Awesome, I might just pick this up. Thanks!FramerDave wrote:PPFA Guidelines for Framing Textiles and Needlework: http://www.pmai.org/online/core/orders/ ... rodid=1070beerotan wrote:This is a little off topic for this forum, but as its where I've learned the entirety of my framing knowledge so far I'm not sure where else to ask: does anyone have some resources for framing textiles? I have a furoshiki (silk scarf-like textile, about 2' x 2') I want to put in a frame, but am unsure how to properly secure it to the mounting board. I can only come up with sewing it to another piece of fabric and then adhering that to the mouting board, but I'm concerned that would damage it. Anyone have any ideas or places they can point me to?
Written in part by yours truly.
Framing Help/Advice Thread
Question about mat boards.. Is it ok to use a general framing mat board on top of an acid free or conservation mat board? The Acid Free or conservation being the only one with actual contact with the print..
This being in the event that I can only find a decent color match with the general mat. Or am I just not looking at enough color samples of the A/F or Conservation?
This being in the event that I can only find a decent color match with the general mat. Or am I just not looking at enough color samples of the A/F or Conservation?
- Darkknight37
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I would think that's okay, but I'll let one of the pro's chime in on that one. For all I know the acid from the regular board is like the Alien blood and will burn through the frameHutwe wrote:Question about mat boards.. Is it ok to use a general framing mat board on top of an acid free or conservation mat board? The Acid Free or conservation being the only one with actual contact with the print..
This being in the event that I can only find a decent color match with the general mat. Or am I just not looking at enough color samples of the A/F or Conservation?
- dasponyboy
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I know having the acid free in contact with the paper is better but I still think mats "breathe" so it may not be good to have it sealed in there. Like DK said, I'll let one of the pros chime in...
I wish I could find the picture, but someone posted a picture of a double or triple mat where one of the boards was not acid free and the others were. Over time, the core color exposed on the bevel darkened on the mat that was not acid free and didn't look good next to the original white cores of the acid free mats. That is one reason I would avoid mixing the two or avoid using non-acid free at all. I have been using the Crescent Rag Mats which are acid free and come in lots of colors but some colors are difficult to find online.
- misterwhisper
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FramerDave addressed this in another thread. Maybe he could elaborate, if necessary.Hutwe wrote:Question about mat boards.. Is it ok to use a general framing mat board on top of an acid free or conservation mat board? The Acid Free or conservation being the only one with actual contact with the print..
This being in the event that I can only find a decent color match with the general mat. Or am I just not looking at enough color samples of the A/F or Conservation?
FramerDave wrote:
....This one isn't a matter of highly competent, it's Framing 101.
So I just got off the phone with Crescent to confirm. The 4004 doesn't show up, so as I suspected its either a bad number or long discontinued. The 4400 mats are all marbles, but the lady I spoke with confirmed that they are all from the decorative matboard line, are made from unpurified wood pulp and are NOT conservation quality.
And you know, even if it were a conservation quality mat you should still be concerned about the 3311, even if it's not against the art. Matboard is quite porous; if you were to look at it under a microscope it would look like a sponge. Any acidic products will still leach through it and affect the art, it will just take a while longer.
- jamesgunter
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the core of the top mat will turn yellow/brown over the next few years and look badDarkknight37 wrote:I would think that's okay, but I'll let one of the pro's chime in on that one. For all I know the acid from the regular board is like the Alien blood and will burn through the frameHutwe wrote:Question about mat boards.. Is it ok to use a general framing mat board on top of an acid free or conservation mat board? The Acid Free or conservation being the only one with actual contact with the print..
This being in the event that I can only find a decent color match with the general mat. Or am I just not looking at enough color samples of the A/F or Conservation?
Last edited by jamesgunter on Thu Dec 26, 2013 6:28 pm, edited 1 time in total.
- jamesgunter
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golobulus wrote:I wish I could find the picture, but someone posted a picture of a double or triple mat where one of the boards was not acid free and the others were. Over time, the core color exposed on the bevel darkened on the mat that was not acid free and didn't look good next to the original white cores of the acid free mats. That is one reason I would avoid mixing the two or avoid using non-acid free at all. I have been using the Crescent Rag Mats which are acid free and come in lots of colors but some colors are difficult to find online.
- FramerDave
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Well, I see my work here has been done.
As others have said quite well, no, it is NOT ok to try and isolate a nasty-ass cheap board from the art by placing a conservation-quality mat under it. If you were to look at a piece of matboard under a microscope it would look like a kitchen scrubby pad. They're very porous and do not serve very well at all as a barrier to acid migration.
Besides that it just looks ghetto. Look at the picture above, compare that nice clean white bevel to the nasty brown one.
As others have said quite well, no, it is NOT ok to try and isolate a nasty-ass cheap board from the art by placing a conservation-quality mat under it. If you were to look at a piece of matboard under a microscope it would look like a kitchen scrubby pad. They're very porous and do not serve very well at all as a barrier to acid migration.
Besides that it just looks ghetto. Look at the picture above, compare that nice clean white bevel to the nasty brown one.
Hi guys,
So I will be framing my Dan MCcarthy "the day everything became nothing 2" in 2014 and wanted to know if there was any word to the wise on what kind of glass to use for Glow in the Dark prints. Can I use UV Plexi, Truview Museum glass? Thoughts? Not sure what works best to soak up the light but not damage the print if that makes sense.
So I will be framing my Dan MCcarthy "the day everything became nothing 2" in 2014 and wanted to know if there was any word to the wise on what kind of glass to use for Glow in the Dark prints. Can I use UV Plexi, Truview Museum glass? Thoughts? Not sure what works best to soak up the light but not damage the print if that makes sense.
T.K.C.
I've used museum glass on both, 'The Day Everything Became Nothing' and 'Wish You Were Here' and both glow great. A lot of people worry that museum glass will not allow the prints to charge, but it's not the case.leary411 wrote:Hi guys,
So I will be framing my Dan MCcarthy "the day everything became nothing 2" in 2014 and wanted to know if there was any word to the wise on what kind of glass to use for Glow in the Dark prints. Can I use UV Plexi, Truview Museum glass? Thoughts? Not sure what works best to soak up the light but not damage the print if that makes sense.
Thanks !iambillyg wrote: I've used museum glass on both, 'The Day Everything Became Nothing' and 'Wish You Were Here' and both glow great. A lot of people worry that museum glass will not allow the prints to charge, but it's not the case.
T.K.C.
- peacedog
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I have demonstrated several times that glow is definitely effected by the UV coating on glass. While it will not stop the print for glowing, the effect is definitely lessened. There's a thread with pics around here somewhere....iambillyg wrote:A lot of people worry that museum glass will not allow the prints to charge, but it's not the case.
Ah. The only GID prints I have, that are framed, have been from Dan. Not sure if it's his printing methods, but the prints seem to get a good charge, even behind museum and without a direct light source on it. Could have a different effect on other GID prints, I suppose.peacedog wrote:I have demonstrated several times that glow is definitely effected by the UV coating on glass. While it will not stop the print for glowing, the effect is definitely lessened. There's a thread with pics around here somewhere....iambillyg wrote:A lot of people worry that museum glass will not allow the prints to charge, but it's not the case.
Leary, I'd definitely trust Corey's expertise on this.