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FRAMING YOUR WATERCOLOUR/WATERCOLOR PICTURE - Page 2 of 3
This page on framing details the 'materials' needed to frame a watercolour/watercolor painting.
Page three details the 'putting it together' while page one detailed the 'equipment' needed.
The choice of materials is extensive. From the ever changing ranges of mouldings from moulding companies around the world, down to the choosing the wire or cord that hangs the finished picture on the wall.
Select a moulding that suits the painting. This is never an easy task, with the wide variety to choose from. Although many of the larger companies only deal with the trade there are companies selling mouldings to the amateur framer. Most lengths of moulding are around 3 meters (9 foot) in length (beware: some companies will only sell packs of four lengths, as this is how they arrive from some factories). As mentioned before there is a wide range to colours/colors, shapes, effects to choose from and this also applies to the cost per metre/foot ranging from a few Pounds/Dollars and increasing upwards. The greatest cost involved in framing a picture (if DIY) is the frame or moulding.
Moulding Types
Wood - mouldings made out of wood are my preferred choice. Wood frames provide the largest choice of colours (color), shapes and sizes.
Aluminium - improved greatly in recent years, mouldings made out of metal are now very creative in colour, texture, and profile.
Plastic - improvements have been made in this area in recent years particularly in the finishing, however, the structural integrity of plastic mouldings is poor on middle to large pictures and many galleries do not accept works with a plastic frame.
For the Windowmount/Windowmat one of the many ranges of MountBoard/Matboard can be used. These boards comes in a range of colours/colors and the choice is either to pick out a colour/color within the painting or one that matches the location it's going to be hung (I go with what best suits the painting).
Single or multiple boards can be used (using the same or different colour/color or they may have lines, grooves, v's or colour/color washes applied as decoration.
For original works of art I use Crescent RagMat Museum Grade Conservation board (at least 1200 microns thick) both for the Windowmount/Windowmat and the Undermount/Undermat (at least 1200 microns thick) - the painting is then protected between these two boards. Using these boards does cost more - up to double - but the original will last longer. (The undermount/undermat is a barrier layer between the artwork and the back board and should be the same size as the windowmount/windowmat and hinged to it along the top side using museum-quality tape).
The mount/mat I use is supplied by Crescent (only available via Wessex Pictures in the UK). Other main companies include: Arqadia, Bainbridge by Nielsen, Studland by Daler-Rowney (found in many art shops).
The secret to getting good quality windowmount/windowmat is accuracy. A good one fits the painting to the required size, the corners must not show overcuts, this is when the blade cuts into the mount beyond the corner and the cutting must be smooth and straight. This can be helped by ensuring that the blade is sharp, if not it will produce a mount that is ragged (remember to move scrap board underneath so blade cuts through into fresh material), distorted (bowed - blade/head moving) and probably does not fit the artwork (not square).
Check your mountcutter/matcutter regularly for accuracy, calibrate it regularly, making sure that the depth of cut is correct, and that the stops do not produce overcut. Regular maintenance will produce quality mounts/mats and it will give you years of good service.
Glass serves as a barrier between the painting and outside elements such as dust, moisture and viewers. The glass should not interfere with but enhance the viewing of the painting. Glass comes in a variety of surface finishes that work well within a variety of lighting and viewing environments: clear, non-glare (reflection) and anti-reflective (AR). These finishes can then have Ultra Violet protection added to meet conservation or museum standards.
Ultraviolet light can actually cause paintings permanent harm and it must be blocked to protect from embrittlement, colour (color) deterioration, loss of brightness and other damage. Conservation glass blocks more than 97% of the most damaging UV-light rays, those in the 300-380 nanometer range. Regular clear picture glass blocks only about 47% of these rays. Conservation glass is coated with a microscopic, silica based layer of UV-blocking agents which are cured onto the surface of the glass. The coating and the glass it is applied to will remain clear and protect artwork from ultraviolet rays indefinitely. This make conservation glass ideal for framing original watercolour (watercolor) paintings, high value limited edition prints etc. The glass must be cut to allow sufficient clearance inside the rebate of the frame.
Normal picture glass (float glass 2mm or 3mm with sheet size from 920x1220 (48x36) to 1840x1220 (72x48)) and a non-reflective glass (diffused glass 2mm). Approx cost £4 to £7 ($7 to $12) per sheet.
Moving up the scale in quality and price are a number of companies, for example Tru Vue, who supply a range of picture glass products. They (and others) do a number of surfaces from Clear, Water White, Non-Glare, Low-Reflection and Anti-Reflective. These surfaces are all repeated in the Conservation range by the addition of UV protection.
Approx prices for a 40"x60" sheet, range from £10 ($20) for premium clear to £60 ($115) for anti-reflective. While the prices for conservation 40"x60" sheet £20 ($50) for conservation clear to £80 ($170) for museum.
Some glass cleaning materials are needed (before the glass enters the frame) and if money is available compressed air aids removing those tiny specks of dust. Final cleaning fluid should contain only deionized water and perhaps industrial methylated spirit.
Back or backing board needs to be strong, rigid and flat, eg Greyboard with Neutral pH (1mm to 3mm thick), Art Cor, which has a low pH level, or Conservatek Board. Some framers add a 500 micron barrier board or Melinex sheet between the undermount and back board.
Hinge Tape
I use Filmplast 'P90' tape for making the hinges that hold the painting and the two boards (either side of the painting) in place. For conservation I seal the glass, two boards and backing board with this tape before placing into the frame.
When fixing artwork into mounting never use self-adhesive tapes (i.e. masking tape) these nearly always contain chemicals and acids, which will damage the paper.
Archival tape is now readily available and should always be used to attach artwork of any significant value.
Framers Points
These secure the glass, mount/mat and backboard to the frame, depending on moulding/frame and thickness of glass, mount/mat, backing board either straight or flexi points need to be used.
Gummed Brown Paper Tape
Used to cover the framers points or flexipoints plus acts as a secure seal and protects the surface of the wall on which the frame is hung. A sponge and small plastic tray (containing water) is needed to dampen the gumstrip, this must be carefully applied.
Hooks, D rings, Cord etc
Used to attach the wire or cord to the back of the picture. Picture hooks or screw eyes can be screwed into the vertical edges of a frame (about one third of the way from the top) to carry the picture wire or cord. I prefer to use 'Single D rings' instead of screw eyes - they are closer to the moulding/frame (less damage to frame or screw eye if knocked) and better screws can be used (stronger). There are different sizes of both screw eyes and D rings and they are available in small packs or in a boxes ranging up to 1000.
Wire is available in different gauges or thicknesses and should be selected according to the weight of the picture to be hung. Low stretch cord is suitable for smaller and therefore lighter pictures.
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