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Home Picture Framing The Complete Guide to Home Picture Framing Featuring Logan Graphic Equipment and Tools by Malcolm David Logan The Complete Guide to Home Picture Framing by Malcolm David Logan ©2004 Logan Graphic Products, Inc., Wauconda, Illinois All International Rights Reserved First Edition Printed in the United States of America ISBN 0-9749683-0-7 Translation, transmission or reproduction of any part of this work, beyond that permitted by the Inter- national Copyright Act, without the permission of the copyright owner, is unlawful. Please request permission or further information from Logan Graphic Products, Inc., 1100 Brown Street, Wauconda, IL 60084. Phone 847-526-5515, fax 847-526-5155, [email protected] The information in this book is offered in good faith, but without guarantee, because the techniques of individuals and variations in products are beyond our control. We recommend the user determine, for his/her own purposes, the suitability of all materials, methods, and information mentioned. Logan Graphic Products, Inc. and Malcolm David Logan, individually and combined, disclaim all responsibil- ity for loss or damage resulting from the use of the information furnished herein. L245 REV 1 5-15 2 The Complete Guide to Home Picture Framing TableofContents Chapter One: Chapter Five: Designing Your Picture Framing 6 Employing Other Essential Matting Techniques 46 Reading the Artwork 6 Cutting Multiple Opening Mats 46 Determining the Window Size 8 Cutting Oval and Circle Mats 49 Determining the Frame Size 10 Cutting V-Groove Mats 52 Border Finder 10 Putting Decorative Ink Lines on Your Mat 53 Measuring for Frame Making 12 Cutting Stepped Corner Mats 55 Creating Shadow Box Effects 58 Chapter Two: Preparing Your Framing Materials 15 Chapter Six: Cutting Picture Frame Moulding 15 Mounting Your Artwork 61 Sanding Picture Frame Moulding 19 Grappling with Conservation Reducing Matboard and and Archival Concerns 61 Foamboard to Frame Size 20 Permanent Mounting 61 Reducing Glass and Acrylic to Frame Size 23 Hinge Mounting 64 Trapping Methods 67 Chapter Three: Mounting Stretched Canvas 69 Assembling Your Picture Frame 26 Mounting Needle Art 70 Joining with the Studio Joiner F300-1 26 Mounting 3-Dimensional Objects 70 Joining with the Pro Joiner F300-2 29 Chapter Seven: Glazing, Fitting & Finishing Your Frame 71 Chapter Four: Glazing Your Artwork 71 Cutting Your Mat 33 Loading and Securing Understanding the Differences Your Framing Components 72 Between Mat Cutters 33 Installing Your Dust Cover 76 Cutting a Single Mat 35 Installing Hanging Hardware 77 Troubleshooting 39 Installing Hanging Wire Cutting a Double Mat 43 and Bumper Pads 78 3 Introduction The world of picture framing is changing. the cost of picture framing. For those who Time was if you wanted to frame a picture frame with some regularity, the cost of you were obliged to use a professional. going to a frame shop is an uncomfort- The equipment and materials necessary able burden. For those who frame only were the exclusive domain of wholesal- occasionally, it’s a shock! The cost of pro- ers who would only sell to those willing fessional picture framing has climbed in to invest the time and capital to start a recent years as suppliers and mass mer- picture framing business—and that busi- chandisers have shifted the emphasis to ness was defined as a storefront outfitted costly, archival framing—the Cadillac of with fixtures, encumbered with legal and framing treatments—and the small, inde- financial obligations, and saddled with a pendent frame shops, once the purveyors substantial investment in equipment and of a low-priced alternative, have fallen by materials. For those who wanted to start the wayside. The result has been a profes- a small framing business from their home, sional framing industry devoted almost ex- catering to friends and neighbors with the clusively to high-end framing. For the man potential for growth—or for the artist or on the street, it seemed there was just no photographer who needed to frame in way to frame inexpensively any more. a professional manner—or for business people who wanted to add picture fram- In basement workshops and on kitchen ing to an existing business—there was no tables across America a small cadre of way in. devoted crafts people knew better. With a reasonably priced mat cutter and some In 1974 Logan Graphic Products quietly store-bought picture frames, they could led a revolution. They designed a low- mat and frame themselves for 50 percent priced mat cutter designed for artists, less than the cost of going to a frame photographers, and what the industry re- shop, and if there was a woodworker in ferred to then with some