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Yet two more Xstitches in today. Completed some 5 years ago.
The top picture shows the back of both pieces of work.
The bottom picture is a close up.
Please note how the acid shows on the paper masking tape. This has already started to make its way onto the Aida material. The masking has also lost its 'grab' and has gone very brittle. The only thing that is holding the work in place is an undermount then greyboard as the backing board.
What cannot be seen is the bevel on the mount. Trust me, it is just as yellow as the tape. The framer has used standard core mountboard.
This work was completed by a 'High street' framer who says he specialises in needlework framing. ??????????????
Whilst there is no monetary value in the work, there is - believe it or not - great sentimental value.
Remember. Always lace the material. Never - Never use tapes or glues, because this is what will happen.
Hi FN
Welcome to the forum. The more observations that are made on this site the better.
The customer didnt mention whether she asked for conservation framing, but she did say that it certainly was not done at budget level and did cost quite a bit.
All I am trying to do by posting these pictures, is to show what can go wrong when the wrong materials are used. Whether it is conservation or not. As framers we have a duty of care over the customers goods and everything we do must be fully reversible where ever possible. That becomes a bit difficult with dry mounting, but at least I hope that would have been explained to the customers at the POS.
Even 5 years ago, when these pieces were completed, it was common knowledge about the amount of acid and eventual loss of adhesion in both masking tape and cellotape.
The 'High Street' framer is still in business and still producing work at this standard. I know. I do the re-works!!!
I wish now I had taken photos of the 14 pieces I had in just before Xmas, they were actually worse than this. As folk know this is one of my main pet moans......how any framer (whether retired or still in business) can use tapes, glue, staples, even a tag gun, (some will use a tag gun, its personally not my choice) etc. on someones elses hard work, such as X stitch, tapestry, etc. is beyond me? Why cant they do the job correctly. Lacing the job correctly doesnt take that long and pays dividends for your reputation, BUT, especially the care and protection offered to the piece of fabric art is second to none, and thats what frraing is all about, isnt it? Care and Protection
I know some will say that there are maybe 2 or more reasons why they dont, one being, 'the work isnt valuable' and the second being 'time constraints'.........so what? For goodness sake do the job you are being paid to do.....you are being paid to take the 'utmost care' of someone's work. There is a third one that some will bring up and that is 'price'.....do the job correctly....My advice.....give a little discount on the moulding / glass / MDF...not the method.
To answer FN's question........For this job, it really doesnt matter whether the customer asked for a conservation job or not.........any framer should know...You DO NOT use tapes or glue or staples, etc. on any fabric art framing.
Steven
Someone Once Said 'Knowledge Is Power'
Down School of Picture Framing http://www.downschoolofpictureframing.co.uk
Ireland's Only Accredited Training School GCF Examination Centre Accredited Valiani Demonstration / Training Centre
Thank you gentlemen, for acknowledging my comment.
I seem to recall though that The Fine Art Trade Guild defined five levels of framing. Has that now been abandoned? Is it just the one level now?
Or have I entirely misunderstood what you guys are saying, and what you are describing is just the basic level, and there are four more levels above that.
Phew!! All these years of believing that it was just four sticks of wood and a bit of glass, the next thing you'll be telling me is that I need to be certified.
Hi FN
Hey we always acknowledge and welcome comments.
You are right the FATG indeed has recommended Five levels of Framing.
In my opinion for Xstitch work, the base should be the conservation level.
At Budget level
Objective is: To provide a visually acceptable frame at budget price. No pretence is made to protect the artwork or its long-term appearance.
Suitable for: Replaceable artwork of no commercial or sentimental value.
Fabric may be stuck down or stapled.
I would not place any Xstitch in this category atall. The majority have taken quite a few hours and some expense to complete and the majority will be of sentimental value in the years ahead.
At Commended level:
Objective is: .. to offer moderate level of protection from airborne pollution and acid damage for around five years in normal conditions.
Suitable for: ....moderate sentimental value and where visual appearance is important. Preferably processes should be reversible.
Fabric. It is not acceptable for fabric to be stapled or to use any other process which may damage the fabric. It should be laced or similarly reversible.......
For some this might be acceptable. I do not like the 'around five years' bit. I also consider some Xstitch as not washable - some dyes do run. so for me this level is not used.
Yes, basically it is only four bits of wood, some glass and a backing board.
Yet as my illustrated postings show only too well. It is what is hidden between the glass and backing board - something that the customer does not ever see unless something goes wrong and then it may just be too late to recover - that shows just how professional and caring you as the framer can be.
ALL fabric based art, should be Conservation framed, and that is using both the correct methods and materials. There should be no compromise here.
