Question:

I have been asked on a couple of occasions about museum quality glass and would like to enhance my business by stocking and promoting this product.  I have read the FATG articles on it but would like to know which is the best brand and who supplies it. I want the best product so I can stand over it and have confidence that it will do the job it claims to do.

Answer from Mal Reynolds:

Many thanks for your email regarding the use of ‘museum quality glass’ There have been enormous improvements in the quality of glass available to framers over the past few years and in my view framers could be missing a trick if they have not stocked one or more of these specialized glass products.

The museum aspect is that the glass of this type has a UV protection factor; this blocks a percentage of UV radiation, radiation that will, over time, cause a number of problems to the framing package such as; colours to fade, mountboard to become brittle and fabrics to degrade – all the fabrics in my collection are framed using glass with a UV filter.

Probably, one of the most popular glass with a UV filter is True-Vue conservation glass. This has a protection factor of 98% and is available in both clear and non-reflective. This is at the cheaper end of the range as the glass gets more expensive the clarity tends to improve and tends to be as a function of how the UV protection is applied to the glass. Schott MiroGuard Plus (84% UV Filter) is an example, the clarity of this glass is excellent; however, it is expensive and best to have it cut to size. In addition; Glass and Mirror Waterwhite Museum glass has a 90%UV filter and again this glass provides excellent clarity.

My advice is that if you do not stock a WaterWhite glass then you should first consider this type of glass; this also is available in both clear and non-reflective. The clarity of this type of glass is excellent because the impurities within the glass (iron oxide) that causes the green tinge on normal float glass has been significantly reduced. Arqadia’s Claryl is such a glass. 

Your supplier of glass should give you excellent advice on specialized glass and provide point of sale samples free of charge; these are very useful in showing the customer the visible improvement of using for instance WaterWhite glass and showing the comparisons between differing types of glass. Certainly, I sell more WaterWhite glass than ordinary float. 

Initially you may like to get your conservation glass cut to size this will reduce wastage and you will know exactly what to charge. I started by purchasing one or two sheets of True-Vue but know I tend to by this glass in packs. However, I am sold on the MiroGuard or G&M WaterWhite museum because of the clarity – but normally cut to size.

Thanks for the question I hope this answers your questions.

Regards

Mal Reynolds

Question:

I have an old black and white photo, brought in by a customer, with hole in the photo and the mount, looking just like woodworm ... there are no woodworm holes in the wood frame .... what might have caused this ... and how do I stop it happening in the future

Answer from Stuart Welch:

When I was asked to do "Ask the Experts" I felt a bit awkward accepting because I do not consider myself an expert on conservation, however I have been involved with conservators since 1977 and have got to know a lot of people who are experts. I accepted on the basis that I might be of help if I could act as a hub or conduit to find the right expert for the question.


Photographs are a very special area because they are a chemical process and chemical reactions can be stimulated at any time. For example an old black and white photograph can be stable for many years but if it is stored next to a modern stabilised colour print where the chemicals are not washed off a chemical reaction can take place and the old photo can suffer irreparable damage. Therefore I put your question to my long time customer and friend Nick Burnett who is one of the few people that really know about photographic conservation. He has worked at the British Museum, Fitzwilliam Museum and ran the Conservation Studio for the South East England Museum Service before setting up in private practice with his company, Museum Conservation Services Ltd. www.paperconservation.co.uk

I am grateful to Nick who has given me the following answer to your question:

Sounds like woodworm. The absence of holes in the frame may be accounted for if the woodworm lived in the frame backboard. Plywood was often used in the past and seems particularly prone to woodworm (we have an example in at the moment and the frame is untouched by the woodworm but the backboard is riddled). If the wormy backboard was replaced at some point in the past then there would be no evidence other than the hole.

When woodworm reach adulthood they travel towards the light. The dead adult should in theory be trapped between the mounted photo and glass. If there was no sign of the adult beetle within the frame then this is evidence that the picture has been unframed before. This would support the supposition that the frame backboard has been replaced. Of course examining the dust seal(s) on the back of the frame would be the easiest way to tell.

As to how to stop it happening in future, the edges of the hole need to be examined to see if it is fresh. If somewhat discoloured and not fresh then it is unlikely the woodworm is active. There is a freeze, thaw, freeze, thaw cycle that can be used to kill woodworm (this avoids the use of chemicals that might damage the photo) but the details are too much for an e-mail.

The mount that the photo is adhered to may well be made from wood-pulp board. This is something that would concern me as a conservator. The safe removal of the mount is again not something I could cover in an e-mail.

I would add to this that another method of treating insect infected objects is to use "Anoxia" which means that you place the object in a special oxygen barrier plastic bag and which you also enclose special oxygen scavengers which remove all the oxygen and in so doing kill the insects and their eggs.

This kind of treatment would be easier for you to do than freezing and it also uses no chemicals that will react with the photograph. Conservation By Design Limited supplies ArchiPress, Mitsubishi PTS and Escal Oxygen Barrier Film and Bags and RPK System Oxygen Scavengers should you decide this is an appropriate treatment. www.conservation-by-design.co.uk/catalogues/oxygen_free_storage_and_display_june_2007.pdf

The expert on this kind of treatment is David Pinniger last year's winner of the prestigious "Plowden Medal for Conservation" awarded by the Royal Warrant Holders Association". David has published two books on the subject and his latest publication is available from:

Collections Trust

22 Hills Road,

Cambridge,

CB2 1JP

Tel: 01223 316 028

Fax: 01223 364 658

E-mail: office@collectionstrust.org.uk

www.collectionstrust.org.uk

Regarding prevention for the future it would be possible to use a material for the backing board that would not be attractive to woodworm and to seal the glass to this backing board using a foil to prevent insects getting inside. Conservation By Design use a material we call Planopanel which is a sandwich of aluminum and polyethylene that would make an ideal backing. It is rigid, waterproof and would not be attractive to insects. Planopanel is used in our Planorama aluminium drawer factory where it is used for drawer bases. It is not in our catalogue at the moment but it is something we can supply if you are interested. We also supply along with Arqadia a material called RIBS Foil www.conservation-by-design.co.uk/catalogues/oxygen_free_storage_and_display_june_2007.pdf which is a Corrosion Intercept product, this is an ideal material to seal the glass to the backing because it is a moisture barrier which combines Intercept technology to purify and permanently neutralize any corrosive gasses within the microclimate of the frame. This foil can be attached by attaching a strong double sided tape to the edges of the glass and the Planopanel backing.

Question:

I have a customer who wants a photograph framed but it is long and narrow. It is 131cms long by about a foot wide. She would prefer it to be mounted with an 1.5 inch border. So my question therefore is to ask if it is possible to purchase mount card which would accomodate such length. She wants plain white.

Answer from Steve Burke:

Thankyou for your question.

At Arqadia we supply Jumbo mountboard that measures 1630mm x 1120mm thus allowing you to cut your mount.

Our jumbo board is available in the following colours and sold in pack quantities of 5 sheets at £7.05 per sheet.

Whitecore Jumbo colours are:-

SSS 089 001 Snow White
SSS 089 002 China White
SSS 089 011 Black
SSS 089 014 Silurian Blue
SSS 089 018 Damascus Green
SSS 089 043 Ivory
SSS 089 065 Hayseed
SSS 089 213 Cream
SSS 089 627 Minuet
SSS 089 674 Pale Ivory
SSS 089 698 Glacier

We also have a range of SolidCore and CottonCore that are available in Jumbo size (1630x1120mm). These are available at £9.90 for SolidCore and £19.20 for CottonCore per sheet.

Colours can be found on our web site or Mountboard colour chart.

Alternatively you can purchase single sheets of jumbo mountboard from a wholesaler. I've spoken to your sales manager Patrick Dixon who will be able to advise you of your nearest wholesaler.

Question:

Can I order a quantity of single sheets of Mountboard? I don't want packs of 5

Answer from Steve Burke:

Unfortunately the answer is no. We only sell our board in a minimum of 5 sheet packs.

You can however purchase single sheets from our Scottish wholesaler Picturemounts in Glasgow.

Tel. 0141 646 1231 , who I believe have a delivery service covering Scotland.

Question:

I am currently looking for a new backing board that will replace the 2mm SBS that we currently use. I am hoping for something that is archival quality - but still brown on the back! I feel that brown on the reverse of a frame looks superior to white.
Also what is the experts recommendation on stretching x-stitch and tapestries - we currently use sbs lined with acid free paper and glue them around the back? Is it possible to get strips that attach to the edges of board that are spikey?

Answer from Mal Reynolds:

Thanks for your question. I along with many other framers have for sometime been concerned of the Health and Safety issues around using (cutting) MDF. There are several alternatives on the market basically termed fluted or corrugated board. For most framing I personally use Arqadia’s craft board 999.118.000. This board is brown, 2.3mm thick and comes in packs of 15 and accepts brown gummed paper tape. 

