Framing Tip to Hang Heavy Artwork

Heavy frame packages, depending on molding size, should be properly prepared to hang safely from a wall. The best way to mount the hardware is in a kite formation. On the back of the dust cover measure 1/3 down each side of the molding rails and insert the proper size screw with d-ring. Now on the bottom rail measure the center and insert the same hardware. Run the proper size framing wire through each d-ring and secure the wire together with several winds and tape the end of the wire pigtails. When you stand the artwork up you'll notice the shape is that of a kite. Use the correct weight rated hardware for the type of wall the art is to hang on, i.e. drywall screws for your average wall.

Framing Tips

Whether your purchase of a fine art reproduction is to compliment your art collection or add to your décor, consider conservation framing. To preserve your artís sentimental, decorative or investment value, conservation or museum framing is an absolute necessity.

Timberwolf Gallery has put together, what we call, the 8 Commandments of Preservation Framing to ensure your valued piece of artwork is protected from the forces of nature and time. Keep in mind when framing your artwork it is recommended that you compliment your piece rather then create a distraction from it. Remember your dècor will change not your artwork.

The 8 Commandments of Preservation Framing

  1. Never alter the piece of artwork in any way.
  2. The artwork should never be permanently mounted. Be sure the framer uses acid-free hinges or corner pockets to secure the artwork to an acid-free backing. Note Ordinary wood-pulp backing material will not due. The acids contained in such boards will stain the artwork; a prime example would be cardboard.
  3. Ensure that the glass used to protect the face of your artwork from dust, moisture, insects; etc does not touch the surface of your piece. If the artwork touches the glass, condensation may occur staining the artwork with mold growth, technically known as Foxing. Separate the artwork from the glass by using a ragboard mat, an integral part of your design as well as protection.
  4. If you store your artwork prior to framing, keep it between sheets of acid free material away from light, in a place safe from insects or from other substances which could damage, tear, or stain the paper.
  5. If there is damage to the artwork that requires restoration or repair seek professional help or recommendation from your framer.
  6. The materials used to fill the back of the frame are just as important as those, which touch the artwork itself. Corrugated cardboard should be avoided it is highly acidic. There are acid free foam boards of various thicknesses available from your framer.
  7. A dust cover, attached to the back of the frame, is necessary to protect the print from pollution and to keep it clean. Brown packaging paper is most commonly used. There is also an archival grade backing paper available with a fossil gas filtering barrier.
  8. Bumpers should be attached to the bottom two corners of the back of the frame to keep the frame away from the wall. This will allow air circulation behind the frame, and keep the dust from settling on the back.

Framing Materials and Terminology

  • Acid Free: A term used to describe paper materials with a 7 pH, or very close to 7 pH. Acid-free materials are more permanent and less likely to discolor over time. The term Archival or conservation quality more accurately describes true acid-free conservation quality mat board.
  • Adhesive Transfer (ATG) Tape: A double-sided tape used to stick mat boards and other materials together. Normally used with an applicator or ATG dispenser.
  • Framer's Tape: A multi-purpose archival grade adhesive, recommended for hinging foam to mat, sealing or reinforcing. We don't advise using this tape directly on artwork.
  • Removable Magic Tape: A removable transparent tape used to temporarily bond mats together. Has a very light stick characteristic that does not peel or lift delicate surface materials. Great for cleaning mat surfaces.
  • Rabbit Tape: pH neutral adhesive on 2ml opaque mylar film. Used on finished or unfinished wood particularly on the rabbit surface to protect wood pulp (lignin) from out-gassing, harmful to paper products.
  • Conservation Corner Pockets: Clear, 100% polypropylene film seamed pocket. Excellent for mounting paper art, just peel and stick.
  • Beveled Edge: The 45-degree cut on a mat board. This allows about 1/16" of the core to be seen. A reverse bevel will cut the mat edge in the opposite direction hiding the bevel.
  • Bottom Weighting: A term used when a larger width border is applied to the bottom of a mat but not the top. This extra mat could also facilitate an object cut out or a template.
  • Conservation framing: The framing procedure where all materials coming in contact with the art are acid free. Provides a barrier against acids, resins, ultraviolet rays and air borne contaminates.
  • Museum Framing: This is a step up from conservation framing. The highest levels of conservation techniques are used. Some materials include rabbit tape, museum glass, museum quality rag board and a fossil gas filtered backing paper. Special mounting techniques will also be utilized.
  • Mat Board: A decorative board used to keep glass from touching the surface of the art. There are many types of mat board of various thicknesses and material. Mats can be comprised of two parts, core and paper face, or a solid material (which are 100% rag or cellulose).
  • Mounting Board: A board used to mount images as required. For conservation mounting rag board or acid free foam core is recommended.
  • Foam Core: A rigid light material used for mounting, backing or any part of the framing construction. Acid free foam is normally used for image backing and regular is used as a backing or spacing material.
  • Image size: This is the vertical and horizontal size of the image that you will see through the opening of the mat cut, called the window. This size is smaller than the total image surface to accommodate mounting. This is the most typical scenario but of course there are alternative mounting techniques.
  • Reveal: In a multi-mat combination, the reveal is the amount of bottom mat that will show as the mats are stacked with consecutively larger cuts.
  • Double or Triple mat Combinations: More than one mat can be used in a design. The bottom mat opening is the image size. The mat on top of the bottom mat will have a larger cut with a determined reveal and be called the top mat or the middle mat if three mats are used.
  • Shadow Box Framing: This technique is used when items are thicker than two or three mats and a display mount is required. This can be anything from a medal to a musical instrument. There are many frames to choose from with deep rabbits as well as many different decorative ways to mount the object.
  • Spacer: A spacer can be used to create a shadow box effect without having to use a shadow box frame. A space can be created between mats with foam core or a special spacing material. There are many different ways to create attractive spacing combinations.
  • V-Groove: A v-groove is essentially a v-shaped cut at a certain distance from the top mat opening. This cut is used as a decorative enhancement to your combination. Multiple v-grooves can be used in various patterns depending on the look you want.
  • Fillet: A fillet is a small moulding used between mats to enhance a mat combination. Since the fillet is wood it should never come in contact with a paper image.
  • Frame Stacking: Many frames can be used in combinations whether just for aesthetic purposes or for shadow boxing. A smaller molding normally fits in snug under a larger molding for the look you wouldn't normally get otherwise. Certain moldings will come in stackable sets.
  • Conservation Glass: There are many different types of conservation glass available. To make it simple we use two different types the most. Conservation Clear and Conservation Reflective Control. Both glass types are 97% ultraviolet blocking with only 8% loss of light transmission.
  • Museum Glass: This glass has the best protection and clearest view. 100% light transmission to the image, giving the appearance of no glass.
  • Regular Glass: This glass does not block UV rays and is not recommended for use with valuable artwork. Although better than no glass the only protection is from airborne material.