Design
A quality
frame is an investment that will last a lifetime. A quality frame gives art
style and substance. It enhances its value. It will stay on display to be
enjoyed for years to come.
At Ohlone
Arts, all of our designs, at every budget level, will Preserve and
Protect. Our talented designers can show you a range of possibilities to
truly Present your art in its best light. The right design can make all
the difference.
Preservation
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 Acid attacks paper,
discolors paper, and makes it brittle by breaking down the microscopic
structure.
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Do not use acidic material
in the package brown cardboard, for instance, is highly acidic and should
not be used.
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Do use premium quality mat
boards they use high technology components that actively neutralize and
absorb acids and pollutants (Crescent RagMat, Bainbridge AlphaMat and
AlphaRag).
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Exception: Some art, for
instance gelatin photos, may be adversely affected by buffering agents.
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Whenever possible, the
framing process must be 100% reversible allowing the removal of the art in
its original condition. Use mylar retaining clips or archival tapes and
adhesives to attach the art to the backboard.
Protection
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Light, water, airborne
pollutants, and mishandling can damage your art.
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The frame provides
structure and protection.
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The backmat also provides
structure and protection.
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Window mats provide an air
space between glass and art to eliminate the chance of media transferring to
glass, and they provide a small air space to insulate the art from rapid
temperature fluctuations
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Works on paper must be
protected by glass or acrylic.
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UV-blocking glass
provides added protection from harmful UV light that fades many color pigments.
Presentation
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The design must harmonize
with the art and present it for maximum enjoyment.
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The design must
let the art be seen
first when viewed.
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The
choice of frame, mat, decorative details such as bevel accents, or filets make
a dramatic difference in the appearance that enhance the presentation.
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Design Considerations:
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Environment
- Will the art
piece be a focal point in a living room or a decorative piece for a
bedroom? The architectural style of the building might influence design,
the style of furnishings and color of walls dare a factor as well.
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Intent of Object
- Is the drawing or painting an attempt at a serious art statement and
therefore also treated seriously and probably more simply, or can the
framing design be more decorative?
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Color -
Colors have an
actual temperature as well as psychological coolness or warmness. They
have an advancing or a receding characteristic. In matting and framing,
the control of color amounts, purity, plus lightness and darkness will
determine whether the art can be seen with pleasure or distress.
Determine these color characteristics in the art itself. Most of the
time, choose the largest color field, the color that takes up the most
space, being careful to analyze the total picture plane of the art. Use
the dominant color as the top mat, slightly lightening or darkening it
in order to draw the eye into the art. Supporting colors in the art,
many times complimentary colors, would be used as accents. The frame is
also a color and design element and should work with the total
presentation design.
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Line
- The edge of the matting creates lines as does the frame. Lines help
transition from one color or value area to another. They can visually
combine and balance several disparate shapes. The width and visual
strength of lines will direct the eye in a shadow box composed of
several objects. A free-form line can be given stability with V-grooves
or French Mat decorative elements.
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Texture
- Everything has texture. Smooth frame against rough fabric. Textural
contrast creates visual richness.
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Value
- All art has a value, or a lightness and darkness. Every element in the
presentation also has a lightness or darkness. There should be enough
contrast to delineate the art from the framing, but not too much, or the
art is overwhelmed.
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 Technique
components of a quality frame
At Ohlone Arts, all the work is done by hand, striving
for old-world craftsmanship at affordable prices.
Quite a bit of technology is involved in achieving our
goal to Preserve, Protect and Present. Here is a detailed look at the latest
techniques and materials we use for art on paper.
Backmat
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Supports and protects the
art.
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Serves as the mounting.
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For most projects, we use
acid-free archival grade foamcore such as Bienfang Masterpiece series which
has been approved by Canadian
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For original art of
significant value, or at the request of clients, we use 100% cotton rag mat
board which offers the most conservative approach available.
Hinging
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A hinge is a mechanism,
usually glue and paper tape, to attach the art to the back mat.
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It is attached at two to
four
places along the top edge of the art depending on the weight and length of
the art.
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The hinge is attached to
the Backmat in compliance with archival standards.
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Hinge, first choice: Mylar
(polyester) sleeves, or retaining tabs or corners. In many applications
these can be hidden from sight and offer good support with no adhesive
required on the art. Polyester is a total stable plastic that does not
release any chemicals or breakdown over time. It is approved for archival
storage by the Smithsonian and the Library of Congress.
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Hinge, second choice: For
delicate papers or original works, we use mulberry paper and Nori Brand
wheat paste. We also use this for all designs that warrant museum treatment
or when museum treatment is requested by the client. Wheat paste is reversible
with water.
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Hinge, third Choice: For
larger pieces on heavy stock, we use pressure- sensitive tape with acrylic
adhesive and mylar backing. This is fast and strong and offers the latest in
high-tech preservation. Purists frown on self-adhesive tape, preferring
instead mulberry paper and wheat paste. Our acrylic pressure-sensitive tape
is totally reversible with heat and leaves little or no residue. Modern
acrylic adhesives are stable and non-acidic and are designed to adhere with
minimal penetration into the paper fiber.