I would also go as far now as to say....that due to the mountboard manufacturers having set standards of their materials, there is not much work to be done less than Conservation standard. Not too many 'standard' boards floating around these days.
Steven
Someone Once Said 'Knowledge Is Power'
Down School of Picture Framing http://www.downschoolofpictureframing.co.uk
Ireland's Only Accredited Training School GCF Examination Centre Accredited Valiani Demonstration / Training Centre
Steven
I think you will find that the majority of boards floating around out there are "standard" - unless ive misunderstood the definitions.
I personally dont think the average customer understands the term conservation when used to describe the materials used to make their frame. I am also convinced that many customers see any "extra" charge as a rip off. by extra charge i mean stretching, padding or adding a spacer to the frame.
Taking into account that many mount boards have come down in price i do think that its a good time to restock with conservation grade mountboard - but thats a decision i have made to improve the standard of work i produce.
I do lots of textiles and like you regard the time taken to create the work defines it as worthy of special care, its also significant that many old textiles fetch good money despite having often been the handy work of children. I often have to be very persuasive to sell the "conservation content" with customers comparing my service to others who i know give a very basic carpet tape standard, the fact that i often get the work i know must mean that i have made my point but i do find it frustrating.
I get back to the old chestnut - how do we as an industry educate our customers - and i dont mean me as an individual selling my service - i want the people that sell the kits to advise - the magazines - the societes. That would be a job for the FATG - standards set - get out there and sell it - we might then have an educated public demanding a higher standard from all framers.
Firstly it's nice to have another girly on the forum, so welcome Norah! Look forward to your comments.
I firmly believe that we need to show that we are professionals and will do a job to a high standard using the correct materials for the job. But we also need to educate the general public of this fact.
The general public have no notion of conservation framing, or any of the other finer details, and it has been my experience that they don't care. What they care about is the cost.
I will never be able to fathom a recent bride and groom who spent £600 on 3 wedding photos (enlarged copies) and then choked when I quoted them a very reasonable price to frame them. They had gone to the trouble to get 3 beautiful copies of their special day and all they wanted was a "cheap wee photo frame". If that's what peple want that's what they are going to get.
Gone off the thread a bit here, but.....In my workshop I use Arqadia boards, have done for many, many years, and since last year, they not only dont supply standard boards, they dont manufacture standard boards, so I dont have any in stock to use, so no standard boards floating about in my workshop. They do of course make and supply 'white core boards', again which I dont stock as a rule (unless a customer specifically wants a colour, that I have been unable to talk them out of...it happens from time to time), but 99 times out of a 100, using my sales skills and knowledge of colour co-ordination, we dont use white core boards. There are 2 very popular white core colours that havent passed the bleed test as yet, such as Vermillion and Black, but we get round that by using Artique boards (Miro and Raven) made by Larson & Juhl, so 99.9% of our mounting is done using Conservation boards, like I said the odd one slips through. This means, even the most basic of framing, for example, school photo oor certificate gets a conservation board, thats is our choice...no one elses. Our choice of boards are: Conservation, Solid Core, Artique and Museum Cotton Core
As for customers not knowing what conservation is, I agree with that, and that is not the fault of the Guild, or any other organisation, in the main its our fault, but one thing I do guarantee is that by the time a customer leaves my workshop, they do understand then principals and are grateful that either my wife or I have taken the time to explain. Personally I dont find it hard of having to be persuasive, the facts and bad examples of work speak for themselves.
I agree that the Guild could be doing a lot more to educate the general public, wiith regard standards, etc., but I do sympathise with them....for instance..where would they advertise? Do they do it locally, nationally, or wherever? For those that do know me personally, they will know that for years, and I mean years, I have been constantly writing to, emailing, bringing up at committee level, etc. the need for a consumer awareness campaign, but even I know this is a major undertake, and takes planning and stratedgy. I mean, it cannot be done on a local level, for example: Dorset gets the ad campaign, the rest of the Uk and us over here dont benefit , so everyone else complains, if London were to get one, goodness knows what the out cry would be, god forbid that were to happen. So the Guold are between a rock and a hard place, to do this properly where it benefits everyone will take an awful lot of planning and execution...
In the meantime (back at the ranch)..whats to ail us doing someting for ourselves, I do, and I dont get the Guild's permission either, nor do I even tell them. I have learned not to be complacent and to rely on someting that I know will happen eventually, but like I said..in the meantime..........I do A5 flyers on a regualr basis, get them posted through doors and hope for the best, as any professional ad campiagn would be doing the same. I dont sit on my laurels, I do something about it...maybe thats just me....I dont know. But again one thing I can gaurantee is that the 6000 odd postal addresses in my immediate catchment area...all know about me, the framing standards and the standards I frame to, what they do with the flyer....well thats their problem...but how many actually read them.......quite a few. Here is a wee snippet for you to ponder...what do you do with junk mail / flyers and newspaper adverts???? Do you advertise in newspapers, magazine? Be truthful.
