| FRAMING SERVICES |
Brooklyn Frame Works provides conservation framing services in our Park Slope studio to
ensure that your artwork is kept safe from any elements that may cause it to degrade, such
as acidity and light.
All materials either in direct contact with artwork or even within the sealed frame itself should
be non-acidic. The glazing, whether traditional glass or plexiglass, is a very important
consideration, as UV damage from light sources account for the most common damage to
artwork.
The museum quality conservation framing techniques and components we use to
preserve the life and value of your artwork are listed below:
• Matboard and other Board Materials
An important part of conservation framing is the use of acid-free matboard and other board
materials. As these materials are in direct contact with art it is of utmost importance that they
be inert or "acid-free." We have a large selection of 100% rag (acid-free, cotton rag
materials) mats, acid-free mats and fabric covered mats. We employ a computerized mat
cutter (CMC) which allows us to quickly and precisely cut mat openings of virtually any shape
or size (stop in to see the full array of possibilities). We also specialize in "french" matting,
wherein colored lines and or panels can be applied to the face of the cut mat. We cut
beautiful 8-ply mats in a variety of neutral tones. Our fabric mats can be ordered with 100%
silk, linen or a variety of colored, synthetic materials.
• Glazing (Glass and Plexiglass)
Another critical component of conservation framing is the proper use of glazing (glass or
plexiglass materials). We offer a variety of glazing products to suit your needs. The use of UV
screening, or conservation glass, is a key element in achieving the best protection for
artwork. Conservation glass will block 99% of art-damaging UV light. UV protection is available
in plexiglass as well as in traditional glass. We also offer both traditional non-glare glass and
non-glare plexiglass. For maximum clarity and conservation we highly recommend AR Glass
(anti-reflective glass -- also known as museum glass). This amazing, nearly invisible glass
product also contains the same 99%UV-blocking properties of conservation glass. We also
replace broken glass in frames and upgrade glass in frames - from regular glass to UV or
museum glass.
• Textiles and Fabric Art: Mounting and Framing
Conservation framing techniques must also be utilized when mounting and framing textiles
and fabrics. We take great care to stitch and sew fabric securely to an acid-free substrate
(backing board). This enables the art to be well supported without comprise to the fibers.
When applicable, the mounted art is then spaced away from the glazing to allow air to
circulate freely. When framing needlepoint work that is too "warped" to be displayed properly
we first "block" the fabric (ie: squarely pinning and stretching the fabric to a rigid board). A
week or so on a blocking board will typically cause the art to conform to a square and
therefore more presentable condition.
• Hinging (Securing) Artwork
Most artwork needs to be secured inside its frame by some means. We utilize conservation
framing components like 100% acid-free tape and materials to hinge (or adhere) artwork.
While many works may be hinged with acid-free, pressure sensitive tape, we also offer
museum hinging. Traditional museum hinging of artwork starts with genuine rice paper.
Careful attention to art weight will determine the weight of the rice paper to be used. The rice
paper is carefully wet-torn as to maximize fiber strength. 100% wheat starch paste is used to
make a bond that is very strong, acid-free and totally reversible.
• Poster, Print and Photo Mounting
The flatness of paper can be an important factor in the presentation of art. Posters and prints
are often mounted to a substrate (board) of usually foamcore or matboard. Dry mounting of
posters or prints is a process by which the art is physically bonded to board material with
either a heat-activated sheet, pressure-sensitive adhesive or even a spray-mount adhesive.
The process is generally considered to be permanent and is not recommended for art that is
considered valuable or irreplaceable. Linen-backing is a wet-mount process that is typically
reserved for vintage posters. It provides a rigid substrate of buffered paper and canvas that
makes it suitable for restoration. Wet mounting is the best way to "relax" wrinkles and fold
lines in paper. This process is considered reversible and therefore more suitable for art that
might otherwise be devalued by dry mounting. Currently, it is an industry accepted standard
for photographs to be dry mounted. For optimum results photos can be mounted to
plexiglass, sintra (PVC) or even aluminum -- all materials allowing for maximum flatness
without any texture transfer. See more on mounting and flatness (downloadable pdf).
• Art on Canvas: Re-stretching
Paintings on canvas require special care and consideration to insure against potential
cracking, undo wear & tear and acid damage. We use only adjustable and keyable custom-
made stretcher bar frames to re-stretch works of art on canvas. This insures that stress upon
the painted surface is greatly reduced. A carefully tightened canvas secured to properly
shaped bar stock is essential in minimizing the art's contact with the potentially acidic wood.
ensure that your artwork is kept safe from any elements that may cause it to degrade, such
as acidity and light.
All materials either in direct contact with artwork or even within the sealed frame itself should
be non-acidic. The glazing, whether traditional glass or plexiglass, is a very important
consideration, as UV damage from light sources account for the most common damage to
artwork.
