Question How to mount and frame a Javanese silk batik

[esculapius]

Hi, I recently bought in Java a quite large silk batik (250 x 110 cm). I was thinking to frame it.

How can this be done without put pinning the edges on the sides of the frame? This is what the local frame shop is proposing but he said he hasn't done before.

I guess glue will easily pass through since is thin fabric and I am worried about pins tearing silk fabric when stretched

Moreover, would it be better with or without glass or plexiglass?

 

[Mary Beth van der Horst]

This 100% needs glazing for protection. Silks are tricky since they can pucker and run with pinning or sometimes even a careful sew-mounting unless there is a deft hand and sufficient overlap of matting. I would have your framer look into direct contact overlay with acrylic. The acrylic can sit directly against the surface of the batik and if backed with muslin and layered polyester batting, it can smooth it out and keep it from slumping with the gentle pressure.

Another mounting option that would be minimally invasive could possibly be magnets, but I think due to the size of it, DCO is the way to go.

If your framer is confident that pinning is the only way they will attempt, so be it. It can be done, and any puckering will perhaps be hard to notice at that scale. They may have very thin silk pins to use which can help mitigate the running problem.

 

[esculapius]

Sorry I am not a professional. Glazing you mean putting it under glass?

Do you have any link/video that explains DCO for my italian framer (maybe has a different name here) so I tell him in italian what is it?

 

[Mary Beth van der Horst]

Yes, glazing refers to acrylic or glass.

Here's a link to a valuable pdf from the guy who pioneered this technique

You can search "Direct Contact Overlay" within this forum as well. Many of us have done the same on silk scarves. I don't know of any videos, but essentially, we just use Acrylic, Lay the silk against the acrylic, and behind the acrylic, prepare a mounting board with muslin(cotton fabric) wrapped over layers of polyester batting. More layers of batting towards the center, less towards the outside... this helps compensate and create a nice pressure as both acrylic and mounting boards can have a tendency to bow. The larger the frame, the more likely a fillet will be needed to extend the lip of the frame--acrylic can shrink and expand as temperature changes necessitating a wider lip to hold it in.

 

[esculapius]

Would DCO allow to keep the edges of the batik or some of it will be wrapped around the acrylic?

 

[wpfay]

One thing to do before using DCO is to make sure the wax is removed from the batik as much as possible. This is usually done by ironing the batik between layers of craft paper that will absorb the melted wax. It is repeated until no wax comes out of the fabric.
Acrylic=Perspex or Plexiglas.
The technique can allow all the edges to be seen.

 

[esculapius]

Ok, start to understand.
So if the batik is 250x100 and i ask for a slightly bigger cotton muslin mounted and stretched on a wooden frame say 270 x 120 and get a 270 x 120 acrylic the batik will go inbetween. Does it has to be handsewn on the muslin or it stays there?

 

[esculapius]

"The larger the frame, the more likely a fillet will be needed to extend the lip of the frame--acrylic can shrink and expand as temperature changes necessitating a wider lip to hold it in."

This part I don't understand. What is a fillet in this context?

 

[wpfay]

There will have to be a solid panel on top of the wooden frame and layers of polyester batting added before the muslin is stretched over the frame.
The acrylic holds the batik to the lofted muslin backing. there is no real need for sewing if done properly.

As Mary Beth mentioned, there are other discussions about DCO, and if you contact Jim Miller, he can send you a PDF of his booklet on the technique (for a reasonable fee).

The fillet in this context extends the width of the rebate lip, allowing for the greater reaction to environmental changes that acrylic experiences in comparison to glass.

 

[wpfay]

Here's a rough cross section of one style of DCO
1. Primary frame
2. Fillet or Slip Frame
3. Acrylic
4. Batik
5. Polyester batting*
6. Solid board mount*. I would use 100% rag board (cotton)
7. Strainer Frame*
* These 3 together would be covered with the muslin that would be stapled to the back of the strainer frame.

 

[esculapius]

Thank you all for the very clear and super fast explanation!

