Trouble Framing Large 40x30 Matted Print

[dlc3172]

Hello-

I'm in the process of trying to frame a large 40x30 matted art print. I've tried to do this the proper way without cutting any corners. So far, I've hinged the mat to the backboard using linen tape. I've also used two linen tape T-hinges to attach the top of the print to the backboard after centering it under the hinged mat. The problem is that when I now try to insert the mat/print/backboard into the back of the frame, everything keeps coming loose. The mat flops open and the edges of the print pops through the mat opening. The whole thing is too large for me to hold it all together when I turn it upside down to place in into the back of the frame. Also, I should mention that the print is only slightly larger than the mat opening, so I don't have a lot of overlap to work with. I'm getting frustrated and close to just taping the entire print to the backboard, but I know you're not supposed to do that because then the print can't "breathe" in case it needs to expand or contract. But I don't see any other way to hold it all together so I can get it into the frame. Any advice would be greatly appreciated.

 

[wpfay]

Welcome to the G.
Try installing the matted print with glazing face up, or with the frame leaning against the bench with the back facing out.
I normally work with the frame package face up and install the frame over it, even pieces this size, flipping the piece over to finish the fitting. I do up to 40" X 60" by myself, but call in my employee to help with the really big ones.

Another option is to tape the edges of the glass to the mount. Though I'm not personally fond of the technique because it adds a layer of mess should the piece have to be taken apart, but many framers use it successfully.

Frame Tek LLC has a number of tutorials on framing techniques. One being "Stop the Dust Pump" which covers the process of tape sealing the edges of the frame package.
https://frametek.com/articles/stopping-the-dust-pump/ Stopping the Dust Pump

Best of luck with your project.
Moving forward, look for less aggressive hinging methods for the art. The hinge is supposed to act as a fail-safe and break should a traumatic even happen to the frame (like the hook failing and resulting in the frame hitting the floor or furniture below). The hinge should break in such instances, rather than being too strong and causing the paper the art is on to tear. There are more tutorials on Frame Tek's website that address most of the issues of safely dealing with displaying your art.

 

[dlc3172]

Thank you for the feedback. I forgot to mention that there is no glazing with this. It's just the mat/print/backboard. It's also a very tight fit in the frame, so I'm not sure that trying to push the back of the frame down onto the top of it will work.

 

[Ylva]

Welcome to the G

How are you going to keep your print and mat pristine, protected from the elements?
If the fit is too tight in the frame, you are going to see problems with rippling.

We don't use linen tape to hinge. It is too strong to start with, and will eventually fail when the adhesive starts to disintegrate.

If the print is not valuable, and easily replaceable, you might want to ask a framer to dry mount it for you.

 

[JFeig]

Welcome

Take a look via the search tool on this forum and you will see literally hundreds of not thousands of threads where the seasoned professionals, conservators, and educators all say essentially the same thing; that art on paper should be protected with some form of glazing. The same is true with using linen tape as a hinge for art, and using self adhesive tapes on art in that these are not acceptable practices.

 

[Shayla]

Hi, dlc3172. Welcome to the Grumble!

Since the print is already hinged, you might try adding supports to the rest of it. Framers sometimes attach art to backing with thin, vertically folded strips of
conservation paper, which hold it without adding too much pressure. The strips are anchored at the corners with diagonal strips of linen (or some other) tape,
that has no direct contact with the art. They're usually on all four sides, but in this case, perhaps you could add them on the sides and bottom. For pieces
smaller than this, I sometimes just add a 3 1/4" full view mounting corner at the bottom on each side, with wiggle room. But, mostly, what I do is hinge with
top mulberry hinges and a couple of loose side hinges near the bottom, for if it's ever turned on it's side. (For floated pieces, there are hinges all the way
around, with the method shown in the Frame Tek article library. But, if your piece was valuable, no hinging at all, and just paper strips on four sides, is
better).

We've had several folks over the years who asked for a mat, with no glazing. When they do, I caution that this brings some risks. Along with the hastening
of fade, and dust/insect damage, the paper can react to humidity and temp. changes by warping over time. This is true of both art and mat. Usually, they
decided to add glazing, but for the few who insisted, I treated the project differently. Mostly, this involved affixing the mat to the backing substrate much
more than usual. (i.e. with dots of glue and weights to dry). It makes it hard to remove, if they ever want to change, but at least it stays sort of flat. I've also
countermounted with another mat on the back, at times, to help keep it from bowing. I suppose that, if it comes to the point of gluing the mat down like this,
acrylic gel might be better, as it's less likely to attract bugs. It's also only the mat and backing that are tightly affixed, not the art. (Bear in mind, this isn't expert
advice, but it's what I did.)

As for avoiding fitting flops, note Wally's idea of face-up fitting. It also sometimes works to fit things standing up, leaning slightly face forward. When fitting pastels,
or some large pieces, we sometimes stand the wooden frame up, facing away from us, and put the art in like that. It's not a good fit here, because the glazing usually
supports the art, and without it, you'd likely get some sagging forward, but it's good to remember. You can either do this at table height, or for large frames, with the
frame sitting on the floor. This also adds a height/leverage advantage.

