FASTFRAME of Lakeville - Framing Insights

Articles intended to help you spark some ideas and figure out the answer to the question - what is custom framing anyway?

We would like you to consider FASTFRAME of Lakeville for all of your framing needs. But even if you do your framing elsewhere, we hope you will find our articles helpful and enjoyable.

If you collect, chances are you’ve already seen advice on caring for your collection. Books are available on collecting just about everything and the internet is filled with articles and opinions. Most of this advice comes from collectors who believe they have enough experience to advise others. Some of the advice is good, but much of it is information passed from collector to collector without solid basis.

Part of the joy of collecting is continuing to learn about what you have and how to best take care of it. In the space available here we can’t begin to cover all of the issues involved in collecting. What we would like to do is discuss some things not generally covered or accepted within the hobby but unsupported by research.

Buying interesting items for a collection is only the tip of the iceberg when it comes to collecting. You need to decide why you bought or kept what you have, and what will become of it in the future. This will help you decide how much time, effort and money you should invest in its care, storage, and display.

Is it purely decorative, like a poster or fathead that will eventually be disposed of? Is it a keepsake from a meaningful event you attended – a ticket, program, or photograph – or something that is important to you but maybe not so much to others?

Or, is it collectible, with others sharing your interest and hunting for them also, such as 1963 Topps cards, Rink Rat felts, or autographed jerseys?

Perhaps you have something historic that others would pay handsomely for if you were willing to part with it – a Superbowl I ticket, Honus Wagner T206, or a signed insurance policy from The Hartford signed by Babe Ruth in 1920.

Knowing this will help you avoid devaluing, or decreasing enjoyment, of your valuable treasures because of improper storage or display. How you treat something becomes more critical as it increases in value, whether that value is monetary or sentimental.

To Show or Stow - Part of the joy of owning something interesting is being able to look at it and share it with others. Some collectors put most of their collection on display. Others only show off a few items and keep the rest secured out of sight. Often collectors are discouraged from displaying things believing that doing so may cause damage or hurt the condition, so they put them away in drawers and boxes. But if a collectible is properly mounted in a frame or display case using the right conservation techniques, it may actually be protected better, and have a longer life expectancy. What collectors often don’t think about is the detrimental effect of how items are stored. Boxes or holders made of cardboard, wood, or PVC plastic can actually cause damage more than they prevent it. So whether you display your collectibles or just take them out for a look once in a while, having a preservation plan insures longer life and enjoyment by future generations.

The Basics - Regardless of whether your collectibles will be openly displayed or maintained in containers, there are preservation issues you should consider and plan for. Combining ownership for personal pleasure with the secondary objective of someday recovering your investment requires compromises. Here are some things to consider:

Wear and tear – The reason nice looking old baseball cards are rare and worth so much money is that, while millions were made, few survived the use and abuse they received. They were carried in back pockets, bundled with rubber bands, flipped, played with, sneezed on, thrown in drawers, and handled unprotected by grubby hands day after day until another interest came along for their 12 year old owner. Careful handling alone cannot prevent damage. Fragile surfaces can be easily scratched, dirt and smudges jump onto things when no one is looking, and the odds of Murphy’s law leading to a new corner ding increases with the importance of your collectible. Paper and cardboard items are certainly among the collectibles most susceptible to damage but with any item that will be handled, physical protection is advised.

Acid – Acid, found naturally in wood and wood products, is destructive to most collectible items. Unfortunately, the first thing many people do when trying to protect a valuable item is to put it in a box or sandwich it between two pieces of cardboard. As acids leach out of the protector they are absorbed into the collectible. Paper gets brittle and turns yellow, textiles – such as felt pennants – will absorb the acid and stain or fade, photographs fade and turn brown, even painted items can discolor from contact with acidic surfaces. So the first rule is to get your treasure away from cardboard or wood. One way to do this on a temporary basis is put it in a plastic bag to create a barrier. Having said that, wouldn’t you like to remove the piece of cardboard that is holding great-grandma’s picture into the frame?

Indigenous Acid – Now that we know how harmful acids are, here’s another little problem. Many collectibles are made from paper, cardboard, or textiles. The worst part about things like baseball cards or newspapers is that the very material they are made from contains the acids that can destroy them. There are ways to preserve items made from self-destructive materials. Buffering agents that balance pH levels can be used in storage containers, frames, and case displays. A qualified framer can advise you on proper treatment of most collectibles. Items that are extremely valuable or needing conservation work should only be handled by a trained specialist familiar with the material. A reputable framer will advise you on when it is necessary to use a conservator and make a proper referral.

Light - Ultraviolet (UV) light is harmful to collectibles and memorabilia. It fades blacks and colors, yellows white, and causes chemical changes in paper and cloth. All light is damaging but sunlight has the highest concentration of UV rays. Fluorescent light does not create damage as quickly as natural light but remains a serious problem for valuable collectibles. While incandescent light is least damaging, it is still a concern and with the phase out of incandescent bulbs, UV light damage will become more of a concern for the collector.

