Framing and 'finishing'

[Ramon Deslauriers]

Hi Joan,

I work as a picture framer, and have been for over five years. I've framed many paintings stretched on canvas, so I thought I'd give you some insights.

The offset clips are great because they're acid-free and don't damage the stretcher bars. I'm a visual person, so there's an attachment of what an offset looks like and how it fits over the bar. There are a couple of things I'd like to add though.

Instead of using screw-eyes, I'd suggest using strap hangers (see attachment, and forgive the crude "mouse" drawing). They lay flat against the frame moulding, and look a lot cleaner. Plus,the wire you use should be plastic coated to protect clients' walls.

Also, the way the back is finished is just as important as the finish of the front side. The cleaner the back of the frame looks the better. Especially if it's for a client. The back of a frame left unfinished looks just that way - unfinished. Yes, it's true that you want to let the canvas breathe, so a hole is necessary. But, I would definitely cover all the unsightly bars and unfinished moulding. Yet, the worse backing you want to use is the kraft paper. It's terribly acidic. There is a paper product available by Lineco that comes in rolls which is acid-free (it's a light blue color). That's what you should use (or something similar).

One final thing. If you're looking to keep your portrait as protected as possible, use aluminum tape to line the rabbet of the frame that the painting will set into. This will help protect your painting from the acids in the wood. Lineco also makes this product. They call it Frame Sealing Tape (no, I'm not a Lineco rep.).

Hope this fills you in,
Ramon

[Michele Rushworth]

Ramon, thanks for your expert reply. What frame place do you work for? I'm in Seattle too and would like to know where I could send my clients so that they could work with someone like you who clearly knows what he is doing.

[Kimberly Dow]

I just wanted to mention that I have always found friendly frame shops that would do odd jobs for me. For example: I take in the frame and they do all the necessary work for $7. Or the fella that used to stretch all my canvas' like the 50x70 for $15. I provided all the supplies and he was happy to do it. If it is a particularly busy place they will not have time, but if you find a good small frame shop they will usually do that kind of thing.

[Joan Breckwoldt]

Ramon,

Thank you so much for taking the time to reply with such a complete and informative answer. And pictures too! It's people like you who make this forum a great learning place.

Kim, you have a good idea about approaching frame shops to see if they would do the labor. I once tried to get somebody at the local art school here to stretch canvas for me and for a medium sized canvas they wanted $60 so I don't have high hopes about finding cheap labor. But I will investigate and report back! BTW I learned how to stretch canvas myself and I enjoy that part of the painting process.

Joan

[David Sorg]

One thing that I haven't seen mentioned here is protecting the backside of the canvas from physical damage. As a former framer I learned the importance of using a piece of cardboard, mat board, or best, acid-free foam-core stapled to the backside of the stretcher bars before applying the dust shield.

That should have been enough to teach me, but years later had one gallery return one of my paintings that had slipped on their wall until the nail caught the canvas, bringing it to a halt with a one inch tear.

Or I should have learned when a different gallery had stacked some of my paintings against the wall with the corner of a smaller framed work creating a lovely square crease on the front of the next piece. (And these are creditable galleries; not the vans parked in vacant lots selling my black velvet Elvis paintings ).

So I'm thinkin' I've learned to either use the foam-core, or paint on wooden panels...

[Joan Breckwoldt]

Originally Posted by David Sorg

As a former framer I learned the importance of using a piece of cardboard, mat board, or best, acid-free foam-core stapled to the backside of the stretcher bars before applying the dust shield.

Hi David,

Thank you for adding this valuable information to this post. I had never really even thought about protecting the back of the canvas. But, even with something stapled to the backside of the stretcher bars, I'm thinking that still wouldn't prevent those 'square creases' if someone lays another painting on top of one. (Not that it's a problem for me since I don't have anything in a gallery ) Wouldn't there still be air space between the canvas and protective board? Or I am misunderstanding your meaning? But your suggestions would certainly help avoid damage to the canvas from the back.

Oh, and after rereading this before I post it, I came up with another question. Getting back to the original posts, with cardboard or something else against the back of the canvas, aren't we back to not allowing the canvas to 'breathe'? I guess a hole needs to be cut in the cardboard too?

thanks,

Joan

[David Sorg]

Yes, the board does only protect it from the backside, but most people are much more conscious and careful of the front, as well as having some protection from a frame profile that usually protrudes a little (or a lot).

I had never heard of a mold problem (it's pretty dry here in Denver), so I imagine a hole would be a good idea.