Oil Painting
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Oil Painting
Guys,
After a little help again....
I am really quite new to framing, I've had a few lessons now & am quite confident on framing prints & photo's etc, but I still have lots to learn, this is hopefully where you come in....
I've been asked to frame an Oil Painting, listed below are the materials I was going to use, I'm just after confirmation or putting straight on if I'm using the right materials or not....
Moulding
2mm Float Glass
Conservation Mount Board
Ph Netrual Conservation fixing Tape
Art-Bak Conservation Backboard.
Pleasee reply & let me know if this is Satisfactory or I need to change some materials for an oil Painting...
Many Thanks johnny9
After a little help again....
I am really quite new to framing, I've had a few lessons now & am quite confident on framing prints & photo's etc, but I still have lots to learn, this is hopefully where you come in....
I've been asked to frame an Oil Painting, listed below are the materials I was going to use, I'm just after confirmation or putting straight on if I'm using the right materials or not....
Moulding
2mm Float Glass
Conservation Mount Board
Ph Netrual Conservation fixing Tape
Art-Bak Conservation Backboard.
Pleasee reply & let me know if this is Satisfactory or I need to change some materials for an oil Painting...
Many Thanks johnny9
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Hi Johnny!
If the customer is the artist, and an oil is being framed, it is always worth asking how long it has been finished (oils need time to dry properly before they are framed). Time to dry may vary, based on the thickness of the paint, and also the type of oil paints used. Also it is worth checking with the artist that the work has, in fact, been varnished. I find it not uncommon for hobby artists who are learning to paint not to realise that their work should be varnished prior to framing.
If the customer who has brought the oil in for framing is not the artist, and is not sure of how long the piece has been painted, it's worth checking to see if the artist has put the finish date on the work (either beside their signature, or sometimes on the back of the work).
Fwiw, normally it's not necessary to glaze the frame for an oil painting, or indeed for an acrylic, because they are usually varnished. The varnish therefore, protects the painted surface in the way that glass protects a mounted print, for example.Alzibiff wrote:Oil painting.... Normally not glazed...
If the customer is the artist, and an oil is being framed, it is always worth asking how long it has been finished (oils need time to dry properly before they are framed). Time to dry may vary, based on the thickness of the paint, and also the type of oil paints used. Also it is worth checking with the artist that the work has, in fact, been varnished. I find it not uncommon for hobby artists who are learning to paint not to realise that their work should be varnished prior to framing.
If the customer who has brought the oil in for framing is not the artist, and is not sure of how long the piece has been painted, it's worth checking to see if the artist has put the finish date on the work (either beside their signature, or sometimes on the back of the work).
........Áine JGF SGF FTB
.Briseann an dúchas trí shuiligh an chuit.
.Briseann an dúchas trí shuiligh an chuit.
This can happen on giclees on canvas that have been varnished and/or hand embellished.fineedge wrote:No matter what the ground is - paper, board canvas etc - I think the paint gives off an oily fume for a long time after it is thought to be dry and this then sits as a fatty residue or haze on the inside of the glass which then interferes with the integrity of the artwork
It can and does happen on fabrics and it can and does happen on stuff that you have framed with wet adhesive still not fully gone off - like PVA on slips.
If it's on paper, varnished or not, it should have glass IMHO - and it could have whatever it's on. Not that Johnny will want to go there.
Think about it - (They have in the States) OK - it's varnished - but you can't just rub a damp cloth over it can you!
Basic cleaning even is not for the daily (OK weekly) housework - not even spring cleaning - look at the reframing jobs you get - you'd rather trash the glass than try and clean it it's so minging - well that ming is on the varnish of an oil - and there are nooks and crannies where there is even more accumulated ming!
Now we are talking about the services of a restorer - or maybe a clever framer.
Take it a few stages further and we are indeed talking restoration - as in removal and replacemenmt of varnish.
Why not glaze oils? Seal them in too?
OK - you may get some outgassing - will it affect the oil - or just the glass, which can be removed, wiped and replaced.
"Oh - but glass will spoil the ........"
Museum glass won't missus!
Done quite a few.
Anyway - back to this oil in hand - what's it like then?
Roboframer wrote: This can happen on giclees on canvas and 'canvas board' that have been varnished and/or hand embellished.
It can and does happen on fabrics and it can and does happen on stuff that you have framed with wet adhesive still not fully gone off - like PVA on slips.
If it's on paper, varnished or not, it should have glass IMHO - and it could have whatever it's on. Not that Johnny will want to go there.
Think about it - (They have in the States) OK - it's varnished - but you can't just rub a damp cloth over it can you!
Basic cleaning even is not for the daily (OK weekly) housework - not even spring cleaning - look at the reframing jobs you get - you'd rather trash the glass than try and clean it it's so minging - well that ming is on the varnish of an oil - and there are nooks and crannies where there is even more accumulated ming!
Now we are talking about the services of a restorer - or maybe a clever framer.
Take it a few stages further and we are indeed talking restoration - as in removal and replacemenmt of varnish.
Why not glaze oils? Seal them in too?
OK - you may get some outgassing - will it affect the oil - or just the glass, which can be removed, wiped and replaced.
"Oh - but glass will spoil the ........"
Museum glass won't missus!
Done quite a few.
Anyway - back to this oil in hand - what's it like then?