Humidity and Temperature – For maximum preservation, collectible items should be maintained at a constant 72 degrees and 35% relative humidity. Outside of a museum this is not really practical. Most homes provide a reasonably safe environment for your collectibles, with the exception of the basement, attic and garage. Framing or encasing collectible items provides an additional level of protection from humidity and temperature variation by slowing the rate of changes.

Mounting – Mounting is the method an object is held in place within its protective environment. If you are framing a collectible there are a number of preservation mounting methods that are totally reversible, meaning the item is removable without any marking or evidence of attachments. Masking tape is not a preservation mount, nor are numerous other types of attachments commonly used by economy framers. Whether framing or storing valuable collectibles the item should not be held in place with tapes, ATG type adhesive, drymount, or any type of glue. Hinges made from Japanese paper and rice starch may be acceptable for some items. Sewing is the preferred method for jerseys and textile objects. Mylar corners, encapsulation, and sink mounts are best for cards and paper objects. Ask your framer to explain which is best, and why, for each of your collectibles.

Buying Pre-Framed Memorabilia - These days many collectibles are purchased online. Often sellers give the option of buying memorabilia either unframed or framed. Many articles on collecting encourage internet and remote buyers to pay the few dollars extra for the framing. Creating a preservation display or framing design is easy for a qualified specialist. Unfortunately, when collectibles are purchased pre-framed, even those promoted as “professionally framed”, more attention is given to the look of the piece than the use of proper materials and preservation techniques. Preservation grade materials cost a bit more and most buyers don’t know the difference, so sellers and dealers usually favor profit over doing things properly. If you are purchasing a collectible that is already framed be sure that all mats, backing and hinging materials are acid-free or buffered, the glass filters UV light, your collectible is mounted in a reversible (removable without damage) manner, and the frame is lined with an acid barrier. If the difference between buying a collectible unframed or framed is $50 to $100 you are probably buying a framing job that does more harm to your collectible than good. Here at Fastframe of Lakeville we are happy to help you with a preservation framing that looks great and provides maximum protection.

A Problem With Grading Service Protectors - Grading services are companies that evaluate the authenticity and condition of a collectible item, give it a rating, and hermetically seal it into a protective container. These services allow collectors and dealers to buy and sell items that have been verified as authentic and have a condition rating consistent with accepted industry standards. However, while sealing the collectible into its protective case prevents additional wear and tear damage it also seals in the indigenous acids that will eventually destroy it. Important historic documents such as the Declaration of Independence and the US Constitution are hermetically sealed but with expensive humidified gases that buffer destructive acids. But this would be cost prohibitive for grading services so the items are just sealed in their own juices. In most cases with collectibles, ventilation would be better than hermetic sealing. It is not likely that grading services will catch up to preservation practices for art and historic documents for quite some time. Collectors should be aware that the advantages of card grading come with tradeoffs.

Avoid Sharpie Autographs!!!!!! - Doesn’t that Sharpie signed Justin Morneau 8x10 photo look great? Take a good look at that bright, bold blue signature now because in 10 years chances are it will be light grey. If you lock it away in a dark cabinet you can extend the life of the ink considerably. If you are planning on framing it, UV filtering glass might give you an extra year or two. But there is nothing permanent about a Sharpie “permanent marker”. You will see plenty of opinions on the internet that Sharpie is the gold standard for autograph signing. But this does not match our experience and observation. It also does not match the collective wisdom of the art community and countless museums. If you really want a good looking and lasting autograph you need an archival pen with pigmented ink. Try a Pigma Graphic 1 (made by Sakura) as an alternative to the Sharpie Fine Point. Pigmented ink markers and pens are available at Archivers or Blick Art Supply.

We were recently asked by Merchant’s Circle, “What are the best frames for wedding photos if we want an old timey look and feel?” Here was our response:

With custom frame shops offering thousands of frame styles you shouldn't have any trouble finding a framing design that conveys an old time look. Starting with the frame style, you might want to look for a frame with a late 19th to early 20th century feel. Larson Juhl's Builtmore and Sophia lines or Omega's Mirabella line are examples. There are also some beautiful newer contemporary styles from companies like Superior and Nurre Caxton that borrow antique elements if you want something a bit different.

Having your wedding photos done in sepia tone will reinforce the old time feel. You can then pick mats that lean toward the pinkish creams or off whites. A hundred years ago ovals were popular. To reinforce an antique appearance you might want to use an oval mat opening instead of a rectangle.

If you choose to go with a rectangular mat opening, you might also consider using a fillet. Fillets are small frames that line your mat opening and match the style of your outer frame. The fillet will add to the formal appearance of your picture.