Greetings from Italy

Giangiuseppe

 

[Ylva]

Welcome to the G. If the silk is sewn at the edges, a running stitch can be done. Stitch to washed muslin, use screen mesh over a stretcher/strainer 'frame' and pull it tight.
It will need plexiglass, for protection/to keep it clean. As far as I know, the size needed (over 98") only comes in Museum optium plexiglass. 4.5mm might not be thick enough, so you'd be looking at 6mm thickness.
Not inexpensive!

I use the DCO method a lot. This size, in my shop, I would have to decline, just due to the size of it and the workable space I have.
Make sure you to think ahead about transporting this home.

 

[wpfay]

Regular and UV acrylic does come is sizes sufficient for this project, the real question is availability.
It would probably be a special order for me either from New York or Chicago, and the freight charges would be for a 60" X 120" x 8" (153cm X 305cm X 20cm) pallet.
For a piece this size I would use 4.5mm if available, but 6mm is more common.

 

[Jim Miller]

As others have mentioned, Direct Contact Overlay (DCO) framing may be the best option for this large batik. A few points should be emphasized about this:

1. The purpose of the polyester (not cotton) batting is to provide a "spring tension" to hold the batik in position after it has been compressed by fitting the frame tightly. In such a large frame, you will probably need at least 3 cm thickness in the center of the frame and less thickness (perhaps 1.5 cm) at the edges, before compression. When the batting is properly compressed, the entire surface of the batik should be forcefully pressed against the inside of the acrylic glazing. Test-fitting to compress the batting will reveal how much thickness you will need.

2. The backing board must be very rigid - rigid enough to resist deflection from the pressure created by the batting. I recommend using 3 mm or 4 mm ACM (Aluminum Composite Material) such as DiBond or ePanel brands. or similar. ACM is a popular sheeting material for graphics projects, such as fabrication of a trade show stand, for example.

3. As Wally mentioned, it is essential to remove all traces of the wax from the batik, because if any wax remains in the fabric, it could stick to the acrylic.

4. Using thicker acrylic sheeting is better, to resist deflection from the pressure exerted by the compressed layers of batting.

5. If you decide to use DCO framing, I suggest avoiding additional support from pinning or stitching, which could cause the silk to wrinkle or pucker as it is flattened under the acrylic. Proper DCO assembly should provide enough pressure to hold the thin, lightweight silk in place without further support.

 

[Nikodeumus]

This is a project with very particular challenges.

This kind of project should be done professionally (as described by the posts above) to prevent harm to the artwork over time.

It would be wise to have a discussion with the framer, to find out if they are willing to put in the hours of learning a framing technique that will cost them significant time to learn, some expense to practice, and significant expense to procure the specialized products required to do this well. It would not be unreasonable for them to add an extra fee for this time and effort if they chose to accept the project. This increased cost of time and difficulty comes at a price.

Personally, I would have to decline this job if it came to me. I do have experience with smaller batik framing, but the extreme size of this is too large for me to handle in my shop. I don’t have the space, the extra workers needed, nor easy access to specialty oversized materials required.

If this is beyond your framer's ability (or willingness to take on the challenge) I’d suggest you try to find out if there are other framers you can contact to find out who may have experience with the techniques and logistics of specialized oversized framing and the access to the specialty materials needed.

We don't share pricing on the public side of this forum, but are you prepared for a very large price tag for framing this?

You should consider what value the piece has to you and if you want to prevent harm to it.
Is it something that is simply decorative, and you aren't concerned if it may become dull/faded, frayed, mishappened, dirty, etc. over time?
Then you can make compromises to the display method.
You could display it in many ways that DIYers and crafters suggest online at a much lower cost compared to professional custom framing, but almost all of those methods are harmful in some way or another.

If it is something that has value to you either monetarily or sentimentally, and you wish to preserve it in the best condition possible far into the future, then professional framing is the way to go.

Can it be done? Yes.
Will it be cheap and easy? Not if you want it done professionally.