Framing your children’s creations sends a positive message of encouragement to your little Van Gogh.  It marks their work out as being particularly extraordinary and worthy of this special attention, but drawing and creating provides so many benefits in itself. Creativity is an important part of a child’s development. It’s a critical form of communication when they haven’t yet fully developed verbal skills. When drawing there are so many decisions to be made, which paints to use, or should it be crayons, how do I draw this and what colour should be, is it too big or too small. Already they’re starting to make decisions and solve problems. Hand/eye coordination and dexterity develop. Creating in school or nursery teaches sharing and consideration. Creativity allows your child’s imagination to run free and explore, developing an open mind and emotional intelligence.

Image: Vlada Karpovich: pexels

Framing their work demonstrates your pleasure which is so motivating for the child inspiring them to create again. Involve them in the framing process. Use a framer who will work at their level of understanding and will consider their preferences and opinions. Mastering creative skills and seeing projects through to completion, even at a young age develops self- belief, confidence and perseverance, building resilience for their futures.

Image: Larson Juhl

Kids love colour and interesting combinations of colour!!! There are some great coloured mouldings just crying out to be selected for kids work. One of my favourites is “Confetti” by Larson Juhl available in a huge range of brights, pastels and a few good old faithfuls.  But then we might all be surprised by a sophisticated decision made by your little artist.

One really important element of framing for children, particularly if the work is to be hung in their own space, is glazing; more particularly if they happen to be exuberant little individuals. Ask us about acrylic glazing; it’s light weight and shatterproof, hugely reassuring to know that if disaster happens the kids are reasonably safe.

If we can help you display and preserve that special piece of work just give Bev a call on 01303 268618 or 07833 350815.

You never know, you might have the next budding Tracey Emin in your family.

What difference does it make which glass you use? A question frequently asked, but if you consider there are about 54 glazing options, then that suggests there must be some significant and subtle differences.

Glazing technology in the picture framing industry has massively improved over recent years and it can seem like a minefield. Certainly when I returned to picture framing it completely blew my mind. Could all of these options really by necessary and why?

You can start to narrow the field by deciding on your priorities and setting a budget. All good picture framers will want to do the best for the artwork, particularly if it’s unique, original or a limited edition print; but you may have other personal considerations to throw into the mix.

A good place to start is to consider the value of the piece to be framed, its financial, sentimental and even its historic value. If your artwork falls into any of these categories you may want to consider significant protection. Good old 2mm float picture framing glass was once the mainstay of the framing industry, a high quality and keenly priced product, still available today. Although it offers great protection against physical damage it provides little protection from Ultra Violet (UV) light and is highly reflective. Without going into the science, UV represents only 5% of the visual spectrum, but accounts for 90% of damage to artwork. So one of your glazing decisions will be how much UV protection to provide your work, 40%, 50%, 70% or the maximum 99%? This answers another question, we picture framers can’t protect your work 100% from fading, but we can slow it down.

Here you can clearly see damage caused by UV radiation.   
The border is the original colour of the paper.

Another really exciting development in picture framing glass is low reflectance coatings. A technology developed for the ophthalmic industry which has been harnessed for the art world. Specialist coatings reduce reflection from the surface of the glass from 8% to an incredible 1%, providing near invisible glazing, which means you see your image, before your own reflection. There are certain lighting conditions where this glass isn’t appropriate, but it’s great for high contrast, dark work, box frames, detailed work and black & white photography, but it isn’t cheap. Despite this, when clients see what it can do for their work, it’s pretty compelling, and increasing in popularity over traditional etched diffused glass.

Low-iron or water white glass is another option providing clarity and accurate colour. It absorbs less light than standard float glass; light transmission is significantly improved so you view a clearer image and enjoy more accurate colours.

Last but not least there is still the option of diffused glass. Great for reducing glare particularly in harsh lighting conditions. However because the surface of the glass has been etched there is a substantial loss of definition. The greater the distance between the glass and the work, the more “fuzzy” the image becomes.

Are you ever likely to display largescale artwork in public spaces like hospitals, hotels or a child’s room? If you are then you have health and safety considerations and you have two options. If for the sake of clarity the glazing must be glass then laminated safety glass is your product. The other option which has the added advantage of huge weight reduction is one of the “plastic” glazing products, styrene or the more expensive acrylic. The plastics present their own challenges, static and being easily scratched; having said that, even in plastics there are varying degrees of quality and technical advantage right through to museum quality.

So you can see we have one or two things to think about when deciding which glass to use on your work, but there’s more.

Combine one or all of the above, and whilst moving up the price scale, you really start to benefit from developments in glazing technology, enhanced protection and improved experience of your artwork.

But, there’s even more. Apply any of these qualities to Acrylic with the added option of antistatic treatment, and you have a light weight shatter proof glazing perfect for large work, or anything going into public areas or children’s rooms.

A simple demonstration of:
Standard float glass – Low-reflectance glass -Traditional diffused glass.

Yes there is a piece of glass in the middle!!!

The options are vast, and there is no single solution, which is why we framers really do need to see your work and have that chat with you.

Why not give me a call (07833 350815) to chat about your project. If you would like some advice on an appropriate solution, and even take a look at some glazing options for yourself I would be pleased to help.

My question would be “Why wouldn’t you?” If you’ve bought a piece of artwork it’s obviously had an affect on you, enough to invest your hard earned cash in it. If you like it that much you should enjoy it for as long as possible. Not only does mounting and framing visually enhance your treasured image, it protects it from environmental and physical damage. From an artist’s point of view it finishes the work, raising it a level, adding value which makes it far more saleable than unframed work.

The “framing package” protects artwork from a number of notorious enemies; technical developments in framing materials and adopting good framing techniques means that the life of your work can be prolonged by years. However there are six main enemies of artwork: light, moisture, insects, airborne pollutants, heat and physical damage.

