In at the deep end

strokebloke · Post by **strokebloke** » Fri 18 May, 2012 7:41 pm

When presented with a giclee LE print, on canvas, can someone please suggest the most appropriate method of mounting and framing ?? (to conservation std) Presumably glass will be necessary? Should it be a double or single mount? Should it be stretched over bars or cold mounted onto a suitable substrate? If so, which material is most advisable?

Thanks
Jack

David McCormack · Post by **David McCormack** » Fri 18 May, 2012 11:20 pm

As it’s been printed on canvas I would avoid using single or double windowmounts otherwise you run the risk of losing that canvas feel and it will finish up looking just like a framed print.

I would go for a painted slip and wide frame.

From a conservation point of view stretching has to be better than cold mounting as stretching is reversible. Glass will give better protection and I would use museum glass to cut down the reflections. However, to keep with the canvas feel you could varnish the picture and not bother with glass. Not sure about conservation and varnish though?

The attached photo is not a canvas but an acrylic on board (framed with glass) but it gives you an idea of what I’m on about.

GG09.jpg

Am I really posting on this forum at a quarter past midnight

strokebloke · Post by **strokebloke** » Sat 19 May, 2012 10:43 am

Thank you David, both for the information and the alternatives. And, of course, for the dedication(?) necessary to post on threads at gone midnight

I believe the surface has been sealed - however, I can determine that when I receive it.
So, the slips are to keep the artwork away from the museum glass, I assume. But if glass is not used, then presumably the slips would be unnecessary ?
I will have to do some investigative work at FATG, with regards to the conservation aspect.

Once more, many thanks.
Hope you slept well

Jack

David McCormack · Post by **David McCormack** » Sat 19 May, 2012 1:28 pm

Yes thanks!

Yes the slip keeps the glass away from the artwork but also has an aesthetic purpose as well. Whether you paint your slip or use a pre-finished one, chosen well it can compliment the colours of the artwork without being over the top.

http://theframersforum.com/viewtopic.php?f=11&t=7714

DSCF8894.jpg

Framerpicture · Post by **Framerpicture** » Sat 19 May, 2012 2:23 pm

I would stretch over stretcher bars and frame like an oil- after all, thats what its trying to replicate.
We do also stick this type of print to board but only with the customers consent as this would be difficult to reverse.

If the canvas is varnished there's no need for glass but could be used if the customer likes the idea. If you do use glass I would space from the work as there's a possibility that if any condensation from a damp room gets to the varnish it could stain the work.

strokebloke · Post by **strokebloke** » Sat 19 May, 2012 6:03 pm

Thank you both. I would like to treat this as an oil on canvas, though I probably will use museum glass as it is a giclee.
This is a piece (one of several) which I have bought for myself - to learn how to work with canvas.
I am grateful for the opportunity to access your skills and experience.

I distinctly remember, 6 months ago, thinking 'I'm a bench joiner ~ picture framing shouldn't be a problem.'
Well, it's not a problem; and I'm enjoying it immensely: but there is infinitely more to learn than I had first envisaged

Jack

Roboframer · Post by **Roboframer** » Sat 19 May, 2012 10:32 pm

strokebloke wrote:I would like to treat this as an oil on canvas, though I probably will use museum glass as it is a giclee.

Are you saying you would use Museum glass on a print, but not on an original?

I'd glaze either, given cart blancmange! A case of "what would you rather clean, the artwork ........... and it may come to paying someone to clean it too ..... or a piece of glass"? A bit of a no-brainer IMHO.

strokebloke · Post by **strokebloke** » Sun 20 May, 2012 9:20 am

I'd glaze either, given cart blancmange! A case of "what would you rather clean, the artwork ........... and it may come to paying someone to clean it too ..... or a piece of glass"? A bit of a no-brainer IMHO

I assumed that an original oil on canvas - appropriately varnished - would not be enclosed with glass.
I'm not sure why I assumed this; merely that the few oil paintings I have seen have not been behind glass.
So, I'm not actually 'saying' anything John: though I am obviously displaying my ignorance.