The museum quality conservation framing techniques and components we use to
preserve the life and value of your artwork are listed below:
• Matboard and other Board Materials
An important part of conservation framing is the use of acid-free matboard and other board
materials. As these materials are in direct contact with art it is of utmost importance that they
be inert or "acid-free." We have a large selection of 100% rag (acid-free, cotton rag
materials) mats, acid-free mats and fabric covered mats. We employ a computerized mat
cutter (CMC) which allows us to quickly and precisely cut mat openings of virtually any shape
or size (stop in to see the full array of possibilities). We also specialize in "french" matting,
wherein colored lines and or panels can be applied to the face of the cut mat. We cut
beautiful 8-ply mats in a variety of neutral tones. Our fabric mats can be ordered with 100%
silk, linen or a variety of colored, synthetic materials.
• Glazing (Glass and Plexiglass)
Another critical component of conservation framing is the proper use of glazing (glass or
plexiglass materials). We offer a variety of glazing products to suit your needs. The use of UV
screening, or conservation glass, is a key element in achieving the best protection for
artwork. Conservation glass will block 99% of art-damaging UV light. UV protection is available
in plexiglass as well as in traditional glass. We also offer both traditional non-glare glass and
non-glare plexiglass. For maximum clarity and conservation we highly recommend AR Glass
(anti-reflective glass -- also known as museum glass). This amazing, nearly invisible glass
product also contains the same 99%UV-blocking properties of conservation glass. We also
replace broken glass in frames and upgrade glass in frames - from regular glass to UV or
museum glass.
• Textiles and Fabric Art: Mounting and Framing
Conservation framing techniques must also be utilized when mounting and framing textiles
and fabrics. We take great care to stitch and sew fabric securely to an acid-free substrate
(backing board). This enables the art to be well supported without comprise to the fibers.
When applicable, the mounted art is then spaced away from the glazing to allow air to
circulate freely. When framing needlepoint work that is too "warped" to be displayed properly
we first "block" the fabric (ie: squarely pinning and stretching the fabric to a rigid board). A
week or so on a blocking board will typically cause the art to conform to a square and
therefore more presentable condition.
• Hinging (Securing) Artwork
Most artwork needs to be secured inside its frame by some means. We utilize conservation
framing components like 100% acid-free tape and materials to hinge (or adhere) artwork.
While many works may be hinged with acid-free, pressure sensitive tape, we also offer
museum hinging. Traditional museum hinging of artwork starts with genuine rice paper.
Careful attention to art weight will determine the weight of the rice paper to be used. The rice
paper is carefully wet-torn as to maximize fiber strength. 100% wheat starch paste is used to
make a bond that is very strong, acid-free and totally reversible.
• Poster, Print and Photo Mounting
The flatness of paper can be an important factor in the presentation of art. Posters and prints
are often mounted to a substrate (board) of usually foamcore or matboard. Dry mounting of
posters or prints is a process by which the art is physically bonded to board material with
either a heat-activated sheet, pressure-sensitive adhesive or even a spray-mount adhesive.
The process is generally considered to be permanent and is not recommended for art that is
considered valuable or irreplaceable. Linen-backing is a wet-mount process that is typically
reserved for vintage posters. It provides a rigid substrate of buffered paper and canvas that
makes it suitable for restoration. Wet mounting is the best way to "relax" wrinkles and fold
lines in paper. This process is considered reversible and therefore more suitable for art that
might otherwise be devalued by dry mounting. Currently, it is an industry accepted standard
for photographs to be dry mounted. For optimum results photos can be mounted to
plexiglass, sintra (PVC) or even aluminum -- all materials allowing for maximum flatness
without any texture transfer. See more on mounting and flatness (downloadable pdf).
• Art on Canvas: Re-stretching
Paintings on canvas require special care and consideration to insure against potential
cracking, undo wear & tear and acid damage. We use only adjustable and keyable custom-
made stretcher bar frames to re-stretch works of art on canvas. This insures that stress upon
the painted surface is greatly reduced. A carefully tightened canvas secured to properly
shaped bar stock is essential in minimizing the art's contact with the potentially acidic wood.
| CONSERVATION FRAMING SERVICES |
STOP BY BROOKLYN FRAME WORKS IN PARK SLOPE BROOKLYN, NY TO FIND OUT MORE ABOUT OUR CUSTOM PICTURE FRAMING SERVICES. COME VISIT US TO SEE OUR FULL ARRAY OF ANTIQUE AND MODERN PRINTS, PHOTO FRAME PRODUCTS, READY-MADES AND FRAMING SUPPLIES OR CONTACT US FOR MORE INFORMATION. (718) 399-6613 INFO@BROOKLYNFRAMEWORKS.COM Copyright Brooklyn Frame Works 2008. All rights reserved. Web Hosting by Yahoo! |
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| To find out how we can help you preserve the life and value of your artwork, call us at 718-399-6613 or visit us today. |
| "Crafting Quality One Frame at a Time" |
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