I've been framing for xx years and we've always done it this way......

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Rob Markoff

Rob Markoff

PFG, Picture Framing God
Joined
Mar 8, 1999
Posts
5,183
Loc
San Diego, CA USA
Interesting observations in the thread re: unusual stain on a piece of art from a "proper" hinge.

The thread is a PERFECT example of why there is a recertification class for the CPF exam and that the MCPF requires continuing education units for maintenance. Even if you don't take the exam (or pass) - the information studied can help to keep current on proper framing techniques and materials.

Back in the olden days when I started framing, adding a fungicide to hinging paste was a GAP (generally accepted practice.). I would venture to say that using starch paste and Japanese paper for hinging was an "advanced" technique and adding the fungicide was state of the art. Interesting that fungicide is frowned upon today and is no longer recommended as we have pieces that were framed using that technique that show delitortious signs.

Around the same time, we were also cutting holes in dust covers to allow canvas to "breathe" and an "advanced" technique was to line the holes with window screening to keep the bugs out.

And about the same time, 3M micro pore tape was recommended as an alternative hinging media. I still see it in some framing supply catalogs - and I bet it isn't there for cuts and scrapes.......

That is why going to educational venues (either chapter events or trade shows), reading trade magazines and other publications (including internet forums - though one must vet the source of the post/information) and belonging to a trade association is so important.
 
Ylva said:
It also makes you wonder how 30 years from now, the things we do today will be frowned upon.....
Click to expand...

When a client wants you to remove a "face mounted" photo from the acrylic so he can roll it up and take it to his lunar vacation home...
 
Just like the art conservation field, preservation framing is an evolving field as we understand more the ramifications of time, temperature, and chemistry on objects of art.
 
I'm sort of immune to the problem; few of the "new" approaches to gilding have lasted, but I do follow what's going on in preservation framing and conservation, casually. IMHO, best practices today will, in some cases, horrify future conservators. Yiva, you're right. The real problem for me is the hubristic notion that this technique (take your choice) is the one, true technique. The lack of common sense tends to bother me as well, though I, personally, have not always been noted for my rationality. :D It's more troublesome in other people. I feel that we, as framers, conservators, preservators, ( Hi Hugh ) have advanced incredibly, but, unintended consequences lurk in every action. Maybe I read too much history ( now there's a field of straight forward, concrete FACTS :rolleyes: )
 
Bron- I was really referring to matting, hinging, fitting issues - but you raise an interesting point re: finishes.

I was a die hard nitrocellulose fan (lacquer) and knew my thinning and retarding/dilution ratios just by looking at the "drip" off the end of a stir stick. I also really liked alkyd (oil base) paints and used to thin them with Penetrol and could get flow out from hand painting that looked "brushless."

Then in CA, the AQMD kept changing the VOC laws to the point that we can only spray with HVLP- water based lacquer and most all "oil based" paint is gone - or only available in such small "put up" that it becomes cost prohibitive. It also meant buying all new spray tips (stainless steel) as the old ones would rust out from the water based finishes.

So "what we used to do" (with finishes) we CAN'T do even if we want to :(
 
Rob,

I've mostly used shellac; really didn't like any of the lacquers, though they were the only thing that would work on ceramic/porcelain restoration. Also, I'm not a production shop. But that is EPA stuff. We recently acquired a 100 year old piano, that if my wife would let me, with minimal effort, I could make look brand new. Shellac finish.

As to matting, and hinging, I'm a big fan of things like fiimoplast, as I know it works, and is reversible. I know. I'm sorry, but the rice paper, rice starch or wheat paste, or methyl-cellulose, whatever, way is very labor intensive. Either I lose, or the customer does. Expediency is sometimes the prime directive.

I'm sorry, but I'm a little cynical about conservation, as what I have seen and experienced, leads me to believe that fashion trumps common sense.

I'm not adverse to the new; I just approach it with a "prove itself" attitude. Try stuff, use some common sense, and make your own decisions. Some "new" I really like: cyanacrylate adhesives, epoxy adhesives, water base gilding size, catalyzed polyester resin ( bondo ). But I also paint in egg tempera, and think nothing comes close to shellac.
 
Interestingly, I have the same porcelain mortar and pestle that I was given
in 1972. The logic of grinding your own pigments and glues for finishes is
that the porcelain doesn't transmit fungus, rot, disease, bacteria or anything
else that can cause problems.
Cooking off your own rice, pounding the patties, letting them rot, removing
the rot, grinding the cake to powder, and reconstituting to make the starch
paste hasn't changed in the past thousand years. Nor has making Shellac.
Nor making gesso, bole or even pounding out gold leaf... all of which dates
back to king Tut in 2400BC.

Things only got turning to **** when it got so commercial. And who ever came
up with "Framer's Tape" should be taken out and wrapped in it.
 
Bron, I found the use of rice starch and mulberry hinges to be so daunting that
I didn't try it for years. Finally, after reading here and practicing some, I came up
with my own, funny way of doing it. Works great for the kind of hinging and floating
that I do, and it's less of a hassle than I would have imagined.

As per the general topic of this thread, I appreciate the Grumble greatly for this very
reason. As a frame shop employee, when faced with the direction to use some material
that everyone else dumped twenty years ago, it has helped immensely to be able to back
up alternative suggestions as being 'advice from the experts'. It's made a tremendous
difference in how I'm able to function, and all for the better.
 
Rob Markoff said:
And about the same time, 3M micro pore tape was recommended as an alternative hinging media. I still see it in some framing supply catalogs - and I bet it isn't there for cuts and scrapes.......
Click to expand...

For cuts and scrapes we have one guy that swears by regular old cheap masking tape. He ALWAYS has 1 or 2 fingers wrapped in it (granted, his job makes him prone to getting small cuts, and gloves don't work since he also needs to fell small imperfections).
 
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