Hi all,
I'm just about to order some new Artcare products. I would be very grateful for recommendations about the most useful colours to stock for the following:
- extra-thick mountboard (a good soft white, not too yellow, not too pink)
- most frequently-used colours for Bevel Accents.
Also, does anyone use the Colour Core mounts? How do you find them?
Artcare Colour Recommendations
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Moglet
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Artcare Colour Recommendations
........Áine JGF SGF FTB
.Briseann an dúchas trí shuiligh an chuit.
.Briseann an dúchas trí shuiligh an chuit.
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Roboframer
Tend not to use the ultra thicks - can't be buttocked to calibrate and recalibrate - if the CMC comes off it'll be more of a go-er. But I'd say Igloo and Matte white anyway.
Tend to jump from 4 ply to bevelled accents - best sellers, in order are ...
1. Silken White
2. Silken White
3. Silken White
4. Silken White
5. Photo white
6. Malacca
7. Snowflake
8. Denim Blue
9. The red/gold mottled one I can't remember the name of.
10. Tartan (I think) green
Although they are made to match colours in the range - surface papers are identical - problem is, when matching the dark colours - you get a white bevel between mount and bevellled accent - so they only really look the biz with a neutral mount. Unless you use a slip/fillet/wreltney witha reversed bevel on the mount (should do anyway) and then the bevelled accent - that really looks the biz!
Colour core mounts? Use them all the time - especially the off whites - snowflake (on black or blue) matte white, talc, sea mist - great with a double (neutral) mount with the black core as the top mount.
Not much action with the darker shades - or grey and green cores - just the blue and black cores with light surface papers - contrast. Almost zilch with that range with the cream core that looks like standard mountboard - great idea though - looks cheap - offers best protection!
Only problem with the colour cores is multiple orgasm mounts - you can't see a pencil line - I have to use a weird silver pen that we sell on the craft side ............. and a head torch!
Tend to jump from 4 ply to bevelled accents - best sellers, in order are ...
1. Silken White
2. Silken White
3. Silken White
4. Silken White
5. Photo white
6. Malacca
7. Snowflake
8. Denim Blue
9. The red/gold mottled one I can't remember the name of.
10. Tartan (I think) green
Although they are made to match colours in the range - surface papers are identical - problem is, when matching the dark colours - you get a white bevel between mount and bevellled accent - so they only really look the biz with a neutral mount. Unless you use a slip/fillet/wreltney witha reversed bevel on the mount (should do anyway) and then the bevelled accent - that really looks the biz!
Colour core mounts? Use them all the time - especially the off whites - snowflake (on black or blue) matte white, talc, sea mist - great with a double (neutral) mount with the black core as the top mount.
Not much action with the darker shades - or grey and green cores - just the blue and black cores with light surface papers - contrast. Almost zilch with that range with the cream core that looks like standard mountboard - great idea though - looks cheap - offers best protection!
Only problem with the colour cores is multiple orgasm mounts - you can't see a pencil line - I have to use a weird silver pen that we sell on the craft side ............. and a head torch!
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Roboframer
Ah - now that's a thing - yes; with varying degrees of success!
Artcare doesn't like it's core being painted - what works for - say Arqadia - cut through remove-able magic tape - colour bevel - remove tape - does not always work with artcare - it bleeds more.
If you use a nice thick creamy mixture of acrylic you'll probably be Ok though - frankly I can't be 'arrised - the continuation will never be perfect anyway - I'd much rather fabric wrap for that effect - then you can do double, triple, whatever mounts, varying thickness, whatever - no breaks - stair carpet.
Bevelled accents are for convenience - and bloody expensive - you pay for convenience - a better look can be achieved for not much more, if any.
Artcare doesn't like it's core being painted - what works for - say Arqadia - cut through remove-able magic tape - colour bevel - remove tape - does not always work with artcare - it bleeds more.
If you use a nice thick creamy mixture of acrylic you'll probably be Ok though - frankly I can't be 'arrised - the continuation will never be perfect anyway - I'd much rather fabric wrap for that effect - then you can do double, triple, whatever mounts, varying thickness, whatever - no breaks - stair carpet.
Bevelled accents are for convenience - and bloody expensive - you pay for convenience - a better look can be achieved for not much more, if any.
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Moglet
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Now, there's a topic.Roboframer wrote:I'd much rather fabric wrap for that effect ...
