Hi all, I need a bit of guidance please. I have a friend who wants me to frame an old (1924) football flyer. It measures, 318mm x 216mm. Its very delicate and is printed on both sides. It also has very little 'margin' and a small chunk missing on one edge so the client wants to see the entire item edge to edge.
Noting like pushing ones self and seems like a perfect job to hone my skill. My friend is relatively relaxed about how I go about it.
Please can I get a steer?
My thought was to maybe sandwich between perspex but not sure how and then not sure if it will stay in place as its very thin paper.
I have yet to dig into my notes about mylar encapsulation but this has a glossy nature that I would like to try an avoid.
Very green in this area so any / all detail really much appreciated.
Thanks in advance
Double sided frame
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Re: Double sided frame
My 10p worth..
I would encapsulate between two sheets of acrylic, taping the edges together with Scotch tape. A combination of the static and pressure should hold the work in place. We have done lots of fine papercuts between glass like this, not recommended but my wife is the customer so what she says goes.
I have seen framers use rare earth magnets to join double sided frames. I believe Tudor Rose posted some pics of a similar job.
I would encapsulate between two sheets of acrylic, taping the edges together with Scotch tape. A combination of the static and pressure should hold the work in place. We have done lots of fine papercuts between glass like this, not recommended but my wife is the customer so what she says goes.
I have seen framers use rare earth magnets to join double sided frames. I believe Tudor Rose posted some pics of a similar job.
Justin George GCF(APF)
Insta: georgetheframer
Insta: georgetheframer
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Re: Double sided frame
Thanks Justin, that was my thought. Similarly my client, a good friend, is pretty relaxed how I go about it, I want to do the best job possible and not cock it up doing something that could ultimately damage the program long term.
I will have a look through Tudor Rose's posts.
If anyone else has any other tips / warnings / experiences I would be grateful for any further tips.
I will have a look through Tudor Rose's posts.
If anyone else has any other tips / warnings / experiences I would be grateful for any further tips.
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Re: Double sided frame
Hi Rafe
Here’s an image of something we did - seeing as much as possible and one torn corner. Customer can see both sides, so glazed front and back, but they didn’t want a double sided frame as it will only ever be hung one way. In the image we put a white board behind which is why you can’t see right through the torn area.
Method we used: 3 layers of museum mount board. Aperture mounts front and back that come slightly over the edges of the paper. I know you said there was a tiny margin on the one you’re doing, so that may work for you too. Middle layer of board is hidden inside and was a thinner board. We straight cut an aperture to place the artwork into, slightly bigger than the paper size. So it’s supported all round. The paper we had to frame was very wrinkled and well handled, and the customer wanted to keep that authentic appearance. I added two mulberry paper hinges for added light support at the top. We then sandwiched that between the other aperture mounts making sure to line them up carefully. Glazed front and back and the glazed package sealed ready to pop in the frame.
Here’s an image of something we did - seeing as much as possible and one torn corner. Customer can see both sides, so glazed front and back, but they didn’t want a double sided frame as it will only ever be hung one way. In the image we put a white board behind which is why you can’t see right through the torn area.
Method we used: 3 layers of museum mount board. Aperture mounts front and back that come slightly over the edges of the paper. I know you said there was a tiny margin on the one you’re doing, so that may work for you too. Middle layer of board is hidden inside and was a thinner board. We straight cut an aperture to place the artwork into, slightly bigger than the paper size. So it’s supported all round. The paper we had to frame was very wrinkled and well handled, and the customer wanted to keep that authentic appearance. I added two mulberry paper hinges for added light support at the top. We then sandwiched that between the other aperture mounts making sure to line them up carefully. Glazed front and back and the glazed package sealed ready to pop in the frame.
Jo Palmer GCF(APF) Adv
Textile, Mount Design & Function & Conservation
Forum Moderator & Framing Educator
www.pictureframingtraining.com
Guild Certified Examiner & Guild Accredited Trainer
Guild Master from May 2019 to May 2022
Textile, Mount Design & Function & Conservation
Forum Moderator & Framing Educator
www.pictureframingtraining.com
Guild Certified Examiner & Guild Accredited Trainer
Guild Master from May 2019 to May 2022
- Tudor Rose
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Re: Double sided frame
The double sided frame bit. Couple of easy ways to do this if you want it to look identical front and back.
