Question New Framer : Lots of Questions - Any Advice is Appreciated!

[Leoo]

Hi All,

I am slow learning the art of framing and have been practicing on the side so I can eventually perfect this skill.

My current equipment:

• Fletcher-Terry F3100 63" Multi-Material Cutter
• Fletcher-Terry 48" 2200 Mat Cutter

• I'm having a lot of trouble with cutting mat.
  • Picture A - It appears a piece is missing from the corner... How come this happens? What am I doing wrong and how can I prevent this?
  • Picture B - The top right of the corner, it's a bit curved/slanted... am I putting down the blade in the wrong location?
  • Picture C / Picture D below, which is the correct placement of the blade holder?
  • When cutting mat, I tend to undercut because I'm afraid that I will go over the corner and then it wont look clean. Is there a gauge or tool that you use to prevent overcutting the corners?
  • If a client wants a 2in border all around the print, do you take in considerations the width of the rabbet width/lip for the measurement?
    • For example, if a print is 9in x 9in and the client wants a 2in mat border all around, will you cut the mat to 11in x 11in or will it be 11 1/8 x 11 1/8 if the width of the rabbet is 1/8. Not sure if this makes sense or if I'm just over thinking.
    • Also given the above situation, how much room do you cut the opening of the mat so you can tape the print to the mat? Is 1/4 inch enough, or is there a standard width.
    • Do you use framer's linen tape for this purpose, or is there an alternative tape that holds better and won't damage the print.

• I do not currently have a heat press or a dry mount machine and will need to work my way up to that. A lot of my clients have prints that are rolled up and are "wavy" . Is there an alternative way to "flatten" the print OR archival tape the print to the foamboard so that it's more "stretched" or flat when it's framed. (I wish I can explain this better)

• I'm constantly measuring the prints 4 to 6 times because I want to get everything accurate and correct. I'm planning to get the "Bark Frameworks NY" tape measure and was wondering if there is also a mat I can purchase that has measurements, so when I put a print on top of this mat, I can get the measurements instantly.
  • When a print is between 1/4 and 3/8 or 3/4 and 7/8 , do you cut the glass to 5/16 and 13/16 or you tend to round up or down?

I know this is a lot of questions and I'm sure do I will have more, but I appreciate all of you taking the time to read and also if possible reply with advice from your years of experience.

Thank you so much!
Leo




Picture C


Picture D

 

[Rick Granick]

The first question I would answer is your mat measurement. If you have a 9x9 mat opening, and you want a 2" border, your overall mat size would be 13 x 13, because you have to add the 2" all around- that is, 2" L + 2" R = 4" added to width; 2" T + 2" B = 4" added to height.

Frames are generally cut with a 1/8" allowance beyond the nominal size, so your physical inner frame size will be 13-1/8" x 13-1/8". Don't worry about accounting for that in your mat and glass sizing, because you want a little bit of play inside so that the contents of the frame are not too tight. This is especially true for paper products like matboard, which expand and contract a little with environmental changes. If you happen to be using a frame with an extra-wide rabbet, and you feel not enough of the mat will be showing, then add a little to your desired border size, but that will be relatively rare.

The problems with the corners will probably be solved by:
• Make sure your cutter is clean and properly adjusted.
• Use a slip sheet (a 48" long piece of matboard about 8" or so wide) that is sacrificial, and is beneath the mat you are cutting.
• Use 1200SE (single edge) blades. These are ground on only one side. Install the blade with the ground side facing out.
(SE blades only go one way, so you can't turn it around and use the other end to cut mats.)
• Adjust the blade depth so that when you rotate the head down into cutting position, the blade goes all the way through the mat being cut and then just barely scores the slip sheet. If you are cutting through the slip sheet your blade is extended too far. Move the slip sheet's position slightly between cuts, so the blade isn't tracking in the same score mark many times.
• Be aware of your stance as you operate the cutter. Keep your arm parallel to the cutter bar, not at an angle to it.
• At the beginning of the cut, rotate the blade down into the board before you start pulling the head down the bar, and then don't let it up until the cut is at the end.
If your stops are properly adjusted, you won't have to worry about overcuts.
• Make sure you are using a sharp blade. Don't try to get more cuts out of it once it is dull. You can always use it for trimming backing paper or other tasks later.
• Remember: Blades are cheap. Matboard is expensive.

