A qualified professional framer will play an important role in the preservation of your art through the use of proper protective materials. Care should be taken in selecting a professional framer who is knowledgeable in preservation framing methods that will help protect valuable art.
When purchasing framed artwork, it would be wise to have it checked by a professional framer to be certain proper steps were taken to protect it. Improper framing could very well cause unnecessary deterioration resulting in a devaluation of the artwork.
Art on paper or canvas is fragile. Paints, stains, and pigments, as well as the paper and canvas,are all vulnerable to environmental conditions within our homes and offices. Too much or too little heat in a room, high humidity, poor air circulation, sunlight, and artificial light can cause irreparable damage to paintings, drawings and prints.
Works of art have many natural enemies. Do not be one of them. Protect your art and it will remain a treasure for a long time to come.
Monday, March 23, 2009
The Care of Fine Art - Insects
Insects quietly attack and damage paper and canvas. Silverfish and cockroaches, among others, can feed on your artwork. They attack not only paper and fabric, but also glues and some types of pigment. Insects can quickly cause damage, so they should be dealt with promptly. Cleanliness, control of moisture, and regular inspections are a good preventive measures. If you find pests are present, take the piece to your professional framer for an evaluation of the damage.
The Care of Fine Art - Damage
If your art should become damaged, do not attempt to repair it yourself. It is recommended that you leave this to a professional conservator. To locate a reputable conservator, contact your professional framer or check with your local art museum for assistance.
Saturday, March 14, 2009
The Care of Fine Art - Temperature and Humidity
The temperature and relative humidity of the room in which he art is displayed is very important. Ideally the humidity should be 50% and the temperature 21 deg C (70 deg F). If temperature and humidity rise and there is little air circulation, the possibility of mold and mildew growth increases.
It is important to maintain a steady temperature throughout the entire year. An air conditioner, dehumidifier or humidifier can be of considerable help. However, if the climate controlling device is turned off at night or on weekdays/holidays, a sufficient change in moisture content of the air can take place causing temporary or permanent damage to your artwork.
Just as you see that pets and plants are properly cared for during an extended absence, so should you care for you valued art. Have the house aired periodically by a friend or neighbor.
Air should be allowed to circulate behind a picture. Spacers or bumpers placed on the two lower corners of a frame will tilt it out a bit from the wall, allowing air circulation.
A small amount of rippling or waving of a print can be expected. However, high humidity causes hygroscopic (moisture absorbing) materials such as paper, canvas and sheepskin, to swell.
If the humidity is excessive, it can cause severe buckling as well as mold growth. Hygroscopic materials shrink when exposed to low humidity, and extremely low humidity over a period of time can damage fibers causing embrittlement. For localized buckling consult your framer.
Do not store or hang artwork in any location that can experience extreme fluctuations in temperature and humidity. That includes attics, basements, damp outside walls, over fireplaces, near heating or air conditioning ducts, by outside doors, under bright lights, or in direct sunlight.
Also, remember that kitchens and bathrooms produce steam and heat, resulting in an unhealthy environment for your valuable works of art.
It is important to maintain a steady temperature throughout the entire year. An air conditioner, dehumidifier or humidifier can be of considerable help. However, if the climate controlling device is turned off at night or on weekdays/holidays, a sufficient change in moisture content of the air can take place causing temporary or permanent damage to your artwork.
Just as you see that pets and plants are properly cared for during an extended absence, so should you care for you valued art. Have the house aired periodically by a friend or neighbor.
Air should be allowed to circulate behind a picture. Spacers or bumpers placed on the two lower corners of a frame will tilt it out a bit from the wall, allowing air circulation.
A small amount of rippling or waving of a print can be expected. However, high humidity causes hygroscopic (moisture absorbing) materials such as paper, canvas and sheepskin, to swell.
If the humidity is excessive, it can cause severe buckling as well as mold growth. Hygroscopic materials shrink when exposed to low humidity, and extremely low humidity over a period of time can damage fibers causing embrittlement. For localized buckling consult your framer.
Do not store or hang artwork in any location that can experience extreme fluctuations in temperature and humidity. That includes attics, basements, damp outside walls, over fireplaces, near heating or air conditioning ducts, by outside doors, under bright lights, or in direct sunlight.
Also, remember that kitchens and bathrooms produce steam and heat, resulting in an unhealthy environment for your valuable works of art.
Thursday, March 12, 2009
The Care of Fine Art - Cleaning
Artwork requires periodic cleaning. An occasional dusting of a painting with a soft sable art brush will remove loose dust. Never use a cloth on a painting as it could pick up and chip the paint.
When cleaning glass or acrylic, use a damp, not wet, cloth and dry with a soft cloth. Never spray the glazing with a cleaner. It could run down the glazing and get inside the frame causing watermarks to form on the mat(s) and/or art, as well as encouraging mold and mildew growth.
Occasionally dust the back of your pictures and check the condition of the hardware and wire. Be sure that they are securely attached to the frame. Consult your framer if the hardware appears to be pulling out or is loose. If the hook(s) you have screwed or nailed into the wall seem to be loose, perhaps the artwork is too heavy for the hook(s) you have chosen.
When cleaning glass or acrylic, use a damp, not wet, cloth and dry with a soft cloth. Never spray the glazing with a cleaner. It could run down the glazing and get inside the frame causing watermarks to form on the mat(s) and/or art, as well as encouraging mold and mildew growth.
Occasionally dust the back of your pictures and check the condition of the hardware and wire. Be sure that they are securely attached to the frame. Consult your framer if the hardware appears to be pulling out or is loose. If the hook(s) you have screwed or nailed into the wall seem to be loose, perhaps the artwork is too heavy for the hook(s) you have chosen.