Turning to your question regarding the support of fabrics. The only glue that has any place alongside any of my fabrics is EvaCon-R, a conservation glue. I use four methods of attaching fabric art to its support; lacing, pins and foamboard, light tack and tight fit. Certainly my preferred method for both cross stitch and needlepoint (tapestry) is to lace using crochet cotton over 2mm conservation board. The spiky strips you refer to is called Fabrigrip, many framers use this product but it does not have a place in my workshop. Should you decide to use it do so on canvas only; my tests would suggest that it works on a count value of 9 holes per inch and those counts divisible by 9. Any other count may result in one pulling the canvas out of shape to achieve support. To use this product to support cross stitch on Aida, evenweave or linen would result in damage to the base fabric. 

I would suggest that you purchase the following: ‘Framing and presenting textile art’ without doubt the most authoritative book on framing textiles, obtainable from the Fine Art Trade Guild.

Question:

A customer of ours has brought in an Eastern Tapestry 38" x 38" approx, she says that she has seen a similar one hung on the wall by attaching a flat piece of moulding top & bottom behind the tapestry with velcro (personally I think that the velcro won't be strong enough) then hanging it with a chain attached to the moulding. Have you any ideas for this tapestry?

Answer from Mal Reynolds:

I agree with you regarding the Velcro unless of course you had several strips of Velcro across the back and should the Velcro be attached using a pressure sensitive adhesive this could over time fail but also it may damage the fabric. Certainly using any form of adhesive does not comply with conservation standards unless it is EvaCon-R.

An alternative would be to sew loops onto the top edge; this method is commonly used by quilters to hang quilts and as such your tapestry could be framed such that one sees both sides of the tapestry. An example is the article on framing a quilt on Arqadia’s ‘Framers’ Haven’ 

Should your customer not wish to have loops sewn to the work then an alternative would be to use several rows of stitches say around 12” apart and sew the tapestry to mountboard. Then to add extra strength using EvaCon-R, glue the mountboard to 5mm foamboard. If using this method a couple of quick tips; first, drill small holes in the mountboard, don’t try to push a needle through mountboard. Secondly, use a curved needle and strongish thread to sew through the back of the tapestry, being careful not to come through the front and then feed the ends through the drilled holes. Tie off the thread and then tape over for extra security.

Question:

I have been trying to source an extra-thick mountboard. Some I have seen appears to be about three times the thickness of standard board - i.e. around 5mm - 7.5mm thick. I have been told that you might produce this but cannot find it in your catalogue or site (please note, it is mountboard and not foam-board I'm looking for).

Answer from Steve Burke:

In answer to your question, Arqadia do have the thickest board available on the market but it is sold as a whitecore backing board and not a mountboard. The thickness is 4200 micron (4.2mm) and it is made up of laminated actual Conservation whitecore with no cover paper or backing liner and fully meets the FATG standards for Conservation.
It is sold and marketed as a backing board as you may find the odd speck or blemish. However it is being used within the industry as a mountboard.
The code is SSS 008 955 and is sold in packs of five sheets at a size of 815x1120mm.
You can also use the board for wrapping our self adhesive Hayseed cover paper roll (ref.945 008 065 size 45mmx100m)around the bevel.
For further information or prices on any of the products please contact our Call Centre 01234 852777, e-mail sales@arqadia.co.uk.

Question:

I am looking for a matt silver moulding 1 1/4" to 1 1/2". I can't tell from the catalogue whether some are shiny or matt and a search on the online catalogue doesn't really help.

Answer from Steve Burke:

There are a number of mouldings that have a 'matt' appearance as opposed to a 'shiny' finish.
I've attached a few images and would suggest you use our free sampling service. Send us a list of mldgs and we'll send you a 3" sample so you can view the finish for yourself.

Question:

We been given a very large museum quality wrap around ceremonial dress of about 250 years old from somewhere in Africa to frame. The total size of the fabric is approx 77cm wide and approx 9 meters long

Once framed, the idea is this wrap is never coming out again, i.e. it could be framed for the next 200+ years

We want to frame this to the highest possible conversation standards and are writing to you, as advised by Simon Flavill to get some advice.

We want this piece and the methods we are using to be unquestionably suitable.

The method we have chosen/agreed with our client to mount the fabric is by folding it so that it will be 252cm long and 77m wide. The dress is going to be displayed in a falling cascade fashion with the 9 meter side being gathered up.

We plan on stretching a piece of Scottish ivory linen canvas (which has been recommended by Russell & Chapple who advised using this linen) over a custom made stretcher frame supplied by John Jones.

The total glass size is going to be 268cm by 93cm as we are leaving an 8cm border of the canvass.

We propose using 9mm wooden dowels covered in museum cotton rag gummed tape (ARQ Cotton Rag Gummed Paper Tape 999000031) to support the cascade effect

We will 2mm drill holes in the dowels for us to sew through to attach it all to the ceremonial dress /canvas so the dowel will not slide out. 

The thread that we plan on using is going to be extra strong thread due to the weight of the fabric. 

Do you have advice on threads we should use? And who might supply them.

We are also going to be putting foam board (999000606) (but is this suitable? Is it up to the standard we are looking for ?) behind the canvas to give the canvas extra support and we will be sewing through the foam board as well to take some of the strain and to prevent it pulling and sagging at the top from the weight of the fabric. 

We are also going to be using a spacer (152453167) to keep the fabric away from the glass.

The customer has chosen standard plain glass to keep costs down. We are using moulding (861IB) and are going to put corner/L brackets on the corners to give extra support.

We are also going to build a box frame from timber bought from the local merchant ( around 1.5"x 1.5" to go on the back of the frame to give extra support and so we can fit everything in.

I hope that I have explained in enough detail so that you can understand what is going on.

We just wondered if this is to conservation/museum standards, apart from the glass.

And is there anything else we need to consider do or to do differently?

We really are aiming for perfection and a tick in the museum quality box!

Answer from Mal Reynolds:

Sounds as though you have a very interesting framing job. There are several points that I would note from your well thought through plan and I have had a similar issue when framing a quilt which is on the Arqadia website (Framers Haven) and as a GCF you may have read the article in ABT. My observations are as follows:

You mention that basic float glass is to be used. This immediately means that your work is not at either conservation level. In FATG terms you are framing the item at commended level. Without seeing the material I suspect that it has either been tie dyed or maybe even a form of Batik; any dyes used are most unlikely to be colourfast and hence using a non-UV coated glass will result in the item being damaged by UV radiation. I would not consider completing the job to the customer’s specification, i.e. never coming out again/for 200 years plus, without using UV glass. I would look to be using Glass and Mirror museum water white. To cover yourself you should advise the customer that the colours in the fabric will fade in a short period of time if UV glass is not used and perhaps put this in writing.

A question – how do you propose to support/hang the work in the frame. I might be inclined to drill the box frame and insert the dowelling through the side of the frame – see above article. I would do this for the dowells supporting the work. 

The dowelling that supports the work and folds. I would cover this with the same linen canvas rather than the cotton rag tape. I would coat the dowelling with EVA-CON R let it dry and them coat it again and stick the linen around the dowelling; this should provide a double layer of protection to stop any acid leaching out of the dowelling and attacking the fabric.

As far as the thread is concerned. Each piece of dowelling should not be taking too much weight because of the folds/cascade that said I would used straight linen or cotton thread (Anchor or DMC) and match the colours used to the place where the thread ties the item to the dowell. Use the full thread do not strip the strands.

Again at museum level I would seriously consider using Plastazote rather than foam board. Plastazote is completely inert and can be purchased through Arqadia. You could also make your own spacers by using Plastazote and covering it with conservation or cotton museum mount board.

Hope this helps and will be interested to see a photo when finished.

Question:

I am receiving increased requests from a local photographic gallery to frame their photographs.
Their mouldings of choice are typically narrow section, such as 202 167 000, 427 220 000 or the like.
They prefer glass to styrene and the glass sizes are typically 800/900mm x 400/500mm.
On mouldings of this type where only one 'V' nail is possible at the jointing I have a concern about the best hanging method to support the frame whilst preventing the weight of glass from distorting the moulding.
What are your suggestions for the best hanging arrangement for this width of moulding.

Answer from Mal Reynolds:

Like yourself I would be very cautious about using either of the mouldings the photographers want with glass because of the weight and the possibility of first, the mitres coming apart and second the hanging system failing.

First, I would strongly suggest that you advise the photographers that they should use a more substantial moulding or as you suggest use styrene. Further, perhaps you need to consider that if the item falls off the wall or comes apart and the glass breaks injuring, perhaps, a child then who is responsible – whatever you do make sure that it is not yourself. I always suggest to customers that if they have a photograph that is going in a child’s room or nursery then I press for styrene – when the possible consequences are explained they soon come round to your way of thinking. 

Consider the possibility of the mitres coming apart. I assume that you glue as well as pin, you could also screw some brass corner plates which will increase the strength at the corners and prevent the mitres coming apart; but yet again you have a limited width to get both the screws and plate to fit.