These are the basics of proper mat cutting, the rest is practice and perfecting your technique.

I'll let others address the art mounting questions.
Rick

 

[alacrity8]

Rick's math is perfect.
2 updates:
If the art is 9 x 9, you will likely want to make the opening slightly smaller (8 3/4 x 8 3/4), or slightly larger (if there is a signature to show)
In the un-common case, where the customer wants to see 2" of matting all around (not have the mat be 2"), you will want to take into account the rabbet width (usually 1/4").
This would be applied to the mat width, making it 2 1/4" all around.

As for attaching works on paper, hinging is almost always the best option.
Do not attempt to stretch the artwork with tape all around.
Hinging will allow the picture to expand and contract naturally, and may flatten over time.

As for the adhesive to use, there are many who swear by mulberry paper hinges, and others who use acid free tape.

We usually try to avoid sixteenths of an inch if possible, but they cannot always be avoided.
Please do not make the frame 1/16" small in order to avoid sixteenths, as that will counteract the benefit of the 1/8" overhang.

 

[Ylva]

Do not attach the art to the mat opening. It should always be attached to the backboard.

I don't uses any pressure sensitive tape for hinging. If mulberry hinges are not appropriate, I use this:

Heritage Gummed Paper Tape

An archival quality gummed paper tape of the highest quality. Ideal for hinging of even the heaviest artwork. Also ideally suited for manufacturing mounts, folders, and boxes. Constructed of the finest quality archival paper and starch based adhesive. Tape is applied with a very strong bond and...

www.talasonline.com

Linen tapes are too strong to use for hinges.

As for mat cutting: you need to practice. A lot.
Slip boards are important.
Are you cutting 8-ply? Can't really tell from the photos. 8 ply is a beast.

Just a few observations, but hard to tell from photos: it looks like your blade is not sharp enough. Those edges look ragged, on my screen at least.

As for the actual mat width, I usually go by what looks good and measure that. When you cut a mat 2", a part would be covered, so leaving less than 2" exposed.

(my engineer customers would notice that and point that out, but in general, no one cares )

 

[monkframe]

There are still books available that will provide lots of info and techniques. Jim Miller has really good ones, and the late Vivian Kistler had a whole catalog of them.
Lots of good study material.

 

[Mary Beth van der Horst]

Yep, practice practice practice. Alot of people trust the stops on their manual mat cutters. I always drew my exact opening on the backside in pencil and just learned exactly where that blade needed to drop to not overcut nor undercut. Slip sheets and fresh blades can help with the wigglies. I would put some of my weight on the drop bar just to make sure it didn't slip on a cutting stroke either. Sometimes I'd get a little bit of a frilly cut despite everything, like that top edge of corner "B". Keep a bonefolder on hand to burnish the feathered cut and it will usually make the burr of the paper disappear.

 

[alacrity8]

Yep, practice practice practice. Alot of people trust the stops on their manual mat cutters. I always drew my exact opening on the backside in pencil and just learned exactly where that blade needed to drop to not overcut nor undercut. Slip sheets and fresh blades can help with the wigglies. I would put some of my weight on the drop bar just to make sure it didn't slip on a cutting stroke either. Sometimes I'd get a little bit of a frilly cut despite everything, like that top edge of corner "B". Keep a bonefolder on hand to burnish the feathered cut and it will usually make the burr of the paper disappear.

When cutting mats, I regularly use the stops, but I trained without them.
I didn't use a stop for the first 6 years of framing.
It is good to have that skill for any multiple opening mats, where the stops may not be as useful.

 

[Shayla]

Hi. Leo. Welcome to the Grumble!