- Copyright, PPFA (Professional Picture Framers Association)
Wednesday, March 11, 2009
The Care of Fine Art - Light
Although art cannot be enjoyed without light, it is important to be aware that light can cause permanent damage to prints, drawings, and even paintings. Heat and light accelerate fading and discoloration of paper, but the amount of destruction depends on the intensity and duration of exposure to these elements. Invisible ultraviolet rays from sunlight and fluorescent lighting cause most damage.
Avoid hanging art in direct or reflected sunlight. Draw blinds or shades during the brightest part of the day to help prevent damage. Once fading occurs, there is no way to restore the colors. You might also consider rotating artwork. Remember, when handling a picture, use both hands on top and bottom, or both sides. If a picture is heavy, have another person help transport it.
If you must illuminate artwork, use a picture light with a low wattage incandescent bulb. Turn the light on only when you are viewing the piece. This will keep the heat and exposure to light at a minimum.
If fluorescent light cannot be avoided, as in most offices, the tubes should always be covered with special cylindrical sleeves that filter ultraviolet rays.
Avoid hanging art in direct or reflected sunlight. Draw blinds or shades during the brightest part of the day to help prevent damage. Once fading occurs, there is no way to restore the colors. You might also consider rotating artwork. Remember, when handling a picture, use both hands on top and bottom, or both sides. If a picture is heavy, have another person help transport it.
If you must illuminate artwork, use a picture light with a low wattage incandescent bulb. Turn the light on only when you are viewing the piece. This will keep the heat and exposure to light at a minimum.
If fluorescent light cannot be avoided, as in most offices, the tubes should always be covered with special cylindrical sleeves that filter ultraviolet rays.
- Copyright, PPFA (Professional Picture Framers Association)
Saturday, November 29, 2008
Framing a Sports Jersey
A very common question I hear people ask is: "How do I frame a sports jersey"?
In this post I am going to show you how to frame a jersey (it can be any jersey - rugby league jersey, soccer jersey, American football (NFL) jersey, or even a t-shirt) professionally. There are a few basic principles to follow and once you have mastered these, you can frame any shirt confidently anytime.
Archival Materials
In my opinion, the first and most important thing in framing jerseys is the choice of materials for framing. The fact that the jersey was sent to me for framing suggests that it has some value to the owner. To retain the value of the jersey it is a requirement to use conservation type materials. The mats must be either alpha-cellulose or cotton based. The foam-core must be faced with either alpha-cellulose or cotton based boards. The glazing used must have a UV protection coating. No staples should be used as these will rust in time.
Professional Mounting
Start by cutting a foam core in the shape of the jersey, or how you would like the jersey to be displayed. This will go inside the jersey to hold it into shape. Once in place, the jersey with insert can then be attached or mounted to the backing matboard of the desired colour. This can be done by manually sewing or in my case I use the attaching tool called Attach-Ez. A few (about 5 on top and a couple on each side) is all it takes to ensure a safe mounting. It's really very easy and quick once you get the hang of it. It probably takes me 10 minutes tops to do this.
It doesn't touch the glass!
After attaching the jersey to the backing matboard, we need to add spacer on the sides of the jersey to keep the jersey away from the top matboard and glass. It is important to have space between the jersey and the glass to protect the jersey from condensation on the glass.
A placque helps
Find a reputable engraver who can craft a title bar for the jersey. In my case the material used by my engraver is called gravolite. It looks like brass, (gold colour) but when computer engraved, it shows the black layer underneath. It is good as the contrast of gold on black is quite easy to read.
Finished product
The right moulding to use will have the right amount of depth to accommodate the frame assembly including the glass. Enough space must be available so that it will not be squashed up after placing framer's points.
Here it is the professionally framed rugby league jersey, but really you can use the same procedures highlighted in this article to frame NFL jerseys, hockey jerseys, soccer jerseys, basketball jerseys, etc.
In this post I am going to show you how to frame a jersey (it can be any jersey - rugby league jersey, soccer jersey, American football (NFL) jersey, or even a t-shirt) professionally. There are a few basic principles to follow and once you have mastered these, you can frame any shirt confidently anytime.
Archival Materials
In my opinion, the first and most important thing in framing jerseys is the choice of materials for framing. The fact that the jersey was sent to me for framing suggests that it has some value to the owner. To retain the value of the jersey it is a requirement to use conservation type materials. The mats must be either alpha-cellulose or cotton based. The foam-core must be faced with either alpha-cellulose or cotton based boards. The glazing used must have a UV protection coating. No staples should be used as these will rust in time.
Professional Mounting
Start by cutting a foam core in the shape of the jersey, or how you would like the jersey to be displayed. This will go inside the jersey to hold it into shape. Once in place, the jersey with insert can then be attached or mounted to the backing matboard of the desired colour. This can be done by manually sewing or in my case I use the attaching tool called Attach-Ez. A few (about 5 on top and a couple on each side) is all it takes to ensure a safe mounting. It's really very easy and quick once you get the hang of it. It probably takes me 10 minutes tops to do this.It doesn't touch the glass!
After attaching the jersey to the backing matboard, we need to add spacer on the sides of the jersey to keep the jersey away from the top matboard and glass. It is important to have space between the jersey and the glass to protect the jersey from condensation on the glass.A placque helps
Find a reputable engraver who can craft a title bar for the jersey. In my case the material used by my engraver is called gravolite. It looks like brass, (gold colour) but when computer engraved, it shows the black layer underneath. It is good as the contrast of gold on black is quite easy to read.Finished product
The right moulding to use will have the right amount of depth to accommodate the frame assembly including the glass. Enough space must be available so that it will not be squashed up after placing framer's points.Here it is the professionally framed rugby league jersey, but really you can use the same procedures highlighted in this article to frame NFL jerseys, hockey jerseys, soccer jerseys, basketball jerseys, etc.
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