Also, if you ever need to turn fragile, non-friable paper art over, you can do a lot with foam core. Have the art on a foam core backing, add another piece to the top,
and turn it slowly over. (Make sure that the edges are either held in place by your hands, or with painters tape, so the art doesn't slip out).

 

[Nikodeumus]

Here's a hastily scrawled diagram of what I do in these situations.
I do this quite a bit, not only with pieces that are difficult to flip over for whatever reason.

Some advantages are:
- you can repeatedly lift away glazing, chasing away flums until they are all gone (or just hiding better) before setting the frame in place. No more crossing fingers and hoping no little mystery bits got in there somehow.

-if you do want to tape seal the edges of the art "package" having it raised on a pedestal like this makes it super easy.

- pre-setting the flexi-points means less chance of shaking debris or friable media loose from the art surface, which frequently happens when firing "regular" points into a frame when it's upside down.

-if you don't have flexi-points you can still do this, just slide the whole stack close to the edge of your bench, CAREFULLY skooch only enough over the lip of the bench to be able to get your point gun in place from below (your tool is upside down, not the artwork) DO THIS VERY CAREFULLY, or have a helper make sure it doesn't slip off the edge of the bench. I'm pretty good at this, I have never had an accident.

 

[dlc3172]

Thank you, everyone, for the advice. I finally managed to finish my project. I was able to install the package into the frame by standing the frame on its side. I'm not sure why I didn't just do that in the first place. After I inserted the package and closed all the retaining clips, everything seems to be staying in place nicely.

A lot of people urged me to reconsider not using any glazing. The reason why I opted not to is because the print is of an 18th century oil painting. I wanted the whole thing to have an "oil painting canvas" look to it. The print itself has no value at all - it's just a digitally printed purchase from Art.com - so I'm not really concerned about exposing it to the "elements" of the inside of my house. Anyway, I think it came out looking pretty convincingly like an oil painting on canvas. Here is the finished work:

 

[JFeig]

"A lot of people urged me to reconsider not using any glazing. The reason why I opted not to is because the print is of an 18th century oil painting. I wanted the whole thing to have an "oil painting canvas" look to it. "

If you were looking for that "antique painting" look, I and many others would have suggested a wood or linen wrapped liner vs a paper mat. Mats will pull away from the print(warp)over time, whereas a liner would not.

 

[dlc3172]

I realize that oil paintings usually don't have mats, per se. But the website where I bought the frame doesn't sell fabric liners with their frames, only mats, so I used a mat to try to replicate what an oil painting might look like with a liner. In any case, if the mat ever gets ruined, I will just remove the mat and buy a new, slightly larger, copy of the print that fits the size of the frame itself.

 

[Shayla]

I realize that oil paintings usually don't have mats, per se. But the website where I bought the frame doesn't sell fabric liners with their frames, only mats, so I used a mat to try to replicate what an oil painting might look like with a liner. In any case, if the mat ever gets ruined, I will just remove the mat and buy a new, slightly larger, copy of the print that fits the size of the frame itself.

Your notes bring to mind a few chats that I've had with customers. Usually, they opt for treatments that will preserve the art.
But, sometimes, that's not a priority. It's usually with non-valuable paper art, and when they ask for no glazing, we have a chat.
Having already explained about how glass slows fading, and that mats without glazing can warp, I say, 'But, if you still want to
go without, we can. When it fades, you can try buying a new one, and if the mat warps, you can replace it.' It sounds like you've
done this calculus and are content. If your print was made with dye-based inks, it will fade sooner. If made with pigment-based inks,
it will last longer. Either way, you've done your homework. Enjoy!

 

[Prospero]

The best way to achieve the look you want is the laminate the print to a board. There are many
laminating films that have a texture - some a heavy canvas texture but a semi-gloss smooth might
give you the effect you desire. You can also just drymount it an cover with a brush-applied texturing
medium. This will give a varnished look and you can leave in brushstrokes. If you go this route do a test
piece first. This was a favored technique in times gone by to make a print look like an oil painting. There is
even a name for it: Oleograph.

* I should say that having a mat that isn't glass-covered is a big NO-NO. If you want the 'matted' look then
a wide liner painted Ivory is the way to go. Although for that particular image a gold liner would be better.

** Given the size, mounting to a pre-stretched canvas and then painting on a texture is an option.

 

[Shayla]

The best way to achieve the look you want is the laminate the print to a board. There are many
laminating films that have a texture - some a heavy canvas texture but a semi-gloss smooth might
give you the effect you desire. You can also just drymount it an cover with a brush-applied texturing
medium. This will give a varnished look and you can leave in brushstrokes. If you go this route do a test
piece first. This was a favored technique in times gone by to make a print look like an oil painting. There is
even a name for it: Oleograph.

* I should say that having a mat that isn't glass-covered is a big NO-NO. If you want the 'matted' look then
a wide liner painted Ivory is the way to go. Although for that particular image a gold liner would be better.

** Given the size, mounting to a pre-stretched canvas and then painting on a texture is an option.

View attachment 48981

Did you make this beautiful moulding?

 

[Prospero]

Did you make this beautiful moulding?

Sort of. The outer is two-part, with a scoop inner and deep 'cap' outer'.
The flat panel is a 3" wide flat with a raises reed on the inside.
A bit of paint and powder gilding. Bingo!