Your question about mat widths gives me a question. Are your framing designs done in person, or by customers ordering online? If in person, I find it much easier not to talk numbers when measuring mat width. I do have a measuring device on hand, but to choose width, I begin by just putting the frame sample over the mat and showing them what width range looks good. Eyeballing it like this helps people get into creative mode, and away from being fixated on numbers. Then, after they've chosen, I measure. I measure all the way from the inside of the sample, to where it meets the frame, and write it down, but I don't tell them the number. About three times a year, someone really wants to talk numbers, so we do. But, the rest of the time, this makes it much easier. I think it's partly because people can get an idea in their head of a certain number sounding nice. But, that might or might not correspond to reality. So, not focusing on them helps us get to a better look. And you both know that what you looked at is exactly how it will be.

Whatever the final outside mat size turns out to be, the size of the frame will depend on three things. (There might be more, but these come to mind for now). The first is, whether it will have spacers holding glass away from art. If not, we make add a 1/8" standard allowance, so a 10" square mat/glass would have a frame with an exact inside back size of 10 1/8". If it does have spacers, we add just a 1/16" allowance. The second is, whether it's out of square. In the case of a crooked, already stretched canvas that we don't plan to restretch, we need more rabbet room. To figure this out, we first measure the painting 8 different ways (on both ends and across the center, in each direction, and diagonal in both directions). Then, using either framing squares or a scrap mat cut to fit, we figure out what size we need so that the frame rabbet covers all and the frame back is barely larger than the biggest part of the painting. (Others might be able to do this in their heads, but between aphantasia and spatial cognition challenges, I need props). Once we know what sizes the frame back and the front sight size need to be, we either rip out the moulding, or add a fillet (or both) to make it. The third instance is, if it's a big project that needs acrylic. Because acrylic expands and contracts with temperature changes, a large piece needs a wider frame rabbet. (It's just now occurring to me that you didn't ask about these things, and for all I know, you already give classes on rabbet widening, but here we are. ha ha.....). In that case, we pretty much do the same as for a crooked canvas. We either rip it out, add a fillet or both.

You also asked if people round up on glass size. I often work in sixteenths of inches, but some folks only work in eighths. For a mat window, I keep it to sixteenths, when that's what I designed. But, for glass size, if your mat size is, say, 7/16ths, and the frame has a 1/8" allowance, there's no harm in cutting the glass at 1/2". You'll just need to make sure you're cutting it in square. I've always used a wall cutter for glass, so often cut glass on three sides, to make sure that it is. Thanks for listening to all this. We hope you stick around.

 

[Leoo]

Hi All, thank you so so much for taking the time to replied to my question and it is definitely very helpful. Apologies I've taken so long to response as its been very frustrating trying to master everything yet its still not perfect.

I'm still undercutting for some reason and my corners are not tight/sharp 45 degree angles

I also have a question in regards to framing a large print in metal vs wood with stainless steel overlay.

The print size is 34 15/16 x 46 11/16 and the client wants to frame the print in a wood moulding that has stainless steel overlay. How do I know what the minimum width and rabbet I need so that the frame is strong enough for this print. I'm planning to put a Truvue UV70 2mm glass on it and just want to ensure the frame is sturdy.

The backup option would be framing this in a metal moulding and using acrylic plexiglass, however I prefer the wood with stainless steel overlay.

The client wants a minimal look and don't want a thick/deep wood frame.

Thank you!

 

[Leoo]

Hi All,

Hope all is well. I plan to frame a piece that is 40x60 using wood moulding. After putting a 40x60 glass, the frame is super heavy. Is there any hardware I can put to further increase the integrity of the frame? Do you use corner angles brackets?

Side Question - If I'm framing a poster print and the only available rabbet is 13/16, what do you use to fill the rabbet? My foamboard is only 3/16 and glass is 2.5mm. I have significant space to fill. Would you double the foamboard? Is there an alternative to doubling the foamboard and what would you use to glue both foamboard together so it's sturdy.

Thank you!

 

[Nikodeumus]

Is there any hardware I can put to further increase the integrity of the frame? Do you use corner angles brackets?

Acrylic is much lighter and darn hard to crack or break if (when) the frame is not handled carefully.
Many framers don't use glass over 32x40 because of what you are experiencing.
While acrylic may be more expensive than glass, it is certainly less expensive than replacing broken glass or damaged artwork.