The hanging arrangement is a little more problematic; in harder woods such as ramin and oak and certainly with such a small width I will drill a pilot hole to take the screw otherwise one is certain to split the wood. In your particular case you are not going to get a screw greater than 12mm into the moulding and consequently I would coat the screw with PVA before screwing the D ring to the moulding; string as normal and advise that the frame is supported by two picture hooks.

This is a typical situation whereby, in this case, a photographer believes they know better than the framer and ignore his/hers advice. I would certainly state to the customer that in my opinion the moulding was not strong enough to take that size of glass further, with such a large frame/photograph using such a small moulding I am not sure that the finished item would look aesthetically good. There are some better black mouldings that would flatter their work more than the two mentioned; for instance try 113300167 and 103300167 both black ash with the grain showing through the depth of 103300167 adds an extra dimension to frames which works really well. I use a lot of both and would advise for the size of frame the second with the extra depth.

Question:

Hi. I met Ellie from Metamorphosis at some Visual Merchandising training at Chichester last year and my question is where can I get window props such as mannequins without buying them. I want to do a special 'snow queen' window and have no need of a mannequin normally.

Answer from Eve Reid:

Collaboration is something that successful retailers are doing more and more.

My first suggestion is a no cost solution... scour the high street to see if there is anyone willing to collaborate jointly on the window.... 
i.e./ Seamstresses..... Bridal Shops... etc 

The next low cost solution would be to consider would be renting a Mannequin. Mannequins are available to rent from £50 per week.

2 Points to Note:
- Cost Justification: think about how much money the Window is likely to bring you and if spending £50 per week is a viable option.
- Projecting the Right Image: You will need to think carefully about the style of Mannequin that will sit inline with your brand, ensuring that it is projecting the right look/ feel/ quality and your Brand Personality.

Question:

I have purchased some aluminium wrapped wood moulding from Arqadia and I need advice on the best method of cutting this moulding please. I have a morso and a chop saw, I will buy special blades if necessary. Thanks for reading

Answer from Steve Burke:

Our aluminium wrapped wood moulding is made with a thin layer of aluminium over an obeche wood. This enables the moulding to be cut on a regular wood saw/mitre machine same as any other wood moulding. The moulding has a thin layer of protective film to avoid any scratches whilst mitring or joining.
Once you have cut and joined your frame you can remove the film.

Question:

We have a client who is currently using your mountboard colour 072. We are trying to match it for him in a print montage he is doing. Does this colour mountboard have an associated pantone colour code - or other colour information that may help us provide an exact match.

Answer from Steve Burke:

Thank you for your question.
Unfortunately for you all our mountboard is manufactured using either mechanical or pigment dyes which you cannot relate to printing colours. The only way of doing this is a visual check.

Question:

Might sound a weird question more for the technical guys really, but can you tell me why on the 3500 micron boards don't they put the colour code on the back. I have just started to use 8627 (minuet) thick board and I have got to tell you it is doing my head in. I thought I had good eyesight but trying to distinguish between the front and back with this particular colour is driving me crazy! They seem to manage to put the colour codes on back of thinner boards why not the thicker ones? Apart from wasting time trying to decide, it is also money if the wrong choice is made.
P.S I don't seem to have trouble with the others and as I said I have good eyesight
thanks

Answer from Steve Burke:

Basically because we are using pre-laminated board and the thickness is at the maximum they cannot guarantee the print could be close to the edge of the board. If they move the print closer into the board then there is a possibility you would see the print on a bevel. For this reason we don't feel it's worth making a change that could potentially cause many more quality issues.
You can however rest assured that the backing liner is also the same quality as the top paper although difficult to view the difference against 8627.

Question:

We have been asked to frame a wedding dress any ideas on attaching it to the backing? The only way I can think of at the moment is to sew it with cotton. She does not want the dress damaging at all as it may be worn again in the future.

Answer from Mal Reynolds:

I recall reading an article in the ‘framing and presenting textile art’ by Annabelle Ruston of the Fine Art Trade Guild, the book is available from the Guild and well worth purchasing.
An interesting project from many points which need to be addressed; first, the size and sourcing materials i.e. essentially mountboard and glass/acrylic; second, moulding strong enough should you decide on glass and finally, reversibility and the method of supporting the dress.
All materials and techniques used should be of conservation standard as the dress may be worn in the future and hence it shouldn’t be damaged in any way. You should use glass or acrylic with a UV coating to protect from fading and damage to the structure of the fabric from UV radiation. Glass of sufficient size and thickness will be heavy and hence the moulding must be carefully selected; acrylic is a consideration and of course is much lighter.

Supporting the dress; the article allows the dress to float in the frame with a single support of a ‘’Clear sports framing kit’’ an excellent idea that requires very little work to be done to the dress. The dress should be supported on mountboard and if not strong enough then glue the mountboard to 5mm foamboard. Should you wish to firmly hold the underside of the dress then a couple of very light stitches along the bottom and the sleeves would suffice. Obviously the depth of the framing package is important; under no circumstances should the dress touch the glass so box framing is the way forward unless you source a moulding with a very deep rebate. Consider lining the inside of the box with the same colour of mountboard used when supporting the dress.

My advice to you would be to purchase the textile framing book from the Fine Art Trade Guild not only does this book cover all the techniques you need to frame textiles but has a number of very interesting and informative articles.

Question:

I have a customer who wants to effectively float mount a single ceramic hand painted tile so that all the edges can be seen. The tile is about 200 x 250 x 5mm and they want a 25mm border (possibly mountboard) and then a standard moulding frame. As there will be no glass I would welcome suggestions on appropriate backing boards and adhesives to fix the tile to the backing board. Thank you

Answer from Mal Reynolds

I have effectively done a similar job with ceramic tiles. As the customer does not want any glass then it is not advisable to use mount board as this will very quickly become grubby.

What I have done in the past is to cut a piece of hardboard around 5mm larger than the tile.
Then coat the hardboard and the back of the tile with EVACON –R or PVA, allow both to dry; once dry re-coat and glue the tile centrally onto the hardboard leaving the 5mm border on all sides. Using a bare-face moulding such as 200400000 (25mm wide) painted to suit, frame the tile - this in effect will replace the mount. Once complete use the chosen moulding to finish off.

Question:

I am in the early days of running my bespoke framing business and am struggling to decide what chevrons I should hold to help my customers reach a decision, so far I have had to resort to email images and an old copy of the brochure - herein lies my problem, a customer as expressed an interest in a number of mouldings that are now discontinued and I can not see anything similar to them that you now stock - can you help? One is from the old coloured range 2423GY, and the other is 225705000.

Answer from Steve Burke:

Firstly, printed and CD catalogues are readily available by simply asking our Call Centre on 01234 852777 or sending an e-mail to sales@arqadia.co.uk.
You also have the option of viewing the web site where all our products are shown and you can search by colour. Once you've made a choice you can request 3" sample cuts to ensure you have a perfect colour match.
I've arranged for a catalogue and CD to be sent to you for future help.
As with all ranges we do discontinue items occasionally whether it be due to lack of sales or if a supplier is no longer manufacturing.

Secondly to try and solve your problem. I've had a look at the moulding codes and can recommend a few alternatives.
I've e-mailed you images and also arranged sample cuts to be sent to you.

Question:

I have been asked to frame a wedding headdress together with three photographs of the event. I think that a box frame would be most suitable. Can you suggest how I should do it?

Answer from Mal Reynolds:

One of the first things that one has to consider is how you are going to support the head-dress. I imagine it to be quite light and hence you could use light tacks sewn through the head-dress and the support mount board, tied off and taped at the back. Ensure you sew through the head-dress in places where the thread cannot be seen and rather than try to push the needle through the mount board drill small holes (1-2mm) for the thread to pass through. Purchase some cotton thread from a needlecraft shop; you can match the colour of thread to the head-dress, if you can’t match exactly you can purchase two or more and mix the threads. The thread has six strands, tease these apart and use possibly two threads, depending on the weight of the head-dress, to sew the head-dress to the support board. It is best to sew the threads through the head-dress first using a curved needle and then through the holes in the board.

Lets consider the photos, I would arrange the photos as required and cut the apertures from the mountboard that the head-dress is to be sewn onto but I would cut the apertures for the photos before sewing the head-dress onto the board. Once I had cut the apertures I would then sew the head-dress onto the mountboard, hinge the photos onto the undermount and then assemble the two boards. The first part i.e. assembly of the items is now complete. 