And I can live with being perceived as a bit of a muppet at this stage in the learning process, so long as I'm not still regarded as such in 12 months time, because I haven't learned.

Roboframer · Post by **Roboframer** » Sun 20 May, 2012 11:22 am

Glazing oils is a bit of a new way of thinking, well over here anyway, not many think it's a good idea or of any benefit; some even think that those that would, and/or seal the backs of oils, are mad!

MUUUUAHAHAHAHAHAAAAAAAAA

strokebloke · Post by **strokebloke** » Sun 20 May, 2012 12:19 pm

Ah. Thanks for the info.
Am I correct in thinking that with the new technologies in glass making, putting glass in front of masterpieces is no longer considered detrimental, in terms of uninhibited viewing?
I can certainly see your point, that it's got to be easier to clean glass, than to clean a priceless painting.

Roboframer · Post by **Roboframer** » Sun 20 May, 2012 12:34 pm

Well, even with standard glass the viewing has not ever been considered detrimental to work on paper or fabric. It's just that the belief has always been that stretched oils, or even oils on board, are protected by varnish - the rest by glass. But varnish, apart from offering no UV protection will get dirty and eventually will need removing and replacing ..... if worth it of course. Also we all get frames in for things like mount replacement, re-fitting of slipped artwork etc and in pretty much all cases the glass is minging.

So - if glass, which is easy to keep clean, isn't (generally) kept clean, the chances are most oils on most peoples' walls are dusgustingly filthy!!

Much more here - put the kettle on first - 2 sugars stirred anti-clockwise for me please.

http://thegrumble.com/showthread.php?49 ... as-Artwork

http://thegrumble.com/showthread.php?47 ... -paintings

..

strokebloke · Post by **strokebloke** » Sun 20 May, 2012 1:32 pm

Thank you.
It was suggested to me that you were a source of much knowledge

I'm off to put the kettle on ~ anti-clockwise, you say

JohnMcafee · Post by **JohnMcafee** » Sun 20 May, 2012 1:38 pm

About 20 years ago we re-framed an oil that had been framed and glazed in the thirties. Although it had hung in the smoke filled atmosphere of a pub for most of its life and could barely be seen for the layer of thick brown tar on the glass, when removed, the painting was pristine and vibrant. At the time, standard practice amongst most framers was to leave oils exposed.

This experience taught me two very useful lessons early in my framing career.

Yes, where possible, encourage customers to protect their oils with glazing.

But more importantly, it taught me to question the accepted wisdom and trust my own powers of reason, specially in areas of framing that required a smidgen of scientific understanding.

strokebloke · Post by **strokebloke** » Sun 20 May, 2012 1:55 pm

"A little learning is a dangerous thing"

And a significant volume of small areas of useful learning and experience, amount to a very valuable commodity.

Yes. I can see where you're both coming from.
Thank you.

The tea is made. Grab yours, both Johns

I'm off to Grumble

strokebloke · Post by **strokebloke** » Sun 20 May, 2012 2:26 pm

That Grumble place is fraught with dangers, isn't it?
Not least the two called Prospero & Kev

It's certainly a volatile subject (in the US anyway)

I'm more than happy to lean toward enclosing behind glass ~ unless specifically persuaded otherwise ~ or not, as the case may be

It seems to me that the controlling factor has got to be common-sense

Thanks for the insights - informative, to say the least

The Framers Forum

In at the deep end

In at the deep end

Re: In at the deep end

Re: In at the deep end

Re: In at the deep end

Re: In at the deep end

Re: In at the deep end

Re: In at the deep end

Re: In at the deep end

Re: In at the deep end

Re: In at the deep end

Re: In at the deep end

Re: In at the deep end

Re: In at the deep end

Re: In at the deep end

Re: In at the deep end