I would say that 90% of framers have a computer and printer or at least have access to one, it doesnt take long to design an A5 flyer, put the relevant information on it that you wnat to convey and either pay for them to be distributed (damned expensive) or get off your backside and go for a walk, or do what I do...get my nephew and his posse...pay them burger, chips and a coke (per day)...and get 6000 flyers out over the period of a boring Easter holiday. Or target new developments, porperty developers, anyone with a house and bare walls.If 1 in every 10, even 1 in every 20, read the flyer and came in, what would that do for your turnover?
I agree that those people that make X sticth kits, etc. should set better examples to their customers, but business is business, it would only put their prices up...probably. Again, the Guild could get invloved by asking (cannot force..I dont think) the manufactures to put a section on the instructions about framing methods and standards. (I will write to the Guild on this and see how it sits, wouldnt so you any harm doing so either) As a member of the Framers Committee, you are more than welcome to address it to my email. I will see it passed on to the chair of the Framers Committee for the next meeting.
Getting back for one moment to advertising, etc. I would like to give you one example (without giving out too much info as its still planning) of a situation that has been brought to my attention, and one that could change the face of GCF recognition in Northern Ireland.
Again, for those that know me and have spoken to me, know that I personally have for a long time now been working on a campaign to advertsie the fact that GCF exists, what it stands for and why you should choose a GCF framer. I invited all 40 GCF's in Northern Ireland to a meeting on 15th March 2005, to reveal this and how many replied? Well, more than I anticiapted to be honest, 19, and 3 form Eire (so far, its like every meeting, all last minute I suppose), so I am expecting 25-30 GCF's to turn up. So thats almost half of the GCF's wanting to see their qualification get the recognition it deserves. I am almost scared to ask why the others havent bothered answering as yet, or to why a few have said a resounding NO. I would like to reiterate to those that received letters, that this has nothing to do with the Guild, it is soley a GCF project and the promotion of.
But what will happen is, whatever GCF's dont turn up, cant be bothered, whatever and get involved will enevitably benefit, as its being done for all GCF's in the country, its just a shame that the few have to do all the donkey work for others to benefit.
Steven
Look no preaching............
Someone Once Said 'Knowledge Is Power'
Down School of Picture Framing http://www.downschoolofpictureframing.co.uk
Ireland's Only Accredited Training School GCF Examination Centre Accredited Valiani Demonstration / Training Centre
I found this on a Cross stitch web site not specifically my views but an indicator on what a Customer may expect from a framer .
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Not all needlework needs to be framed like a picture. Needlework can be found on pillows, linens, clothing, box lids, jewellery, light switch plates, and so on.
While you may not think the twenty little holiday ornaments you finished late last night have great value, this is not your decision to make. Fifty years from now, they may be someone's pride and joy. And you don't want to be the person who messes up someone's priceless collection of early twenty-first century needlework, do you?
If you are going to frame your project, here are some suggestions. They are very conservative and cautious. It seems safest to list many things that a stitcher might want to know. You are then free to use or ignore whatever you choose. If you take your work to a shop to get it framed, ask the people there if they do conservation framing. Make sure they are aware of the following issues.
Don't do anything which cannot be undone several years later.
Avoid anything which cause the project to have long term exposure to chemicals, metal or acid.
Cut any selvage edge before framing.
Zig-zag each edge, or stitch unbleached muslin to each edge.
Use acid free foam core or acid-free white mat board as a backing. These are available in framing stores, art supply stores and office supply stores. Have it cut at the store, or use an X-acto knife at home. Make it 1/8 inch smaller than the frame you will be using. Avoid normal cardboard and paper, as they have high acid contents. The acid can damage fabric over time. Do not use sticky board. The chemicals can damage your fabric, and the glue can provide lunch for bugs.
Centre the piece on the backing. Fold the extra fabric to the back and tuck in the corners. The fabric on the front should be taut but not stretched. You may want to use straight pins pushed into the edge of the backing to temporarily hold the fabric in place. Use unwaxed dental floss, quilting thread or some other strong thread to lace the fabric to the backing. Lace the long edges first, sewing from the left to the right and back to the left, somewhat like lacing a shoe with only one end of the shoe lace. Keep the stitches about an inch apart. Make sure the thread is evenly tight. Repeat the lacing for the short edges. Remove the pins, as even rust-free pins may rust over time.