At 40x60 inches, with glass instead of acrylic, your frame needs to be quite sturdy.
Yes, re-enforcing corners with angle brackets is pretty widely accepted.
What is the thickness of the frame you are using?
If at all possible, consider using alternative hanging hardware such as Wall Buddies, or Z-bar, instead of wire.

I have significant space to fill. Would you double the foamboard? Is there an alternative to doubling the foamboard and what would you use to glue both foamboard together so it's sturdy.

For void filling I don't glue the layers together.
I can't think of any time I have taken apart a frame that the filler layers have been glued together.

AF foamboard, 8ply 100% cotton rag board, or polyflute (aka Coroplast, etc.) are suitable "fillers".
Each has a different price to consider, some are better suited to higher degrees of conservation than others.

Cardboard used to be a common material for filling, but it is not considered good practice anymore. Lignin and nasty chemicals in cardboard should be avoided.

I use AF foamboard as filler for most general framing projects. Rag board or polyflute if extra care is required.

If you want to make the mountboard the artwork is attached to sturdier, gluing or heat-pressing layers together could work. But if done poorly could cause trouble in the future.
Instead you could use a stiffer product to begin with, such as Gator board. Or, if available to you, thicker foamboard or polyflute.

 

[alacrity8]

Hi All,

Hope all is well. I plan to frame a piece that is 40x60 using wood moulding. After putting a 40x60 glass, the frame is super heavy. Is there any hardware I can put to further increase the integrity of the frame? Do you use corner angles brackets?

Side Question - If I'm framing a poster print and the only available rabbet is 13/16, what do you use to fill the rabbet? My foamboard is only 3/16 and glass is 2.5mm. I have significant space to fill. Would you double the foamboard? Is there an alternative to doubling the foamboard and what would you use to glue both foamboard together so it's sturdy.

Thank you!

I rarely (if ever) fill the back.
I might use a thicker backer for stability, but you do not have the backer flush with the frame backer.
If you paper the back of the frame, the space will not be seen.
I occasionally double up on backer paper to avoid the possibility of rips.

The weight difference between 2.5 mm glass, and 1/8" acrylic is about .5 lbs/sq ft. (I'm seeing different sources with different numbers)
I barely notice the difference.
The durability/chance for something to go wrong difference is very large.

 

[Leoo]

Thank you for all the advice. I really appreciate it. I'm still a bit confused, so if a rabbet if 1.5in, how does one go about to fill the rabbet, when it's only the glass, print and 3/16 foamboard. Thank you

 

[Nikodeumus]

Cut additional layers of foam board the same dimensions as the glass/mount board.
Put in as many layers as needed to fill the empty space.
Hold it all in place with framers points at the last layer.
No need to glue all the layers together.

As some others have noted, it may not always be economical to completly fill a deep frame void space. You would have to charge an amount of money to pay for approx. 6-7 layers? of 40x60 foam board to fill the remaining approximately 1-1/4" or so of void space. That is about 1/4 of a full box of foam board!

Sometimes I will cut strips of foam board to glue together to create a support structure between the mount board and a single full sheet of foam board at the very back of the package.
You need to decide if the extra effort and time to do that offsets the cost of many full 40x60 foam board sheets.

 

[Ylva]

I use a piece of flaw board and staple that to the back, if I don't want to fill all that space.

For anything 40x60 I use a sturdy frame.
I don't feel those metal brackets do all that much as the front of the miter might still get weak and open up.

For extra security, I staple screenprint mesh in strips from top to bottom, so the rails have no 'give' and won't move.
It doesn't help if the corners are not secure through and through.

If the frame is not solid enough to carry the weight, you will have to build a strainer.

 

[Leoo]

Thank you so much for all the advice. Is it a industry standard the the max size for glass should be only 32 x 40? What would be the max size for glass with metal frame vs wood frame? For a wood frame to be sturdy, what is the most important factor? A deeper rabbet? etc?

 

[Ylva]

I use glass up to 40x60
It is up to every individual, what are you comfortable with. In a few years I might only offer glass up to 32x40 and plexiglass for anything larger. For now, I can handle the 40x60

There is no answer to your question of max size for glass with metal/wood frame. Too many variables.

Same as for sturdy frame. Depending on size, weight, glue surface. It is a learning process for sure.