disdain as “ga- the home, something remarkable could rage framers”. The Simplex Mat Cutter happen. By cutting and joining their own took the heft out of a professional frame frames, these same craftspeople could shop’s mat cutter, creating a machine de- take as much as 75 percent out of the signed to cut an average of 15-25 mats cost of traditional framing. a week, yet retaining all the key ease- of-use features available on professional At the other end of the market, traditional mat cutters, and at a price the average picture framing suppliers viewed the stir- do-it-yourselfer could afford. The Simplex rings from below as a threat to their live- quickly became Logan’s flagship product lihood. Consequently, if a home picture and grew into a full line of mat cutting framer contacted his local wholesaler equipment with products affordable for looking to purchase picture frame mould- any budget. ings in length so that he could cut and join his own frames, he was gently but A common complaint of late has been firmly turned away. If he wanted to buy 4 The Complete Guide to Home Picture Framing cutting and joining equipment, he was pre- refused to hand over a substantial part of sented with prices that staggered him. And their profits for framing that they elected to if he wanted to learn how to do it, he was do it themselves. Given the climate in which informed that he would need to make a they were working, it’s a credit to anyone substantial investment in a serious business who has done their own picture framing that enterprise and show a financial commitment they have succeeded. And it is due to their to his future as a professional picture framer. determined efforts that the world of picture framing is now changing. It is a credit to those early home framers that against all odds they continued to strive to Logan Graphic Products, the worldwide do their own picture framing. Without easy leader in mat cutting equipment, has seen the trend and has now developed a full line of frame making equip- ment, which, in addition to their mat cutter line, provides small, start-up and do-it-yourself picture framers with the ability to produce quality framing without a disheartening outlay of cash and com- mitment. And Logan is not alone. In the same spirit other manufacturers have come to the fore, companies like Lineco, Inc. and Filmoplast, both purveyors of quality art- work mounting tapes, and 3M, Inc., the world- wide leader in mounting adhesives and tape ap- plication tools. All have as their goal the simple concept of making pic- ture framing accessible to anyone who wants to do it. So the trend toward Art Courtesy of D.M. Moore picture framing for the small, start-up and do- it-yourself picture framer access to equipment or materials, they kept is well underway. For those seeking a at it, producing quality work. It is a credit professional picture framer to provide a to those small business owners who saw high-end service, there are still plenty of picture framing as a viable complementary them; but now, by virtue of those brave offering to their main line of business, that few who toughed it out and demonstrated they made it happen. It is a credit to art- the need, there are other, less expensive ists and photographers everywhere who ways to frame as well. INTRODUCTION 5 Chapter One the composition itself. First, you will want to “read” the artwork. What is its dominant color value? What is its dominant tempera- Designing Your ture? How would you characterize its style? Picture Framing A color’s value is where it falls on the white- to-black scale. When it falls more towards white, it’s a tint; when it falls more towards black, it’s a shade. In between are tones. Some artwork is composed primarily of tints, Wait. Wait just one minute. Don’t go out like scientific botanicals, pastel prints and and buy that stuff. You’d be making a mis- watercolors. Other artwork is composed pri- take. Resist the urge. Sit down and take a marily of shades like deep-hued sunsets or look at what you’re framing. That’s what dark and brooding expressions rendered in it’s all about. The art of picture framing is oils. Often it is possible to look at a given art- about the framing of art, so that’s where it work and detect its dominant value. When starts—not with the frame. One of the most common errors nov- ice framers make is to buy the frame before they’ve done their planning, thinking that framing is a little like baking a cake: gath- er the ingredients, then follow a list of instructions. It’s not. Every frame job is unique and has to be planned for individually, which means making decisions that will guide how you present a specific piece of artwork.
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