1. Create the glazed package and then measure the depth. Choose two frames with a combined rebate depth to take that package. If you use bare woods you can trim them down to the right size and then paint or stain to suit. You then glue them together. Easy enough to do but a real issue if the glass breaks and needs replacing or the image slips etc. So it’s not something we would do on anything other than easily replaceable artwork unless we had another way of removing the glazed package (see image below).
2. Same method of creating the glazed package and getting frames of the right size. Then use rare earth magnets to hold the two frames together. You can add locator pins for added security, but the magnets will do the work quite happily. You can either glue the magnets into place, or you can now buy screw in magnets. Loads of places to buy them online. Make sure to line them up carefully. We do add locator pins most times now. These are bedded into one frame with a corresponding hole on the other and prevent any movement in sheer in case the item is dropped or jarred.
This image is one we did that was stuck together because we created a slot to slide the glazed package into from the bottom. It was a better option as it was standing into the plinth we made for it.
1. Create the glazed package and then measure the depth. Choose two frames with a combined rebate depth to take that package. If you use bare woods you can trim them down to the right size and then paint or stain to suit. You then glue them together. Easy enough to do but a real issue if the glass breaks and needs replacing or the image slips etc. So it’s not something we would do on anything other than easily replaceable artwork unless we had another way of removing the glazed package (see image below).
2. Same method of creating the glazed package and getting frames of the right size. Then use rare earth magnets to hold the two frames together. You can add locator pins for added security, but the magnets will do the work quite happily. You can either glue the magnets into place, or you can now buy screw in magnets. Loads of places to buy them online. Make sure to line them up carefully. We do add locator pins most times now. These are bedded into one frame with a corresponding hole on the other and prevent any movement in sheer in case the item is dropped or jarred.
This image is one we did that was stuck together because we created a slot to slide the glazed package into from the bottom. It was a better option as it was standing into the plinth we made for it.
Jo Palmer GCF(APF) Adv
Textile, Mount Design & Function & Conservation
Forum Moderator & Framing Educator
www.pictureframingtraining.com
Guild Certified Examiner & Guild Accredited Trainer
Guild Master from May 2019 to May 2022
Textile, Mount Design & Function & Conservation
Forum Moderator & Framing Educator
www.pictureframingtraining.com
Guild Certified Examiner & Guild Accredited Trainer
Guild Master from May 2019 to May 2022
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Re: Double sided frame
Thank you Jo for your very generous overview. This has really helped!
- Tudor Rose
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Re: Double sided frame
You're welcome. Sorry the images aren't all the right way up!
Jo Palmer GCF(APF) Adv
Textile, Mount Design & Function & Conservation
Forum Moderator & Framing Educator
www.pictureframingtraining.com
Guild Certified Examiner & Guild Accredited Trainer
Guild Master from May 2019 to May 2022
Textile, Mount Design & Function & Conservation
Forum Moderator & Framing Educator
www.pictureframingtraining.com
Guild Certified Examiner & Guild Accredited Trainer
Guild Master from May 2019 to May 2022
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Re: Double sided frame
Hi All
I've had a good read through the posts but still have a question regarding a double sided frame.
Currently my client's 16th Century leaf from a book is simply sandwiched between 2 pieces of glass. Going forward, I will be upgrading the glass to AR99%. Should the delicate paper go into archival polypropylene first, to protect against micro condensation? Or would the static of the polypropylene potentially damage the surface?
There is a very slim space between the sandwiched pieces of glass (thickness of the delicate paper only) and no back mount etc, so overall there's limited space for micro condensation within the package. I would expect however that this conservation issue isn't entirely eliminated.
If I went with polypropylene, as it appears to be the archival industry standard, does it impart much in the way of gloss through the glass? Good supplier?
Thanks all!
I've had a good read through the posts but still have a question regarding a double sided frame.
Currently my client's 16th Century leaf from a book is simply sandwiched between 2 pieces of glass. Going forward, I will be upgrading the glass to AR99%. Should the delicate paper go into archival polypropylene first, to protect against micro condensation? Or would the static of the polypropylene potentially damage the surface?
There is a very slim space between the sandwiched pieces of glass (thickness of the delicate paper only) and no back mount etc, so overall there's limited space for micro condensation within the package. I would expect however that this conservation issue isn't entirely eliminated.
If I went with polypropylene, as it appears to be the archival industry standard, does it impart much in the way of gloss through the glass? Good supplier?
Thanks all!