a reputable local picture framer and ask if they have experience in this area.
JULY 23, 2007
Many people choose to "float" mount a watercolor or other artwork so that it is suspended within in the window of a mat and the paper's raw edges are visible. This creates a very professional and unique presentation that showcases the original nature of your piece. It is appropriate for artwork such as watercolors that are created on a heavy weight paper and will not be damaged by mounting from the back-side of the art.
Keep in mind that whenever you work with original art or reproductions of value, do not use any kind of adhesive process such as spray mounting or dry mounting. These processes permanently alter the artwork and are not considered proper conservation techniques. You will want to choose proper acid-free mounting materials and apply them correctly so that the art will lay properly but retain the natural tendency of the artwork to expand and contract in response to changing environmental conditions. When handling the art and mat boards, wear white gloves to prevent fingerprints or other damage.
For reasons of preservation, you will want to minimize the amount of adhesive you put in contact with the paper and for the best lay-flat affect you want to avoid restraining the artwork's natural tendency to "breathe" (to expand and contract as it absorbs and rejects moisture in the air) by taping it as little as possible with the least amount of liquid. Therefore, you want to use only two tabs of tape to hold the artwork against its backing. The backing, in this case, will be mat board.
Begin by selecting your mat color choices. The first piece will become your window mat and the second color will be used as the background against which you will mount your art. It is important when choosing the color you are mounting on that it is a 100% rag mat. An acid-free mat board usually refers to the white core of the board and not the colored surface paper that is adhered to it. This is fine when matting around a piece of art because the colored paper is not in contact with the art itself, only the white acid-free board is. However, that is not the case with float mounting, so it is not recommended. Once you have selected a 100% rag board, cut two pieces of mat board to the same size as your frame. You will also want to select and size a secondary backing material, such as acid-free foam core or another rag mat, to provide added rigidity behind the backing mat board.
It is recommended that you hinge mount your artwork without permanently adhering it to the mounting board. Hinges should be removable with water or a small amount of alcohol. You should use a material with enough strength to hold your artwork in place but also have the ability to pull free if the art is dropped. This is so that the hinge tears and not your artwork. The best and most common materials for this are rice paper hinges, linen tape and some archival pressure sensitive tapes.
Although Japanese rice paper is probably the best material to use mostly because it is made from traditional fibers that are known for their strength and pH neutrality, it is not the most convenient. The pressure sensitive tapes are easier to find and easier to apply. These archival tapes can usually be found in most art supply stores and are most commonly made by Filmoplast or alternatively you may try Japanese hinging tape.
The advantage to these tapes is that you do not need water to apply them so the paper will not ripple or wave. However, the disadvantage is that they do not easily remove with water, especially over time (click here for details on the Filmoplast removal process.) These tapes come in three weights so determine which will be best suited for your art before purchasing one. Also, when applied they need to be burnished to hold their strength. You can use a burnishing bone, the rounded side of a spoon or any smooth rounded tool that will not tear the hinge or the artwork.
 
(Bone Burnisher & Using a Bone Burnisher on Tape)
The hinges should be t- shaped and approximately ½- to ¾ inch wide. The T hinge will allow the artwork to breath. Put your artwork face down and measure ¼” down from the top and approximately 1/3rd of the way in on either side. You will have 2 hinges. Make a very light pencil mark at the locations. You are now going to attach your t-hinge to the back of the artwork. See illustration below:
You are first going to make your T hinge. Your vertical hinge is going to be adhesive side down and your T top horizontal hinge will be adhesive side up (that is the part that will be adhered to the mounting board). Once you have made your T you will set your hinge in place. Take your hinge and line up the top of the T to your pencil marks (vertical part adhesive side down) and burnish it down to the back of your artwork. After both sides have been adhered you will now mount it to the mounting board. Flip your art face up and center it lightly over the mounting board making sure it is centered exactly where you want it. Once it is in place lower it onto the board and using clean hands apply pressure to the top of your art where the hinges are. Make sure to apply enough pressure so that the tape is secure.
