Suggested Framing Procedure..

The basic goal in framing fine art is to frame it in such a way as to have it suspended in the midst of the frame - untouched by anything inside or out. Naturally, there are practical limits to achieving this goal -- that is unless, your art can somehow magically float :)

Fine art must be carefully mounted using only professional, acid-free and non-permanent materials and to the minimum extent possible. Normally, fine art prints, such as ours, are produced using 100% acid-free paper and canvas. Acid-free papers, as the name suggests, are made of material that contain no acids, such as cotton. This is important, because products that contain acids (such as those made of wood pulp) will react with airborne moisture (humidity/water) and once activated, these acids begin to breakdown the paper or canvas, producing yellowing, cracking and finally disintegration of the material -- and destruction of the art. Even if the paper or canvas that the art is made of is acid-free, if it is attached or remains in contact (for an extended period) with materials that do contain acids, the acid-containing material will react with moisture and stain the acid-free material, causing damage to the artwork.

Here are some important points to keep in mind when framing your fine art. Following these simple guidelines will ensure that your art lasts for generations to come!

~ IMPORTANT FRAMING INSTRUCTIONS ~

Summary
There are basically two key goals when framing fine art. Firstly, we want to preserve and protect the art against any possible damage and secondly, we want to enhance the beauty of the art by selecting a frame and matting that fits the art and fits our decorating taste. This section deals only with the first goal (to preserve and protect the art). This is accomplished by doing as much as possible to isolate the artwork from the outside environment and framing material. This isolation is achieved by basically suspending the artwork within a frame, such that the mounting components that attach to the art (matting and adhesives) do not adversely affect the art material (paper or canvas) and that the finished product allows for great viewing, but most importantly creates a barrier between the art and the outside world. Here are the steps to achieve this goal..

Matting and Mounting - Use only acid-free matting (usually called archival matting...it costs just a bit more, but it is worth it). Likewise, use only non-permanent, acid-free adhesives when mounting the art to the matting. Use as little adhesive as possible. Framed art can include color coordinated double or single matting, and we suggest a minimum of a 1 to 4 inch boarder, between the inner part of the frame and the artwork. The back of the mounted artwork is supported and protected with acid-free foam board and some framers will also back the artwork with a second sheet of acid-free matt board, followed by the foam board. The acid-free foam board backing is carefully cut to tightly mend with the inner part of the frame and the back of the frame is further protected with a sheet of craft paper that attaches to the frame edge.

Whenever possible never cut or fold the edges of the artwork or allow a framer to do so. The paper size and margins have been selected by the artist and are an integral part of the work. Have the art framed as is, even if the full margins are not displayed.

At this point in our framing procedure we have the artwork mounted to the acid-free matting and backed with a sheet of acid-free foam board -- or -- a second sheet of acid-free matt board, followed by foam board.

Facing Material - U.V. Protecting Glass facing is used whenever possible. Plexiglas or Lexan may also be used, but requires special care when cleaning and handling...as described in the "Caring for..." section. In either case, the facing material must not touch the artwork! One of the the purposes of mounting the art to matt paper is to form an air-gap between the artwork and the facing.

At this point in our framing procedure we have the artwork mounted to the acid-free matting and sandwiched between the acid-free foam board backing and the glass or Plexiglas/Lexan facing.

Finishing - Once the mounted artwork and facing is installed to the frame, framers tape (or a clear transparent tape) is used to seal the rear of the frame edge to the foam board. Specifically, seal the gap that exists between the rear inner edge of the frame and the acid-free foam board. For final finishing, a 50 lb. weight (usually brown craft type) construction paper is used to complete the backing of the frame. This ensures that dust stays outside of the framed piece. The construction paper is adhered to the rear of the frame with double-sided tape. Rubber button spacers can be added to the rear lower corners of the frame to protect your walls from marks and also to stop the art from moving easily. These smart additions also allow air to freely circulate between the wall and the artwork, reducing the possibility of moisture buildup and mold.

Finally, two heavy duty metal loops are screw-mounted to the frame back and thick-gauge picture hanging wire is run loosely between them, with the ends wrapped and taped (to protect your walls). One or two heavy picture hanging hooks are used to hang your framed art.
Hanging - Never place art of any kind in direct sun light or in a room where strong direct sun light exists. Sun light contains ultraviolet rays that can damage and will fade colored pigments. Further information is included in our "Caring for..." section.

If you have questions regarding the proper framing of your art,
please do not hesitate to call us at (631) 223-2700

Have more questions?
You can reach us at E-mail address service@tiscorp.com