Stay away from black, As a general rule, I always stay away from black, especially solid black-although, it should work if is part of a color path with a particular molding and if it is not overpowering the drawing. It`s good to have something that has a range of values-including molding and mats, working as a set. Even with the values and gradations created within the graphite media, the mat or mats and the frame should all be selected to either compliment, subdue, or emphasize any particular value or aspect of your drawing.
Add a protective dust cover, After attaching the art and framing materials to the definite frame, a dust cover can be used on the back to keep additional dust, spiders, or bugs from entering the framed photograph compartment. This is usually done by using a two-sided tape on the back fall of the molding all the routine around the perimeter. Then a piece of brown paper is laid down on the adhesive near as it is came as far as flat as you press it onto the adhesive arrive . You then trim the outer edges of the brown paper to fit and then you are ready to attach your hanging wire, before placing your artwork on display.
The glass should be tremendously clean and must be tested for finger prints, dust, hair, or other strange material, before securing it permanently in the frame. You could have to do this more than once.
It`s how your finished artwork is presented that makes all the difference. Although it`s teasing to simply area your drawing in a ready-made frame, there are many things that you must take in consideration before framing your artwork to insure it is adequately fortified over the years.
Utilization acid- complimentary materials, Any matting, magnetic tape or adhesive, barriers, or backup that you use in the frame of your artwork or drawing must be absolutely acid free. Acidic materials, after long periods of time may actually damage the artwork in the frame by distorting the actual paper or by turning the paper a yellowish color.
Ever bod with glass, I would always framing with glass, but I would as well pass the surplus money for the UV shelter glass. However, I would never use non-glare glass or plexiglas.
Use matting, I prefer using mats with the framing of my drawings. If an acidic matting is use, it can be backed by an acid-free material that will act as a protective barrier between the matting and the drawing. There is a standard thickness that is required and favorite in the industry for this buffer or barrier. The same consideration must be given to the backing of your drawing. If your drawing or art is backed or mounted on an acid-free material, the barrier is avoidable . Some framers use a foam-core board for backing.
The drawing should be cleaned well, removing smudges, dust, or eraser fragments. To see if there are any small fragments on your paper or drawing, you must look at the betide trimly from a serious angle, so that you could see them contrasting from the paper`s come to pass as they rise up. You may use a brush or compacted air to remove the fragments from the framing material.
Let your artwork breathe, In attaching the drawing to the backing or whatever secures its position within the mats or frame, it can only be secured at the top and allowed to hang if an adhesive or tape is used. It can not be secured fervently at all four corners or around its perimeter, because the humidity changes constantly and the paper has to have liberty to flex, expand, and contract. Otherwise, the paper will ripple or develop rounds if it is confined in any road sets in the paper become extremely apparent when the lighting is directional or at an angle to the framed piece of art. The light causes highlight and shadow because of the contours in the paper. Some framers are using a large synthetic photo type corner that allows the paper to slide in and be secure at all four corners and still allow for the flexing of the paper. It seems to be working quite well, as a few of my drawings and illustrations using other media on paper, have been framed this modus operandi for a number of years.
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