Finally, cut your window mat so that it's larger than the art, and place it over the piece of art. You may choose to apply an extra thickness of mat board or acid-free foam core behind the window mat to create added height and assure the window mat stands higher than the artwork that is being floated. Complete the presentation by framing the mounted work. For valuable art be sure to select museum-quality UV filtering glass to protect the art from UV damage and risk of fading.
Key terms used:
Blank- A piece of mat board that has been reduced from the full size sheet to the frame size. The blank does not yet have a window cut in it.
Frame Size- Typically, the frame size is defined as the interior size, or recessed area, of the frame, or in other words the part that encompasses the mat, glass and backing. Typically, the overall dimensions of the mat, glass and backing that fit into the frame are equal to the frame size.
Mounting- The process of securing the art within the mat or against the backing. Various techniques may be chosen depending on requirements for presentation and preservation.
To purchase a burnishing bone and other framing supplies please visit the following sites:
Framing4Yourself.com
Dick Blick Art Supplies
Cheap Joe's Art Stuff
APRIL 30, 2007
If you are planning to hang several pieces of art on one wall or around a room, it is important to plan your arrangement before you begin putting holes in your wall. Start by first measuring the space you have available- top to bottom and side to side- and then place your selected pieces on the floor to work out the desired arrangement. Make a template of each piece by tracing the outline of the frame on paper, and then draw an arrow indicating the orientation of each piece. You can then use these templates on the wall to pick out the perfect arrangement, and to determine how much space to leave between each piece.
Some tips for choosing an arrangement include:
1.) Group smaller and similarly sized pieces together, creating the illusion of a larger work of art.
If you have a series of identically framed pieces they should be spaced closer together to show the relationship between each piece. The standard distance for this type of grouping is 2 to 2 ½ inches. For an arrangement with a variety of pieces, the standard distance is 3 to 4 inches between each piece.
2.) Another idea is to place a larger picture or mirror in the center of your arrangement as a focal point, and then to place smaller items on either side.
3.) Your arrangement should always be balanced. This refers to an equal distribution of visual weight. If your arrangement is not balanced, it may appear top-heavy or as if one side of the arrangement is falling off. In the picture below, the two smaller rectangles placed together balance out the larger oval. Balance can also be achieved by creating symmetrical arrangements.
4.) A staggered or stair-stepping arrangement may look nice, but it should only be used if the arrangement is leading up a flight of stairs. On a wall over a sofa this arrangement will only look unbalanced and unrelated.
Some things to remember when hanging art or photos include:
1.) Always hang pictures at eye level of the average person, where they can be seen. The standard distance is about 60 inches off the floor. If you’re still unsure about the placement, hang on the high side. The art will be noticed more if placed at eye level or slightly above, rather than by hanging it too low.
2.) When hanging something above a sofa, or any furniture, leave no less than three, and no more than six inches between the two objects. If there is too much space between them, then a viewer’s attention will go right to the wall, and not to your artwork.
3.) When you are hanging several pieces of different sizes around a room, don’t line them up using the top of the frame as a guide. Instead, line them up by their center lines, it will help you keep everything at the same eye level, and it is also the way art is hung in galleries and museums.
To find further information about arranging artwork, visit these sites:
www.hgtv.com
www.premierphotographer.com
www.bhg.com
www.southernaccents.com
www.rentaldecorating.com
FEBRUARY 19, 2007
A Plaque, Lamination or Custom Framing
Once you finally earn your long-awaited college or university diploma, don't let it sit in a drawer or stay all rolled up in a tube. After all, even the tube or folder that you may use for storage is likely not acid-free - and will, in and of itself, contribute to damage over time. Your diploma is one of the most expensive and valuable credentials you will ever earn -and it's never too soon to put this "personal marketing tool" to use in your home or office.
When considering options for showcasing your diploma, there are three primary choices:
- A Plaque
- Lamination
- Custom Framing
Using a Plaque for Your Diploma
The least expensive option is to place your diploma in a plaque, so that the diploma is showcased on a wooden board with an acrylic sheet over the document for protection. Some styles do allow you to slip the document in behind the acrylic easily, while others use 4 brads that may require you to poke holes in the document. Obviously, the latter is unacceptable for a diploma. From a conservation perspective, even the “ship-in” plaque style is not ideal because the document is in direct contact with the acrylic. The problem is that if moisture builds up, or in high humidity, the document can stick to the acrylic and tear upon removal. In some cases, this lack of breathing room for the document can contribute to staining or even mold and mildew growth.