If you use matboard, make sure it is acid-free rag matboard. Consider using acid-free rag matboard even for double and triple matted pieces, where not all of the matboard is touching the fabric. The regular matboard ages much faster, and it releases fumes.
Should you use glass? As with everything else, it's up to you. On the one hand, glass can protect against dust and pollution. On the other hand, it may trap moisture and cause mildew. If you use glass, make sure it does not touch the needlework. Spacers or matboard are good for this. Regular glass is O.K. Standard non-glare glass is bad, as it actually lets more ultraviolet light in, and may release chemicals. Conservation glass or UV glass is very good, but expensive. Figure out how much the project is worth to you, and be willing to pay accordingly.
Figure out how much the project is worth to you, and be willing to pay accordingly.
Absolutely the best advice a customer can be given, however the message is rendered meaningless by many well-meaning framers who have the notion that they must not apply a realistic rate when framing needlework to the highest level.
The argument for framing needlework to only the highest standard can surely be equally applied to everything we frame.
Standard non-glare glass is bad, as it actually lets more ultraviolet light in, and may release chemicals.
Thats a new one on me - how does that happen then. as normal glass theoretically filters no uv - then standard diffused non reflective glass cant be any worse - and where do the chemicals come from? I would make the comment that its a common misconception that non reflective glass acts as a filter and i have had many customers ask for it on that basis.
My understanding is that all glass filters UV light.
UV glass is optomised to filter out a tad more UV light than standard glass.
I believe there was some concern regarding a residue from the chemical process which etches the NG glass, rendering it a bit dodgy for conservation purposes.
UV Blocking qualities normal glazing (glass or acrylic) glass (soda-lime float glass), in thicknesses
normally used for picture framing (2.0 – 3.0 mm) blocks about 40 percent of the UV light in the 300 to 400 nm
range. Acrylic, in the same thicknesses, blocks about 66 percent of the UV. To be consided to have UV blocking
qualities the percentage must be increased above these base amounts.
5.02 Anti-reflective qualities normal glazing (glass or acrylic) glass (soda-lime float glass), in thicknesses
normally used for picture framing (2.0 – 3.0 mm) reflects about 8% of visible light and, transmit from 89 to 92%.
To be consided to have Anti-reflective qualities the percentage must be reduced below these base amounts.
Ive just finished a number of pictures glazed with Denglass Waterwhite - the results are stunning and i find that once I have persuaded customers to use it - they dont want anything else.
% UV Blocking +/- 2%
Clear Uncoated Glass 45.0%
Denglas 53.0%
Water White Denglas 30.0%
UV Denglas 90.0%
I am very concerned about the UV blocking qualities of the Water White. It seems that its appeal is purely cosmetic, and that its UV protective qualities are actually significantly less than standard glass.
interesting - it would seem that waterwhite is less protective - do we glaze to add an element of Uv protection ? my answer would be that i recomend Uv filter glass when uv protection is needed - i recomend waterwhite when the customers says that reflections are a problem. I would say that 10 - 15 % loss of uv filter is worth the gain in clarity - normal glass is filtering because of the colour element in the glass ( there i go again - i think thats why it has more power to filter). side by side if you frame one pic in normal and one in denglass waterwhite the difference is startling - i wouldnt regard that purity of image as cosmetic.
By all means be aware of conservation issues, and promote conservation standards when appropriate, but do so with a bit of tact and always let the customer make the ultimate decision.
Whilst I agree with you on this.
I always put my name to my work, and no way am I putting my name to shoddy or sub-standard workmanship. I explain this to the customer and if he/she decides to go elseware then so be it. My good name is paramount. Good word of mouth is the best and cheapest form advertising going.
Mick
Regular glass will filter out about 60% of the UV light. Non-glare, also known as reflection control, will diffuse reflections but does notgive any more UV protective qualities to the glass.
Conservation glass filters out 97% of the harmful UV portion of the spectrum. Conservation glass is also available in different "flavors." Non-glare conservation glass is simply conservation glass etched on side. Then there's museum glass, or anti-reflective, which is coated with the same sort of coating used on eyeglasses and camera lenses to dramatically reduce reflections without loss of clarity associated with non-glare.
I think the whole myth about non-glare giving off fumes or something like that comes from the fact that it is etched with acid, and some people worried that residual acid left behind could cause harm to the artwork. Rubbish, to borrow one of your words. The glass is washed multiple times with solutions to neutralize the acid and then washed again.
There was also once a myth that the etching process would create thousand of tiny lense-shaped puts in the glass which would concentrate light like magnifying glasses an burn the artwork. Again, rubbish.