It is important that the head-dress does not touch the glass and as you suggest a box frame should be used. To make the box I use Framebox (page 84 of Arqadia catalogue Vol 11) using one or a combination of the moulding the required depth can be achieved. If more than one of the mouldings is used I glue them together with PVA. Then cut the choice of moulding to fit the Framebox, you will then need to support the mountboard/items in the box with spacers – these can be made to suit by gluing mountboard to 3.5/5mm foamboard (page 26 Arqadia price list Jan 2009) and then gluing the spacers inside the box. Should the thickness of the spacers be such that a small amount appears in front of the sight edge of the moulding then hide this by inserting a narrow window mount directly behind the glass. The glass should have a UV filter to protect the head-dress.
Once all the items have been made then assemble and using framers points pin the mounted items and backboard in first this then still gives you the opportunity to lift the package from the moulding to clean out any unsightly specks. Once content then I use framers multi-points to attach the box to the moulding. Then finish off by taping up the back etc, don’t forget the bumpers. 

Hope this helps, any problems look at the articles on my web-site www.harlequin-frames.co.uk

Question:

Could you please advise me on the best way of sticking Arqadia's display fabric onto 2.5mm hardboard or mdf (I use both). I have glued it on in the past and it has come unstuck.

Answer from Steve Burke:

We use the following adhesive - Action can SA- 90 Industrial Strength Adhesive. Phone number on the can is 01942 713667.

This works very well for us and doesn't come unstuck.

Question:

A customer has asked us to frame a completed jigsaw glued to a piece of hardboard. the moulding they have chosen is quite small, with glass the rebate depth is full which makes it difficult to fasten at the back. What is the best solution to this please, many thanks, Kieran.

Answer from Mal Reynolds:

Rabbet depth is quite a common problem and sometimes it can be difficult getting everything into the frame. Being aware that there could be a problem helps in the first instance because one can attempt to steer the customer away from that particular moulding to a similar one with a deeper rabbet. Should the customer be adamant then one should explain your problem and the extra costs involved in using the moulding of their choice.

Turning to your problem, there are two fixes; first, cut your backboard slightly larger than the glass size and if it lays flat on the back of the moulding then staple it to the back and then tape over as normal. The more professional approach is to use Arqadia’s box moulding to build a small box. The box should be made before the moulding is cut, the added advantage of using a box is that the facing paper of the jigsaw can be kept away from the glass by using home-made spacers. However, I would suggest that your customer may well be looking for the cheaper option in which case I would go for the first fix as you need to make additional charges for the second.

Question:

We have received a large (1015 x 760 mm) Fuji Crystal Archive Type C Glossy Photograph to frame. It was purchased in USA and the accompanying information from the dealer recommends "Gatorboard" to back the photograph. Is this a product available here? If not, what is the best alternative. How is the photo best secured to the backing - it is quite glossy on the reverse - so as to minimise the possibility of rippling? The dealer's information also advises against dry mounting, so I am unsure of how the photo will remain perfectly flat.

Answer from Mal Reynolds:

The Fuji Crystal Archive paper as the name implies is a high spec paper designed for large digital systems and amongst its properties is longevity; I would imagine the photo to be valuable and consequently it should be framed to conservation standards. Certainly, I agree with the dealer that it should not be dry mounted as any form of pressure on the surface will damage the photograph. Further, the photo should be distanced from the glass as it could stick to the glazing thereby damaging the surface. 

In addition, photographs can be damaged by impurities in mountboard and some types of photographs may be affected by alkalinity. As a result an unbuffered Cotton Museum board that has passed the silver tarnish test is perhaps the best option for any mount (Arqadia’s range of Timecare CottonCore boards contain two unbuffered boards – available in four thicknesses and two colours – TG Off White ref. 3303 and Dull White ref 3304). In order to keep the photo well away from the glass I would suggest a double mount, because of the photo’s size you may well be able to get a double mount from normal boards

Gatorfoam is available from Conservation by Design Ltd. (available in two thicknesses 5mm ref. BDGATO0001 or 10mm BDGATO0002, sheet size 1218x2438mm. Can be ordered via Arqadia), the following is their product information: Gatorboard or Gatorfoam is an extremely rigid lightweight composite board which combines excellent strength-to-weight values. Resin impregnated, chemically purified wood pulp boards, bonded both sides to a polystyrene core. When mounting acid-intolerant material for prolonged display it is advisable to laminate the surface of Gatorfoam with an alkaline paper or board. Comment: this lamination may not be required - see note above regarding alkalinity.

As far as hinging is concerned I would use ‘T’ hinges along the top edge, more than the standard two hinges may be used but it is advisable that only one of the cross members of the ‘T’ is tight to the photo by having the other cross members at least around 5mm away from the photo this will allow for any slight movement without causing the photo to cockle/buckle. The article in Arqadia’s new magazine ‘4WALLS’ will help. It may also be helpful to place a ‘T’ hinge towards the bottom on either side of the photo but in this case both cross members should be distanced from the edge of the photo to allow for movement.
If the photo has been rolled then it would be helpful to attempt to flatten it between two pieces of glass but ensure you have tissue paper between the photo surface and the glass.

Question

I have been using Arqadia mountboard for photographs for some time, buying the supplies as bulk packs of A1 board from a local art shop, which has now closed. Can I buy direct from you?

Answer from Steve Burke:

Thank you for your question.
If you are a trade customer then the answer is yes, you can buy direct. However we only stock mountboard in large sheet sizes. Mostly 815x1120mm and by the pack which is usually a minimum of 5 sheets. See our web site for further details or contact our Call Centre on 01234 852777. Alternatively we have wholesalers across the UK.

Question:

I have a customer who wants to frame a picture, glass size approx 360x3200mm. They will obviously need joins in the moulding, mountboard, glass, back board etc as I cannot source moulding longer than 3m. They have proposed using "plastic glass" for safety. They have expressed an interest in a 60mm wide artcore based moulding, as budget is an issue. Is it possible to join two lengths of artcore to produce a longer length? If so how would you recommend doing it and is any additional structural consideration? It sounds like a reasonably expensive print, so I would also welcome your thoughts on glazing. Thank you.

Answer from Mal Reynolds:

As you are aware there are a number of problems attempting to frame artwork of this size. First, a couple of points reading between the lines of your enquiry; the customer appears concerned about budget issues yet the print seems to be reasonably expensive, this is perhaps a dichotomy and certainly as far as you are concerned if this project is attainable it is a significant undertaking and the costs will certainly not be at budget level.
I will leave the moulding until later but the mountboard is not a problem - as you suggest this could be joined and with some thought you could, if you wanted, make this a feature thereby enhancing the artwork. Again you should be able to source a backboard of sufficient length from a local timber supplier such as Jewsons.
Glazing is going to be a problem and if available is likely to be expensive; but first you should rule out glass because of weight issues and as you quite rightly suggest safety. Styrene/plastic glass should be used but I am not sure that you will readily get it at 3.2m long. If available Glass and Mirror will cut to size but I suspect it will be expensive and should you opt for a UV coating that will certainly bump the price up. UV acrylic is available and if this is an expensive print that might fade then this should be considered.

As you suggest obtaining moulding over three metres is problematic, there are certainly moulding manufacturers and wood yards that may be able to machine a moulding to suit but again sourcing and expense may be an issue. Joining moulding is possible but it would have to be carefully done so as not to look unsightly. If I was to join moulding then I would first glue and use several biscuit joints, then screw a thin steel support onto the back of the moulding.

Graham, my advice to you would be to first source all the materials, very carefully price up this job and cost it proportionally to the time you spend in preparation. If the customer believes this to be too expensive then let them go elsewhere.

Just for your info. at Arqadia we use 'No nails' to join our styrene Artcore.

Question:

We have been given some photographs to frame and I have been looking through the Guild Commended Framers study guide which states that unbuffered mountboard should be used to frame photographs. Is this the case as your conservation mountboard states that it Passes the Silver Tarnish Test and Photographic Activity Test ? Has this changed as I have a study guide from 2006? Thanks for you advice in advance.

Reply from Steve Burke:

Mounting old chemical photographs require either an unbuffered mountboard ie TG offwhite and dull white or boards which have passed the silver tarnish and PAT and which are made with a low 3% buffer amount.
Digital photographs are ok with higher buffered amounts 

In short terms you can use either our CottonCore, Solidcore or Artique range for mounting photographs.

Question:

I have just been presented with a silk designer wedding dress for upright framing I have done a good number of sporting jerseys using a t-tag gun and double sided tape but this customer doesn't want any holes if possible so I am stumped any help would be greatly appreciated.

Answer from Mal Reynolds:

We have previously answered a similar question on the framing of a wedding dress. A point you should note that with a silk dress you should take extra care, certainly tag-guns and double sided tape should not under any circumstances be used as these will undoubtedly damage the fabric. I would suggest that if you need to attach the dress in any way that you use light stitches such that if there is any stress on the stitch it breaks before the silk tears. These stitches should be hidden in the folds of the dress, if possible silk thread is best to use; an old saying is as follows: ‘’cotton with cotton, linen with linen , silk with silk if in doubt use cotton’’ should you use cotton thread you can match up the colours which helps disguise the stitches, also the thread is made up of six lighter threads which can be teased out thereby reducing the strength which can be matched to the strength of the silk.