Permanent Lamination
You can also choose to have your diploma permanently laminated to a cherry or other finish wood board, commonly with gold highlights. This makes a nice presentation, but it is totally irreversible so you can never change it or update the look. Your diploma is permanently encased. As another footnote that I discovered personally, if you have a diploma with a gold seal or honors sticker such as Cum Laude, this type of lamination completely flattens the embossed wording on the seal—so you can no longer read the Cum Laude!
Custom Framing
Because quality custom framing is completely reversible, meaning that you can remove the document at a later date without damaging it, this approach affords some unique advantages. With custom framing, you can “change” the style or colors easily should the need arise, you can safely remove your diploma to be reproduced if necessary, and you can assure that it safely “isolated” away from the glass to greatly reduce the risk of humidity damage. Here are some key tips to keep in mind when choosing a diploma frame or when speaking with a custom picture framer.
Key Tips in Custom Frame Selection
First, your diploma should never be dry mounted, spray mounted, or otherwise permanently adhered to a board for framing. As with any important document, it should be hung within a mat opening, either from the top with archival tape, or it should be hinged to a conservation quality backing board using archival mounting corners. It is best for the document to have room to expand and contract with changing temperatures, and even a slight “wobble”in the document on a humid day is preferable to permanently and irreversibly pressing it flat.
You diploma should be custom framed using a high quality mat, which both showcases the document and keeps it away from the glass. You’ll want to insure that the matting and backing materials are not just buffered to be acid-free, but are designed for “conservation.” This will be indicated in the documentation for the frame or on the mat board samples and specification sheets. Typically the mat should be 2.25” to 3” wide, depending on the size of your document. You’ll want to choose an attractive frame that coordinates with your home or office environment, and why not splurge for something your really love since you’ll be looking at your diploma for many years to come. Finally, either choose a location for your diploma that is not near direct sunlight, or consider an upgrade to UV protective glass.
Conclusions
With graduation for the Class of 2007 just around the corner, now is the time to start thinking about how you will display your diploma to maximize its career-building value. Even if you graduated a few years ago, it’s never too late to give your diploma the showcase that it deserves. For parents seeking the ideal graduation gift, a custom diploma frame is a great idea--what better tribute to many years of hard work and dedication?
For more information on preserving your family treasures, visit: http://www.nedcc.org/resources/resources.php
To learn more about the Library of Congress standards for document preservation, try: http://www.loc.gov/preserv/preserve.html
JANUARY 25, 2007
Quality picture framing is all about three P's---preservation, proportion, and presentation. The goal is to design the elements of the artwork and framing so they create a safe and complimentary presentation. The artwork, mats and frame should be a coordinated presentation with the mats and frame playing supporting roles. The artwork should always be the central focus.
Preservation in Matting and Framing - The frame is intended to provide a setting for the artwork and to help integrate it into the interior room environment. The matting both enhances this presentation and creates an air space to further protect the image. Because it keeps the glass away from the surface of the art, matting reduces the risk of damage due to excess humidity, condensation, and the associated issues of mold, mildew and deterioration.
The quality of the mat board is an important consideration—any valuable artwork, diploma, or document of value or importance should be matted using a conservation quality board (alpha cellulose or rag) to assure safe preservation. A basic acid-free buffered mat board is only suitable for inexpensive decorative pieces, and is not a proper choice for art or documents where preservation counts. For valuable art, especially if it is placed in proximity to sunlight or bright interior lighting, selecting UV protective glass is important to protect against color changes or fading.
Proportion Counts – The intent of a well-designed frame is to draw the viewer’s eye to the art or document to be showcased. To accomplish this, there must be a balance between the visual weight of the frame, the matting, and the art itself. In general, the larger the art, the wider the frame; however, the most important consideration is choosing a complimentary moulding style that enhances the overall presentation. Mat borders are typically two-and-one-half to four inches wide, and increase with the size of the art to be framed.
