Big-time framing: oversize framing may take more space, staff and hours than typical custom framing fare, but it can offer a gargantuan boost to a framer's reputation

Art Business News, June, 2004 by Tricia Bisoux

Call for reinforcement: Because the laws of physics don't stop at the attachment points, but travel along and within all parts of the frame, framers should plan ahead for the long-term effects of gravity. Many framers have sacrificed a poster under regular glass to test the effects of light exposure over time: Similarly, it may be wise to experiment with weighty mounts before an oversize job comes in. This way, framers can see the exact effects gravity will have on their mounting and flaming techniques and discover points of tension where breakage is most likely to occur.

"Backing boards, for instance, might need reinforcement on the back side to prevent warping and distortion," Storch advised. "This also provides a more secure purchase for the object mounting fasteners."

The moulding is another area where reinforcement may be required. In standard-size flaming, for example, moulding width is often chosen more to visually balance the art or object than to support the art. In oversize framing, however, the moulding is a primary support for the object's weight. Therefore, its width and composition are as important as--if not more important than--its aesthetic qualities.

"The weight of the piece needs to be supported by the frame," said Zisk. "So first and foremost, the moulding has to be wide enough. Some customers may want the 'minimal' look, but you still have to choose moulding that can hold the object. If you use a moulding that's too thin, the corners will begin to separate."

And it's not enough for the moulding to be wide, she added. It also has to have the proper composition. A wide moulding may look strong enough, but if it's made of soft wood it still may fail as a support.

Sew carefully. A majority of large objects that framers are asked to mount are made of fabric--kimonos, wedding dresses, flags and quilts are among the most common textiles a framer sees.

"I've often seen textiles mounted with fishing line pushed through the fabric. When the textile is hung from those points, it causes distortion and eventual tearing," Storch warned. "Not supporting the object and its component parts properly from the interior, or not stabilizing it properly before mounting, are common mistakes made by those who don't take a conservation approach to mounting."

The answer to mounting large fabric pieces usually involves a two-step process--first, carefully sewing a backing onto the item and then mounting the backing, rather than the item, in the frame. Many framers use a cotton thread with just enough tensile strength to effectively hold the item, but not too much to cause damage. A strong but thin cotton thread can often be a good choice.

Avoid adhesives. While adhesives such as silicone glue and rubber cement may have their place, they should never be used to mount large or heavy objects. Water putty, epoxies, construction glue and silicone sealants can cause irreversible damage to objects, Storch warned.

"They can also fail to hold the object when they are completely relied upon without a secondary mount, leading to breakage and permanent damage," he said. "The combined weight of the object and the adhesive can cause the support board material to fail as well.