The mount board almost matches the art paper and is conservation textured mountboard. The edge of the 27cm X 27cm artwork is deckled so I am backing it with a 26cmX26cm piece of mountboard to float it and show the cast shadow of the edge. This piece is the bit from the window which has been cut down. the window of the mount is 29cm X 29cm, and the borders are 6cm: 6cm: 6cm: 7.5cm.
I thought I'd talk about how I go about my framing.
This isn't in great detail and I'm sure you can find lots of you-tubes showing how to cut mountboards, but some bits may be useful:
I buy my frames at a good market stall, with backing board and glass and I cut my own mounts. Sometimes if mounts are large it's not worth it, but for smaller mounts it is a good idea if there are quite a few artworks to be framed.
Pre-planning:
Plan your frame size to be economical - there is nothing worse than being 1cm short of getting two mounts out of one sheet. It may mean deciding on the artwork size in advance. Ditto for your expensive art paper!
- If you are exhibiting at a show, try to get a series with matching frames all one size.
- Keep all the frames neutral and the same or at least harmonious.
- Forget double mounting and fancy painted lines - this adds a lot to the cost and is great is for interior design, but isn't practical for exhibitions. Moreover, double mounting has to be done professionally or it will look tacky.
- Generally - Top: side: side: base widths on window mounts look good as follows:
- A4 work: about 5cm: 5cm: 5cm: 6.5cm
- A3 - A2 about 6.5cm: 6.5cm: 6.5cm: 8cm
- Sometimes the base is the same as the top and sides, but slightly wider is still the norm.
Measuring up:
Measure the artwork and add the width of the mount. Even if it comes to a funny figure don't round one of the measurements off. This is the size you give the framer as being the inside measurement of the frame. They will allow a few mm so that your work isn't squished exactly into the frame.
You will need a good craft knife with snap off blades. I don't like the heavy carpet ones as they have a thick blade and are harder work. With some of them you need a screwdriver to change the blades and you get tempted to cut with a blunt blade. I can show you the scar on my index finger. Duh! As my father-in-law used to say in his Scottish accent "you only cut yourrrself on a blunt blade".
Don't ever be stingy about using sharp blades.
My favourite brand is an NT cutter.
I don't use a scalpel for cutting thick card as its easier to keep the cut at right angles with a craft knife.
A big cutting mat at least A2 in size - the bigger the better.
Invest in a long metal ruler. Long rulers are unwieldy so I have two; a 60cm one and a 100cm one. The very long one is made of thicker metal and there is less chance of the blade slipping up the ruler.
Card:
Conservation Mount Board: Acid free right through, limited colour range
Coloured mount board: Acid free on the white back where it touches the artwork
Conservation backing board (may as well use conservation mount board for backing)
Grey backing board: This is not acid free so if your work is for your grandchildren, avoid it.
Bevel Mountcutter
Until recently I used a hand held Olfa one and Dave would hold the long heavy ruler down while I cut. It worked but I am delighted with my new one.
Measuring tips:
"Measure once and cut twice OR measure twice and cut once"
Use a super sharp pencil.
Always make three marks to draw your line as this will help you pick up mis-measurements more easily.
Once you have drawn the rectangle measure the diagonals to check. If the diagonals are out by 1mm, it will still be pretty accurate.
Conservation Tape is single sided and so has to be used on the face of the work to stick it to the backing board.
Double sided tape is available in conservation quality but is super expensive and can be used between the work and the mount board. I can't afford it. Swings and roundabouts.
Tomorrow, I'll show you how to package your work for exhibitions to make it easy to pack and unpack.
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