Sometimes a small art piece may be showcased by placing it in a very wide mat or using a substantial frame moulding. In general, however, choosing matting that is overly wide or distracting in color or design overwhelms your intended centerpiece—the art itself. By contrast, choosing very narrow mats may leave the artwork looking unsupported. This is a common mistake that consumers make—seeking a thin mat on this assumption it will reduce costs. While you may save a few dollars by making the overall frame a few inches smaller, the overall effect will be dramatically stronger with a well-proportioned mat and frame design. If you are investing in professional framing, trust your consultant’s experience and guidance, or seek a framer who has visualization software (such as "Wizard") so you can “preview” your design on a computer before you buy.
Presentation and Color in Design - A proper framing job enhances a work of art, whereas poorly proportioned or distracting framing and matting detracts from even the most beautiful piece. Both the frame and the mats should play off the tones and style of the artwork being framed. In general, it is best to use complimentary subdued colors, avoiding bright tones that compete with the intended focus. If you want a splash of more intense color, typically this works best as an accent treatment—such as an inner mat—that helps to draw the eye inward without overwhelming the art itself. For added drama or richness, textured matting (suede, linen, grass cloth or other fabrics) may be chosen to add richness and visual interest. Special effects such as v-grooves or artistic matting cutouts are specialty options that can be chosen to accentuate a theme or compliment your subject matter.
For more information please visit the following sites:
We've all had to frame something in our lives, whether it is a diploma, photograph, piece of art, etc. And it sounds simple enough - you just buy a frame, throw in the art and that's it ... right? Hardly. No, we must first consider the size of the item you would like framed, the shape or orientation, double mat, single mat, textured mat, should it match the wall or furniture color scheme, where on the wall should it be hung, should my framed images be arranged in a certain way…whew, how did such a simple task become so complicated?
Many people take great pride in the presentation of their homes, so adding the finishing touches of hanging art, photos or important documents can sometimes become a slightly more tedious project than anticipated. Okay, okay, this all may sound very strange to some, but for those of you who, like me, have struggled with the ongoing dilemma of finding the perfect frame…here are just a few suggestions to assist you:
Selecting the mat color and frame style:
When I look through a home décor book or a magazine on interior design, one thing is pretty apparent – everything matches or compliments each element of a room. So, when it comes to framing anything from a diploma to a Van Gogh (it could happen), try to first get a sense of where it will be placed. Is the room full of bright, vibrant colors, or is it more neutral with slightly muted colors? Also, is the architecture and furniture casual, traditional, sophisticated or contemporary? Try to stick with the room’s theme and you can’t go wrong!
However, when choosing your mat color, always try to contrast the wall. If the wall has a busy wall paper or is a darker color, try to choose a simple light colored mat. If the wall is a solid light color, choose a darker mat with some possible texture to it.
Hanging your frame:
I grew up in a household where my mother hung every frame up wherever it fit on the wall. Yes, the pieces were always nice to look at, but the disorganization of the arrangement made them look…well, not quite right. My suggestion is this; make each hung piece look as though it belongs there. Strong diagonal lines create a more exciting or dramatic look (which would look terrific up a stair case), but make sure they are equally spaced apart. This also creates a more casual feel to the room. Pieces hung in a more symmetrical arrangement create a formal atmosphere and add balance to the room.
Pay attention to wall size! This was another issue my mother had (sorry mom). She would put a very small object alone on a large wall. It’s okay to put a small frames large walls, don’t get me wrong, but try to group 4 together in a box formation, or in another eye catching grouping in the center of the wall. This is much more appropriate to fit the large space. I always try to stick with smaller pictures for narrow walls and bigger images for larger walls.
A few terrific reference sources are:
http://interiordec.about.com
http://www.designingonline.com/
http://www.rentaldecorating.com/InteriorDesign101.htm
http://homegarden.move.com/HomeGarden/Decorate/Features/Basics/ColorBeforeAfter.asp?
source=a10526&poe=homestore
http://ww5.bhg.com/bhg/story.jhtml?storyid=/templatedata/bhg/story/data/1981.xml&catref=bcat41
http://lifestyle.msn.com/HomeandGarden/ExpertAdvice/Article.aspx?cp-documentid=212214
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