| 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 also a very important
consideration, as UV damage from light sources account for the most common damage.
The museum quality conservation framing techniques and components we use to
preserve the life and value of your artwork are listed below:
• Matboard
One important part of conservation framing is matboard. All the matboard we carry is acid-
free. We have a large selection of 100% rag 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, whereby 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 use of proper glazing. We offer a
variety of glazing products to suit your needs. The use of UV screening, or conservation
glass, is the basis for the best protection for artwork. Conservation glass will block 98% 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 nearly invisible glass product also embodies the same 98%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 --
enabling 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 one's perception 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.
•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 also a very important
consideration, as UV damage from light sources account for the most common damage.
The museum quality conservation framing techniques and components we use to
preserve the life and value of your artwork are listed below:
• Matboard
One important part of conservation framing is matboard. All the matboard we carry is acid-
free. We have a large selection of 100% rag 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, whereby 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 use of proper glazing. We offer a
variety of glazing products to suit your needs. The use of UV screening, or conservation
glass, is the basis for the best protection for artwork. Conservation glass will block 98% 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 nearly invisible glass product also embodies the same 98%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 --
enabling 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 one's perception 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.
•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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