Question:

We have been given a hard back book to frame 1.5 inches thick. The customer wants it framed open at the first page as it is signed by Chris Eubank. Can you give us an idea of how we would mount it for framing?

Answer from Mal Reynolds:

The major problem when framing 3D objects is how to support the item, preferably without damaging it which in this case is important because the book may have some value. In this case you obviously need to support the book and hold down the pages. A method of support I might use is to build-up a foam-board support and to put a mount across the top to hold the pages in place. Cut three pieces of 5mm foam board to the outside dimensions of the mount; open the book as required and measure the thick part, cut the foam board such that the thick part fits into the foam board with the page level with the top surface. Turning to the thinner part of the book, presumably the left hand page/pages, the foam board should also be cut so that page/pages also sits level with the surface. This then should provide support for the book without the use of any adhesive apart from that used to glue the foam boards together. A double mount cut so that it slightly overlaps the whole book should adequately hold the pages in place. You will then need to box frame the book, but remember to build the box first before cutting the moulding. It is important that the pages of the book do not come into contact with the glass as cockling of the pages is a real possibility; also cockling is likely to occur if the pages are firmly fixed.

Question:

I'm currently framing a commissioned oil painting for a customer. I asked if the painting had been varnished by the artist but my customer had been told by the artist that she doesn't want the picture varnished, it's not necessary and would spoil the appearance.

I want to offer my customer the best advice so if an oil or acrylic painting is not going to be glazed should it be varnished, after an appropriate length of time?

Answer from Mal Reynolds:

Paul, many thanks for your question an interesting conundrum. As you mention you can only advise and leave it up to the customer but of course if the customer decides to have the painting varnished then presumably they would return it to the artist for them to varnish. I hope the following will help. 

Varnishing oil or acrylic paintings can be viewed as the final stage to a painting after it is finished and completely dry however; there are a number of factors one should consider.

Varnishing provides a protective film or layer to those paintings that are not going to be framed under glass. It provides protection from abrasion, dirt, dust and pollution in the atmosphere; as this film becomes dirty it can be easily removed and replaced by a restorer.

Further, varnishing homogenizes the paintings final appearance. As a painting dries, some areas may appear glossier than others due to variations in the types of pigments and/or mediums used; also colours may loose some of their brilliance, which is especially the case with acrylics, but oils too could become somewhat darker. The use of a varnish will help to bring out the colours to the brilliance they had when first painted i.e. before being fully dry.

It’s crucial that a painting is completely dry before it’s varnished otherwise the varnish may crack. Waiting for a painting to dry thoroughly is less of an issue with acrylics than it is with oils of which some experts say one should allow at least six months before varnishing.

The type of varnish and method of application are important. 

Gloss varnish dries completely clear whereas a matte/satin varnish leaves a slight frosted-glass appearance that might affect the finer detail in a painting. In addition, I understand that there are varnishes that offer protection from UV radiation. 
The varnish should removable in order that it can be removed and replaced at some future date, by a restorer, should it become discoloured or damaged. Varnishes for acrylic paint are either water-thinnable or solvent-based.
It is also important that varnish should not contain or be the same as the medium used in the painting because; should the varnish, for whatever reason, be removed then the painting itself could be damaged.

Question:

When drymounting thin paper posters and photographs I frequently get 'orange peel' effect. I use a Hot Press, drymount tissue and hot press white display board. With photographs I have taken to spraymounting onto display board then puting in the hot press with no heat for 8 seconds. 

Any suggestions how to avoid this unwelcome effect?

Answer from Steve Goodall of Hot Press:

The answer is a little complicated - that is to say it has a few different tips - but bear with me...

"Orange peel" comes from three sources...
(1) the board being used for mounting
(2) the adhesive being used
(3) the artwork itself
...and is created by pressure of course.

(1) Board types - never use mountboard for mounting (which you are obviously not doing). Its soft open core makes it ideal for cutting apertures & creating mounts, but this soft core will of course compress during drymounting, leading to the very worst orange peel. Always use harder boards, such as white display board (which you are) or even "good quality" MDF. More on the MDF later... Hard boards will not suffer compression & so minimise orange peel.

(2) Adhesive types - For most good quality papers a good quality drymount tissue will offer great results. However, if you hold any drymount tissue up to the light you will see it has different densities - it is made from tissue paper after all. When using thin posters or very glossy photographs this differential of density can create an orange peel effect. Lowering the pressure of your press with the control valve can help (lower to around 10 on the outer scale). A much better solution is to use a smoother adhesive - such as drymount film - which comes in a clear or white variant. This has several benefits. The lack of differing densities eliminates orange peel. Because drymount film is imporous it can be used with MDF, as it acts as a barrier against any "nasties that might be in the MDF. The white version also stops any show through of colour if your base board is not white - MDF being "honey coloured".

(3) Artwork - It is often overlooked that some artwork types are actually made up of many layers of paper. If your artwork is "soft" such as glossy photographs are - this can lead to compression & orange peel - again lower pressure in the press will minimise this.

Question:

We have a customer who owns a bar, he has several pot/china ashtrays in the shape of letters of the alphabet which he would like framed as "ENGLAND" in one frame. Any suggestions? ( He has brought us the letter "E" to have a think about, it is approx 4" high x 3" wide & about 1" deep)
thanks

Answer from Mal Reynolds

It just so happens that I am preparing an article for the Arqadia 4 Walls magazine on framing this type of subject. There are couple of questions that you need to answer; how do I support the ashtrays and is the rebate depth of the chosen moulding deep enough to accommodate the framing package? 
Supporting the ashtrays could be achieved in one of two ways.
First, they could be glued onto mountboard such that they are floating in the frame, this would, perhaps, enhance the ashtray as one would see the whole shape but you would need a sufficiently rigid mountboard (min 2mm) to ensure they were secure. If you were to use PVA as the adhesive then coat the ashtray first, let the PVA dry and then apply a second coat before gluing to the mountboard – the first coat of PVA provides a bond between ashtray and mountboard. Using this method of support you would need to use spacers to position the ashtrays in the frame.
An alternative method of support would be the use of foamboard the same thickness as the ashtrays, this may require several pieces to be stuck together to achieve the required depth. Mark and cut the shape of the ashtrays into the foamboard, this will then provide the support but then to stop then falling forward cut the final shape ‘ENGLAND’ from mountboard, slightly overlapping the ashtrays thereby holding them in place. The downside to this is that you would need a CMC or access to a framer with one. This could look good if a double mount was cut with the colours of the ashtrays reflected in the mount.
Even though I have a CMC I may opt for the first method but that would be dependant upon the condition of the side of the ashtrays.
I would suggest they were glazed, Claryl or standard water white glass would suffice as there should be no UV protection issues as the ashtrays are most probably glazed and fired.
Moulding, re rabbet depth could be a problem it may be easiest to choose a moulding with a deep rebate I have just recently used a black 233.167.000 to frame a football shirt – nice moulding and might look good with the ashtrays. Otherwise you will need to use a shadow box – another subject.
I mentioned the use of spacers in the first method of support. Home made spacers give flexibility, if you missed my seminar at the Spring Fair the details are on my web site www.harlequin-frames.co.uk under articles, What lies Beneath- power point presentation explains how I make them. You could also cut and glue strips into the spacer rather than having them all one colour these could be in the England colours – just a thought; I have done this with objects but you will have to wait for the 4 Walls magazine.
All the very best with this project, I hope this helps, perhaps you could send a photo when complete.

Question:

I have a potential customer who owns a textile workshop, so may be a bit of business.
One of the things she is looking at producing are photographs of landscapes / country scenes printed onto synthetic velvet, they actually look quite good with the texture and sheen of the velvet. They are over printed 3 times to get the colour right down in to the pile.
The finished prints are ~90cm x 62cm, with additional material all round, and we've discussed using stretcher bars but my one slight concern is how to attach the fabric to the stretcher bars! 
Stapling would be the easiest but that would obviously damage the fabric, she's not overly concerned about conservation framing so am I unduly concerned?
They could be laced over conservation mountboard, or something thicker due to the size, but that's a lot of lacing!
How about gluing to the stretcher bars with evacon R? I'm not convinced so probably not.
Any thoughts much appreciated.

Answer from Mal Reynolds:

As you mention this potential customer is not concerned about conservation framing and so obviously will be unwilling to pay for such; I suspect she wants a reasonably inexpensive job doing so that her work can be sold at a good profit for herself. In which case there is one answer to your question – stapling onto stretcher bars – remember to angle your staples at 45 deg along the back of the bars. It is not going to damage any of the artwork that is showing; if you glue using Evacon-R you are still likely to damage the fabric even though this adhesive is reversible. Had you have been conservation framing you would have had to seal the stretcher bars but in this case that will not be necessary.

Question:

I would like to stick a large glossy poster print to a stiff backboard.
Will this cause the poster to bubble if I use wallpaper paste?
If so do you have any suggestions what to use?