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For needlework in
shadowboxes we use nylon I fasteners. These are inert and do not harm the
fiber of the work. They are 100% reversible and are nearly invisible when
installed.
Front mats or
Window mats
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We stock and use the
highest quality rag mats (made from cotton the choice of museums) and
purified wood pulp mat buffered and treated to perform and preserve as well
as cotton
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We use Crescent Rag Mat,
Crescent Museum Solids, Bainbridge Alpha Rag, Bainbridge Alpha Mat, and
Artique brand mat board. All are conservation quality and offer a wide
range of colors and textures
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We also offer custom-wrapped fabric window mats. The texture and hue of fabric can make a
significant difference. In larger projects that exceed the size of
commercially available paper and cotton mats, a fabric wrapped mat yields
seamless treat otherwise impossible to achieve.
 Glass
At
Ohlone Arts, we use glass from two suppliers that cater to the picture framing
industry and provide high-quality glass in a variety of coatings. We use
Art-Guard and Tru-View brand glass.
Premium
Clear From Tru-View or Art-Guard
Premium Clear Glass is the most economical option for general
picture framing. It will protect framed artwork from dust, fingerprints, air
pollution, etc. Regular Glass offers some ultraviolet (UV) light-blocking
protection, but paper damage and color fading may occur over time. The
reflection (mirroring) of Regular Glass under certain light conditions can be a
concern. Glass surface can be cleaned with normal Windex-type glass cleaner.
Regular
Nonglare Glass
Also referred to as "reflection control" or "anti-reflective"
glass. Chemical micro-etching process on one or both surfaces of Regular
Nonglare Glass during the manufacturing process diffuses light striking the
surface and significantly reduces glare. The tradeoff is a slight haziness or
cloudiness, particularly evident when viewed from a side angle or in designs
with three or more windows mats separating the art from the glass. Artwork colors
may appear slightly dulled.
Conservation Clear Glass
Also called "UV-protection glass," Conservation Clear Glass is a
specialty glass made specifically for the picture framing industry. Invisibly
coated on one side to filter out 97% of the damaging ultraviolet light rays that
can cause colors to fade, paper to turn brown, etc. Same appearance and
transparency as Regular Glass but with a remarkable reduction in glare.
Conservation Clear Glass is the choice when archival preservation and maximum
protection for UV light is required. Higher cost than regular glass.
Conservation Nonglare Glass
Conservation Nonglare Glass provides all of the conservation
advantages of Conservation Clear Glass, coupled with an etched non-reflective
surface. Same potential hazing problem and matting depth limitations as with
Regular Nonglare Glass. No special cleaning is required.
Museum Glass
Museum Glass is the highest quality picture framing glass
available. It combines 97% UV-blocking protection with a relatively new
anti-reflective coating that almost "disappears" in the frame. Suitable for
framing valuable or unique artwork or in circumstances where the ultimate in
conservation protection and optical clarity is required. Can be cleaned with any
non-ammonia glass cleaner but a special cleaner produces better results.
Acrylic
Acrylic offers a archival solution used in many of the finest
museums. It is light weight and shatterproof. However, it is prone to scratching
and costs more than glass.
Premium
Clear Acrylic
A high quality clear plastic sheet ("Plexiglas" is one familiar
brand), a bit less than 1/8" thick. Same appearance to the eye as Regular Glass
when used in picture framing. Advantages are light weight - about half the weight
of glass - and the fact that acrylic is shatterproof. Light weight is helpful
when framing larger pictures; shatterproof feature may be required for a child's
room, bathroom, public spaces or shipping. Disadvantages are higher cost than
regular glass, a tendency to attract static electricity (which in turn attracts
dust) and a susceptibility to scratching and surface damage. Easily scratched,
all types of acrylic should be cleaned with a plastic cleaner (several brands
available) and a very soft cloth.
Nonglare Acrylic
Same features and disadvantages as Regular Acrylic except that
one surface is of the sheet is etched so as to be non-reflective. Same potential
hazing problem and matting depth limitations as with Regular Nonglare Glass.
Higher cost than Regular Acrylic.
Conservation Acrylic
A clear sheet with 98% UV-blocking protection built in to the
plastic material. Conservation Acrylic combines the advantages of UV protection
with the reduced weight and large size availability of all acrylic types.
Indistinguishable to the eye from Regular Acrylic.
Conservation Nonglare
Acrylic
Combines the UV-blocking protection of Conservation Acrylic with
the anti-reflective properties of Nonglare Acrylic in one product. Most
expensive of the acrylic options.
Frames
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We offer a wide selection
of over 1500 samples in our Design Center.
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Wood: We offer solid woods
in Birch, Maple, oak, Cherry and walnut. Most frames are built up from Indonesian hardwoods and stained, painted and gilded to achieve
hundreds of
unique effects to complement any dιcor, time period or art style.
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For limited edition and
original art in wood frames, we provide museum treatment that includes
shellac on the interior of the wood frame and a liner using either foam
tape or Lineco aluminum foil / acid-free paper tape.
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