Can you recommend a book on fabric wrapping, John? I read about it all the time on The Grumble, and I'd love to learn more! Also, how does the use of fabrics in a frame package affect it from a conservation perspective?
........Áine JGF SGF FTB
.Briseann an dúchas trí shuiligh an chuit.
.Briseann an dúchas trí shuiligh an chuit.-
Roboframer
No - cannot recommend a book - but I've done Baer Charlton's class (and have his DVD - wanna loan of it?)
As for preservation - depends dunnit - another well debated subject on TFG.
If using artcare - well its properties are pretty much written off - if using A.N. Other archival board it depends on what you are using to wrap - linen is good - so is any cotton. Suedettes, velvets etc - all in varying degrees of quality regards bleeding etc etc - bit of a minefield really - then there is the question of what you use to stick the fabric in place.
I'd say, if in doubt, apply the same principles that apply to fillips!
As for preservation - depends dunnit - another well debated subject on TFG.
If using artcare - well its properties are pretty much written off - if using A.N. Other archival board it depends on what you are using to wrap - linen is good - so is any cotton. Suedettes, velvets etc - all in varying degrees of quality regards bleeding etc etc - bit of a minefield really - then there is the question of what you use to stick the fabric in place.
I'd say, if in doubt, apply the same principles that apply to fillips!
I used to do a few silk covered mounts. Particularly effective if you get the silk with waaaavy patterns on it (there is a name for it but I can't remember). I would cut the mount then dri-mount the silk onto the mount. (film not tissue). If you place the dropout of the mount on top it will mould and stretch around the bevel. (takes a bit of jiggling) When done, make cuts in the unstuck area in the mount window and fold the edges under. Few seconds back in the press to fix them. A suitable undermount will solve any conservation issues.
Thicker fabrics are harder to get neat. You can do some good 'faux' effects by sponging a mount with diluted acrylic. A medium olivey-green (Ingres paper best) stippled with a mucky browny-green paint looks exactly like old faded velvet when under glass. (Do the bevel as well) Very quick to do and no loose hairs. Dark red stippled with black is also good. Great for samplers.
Thicker fabrics are harder to get neat. You can do some good 'faux' effects by sponging a mount with diluted acrylic. A medium olivey-green (Ingres paper best) stippled with a mucky browny-green paint looks exactly like old faded velvet when under glass. (Do the bevel as well) Very quick to do and no loose hairs. Dark red stippled with black is also good. Great for samplers.
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Moglet
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Ooh... pretty please!Roboframer wrote:No - cannot recommend a book - but I've done Baer Charlton's class (and have his DVD - wanna loan of it?)
Know the stuff you mean, Prospero. My first thought was "shot silk," but that's the stuff that changes colour depending on the viewing angle.Prospero wrote:...the silk with waaaavy patterns on it ...
I have some display suede in the workshop, so I'm going to give your "hot press" method a whirl. As always, my sincere appreciation to ye for the help and advice.
........Áine JGF SGF FTB
.Briseann an dúchas trí shuiligh an chuit.
.Briseann an dúchas trí shuiligh an chuit.-
Not your average framer
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Hi Áine,
Extra thick mountboard.
I only have a very small stock as it's not often an item we find easy to sell. I don't know why as it always looks great. I have some snow white by daler and a couple of other colours probably by neilsen bainbridge. Can't remember the colours.
Bevel accents.
Always make my own as a set of bevel accents samples cost £50. Since Robo suggested peeling to surface papers off mountboard, I've been doing that every time.
Colour cores.
I've only ever used the black cores in a few basic colour combinations, the work well with photography. Not a thing I push that much though.
Painting bevels.
Easy, if you are painting bevels on boards which bleed then size the board first. I use spray starch. Size the front before masking and cutting, then size the bevel after cutting. It doesn't show, it's quick, easy and it works!
Extra thick mountboard.
I only have a very small stock as it's not often an item we find easy to sell. I don't know why as it always looks great. I have some snow white by daler and a couple of other colours probably by neilsen bainbridge. Can't remember the colours.
Bevel accents.
Always make my own as a set of bevel accents samples cost £50. Since Robo suggested peeling to surface papers off mountboard, I've been doing that every time.
Colour cores.
I've only ever used the black cores in a few basic colour combinations, the work well with photography. Not a thing I push that much though.
Painting bevels.