To my mind, it is the artist's job to do the varnishing. Never varnish a painting without the artist's permission. I will do it if asked, but idealy the painting should be at least six months old. If you varnish too soon the varnish will bond permanently with the paint and can never be stripped off.
Oils dry by chemical reaction. They keep on 'drying' for about 100 years.
This is also why they need to breathe, so glass is not desirable. The only time I would glaze an oil is if it were on paper. Works like this tend to be preiminary sketches and the like.
Generally oils are easier to frame as just have to make a frame and wack it in. No glass/mounts/etc. But there are few a points to be considered. If the painting is on stretcher bars (most are) then the edges can be less than neat so you have to work out exactly where the visible area starts. Some artist-stretched canvases can be waaaay out of square.
The chosen moulding will need a wider lip on the rebate then for glazed pics. Stretched canvases need plenty of elbow room. They should never fit
too snugly in the frame. Canvases can go slack with time and a biggish one can grow a lot if you have to tap the wedges in a bit to restore the tension. They should be only tight enough so that they don't flap about. The term 'stretching' is misleading. You want to avoid stretching.
A fav method of fixing the canvas into the frame are 'Z' clips which are flexible coppery strips with a sharp point on each end. Personally I would never use them. OK, they do the job but they a PITA and I don't like the idea of hammering into the stretcher. I often see canvases nailed into a frame which is even worse. I like to use spring clips screwed into the frame. They are very strong and the painting can easily be removed.
I also dislike the practice of 'sealing' the back of framed oils with tape. It serves no useful purpose and is a pain to remove. Sometimes I am asked to add a backing board to an oil. This isn't as silly as it sounds as oils are vunerable to prods and such. Corrugated board is OK, but do cut a few ventilation holes in it.
Oils dry by chemical reaction. They keep on 'drying' for about 100 years.
This is also why they need to breathe, so glass is not desirable. The only time I would glaze an oil is if it were on paper. Works like this tend to be preiminary sketches and the like.
Generally oils are easier to frame as just have to make a frame and wack it in. No glass/mounts/etc. But there are few a points to be considered. If the painting is on stretcher bars (most are) then the edges can be less than neat so you have to work out exactly where the visible area starts. Some artist-stretched canvases can be waaaay out of square.
The chosen moulding will need a wider lip on the rebate then for glazed pics. Stretched canvases need plenty of elbow room. They should never fit
too snugly in the frame. Canvases can go slack with time and a biggish one can grow a lot if you have to tap the wedges in a bit to restore the tension. They should be only tight enough so that they don't flap about. The term 'stretching' is misleading. You want to avoid stretching.
A fav method of fixing the canvas into the frame are 'Z' clips which are flexible coppery strips with a sharp point on each end. Personally I would never use them. OK, they do the job but they a PITA and I don't like the idea of hammering into the stretcher. I often see canvases nailed into a frame which is even worse. I like to use spring clips screwed into the frame. They are very strong and the painting can easily be removed.
I also dislike the practice of 'sealing' the back of framed oils with tape. It serves no useful purpose and is a pain to remove. Sometimes I am asked to add a backing board to an oil. This isn't as silly as it sounds as oils are vunerable to prods and such. Corrugated board is OK, but do cut a few ventilation holes in it.
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I have glazed the occasional oil on canvas, but for very particular reasons:
First occasion was under protest, where an artist was having an exhibition and insisted on putting work into the show that had only been painted in the last couple of weeks, including a couple of works with very heavy impasto... (I hasten to add that the exhibition was not held at my premises: I don't think he was being very considerate toward his customers. For right or wrong, I would not have felt comfortable offering paintings for sale in that condition). I elected to glaze them, because at least it would stop people from sticking their fingers into the wet paint while they were on show.
Second occasion was on a damaged L S Lowry original - it was torn in a couple of places, and ready to go the same way in a couple of others. (Customer elected not to send the piece to a conservator, by the way.)
On both occasions I used a scoop on the stretched canvasses, glass on top of the scoop and a cap moulding to hold the glass in place.
Could I have adopted better methods, given the above circumstances?
First occasion was under protest, where an artist was having an exhibition and insisted on putting work into the show that had only been painted in the last couple of weeks, including a couple of works with very heavy impasto... (I hasten to add that the exhibition was not held at my premises: I don't think he was being very considerate toward his customers. For right or wrong, I would not have felt comfortable offering paintings for sale in that condition). I elected to glaze them, because at least it would stop people from sticking their fingers into the wet paint while they were on show.
Second occasion was on a damaged L S Lowry original - it was torn in a couple of places, and ready to go the same way in a couple of others. (Customer elected not to send the piece to a conservator, by the way.)
On both occasions I used a scoop on the stretched canvasses, glass on top of the scoop and a cap moulding to hold the glass in place.
Could I have adopted better methods, given the above circumstances?
........Áine JGF SGF FTB
.Briseann an dúchas trí shuiligh an chuit.
.Briseann an dúchas trí shuiligh an chuit.
Re: Oil Painting
Do you intend to put a mount on the oil painting?Johnny9 wrote: 2mm Float Glass
Conservation Mount Board
Ph Netrual Conservation fixing Tape
Art-Bak Conservation Backboard.
Paul Hardy
www.sudbury-picture-frames.co.uk