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Kristin

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Joined
Jun 29, 2009
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Underhill, VT
Hi everyone,
A customer of mine has just completed a painting on 3/4" thick Birch Veneer plywood, which measures 6 ft w x 4 ft h. He is sending it overseas to be in an exhibit in the next few months, and he'd like it to be framed "minimally" as it's a very modern piece. I haven't seen it in person yet, just the pic on his phone.

First issue, he's worried about potential warping of the art. Would sealing the back & edges of this help alleviate that somewhat? I mentioned building a cradled support on the back, but not sure how to affix that without potentially marring surface of the art now. It would be something I'd have him do, as I don't have a woodshop (we get all our frames joined.)

Second issue, I've NEVER dealt with anything this big & this heavy before, yikes!
In terms of supporting the frame, What kind of bracing should I look into? I think I've seen something listed in United's catalog, has anyone had experience with this sort of thing?

From Larson's tech support, I got the following two ideas:
1.) set it into a float frame (either by screwing into art, or using strong velcro...), with a substantial moulding capping over that. Would it make sense to use a Nielsen float with a wood frame around it? Anyone tried that?

2.) set it into a traditional frame, using rabbet foam tape to keep it from sticking. Adding some kind of strapping again.

Thank you so much, I'll take any leads or links to threads! (I didn't turn up anything first few times but will keep searching.)
 
A couple of thoughts on this potential project: (in bold)

Kristin said:
Hi everyone,
A customer of mine has just completed a painting on 3/4" thick Birch Veneer plywood, which measures 6 ft w x 4 ft h. He is sending it overseas to be in an exhibit in the next few months, and he'd like it to be framed "minimally" as it's a very modern piece. I haven't seen it in person yet, just the pic on his phone.

First issue, he's worried about potential warping of the art. Would sealing the back & edges of this help alleviate that somewhat? I mentioned building a cradled support on the back, but not sure how to affix that without potentially marring surface of the art now. It would be something I'd have him do, as I don't have a woodshop (we get all our frames joined.)

Other than using a beefy, substantial frame, there isn't much you can do about warping. That's his job. Sealing the back and edges? His job. There is no way I would get involved in that aspect of it. A cradled support does not sound like it directly addresses the issue of warping. A wide and deep solid wood frame is his best bet against warping. With any luck and gentle guidance at your end, a "minimal" frame does not mean an unsubstantial frame.

Second issue, I've NEVER dealt with anything this big & this heavy before, yikes!
In terms of supporting the frame, What kind of bracing should I look into? I think I've seen something listed in United's catalog, has anyone had experience with this sort of thing?

My sense is that a chunky frame would take care of of the support here as well. If he wants to use a narrow, deep frame, then by all means tuck a jumbo strainer bar in the back. You can use a strainer with cross braces and that will lend lots of rigidity to this piece. You can also tuck that strainer with cross braces in a wider frame with ample depth. It WILL be a heavy piece.

From Larson's tech support, I got the following two ideas:
1.) set it into a float frame (either by screwing into art, or using strong velcro...), with a substantial moulding capping over that. Would it make sense to use a Nielsen float with a wood frame around it? Anyone tried that?

A floater frame seems unnecessarily complicated and does not address the support issue and in fact may exacerbate it. I would prefer the all around support of a rabbet for large, heavy piece that will be shipped overseas.

2.) set it into a traditional frame, using rabbet foam tape to keep it from sticking. Adding some kind of strapping again.

The aforementioned strainer frame with cross braces is the simplest, most effective "strapping."

Thank you so much, I'll take any leads or links to threads! (I didn't turn up anything first few times but will keep searching.)
Click to expand...

These big ones are fun and very satisfying. You will need at least two people to heft this one around, make sure to allow for that in your pricing. Ordering this frame joined would make me nervous, but you are used to that I am sure.

Now you have to conjure a sturdy hanging method!

With any luck our resident Oracle Of The Oversize, Rob Markoff, will check in here.

edie the bigbiggerbiggest goddess
 
If I were you, I'd wait until you can actually see it in person and hold it, as this will give you a much better idea of the quality of the piece and also the materials etc!
 
Someone is bound to jump out of the woodwork and tell me I'm full of it, but here's my take:

In my experience, 3/4" birch plywood is an *incredibly* stable material. It's the sort of thing I'd use to stabilize a very large frame if I had the space for it. It won't warp if it's well-packed; the only thing that would warp it is a heavy weight leaning on an unsupported end for a long time. High humidity is more likely to delaminate it than warp it, at which point you have much bigger things to worry about.

As soon as you mentioned 3/4 birch my thought was that it's going to be more a matter of the frame hanging off the art than the other way around. Put your minimal frame on it, but attach the hanging hardware to the plywood itself rather than the frame (with the artist's approval, of course)

This all changes, of course, if the frame is going to include glazing (which I take it is not the case given your mention of rabbet tape).
 
I am not sure if warping is going to be a problem either. I would be more worried about the art actually sticking to the substrate, depending on how well it is primed. Not your problem at this point and don't make it your problem. Same goes for warping and trying to prevent it. Lost battle and not your responsibility. (at least, I wouldn't take that on and if anything happens, it would be my problem)

I would frame it regular way, don't see the reason for the floating as that hardly provides any support.

How heavy is it?
 
I'd be a bit iffy about warping/bowing. But there's plywood and then there's plywood and if JimP says it's sound then that's good enough for me. I would go so far as to seal the back and edges - that's it the artist hasn't already done it. Which they should have.

As far as framing goes, I would make a strainer frame same size from something substantial, maybe 4"x1" timber. The frame part can then be quite minimal. I'm thinking a square profile about 1" wide and as deep as it needs to be to swallow the thickness of the ply+strainer. The frame can then be screwed to the strainer from inside. A pocket jig would be handy here, but you can do it without. You would then have the ply safely sandwiched without any attachments and a meaty frame to affix hangings to.
 
I'm with jim-p. I'd screw (a) cleat(s) into the back, then screw a floater frame around it -or ask the maker to do it.

A layer of whatever ground might have been applid to the front, and a layer of the same kind of paint applied to the back would not be a bad idea.

It's 3/4 inch plywood. Screws in the back are OK. It's the paint layer that counts.
 
I like Prospero's approach: add a strainer, then a minimal frame with depth (Studio, Omega, Larson). The strainer gives great support. The frame, attached to the strainer makes a solid beefy edge. I suppose if you wanted additional strength, you could bond another piece of wood, say 1/4 " inside the strainer, but that may be overkill.
 
You are all such a wonderful resource, I'm so grateful you're around!

The painting is oil on prepared plywood, so yes you're correct, no glazing. Sorry I hadn't specified. I will certainly make the customer do the sealing of his own artwork. I am intrigued by the idea of cleating the piece in place so that we don't have to put hangers in his work, though maybe he'll be okay with that. Especially per your suggestion that hanging from the art will be more stable...

LOTS of good ideas to chew on, which I will, over lunch, because I can't think straight right now...

THANK YOU!!
 
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