Easy, if you are painting bevels on boards which bleed then size the board first. I use spray starch. Size the front before masking and cutting, then size the bevel after cutting. It doesn't show, it's quick, easy and it works!
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osgood
Áine,
I don't stock thick mats because I can get them in a couple of days if I need them. I tend to use 8ply rag instead of Alphamat double thick.
It's only during the past couple of years that I have been showing customers the thicker mats and they have been selling, especially when they can see an example even of just a matted print.
It's the case with anything, if you don't think it will sell and you don't show it to people, it won't sell. I have learned that i should not pre-judge any customer in regard to what they will buy or how much they will spend. The best thing to do is give people the price on the job with thicker or any mat that is expensive as casually as possible as if it is an every day thing that custom framing costs that much.
The most commonly used Alphamat colours for me are: 8487, 8504, 8486, 8540, 8821, 8517, 8467, 8140. I'm home at the moment so that's just from memory. I always use mat numbers not the names of the colours, because my mats are stored in numeric order so I can find them.
John,
I have booked both of Baer Charltons classes on fabric mats and am very eager to learn from the master. He was kind enough to send me his DVD a couple of years ago and I haven't done anything about it yet, because I need to find out what the glue is that he uses and try to source some here! "Fabric glue" doesn't compute down here!
I don't stock thick mats because I can get them in a couple of days if I need them. I tend to use 8ply rag instead of Alphamat double thick.
It's only during the past couple of years that I have been showing customers the thicker mats and they have been selling, especially when they can see an example even of just a matted print.
It's the case with anything, if you don't think it will sell and you don't show it to people, it won't sell. I have learned that i should not pre-judge any customer in regard to what they will buy or how much they will spend. The best thing to do is give people the price on the job with thicker or any mat that is expensive as casually as possible as if it is an every day thing that custom framing costs that much.
The most commonly used Alphamat colours for me are: 8487, 8504, 8486, 8540, 8821, 8517, 8467, 8140. I'm home at the moment so that's just from memory. I always use mat numbers not the names of the colours, because my mats are stored in numeric order so I can find them.
John,
I have booked both of Baer Charltons classes on fabric mats and am very eager to learn from the master. He was kind enough to send me his DVD a couple of years ago and I haven't done anything about it yet, because I need to find out what the glue is that he uses and try to source some here! "Fabric glue" doesn't compute down here!
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Not your average framer
- Posts: 11008
- Joined: Sat 25 Mar, 2006 8:40 pm
- Location: Devon, U.K.
- Organisation: The Dartmoor Gallery
- Interests: Lost causes, saving and restoring old things, learning something every day
- Location: Glorious Devon
I also find the artcare museum boards very useful, when I don't want a bright white bevel such as when I'm framing something which looks old, where a too pristine look is not appropiate.
The artcare boards with printed papers can be very nice if you peel the papers and make subtile loking bevel accents or even stick them on to bevels on mouldings.
Unique moulding have some very useful and unusual shaped profiles which can be glued to other plain wood mouldings to make something ordinary look very much more interesting. Those in the UK who are into hand finishing would find the Unique moulding catalogue worth a look.
When gluing surface papers to mouldings, I use acrylic gel which not only does not show through the paper, but can be use to coat and protect the finished result. Another good top coat is Lion's acrylic varnishing wax.
Quite often if I'm doing a double mount where I require a gold inner mount I will do a hand finished gold mount, which is particularly satisfying to do. My favorite mountboard for this is the Arqadia 400 series alpha-cellulose range which is very dense and is great for finishes which require burnishing or rubbing which steel wool.
The artcare boards with printed papers can be very nice if you peel the papers and make subtile loking bevel accents or even stick them on to bevels on mouldings.
Unique moulding have some very useful and unusual shaped profiles which can be glued to other plain wood mouldings to make something ordinary look very much more interesting. Those in the UK who are into hand finishing would find the Unique moulding catalogue worth a look.
When gluing surface papers to mouldings, I use acrylic gel which not only does not show through the paper, but can be use to coat and protect the finished result. Another good top coat is Lion's acrylic varnishing wax.
Quite often if I'm doing a double mount where I require a gold inner mount I will do a hand finished gold mount, which is particularly satisfying to do. My favorite mountboard for this is the Arqadia 400 series alpha-cellulose range which is very dense and is great for finishes which require burnishing or rubbing which steel wool.
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Roboframer
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Roboframer
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osgood
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kev@frames
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