Answer from Mal Reynolds:

Arqadia have a self adhesive board called Permanent Fastmount.
I use this product quiet a lot to secure items flat onto board. It is available at 1500microns and 2300 microns depending upon how solid you need the backboard. Alternatively you could use Fotofix self adhesive foam board - albeit generally used for photographs this provides an excellent alternative to Fastmount as it will provide both an adequate backing and give depth to the poster.(Code:999000615)

In your request you mention wallpaper paste, should you wish to use such an adhesive then this would work on a flat surface and has the added benefit that wallpaper paste normally has a fungicide added; however, you will have to ensure that the paste is correctly mixed with no lumps etc otherwise you will not get a perfectly flat surface. An alternative to wallpaper paste is PVA diluted in the ratio of nine parts PVA to one part water. If I had to choose between the two I would use the PVA but in any case first I would coat the surface of the backboard first and allow to dry, give it another coat and whilst tacky very carefully lay the poster along the top, shortest edge then gradually smooth with a cloth along the centre slowly working out to the sides. If you do not get the start correct then you will certainly have problems later.

Of all the methods I would personally use the Fotofix this is easy to use, has a gridded top sheet which will help position the poster and can be peeled back slowly whilst sticking down the poster.

Question:

I have been asked for "polycarbonate", my client wants to sandwich a flag between two sheets of this have you heard of this, he thinks it is a conservation type product.

Answer from Mal Reynolds:

I think what the customer is referring to is polyester which comes in the form of either Mylar or Melinex. This is used for encapsulation, as the customer remarks it is a conservation product used widely in museums to store artifacts; however, it is also used in framing when one wants to see both sides of an item and in this case the flag. For more details visit the Conservation by Design website
this page describes the product.
I am not sure if you can get individual sheets of a size of the flag, they have sheets the size of Ordnance Survey maps but you should ring and enquire. Tele No 01234 846300.

Hope this answers your question.

Question:

Ribs foil
1. is there an information sheet
2.when should it be used
3. what is the recomended way to attach it to back of frame

Answer from Mal Reynolds:

This is more a Conservation-by-Design question. I did use this in a project with samplers but I was privileged to get an offcut as I think the RIBS foil comes in a large roll and is not really economic for use by framers.

As far as use is concerned - I used it when framing samplers stretching backto the 1700s and would only use it at museum level of framing. That is of course assuming I could get some and the customer was willing to pay. The benefit is that it attracts and removes any nasty chemical byproducts or agents (termed offgassing) in the framing package thereby protecting the artwork. When I used RIBS foil I placed it loosely in the back of the frame between the framing package and the backboard but as it also acts as a barrier for moisture. I cut a small amount off the corners such that if there was any condensation form inside the package it was not trapped and could leach out.

If the package is ever opened to ensure the item remains stable then if the RIBS foil has attracted offgassing agents then it will have changed colour and can then be replaced.

Paul could look on my web-site www.harlequin-frames.co.uk look under articles - Spring Fair seminar and that explains how I used RIBS foils for the samplers.

Question:

I have been asked to float mount a painting which is on card. Can you please advise me on the best adhesives to use for mounting card to foamboard and then foamboard to primed mdf. The customer has specified no glass hence the mdf background

Answer from Mal Reynolds:

The answer to the question is in the first instance Evacon-R my only concern is that Evacon R is reversible and if wet it could fail. In which case straight PVA would be the answer. However, as the painting is being glued to foamboard and MDF then one would have problems with both first rather than the adhesive if wet. In any case to ensure a good bond I would coat/prime the board with the adhesive, let it dry and then apply a second coat before sticking the boards to the foamboard in the same way as the MDF is being primed.

Question:

I have been framing our own photographs and paintings for our gallery for some time now. People are now asking me to frame their photos and paintings, I am struggling with pricing, is there an easy way forward with this as to size of picture and price of mould chosen

Answer from Mal Reynolds:

Pricing appears to be the one subject that is debated mostly amongst framers and there are a number of pricing programmmes on the market .eg. pfp, Eastlight, Frameman. However, a method that is used widely is to individually price each of the raw materials used in the construction of the frame this would include moulding, mount package, glass, backboard and an amount to cover the tapes, D rings, cord etc and then multiply the total by 3 or greater. This number is determined by yourself and to do so one should consider overheads etc.

Some additional points to remember:

• VAT should be added before the mark up.
• One has to purchase a full length of moulding even though the job may only require half; this needs to be factored such that you cover its cost.
• The above needs to be considered with respect to the mount board.
• Any extra work should be charged at your rate per hour which should be no less than £35 per hr.

Question:

I have been asked to frame a jockey shirt and silk cap (the large ones used to cover the riding helmet) and also a photo all to go into the same frame. The shirt and the photo should be fine but I am not sure how to include the hat. I have thought about padding it with paper to give it shape but I don't want to end up with anything more than about 6cm deep. Both items are made of silk. Any ideas?

Answer from Mal Reynolds:

Sounds like a nice job which will look superb when finished. I am not sure as to how you intend the support the hat in the frame – I would be inclined to use what I term the light tack whereby I use thread to effectively sew the cap in a number of places to the mountboard. If using this method a couple of points.

• First, remember to drill small holes in the mountboard in the position for the tacks – it is difficult to push a needle through mountboard.
• Second, if you cannot hide the thread then try your best to use a thread or combination of threads to fit in with the colours of the hat. There are a wide range of DMC/Anchor cotton threads and you should be able to find one to match. Further, each thread is made up of six strands which can be separated and so you can use as many strands as you wish. I would probably use only one or two so that the tack is not stronger than the materials in the hat.

Question:

I have been given a ceramic sculpture to frame, the width is 335mm x height 410mm and the highest point on the sculpture is 75mm and its weight is 3 kilos. Any ideas on which moulding would be good to use, given the high point. I was thinking about adding a shelf to support it inside the frame and then using a frame on the front and back which could be opened by hinges, to give it the height away from the glass. Any suggestions greatly received.

Answer from Mal Reynolds:

An interesting framing job and I think from your description that you have identified two major issues; the weight of the item and how you support it and second, the depth of box framing required. In normal circumstances I would turn to Arqadia’s Frame box p84 Cat Vol 11 but because of the weight and the fact you wish to open the frame then this would not necessarily work.

There are two further thoughts, first, use two mouldings whose combined rebate depth exceeds the 75mm sufficient enough to allow a gap between the item and the glass and hinge them together with a hinge along the whole length of the long side. In this case you could use a barefaced moulding for the rear, such as 152400000, and for the front you would need a rebate depth of min 30mm.

Alternatively, you could use a wide flat moulding such as 164300167 and cut it such that the front flat face is the side of the box and then sit your front moulding of choice in the rebate – you would need to work out how then you would open the frame. See stacked moulding PDF

As for the shelf I am not sure that one made from foamboard covered with mountboard would be strong enough but Rose and Hollis do supply wooden spacers which could be adopted for the shelf either painted or stained. You could also use these as spacers to support the shelf in its required position.

You would also need to secure the item on the shelf. I would perhaps use silicon to do this. However, I am not sure why you need to open the frame. If it is to take the object from the frame then you will have to work out a suitable and easily reversible method of securing the item.

Question:

I have just completed a painting in gouache on unstretched w/colour paper, not sure of the weight and notice that it has slightly bulged where I must have applied more water in certain places, could I possibly iron it flat beween two pieces of brown paper? What would you suggest?

Answer from Mal Reynolds:

It sounds as though the paper has buckled in the areas you are talking about. Paper is hydroscopic and as such expands and contracts with changes in temperature and humidity and in this case the application of water. In the areas where expansion has occurred buckling has resulted because the paint has set and thereby not allowing the paper to fully contract, this can also happen with watercolours in the same or similar conditions.

As regard to a solution - I am not sure about taking a hot iron to ones work! If this artwork came into my workshop and I was asked to attempt to remove the buckling I would place the work between two pieces of glass with slightly damp blotting paper over the area and place a weight over the top of the glass and leave for a couple of weeks. However, I am not sure that this would take out the buckling.

The key for the future lies in what you make mention to in your question that is to always stretch ones watercolour paper - I have seen artists paint on completely wet paper and understand that Turner soaked his paper in water for some time before painting.

Question:

My workshop has a relative humidity of around 30% and I believe its the cause of considerable warping in my moulding stock. is there an ideal humidity you would suggest?

Answer from Mal Reynolds:

I am not certain that a relative humidity of around 30% will have what appears to be detrimental affect on your moulding; had this been in the Middle East in the high summer with exceptionally high relative humidity then this could well have been the case but 30% is low and I might suggest there may be some other cause. I believe that the recommended relative humidity for working environments is between 30% and 60% hence my suggestion. I keep all my moulding in an unheated building and have had no problems with warping; the moulding is stored either vertically upright or horizontal and well supported. This is not a problem I have come across before so I cannot recommend an ideal relative humidity.