So how damaging can each of these be, and how does framing help?

Light

Light is possibly the most common source of damage to paper and textile based art. It destroys the cellulose in paper resulting in fading, embrittlement, and discolouration. This damage can be made worse by oxygen in the air and impurities in the base medium. Papers containing lignin and manufacturing additives yellow with exposure to light. Fabric and textile based art is particularly prone to fading and if kept in unfavourable conditions the outcome can be devastating.

Ultraviolet (UV) radiation is the most destructive component of light. It represents only 5% of visible light, but causes 90% of damage. The major source of UV is natural daylight and fluorescent lighting, and contrary to the belief of many UV light is present every day and everywhere. Be it summer, winter, sunny, rainy, north, south, east or west facing, it strikes and bounces from one surface to another. It’s ironic, that which allows us to see our artwork, is its enemy.

There are a few things you can do to slow the rate of damage. Never hang art in direct sunlight or too close to a fluorescent light source. If sunlight is likely to fall directly on your artwork try to relocate it, or consider having it glazed with one of the specialist UV filtering products. UV control window film provides an additional level of protection and is a small price to pay to protect your investment.

Moisture

Moisture turns paper acidic due to a chemical reaction with elements in the paper itself, destroying it and the artwork. Paper absorbs moisture and will expand and contract as a result of changes in relative humidity and temperature. Framing artwork reduces the impact of excessive atmospheric changes and pollutants which may result in mould growth. Known as “foxing” it appears on paper as dull discolouring spots, and some mediums are more susceptible than others. Textiles suffering from mould develop a musty smell and a surface growth, but taking simple precautions can substantially reduce the likelihood of mould forming.

• Keep relative humidity below 65%.

• Don’t display pictures in damp situations, such as kitchens, bathrooms, basements or on cold external walls.

• Clean frames regularly, dust traps moisture and contains airborne mould spores.

• Encourage good air circulation both behind and within the frame. Use ‘bumpers’ on the back of the lower two corners, to hold the frame away from the wall. Mounts or spacers used during framing prevents the artwork coming in contact with the cold surface of the glass, preventing image transfer and condensation. Improved air circulation within the framing package equalises the humidity across the surface of the work.

• Avoid leaving pictures in closed unventilated rooms for long periods. When storing, good air circulation is key so raise the work off the floor.

• Have infected works professionally treated to kill mould, then rectify the conditions that caused it in the first place. However take care, any spores remaining can lay dormant for years and be reactivated when the conditions are right.

Insects & Airborne Pollutants

The most common source of insect damage to paper based art is from silverfish, and woodworm. However, paper isn’t the only option on the menu for woodworm, which will munch anything made of cellulose, and will stop at nothing to get to its delicacy, flour paste and glue size. Clothes moth and carpet beetle are the main enemies of textiles. Cockroaches tuck in to parchment, paper, leather, fabrics, and anything containing sugar. Ensuring the back of the framing package is fully sealed keeps out insects, dust and airborne pollutants and helps to maintain a stable environment within the frame.

Heat

High temperatures accelerate the deterioration of art, so avoid displaying it directly over radiators and all other heat sources. Equally, excessive variations in temperature should be avoided so where possible avoid hanging artwork on the chimney breast or cold external walls.

Physical Damage

Being completely enclosed behind glass within the framing package artwork is protected from knocks, nicks and abrasion.  In extreme circumstances such as fire or flood, protection has been known to prevent total destruction.

How does framing enhance your artwork?

There are three components which have the major impact on work being presented, the mount, the frame and the glass.

The mount has two main functions, to present your work and to protect it from the glass; it’s used to create space allowing the image room to “breathe” in both a practical and aesthetic sense. There are no hard and fast rules about the size of the mount and although you will often hear framers referring to “over or under” mounting it’s really a matter of personal preference, but the work should look balanced. Double, triple or “fancy” mounts add importance to a smaller piece of work; equally a large frame can make a small picture look amazing. Float mounting is a great way to present a piece of work when the edge is part of its character such as papyrus, a piece of fabric or handmade paper. Keeping the edges visible enhances unique qualities of this kind of work.

Ensuring the mount works with the frame highlights subtleties of colour within the artwork and creates a harmonious presentation. A well-chosen frame will enhance an image enormously; conversely a badly chosen frame can ruin a piece of work, render it unimportant and substantially affect its perceived value. Considering the image provides clues to suggest the style of frame, and attention to detail such as matching the frame to the right historical period respectfully lifts the work from average to stunning.

Allow the image to dictate the colour and style of presentation. It isn’t advisable to mount and frame artwork in isolation to suit your décor as it may not be the best solution for the artwork itself. Try not to choose a “red” painting for a “pink” room, choose a piece of work that suits your interior, the presentation will then compliment your space. Alternatively allow the artwork to influence how you decorate your room.

Finally the glass, here technology has made a major leap forward. For years picture framers used good old 2mm float glass, which is great, but it has its limitations. For example it’s very reflective, so you see your own reflection before you see the image. It has a green cast which can affect the colour of the artwork, and it provides minimal UV protection, just 50%, so your work is still vulnerable. Compare this with extra clear museum quality glass which provides 96% light transmission, a superb 99% UV filtration and less than 1% reflection. The glass is virtually invisible, which is why I’m constantly polishing fingerprints off my display selector, because customers just don’t believe there is a piece of glass there; but it goes to prove that you see the image before you notice the glass. Admittedly it is the glass of choice for valuable work and it comes at a cost, but there is a host of alternative glazing options between standard and museum, depending on your priorities.

I love presenting work beautifully, so if I can help, I’m just a phone call away.