The Framers Forum

Another way to do it is to use a thick window mount and cut the window larger then the art. That way you can float the watercolour inside the mount window. Makes for a much bigger frame though.. Why does it make for a much bigger frame? Space around an image can, should even, be the same whether ma...

Well, seeing as they are, or can once you get going, be made from skinny offcuts you’d normally toss, practice will waste nothing.

You can also peel (or soak) off mountboard surface papers and bond that to foam board.

Foam board/mount board spacers are only tricky if you cut them separately. Bond both together before cutting.

Black 5mm foam board is easy to cut for a rebate spacer, or white 3mm foam board with black mount board bonded to it. Make it as deep as your frame will allow.

The “bung” needs to hit the moulding before the hammer pushes up the v nail

Regards density of the “bung” for soft or hard woods, they will probably be different colours
Cassesse is yellow (soft) and green (hard)

JKX wrote: ↑Tue 17 Sep, 2024 9:30 am Which foam board?

What are you using, can you post a link to it?

Which foam board? I used foam board spacers big time and never had this problem. It was always either Nielsen’s Artcare or Larson juhl. I used to use a lot of black foamboard for spacers too, and that would have been a nightmare with your problem. If it’s not the quality of board then maybe it’s bla...

With some underpinners the pressure pad and v nail block move together.

With the CS200 wot I had, there was also automatic pressure sensors, don’t you know The pressure pad would not return until the v nail was in.

Is it a flat moulding? If so then maybe the back v nail is so close to the machine’s fences, that the pressure pad is hitting them. If not then maybe the pressure pad needs to be lower. I agree the back v nail is far too close to the back of the moulding. It seems the v nails are not perfectly centr...

I wouldn’t toss them, I’d put them in my “you never know” drawer!

A lacquered veneer I think

OK, well I can understand how you want to set stops and the margin guide as much as you can, rather than have to eyeball start and end of cuts, and margins. Although it's not really practicable to try and set the stops/margin guide for each and every cut, you can set one and eyeball one for every cu...

You can still get the glass wheel and keencut could have told you https://www.glassparts.co.uk/plastic-wheel-holder-135-deg-white-wire What you won’t get is the twin wheel MDF cutter, but you don’t need MDF, there’s plenty of better stuff that cuts with a Stanley type blade, like Corricor & artb...

Do you own a manual for this and have you ever read it?

This is in there

Did you watch the videos recommended in this post on one of your previous threads?





..

This is covered there!

AR =‘anti reflective as opposed to NR non reflective or AG - anti glare.

Framing terminology eh!

Optically coated and “that nasty acid etched stuff” works for me.

AR also stands for abrasion resistant (acrylic) - so is optically coated abrasion resistant acrylic called ARAR?

WannabeFramer wrote: ↑Thu 05 Sep, 2024 11:34 am

If someone wants UV protection I offer conservation clear or museum, but I don’t keep it in stock.

Do you wait to be asked for it, or suggest it - I mean mostly for the conservation aspect? Con clear (or artglass 99) is cheaper than AR 70, so if you can stock that ......?

.

A POS comparison frame with Standard glass on one side and AR70 on the other, looks no different than one with con clear one side and museum glass the other side. You can see the AR coating working, but you cannot see conservation working. You can also have a black light sample though, where UV ligh...

Both, belt and braces.

Don’t worry about gluing, clamping and then pinning when dry either, unless you’re making the same amount of frames or less per day, than the amount of clamps you have!

................Take the frame. If you ever visit an art museum you'll notice that some of the frames look as if they have been dragged backwards along a road and yet look 'just right' when framing the art. Then there's the familiar problem of dust and flumbs showing underneath the glass. Put the g...

With a mount that skinny you’re probably right as just a couple of mm is enough of a percent to notice, but I think it’s been deliberately cut larger as well. Lateral movement could make it look ‘side weighted’ too. The shadow on the right also makes the left look wider. Rules or guidelines can be i...