Question:

I have been asked to frame two Chinese silk painting approx 940 x 450 without a mountboard. I had planned to "tight fit" into 5mm foam board and then use spacer to keep away from the glass. (Lining the spacer and frame with Lineco frame tape). Because the silk is so fine I am experiencing difficulties keeping the silk taut. Another framer has suggested that I use the tight fit to keep silk in place and then glue the back with Evacon-R adhesive, once adhesive dried could then remove the outer part of foam and place straight into the protected frame. I would appreciate advice as I don't want to spoil the silk or end up with it crooked in the frame. How can I stretch the silk and view it to ensure positioning without it slipping and would you advise the use of adhesive? I did not want to use pins as I am worried that it might cause the silk to run. Hope this makes sense! Thanks for your thoughts on this.

Answer from Mal Reynolds

Thank you for your question and it is very encouraging that you are firstly particularly interested in ensuring the best possible framing solution and second, that it appears that you have either read the Guild publication ‘framing and presenting textiles’ or listened to one of my seminars.
One of the reasons for not getting your silk taut is its size; the tight fit is a good method of support but for smaller items. In addition, you could not use the tight fit when close framing an item as you need the outer foam board to keep the silk in place. I appreciate that you might not wish to use pins because of the possibility that the silk may run. So we have a bit of a problem!
I have in the past framed items of Japanese silk embroidery on silk, beautiful pieces of work such as the pictures on pages 11, 12 and 14 of the above publication.
The silks were enormously expensive perhaps in the region of £200 for the base silk alone; during stitching these were support on a salt frame (similar to needlepoint) and had extensions sewn onto the silk this enabled me to be able to lace the silks over Timecare Heritage Board that had 100% cotton wadding glued to its surface with EvaCon-R.
The reason I mention this is because this could be one of your solutions but in your case you would need to have the extension sewn onto the silk paintings. If you were to go down this route you would need a light calico type material; I consider the best stitch to be a zigzag stitch which provides for movement in two dimensions. Further, I would be very cautious about doing this myself and would suggest that this was the job of the customer. Second, the suggestion of your framer colleague may not be far off the mark, in this way you will be able to close frame the silks without a window mount.
A method of removing any bloom that might occur should you not be able to get the silk taut would be to glue some wadding to the foamboard. Before completing this you should discuss the options with the customer and ensure they are content with you gluing the edges of the silk to the back of the foamboard. EvaCon-R is the correct adhesive as this is a conservation adhesive and is reversible.
You are correct to line the moulding with Lineco tape however if you are making your own spacers then by using either conservation quality foamboard or Plastazote along with conservation mount board, lining the spacers would not be necessary.
Have you thought of wrapping the foamboard with a complimentary fabric? Should you need advice on spacers you could visit my website www.harlequin-frames.co.uk and under articles see the slideshow from what lies inside the Seminar from the Spring Fair 2010.

Question:

Please could you suggest the best possible gallery lighting?

Answer from Eve Reid:

Flexible track lighting would be the best solution. This allows for huge amounts of flexibility.
You could use a number of lights to create a wall wash of light; creating a fabulous focal point or You could direct spotlights onto key products that you want your customers to notice.
With regards to an actual product recommendation, Optelma (our lighting partners) have suggested the Hoffmeister range of track spotlights which have been designed for gallery lighting – please follow the link for more information http://www.hoffmeister.de/8-1-Spotlights-for-tracks.html.

Question:

I have 2 canvases 15"x12" with the art almost to the edges, these canvases have been painted with oils almost to the edge, one canvas has buckled quite badly, glass is not required. please how would you stretch these works or get them flat prior to framing?

Answer from Mal Reynolds:

I am interested in the origin of these oils; firstly, why are they not already on stretcher bars as surely they must have been stretched for painting and second, why has one of them buckled. I recently had some “oils” which were painted on a material something like cotton, they also were painted almost to the edge but on close inspection were not oils but something like an enamel paint – these were from Africa and had been taken off the stretcher bars for ease of transport. I had a devil of a job to get them back on stretcher bars and because of the hardness and thickness of paint they cracked when going over the corners of the bars and in a similar situation to yourself, no matter how hard I tried, I could not get some of the buckling out of this “canvas.” Fortunately, I spotted the potential problems when the customer brought them to me and highlighted them before stretching; had she been unhappy I would have suggested she went elsewhere. 

I your case it is going to be impossible to stretch the paintings without losing some of the picture also you will have difficulty with stretcher pliers to get the tension such that you can get a tack or staple along the edge of the bars without loosing more artwork by taking the canvas around to the back. I think that what you would need to do is to get stretcher bars that you can insert wedges into the corners and once you have fastened the canvas to the side of the bars insert the wedges and tension using them and in that way you may be able to get the buckle out of the canvas. I would not consider sticking the paintings to an adhesive board.

There is an excellent article in Jan 2011 issue of Art Business Today titled “All Wedged In” which covers stretching canvases very well. You may be able to get a copy on line by visiting the Fine Art Trade Guild web-site or alternatively ringing the Guild on 02073816616 asking to speak to Moira for a copy either of the article or the magazine. You can mention that I have suggested you ask for a copy.

Question:

I have been asked to make a dismantleable frame for a canvas triptych which runs vertically rather than horizontally. The purpose being that the artist can dismantle or fold in order to transport. I wonder if you have come across anything like this or whether you can advise me of the best approach please. I am a pretty small business and only have hand tools. Not all singing and dancing yet! Thanks for any advice.

Answer from Mal Reynolds:

Thanks for your question. I presume from your description that the artwork is in three sections – hence triptych and in this case three individual pieces of artwork on canvas making the full item.

The canvas has to be supported and this is normally done by using either pre-made stretcher bars or a frame made by yourself from stretcher type moulding. Either way should you be unsure of the correct method of stretching canvas there is an excellent article on stretching canvas in Jan’s edition of Art Business Today (page 48) titled ‘All Wedged In’

Once your canvases have been stretched then the classical method of joining the three individual pieces is to use hinges and in this case I would use brass hinges the size would be dependent upon the size of the finished work.

I hope this answers your question as once the canvases have been laid onto stretcher bars it is not advisable to remove them should you have meant this as the gist of your question.

Question:

What is the best adhesive to use on the mitre joint of Artcore mouldings with the under pinner

Answer:

Many framers do not glue polymer mouldings but should you wish to use glue, it is recommended that one uses a cyanoacrylate adhesive. In other terms a superglue type adhesive.
A couple of points to note when underpinning - it is recommended that the wedges are placed closer to the rebate area of the picture frame avoiding the back edge.

Question:

We have a 50"x 50" Damien Hirst print to frame. The print is on Fuji Crystal Archive paper and the customer wants it straight into a frame. Obviously we would use all conservation materials and a spacer between glass and print. Due to the size of the print, our concern is that the print will flop forward in the frame. Any suggestions, please?

Answer from Mal Reynolds:

Thanks for your question and yes I too would be concerned that a print of that size might flop forward in the frame; in addition, there is also the possibility that if exposed to changes in temperature or humidity it may buckle rather than cockle as it is secured on all four sides and consequently has no room to expand and contract.

A method one may use at conservation level is to use either ‘z’ , ‘s’ or a pass through hinge or perhaps small dabs of starch paste at a number of points along the back to secure the print to the board. An explanation of these hinges is available either in Jan 2010 4Walls magazine or the ‘Whats Lies Beneath’ article Spring Fair 2010 slideshow on my web-site www.harlequin-frames.co.uk

A point I would be concerned about is whether or not these showed on the front of the artwork which is a possibility and very much dependent on the weight of the paper. If they go for the straight into the frame then don’t forget to seal the rebate of the moulding.

My advice to you would be to ask the customer to return and for you to express your concerns and discuss the possible options and let them decide, if they go for an option that may concern you then get a written statement signed by them for your records.

Question:

I have a handkerchief to frame, 480mm square (brought in folded & creased as a 120mm square) with printed text & design going close to the edge. The customer wants to see it as a whole, so I envisage fixing it onto mountboard or similar with a small border around the edge. I do have a Microstitch tag gun but would welcome other suggestions. Also I have a couple of artwork designs on silk (I think). The material is similar to Indian silks I have framed before, 300x240mm & are slightly out of square. Customer wants no mount & no glass or acrylic. Fortunately, they would like a frame! Any ideas? Many thanks.

Answer from Mal Reynolds:

I believe that the Microstitch tag gun fires little plastic tags, I used one many years ago but would not use any form of plastic with fabrics as with time it yellows and becomes brittle eventually failing. I would rather use very light cotton stitches which can be disguised by matching the colour of the cotton with the colour of the area of the stitch; these would be tied off and taped on the back of the mountboard. I call this method the ‘light tack.’ You will need to insert the required number of tacks in order that the handkerchief does not hang untidily but that is the same principal as the tag gun. A small but important point is that one should drill a small hole through the mountboard before inserting the tack.

As far as the silks are concerned I would possibly use the tight fit to support the silks before going into the frame, and I would square them up when supporting. Also in this case although because the customer does not wish to protect them from the elements it may not make much difference I would tape the rebate of the moulding to stop any acids leaching from the wood and attacking the silks.

Question:

I have been asked to frame a triangular cross stitch design in a triangular frame.
How do I do this?

Answer from Mal Reynolds:

Whilst one may think that this is a relatively difficult problem the answer is perhaps easier than what you might think. In the first instance how do I support the artwork; answer – easy use pins and foamboard. Cut the foamboard to a size larger that the aperture and neatly lay the cross stitch over the foamboard, using stainless steel pins pin all three sides but do not insert the pins completely into the foamboard just in case you need to slightly adjust the cross stitch. When content push the pins all the way into the foamboard and tidy up the back so that it lies reasonably flat.
The next step is to cut the mount – if you haven’t a CMC then you have two options using a mountcutter such as the Astra or Keencut U-Gold cut the mount freehand as you would when cutting a multi-aperture mount alternatively contact someone with a CMC and ask them to cut the mount for you. Lay the cross stick on a thin piece of backing board lay the mount on top and mark around the edges. You will need to use a filler to ensure the mount does not lift – cut some foamboard which you then use as your filler using ATG tape fasten to the backing board thereby holding the supported cross stitch in place. Secure the mount to the top and trim any excess foamboard.
The next problem is to cut and fasten the moulding you may achieve this by either altering the fences on your Morso to the given angle or alternatively use a mitre saw, once you have the moulding cut this may be joined by using your underpinner but rather than clamping the moulding hold this with your hands and pin. Try this on a piece of strap moulding first.
Cutting the glass and back board should be relatively simple.

Question following on from above:

The easy bits have been covered, ie stretching the needlework, cutting the glass and backing etc., the most important bit, i.e. how to actually cut an equilateral triangle has not been covered, what angles, how do I set the morso and support the moulding, the pinning is the easy bit again. Your help on actually physically making a triangular frame would be appreciated. I asked Pete Bingham a few years ago and he said it was simple and you cut at 66 degrees which is not the case, the angle I think is 33 I would really appreciate some more help.

Answer from Mal Reynolds:

Thinking back to when I went to school which was some time ago an equilateral triangle was one where all the sides were equal and the angles were also equal – hence the name. As there are 180° in a triangle then all internal angles must be 60°. To take this one step further then as the blades are set at 90° then to get the correct angle one should set the fences at 60° in order to get the required angle of 30°. Not sure where the 66°comes in! As I have not actually cut such an angle then I could be wrong but my solution would be to set the fences at 60°and then experiment using a scrap piece of moulding until I got the required angle to make the frame. If the fences are not set at the right angle then simply change them until you get it right. Small point, before you loosen the fences make sure you have scratched a mark such that you can reposition them in the correct position.

Question:

In the past I have always suspended my paintings using one long piece of tape across the top of the picture. I have just bought some PH7-70 self adhesive tape for this job but notice on the box illustration, as well as the instructions, that they use small 'tabs' with only 5 mm attached to the painting. In a painting 16" wide how many 'tabs' would I need and is the tape really strong enough to hold the painting? Thanks, Lorraine

Answer from Mal Reynolds:

The type of hinge that you are referring too is called the ‘T’ hinge and is widely used by picture framers. There are two problems with the method you describe as using in the past; first, the artwork could cockle as during expansion and contraction the artwork cannot move and hence cockling will occur and secondly, the artwork is unstable when attached to the back of the window mount – it should always be attached to the undermount. The description of the tab at 5mm is a guideline and should the artwork be particularly heavy then one should increase the length of the tab or alternatively use a third tag. A further point is that Fine Art Trade Guild state that a pressure sensitive tape such as P7-70 should only be used upto and including Commended level; for Conservation level and above use a pH neutral white gummed tape such as the cotton museum tape available from Arqadia. It is a shame should you be using Arqadia’s conservation range of boards to lower the standard of mounting by using P7-70; you have the possibility of adding value to your artwork by stating that it is mounted to Conservation level which in fact costs you as the artist next to nothing but possibly increases its attraction to customers. Please see the present edition of 4Walls Magazine for the article I wrote on Conservation framing and also the Spring Fair Seminar 2010 What Lies Beneath on my website www.harlequin-frames.co.uk which explains all about mounting, cockling etc.

Question:

I have two watercolours stuck onto mountboard and an oil on a Daler board which have been brought into to be re framed only they are badly warped. the two watercolours are like bowls and the oil is rippled. I have tried placing them on a flat surface and put weight on them but it hasn’t taken the warps out - is there anyway of taking the warps out without damaging the paintings ?

Answer from Mal Reynolds:

It sounds as if you have tried to flatten the artwork; did you place a sheet of glass over the artwork with the weight on top of the glass? If not then that may be worth a try, also slightly dampen the back of the mount board before attempting to flatten but I would suggest that the latter could be problematic and it is not worth trying if things go wrong. However, I believe the best action is to contact a conservator for an estimate of costs to remove the watercolours from the mountboard and for a condition report on the oil. I have searched the ICON web-site for watercolour conservators in your postal area SP11 and the following list are the first 10 obtained from the following
http://www.conservationregister.com/locationsearchresults.asp

Timothy Cant Hampshire 
Caroline Harrison Conservation Limited Bristol 
Philippa Ellison Oxfordshire 
Keith Holmes Paper Conservation Surrey 
Colleran Associates London 
Catherine Rickman Limited Gloucestershire 
Diana Washington Paper Conservation London 
SA Esdaile Ltd Surrey 
Ph7 Paper Conservators London 
Amelia Rampton Conservation London

Question:

A client of mine has a very large original painting framed in a box frame with a 5mm spacer between the artwork and the glass. Over some time the back has warped in the middle forcing the artwork to touch the glass in the centre. As the artwork is glossy it has created a glossy type seal to the glass ( I believe this effect is called Newton rings). My worry is that sometimes when I move glossy prints from glass they stick permanently and therefore damaging the print. If I remove the artwork it may come away OK if it has not been like it for long, but if it is stuck to the glass is there any way to remove it safely without damage?

Answer from Mal Reynolds:

You are quite correct in suggesting that this problem is called Newton rings and is normally associated with photographs which also ties with this situation as you state that the surface of the artwork is glossy. As you are obviously aware the problem comes when trying to separate the artwork from the glass; on occasions this does not cause a problem as the artwork is not firmly stuck to the glass. However, I suspect that because the rings have formed then it is possible that some degree of moisture has formed on the inside to the glass or alternatively the reason for the back to have warped may be damp associated and as such you will find that the artwork has stuck to the glass and hence any attempt to remove it will damage the surface of the artwork. If a customer brought artwork in this condition to myself I would have explained the problem and then with their permission carefully opened the frame and established whether or not the artwork was stuck to the glass. At that stage and if this was the case I would not have gone any further and either suggested that the customer contacted a conservator or offered to do so myself. My advice should you have taken the work to work on later then before proceeding contact the customer and before opening the frame ensure they are present and after explaining the problem ensure the are content for you to continue then continue as above. I suspect the artwork will be stuck to the glass and it is not worth your reputation attempting to remove it should it go horribly wrong.

Question:

I have a very important document on vellum with a seal to frame. It has to to be framed to high museum standards. The edges of the vellum are to be seen and I would like to float mount it. Is this a good way if wheat starch and Japanese mulberry tape is used? The seal is attached to the bottom of the vellum which is folded over so it won't lie particularly flat. Any suggestions please?

Answer from Mal Reynolds:

As you are probably aware framing vellum is a delicate operation as animal skins contain oil and as such oil and water do not mix well. It is important to use the correct materials and use of moisture should be kept to an absolute minimum; also it should be supported on Timecare Cotton Museum board – unbuffered if possible as animal skins prefer a less alkaline environment. I agree your use of wheat starch paste and Japanese papers should you have the correct weight of paper that corresponds to the weight of the vellum. However, should you wish it is acceptable at this level of framing to use either cotton/linen gummed tape, again depending on the weight of the vellum as to which of the tapes one might use. Which ever is used, again the amount of moisture should be kept to a minimum.
With regard to the vellum itself; should it be creased do not attempt to remove the creases as these are part of its character also if it has been rolled then this could cause problems when attempting to attach it to a support board as it will have a tendency to roll back. 
Regarding the hinges themselves; the normal ‘V’ or ‘Z’ hinge may not be strong enough as they are both considered to be in ‘PEEL.’ Consider threading a length of folded tape/paper through a slit in the support board and fixing it to the back of the board, the resulting tape on the front of the board can then be split so that half is in tension and half in peel, this would provide a stronger hinge. 

As far as the seals are concerned you may be able to hold them in place by making a feature of them should they have ribbons attached, otherwise consider using Mylar to hold them in place.
Should you be in any doubt then my advice would be to contact a conservator and let them take the responsibility of doing the hinging/mounting.
Finally, I hope I should not have to remind you not to allow the vellum to touch the glass and to use a conservation glass.