Finally, be sure to use conservation glass on this framing. Conservation glass protects your photo from yellowing and fading by filtering ultra-violet light rays that cause this damage. You may want your photos to have an old time look but you also want them to last until they really are old.

What the Heck is Custom Framing?

Shopping for custom framing shouldn’t be confusing but sometimes it is. That’s because many businesses that advertise “custom framing” really only offer made-to-measure standardized framing.

The order is cut on a production line in a remote factory and shipped so final assembly can be done by the staff at the delivery counter. Much of the finish detail done by a true custom shop is bypassed, and unique framing services are not offered. Custom price schedules are used so that a store can advertise “50% Off”. This has been done on such a large scale by mass retailers such as Michael’s, JoAnn, Aaron Brothers, and more recently an explosion of internet art vendors, that many people believe what they do is “custom framing”.

So what should you expect from a full-service custom framer? First of all, a true custom framer can certainly do basic made-to-measure projects, often priced comparably to the big box retailer. Beyond that a qualified custom framer should:

In upcoming articles we will discuss some of these issues, and many more, in greater detail. Our objective with this series is to help you not only better understand the art of framing, but make it fun to become part of the design process and get the most from your framing investment.

Glass breaks, art slips, you get tired of mat colors, or maybe you want to change the picture in a favorite frame. Sometimes these are simple matters, sometimes not. Often the ease and cost of what you want to accomplish is not determined as much by what you want to do as much as by what you are starting with. Here are a few things you should know.

Pre-framed art is generally mass produced on a production line using techniques that are cost effective for assembly of many units. This style of framing employs mounting, fastening, and assembly methods that are considered permanent and the finished pieces are generally not intended to be taken apart once they are put together. While this minimizes initial cost of the framed artwork, it almost always makes later removal of the art difficult – and sometimes impossible. It complicates repairs such as fixing broken glass. In fact, because of the labor involved to disassemble this type of framing, the cost of repairing damage or replacing mats or art may exceed the original cost of the item – perhaps significantly.

Cut-to-size and even custom framing varies widely in quality and method of assembly. This can range from basic utilitarian techniques to the use of industry recognized preservation and assembly

practices. Artwork framed to industry standards is designed to be taken apart for maintenance and repair. But when more economical practices were originally used many of the disassembly and repair challenges that occur with factory framed art may exist. Usually the only way to know for sure is to remove the dust cover and physically inspect how the piece was assembled.

Cleaning glass is labor intensive. Artwork not framed to museum standards emanates acidic gases that, over time, will cloud glass on the inside in addition to the dirt and grime that builds up on the outside of the glass. If framing repairs do not involve glass replacement, the existing glass will usually require a thorough cleaning.

There are other factors that control the ease and cost of salvaging an existing frame for future use. The point is, what may look simple often is not. There are many reasons for reusing or fixing framing. So when you have a project in mind, be prepared to decide how much value you place on your existing frame and set your budget accordingly.

Have you thought about commemorating a vacation by bringing home art? Original work from local artists is often unique, affordable, and transportable. Decorating your home or office with images from your trips is a great way to remember the experiences and document your travel.

Unframed art is easier to carry around and transport. Frames rarely fit in an overhead storage bin and almost never survive an airplane cargo hold unscathed.
Pack a mailing tube in your luggage. Paper and canvas art travel best when rolled.
Don’t go overboard. Risk of damage increases with size.
Look for art that is reasonably straight. Out of square artwork is more difficult and costly to frame. Pay particular attention to woven and needle art.
Try to buy canvas art unstretched. It is much easier to transport and far less likely to get damaged.
Art on canvas should have at least 2” of excess material around the image for proper stretching. It is common to find oil paintings that have been trimmed and removed from the original stretcher. A trimmed painting is very difficult to restretch.
If you are buying directly from the artist, have your picture taken with the artist and your artwork. When you frame the art you can keep the picture in a pouch on the back to document your purchase.
Once you are home your local framer can help you with a design to compliment your art and retain the memories of your trip.

Thanks for Asking!

Almost every day one of our customers asks “How is your business doing these days?” We’ve been amazed and touched by the concern and support that comes with the question. People recognize picture framing is the kind of thing that can be put off until more prosperous times. This has contributed to the closing of many custom framing shops, not just in the twin cities but throughout the country. Certainly, it challenges us to be as competitive as possible, not just pricewise but with the range of services we offer and how we relate to our customers. So it certainly makes us feel good to hear how much concern there is for us within the community.

As to how we are doing – we plan to be here a long, long time. From the time the store opened in January 2006 through last June we grew steadily as people learned about our business and became familiar with our approach to custom framing. During the second half of last year we took a hit along with most retailers. Since January we’ve been recovering - although we aren’t yet back to where we were before the recession hit in full force. But we are committed to our business and to our community. We love working with people to preserve and display the things that are important to them. And we also love the stories that go with each and every project to come into our shop.

While we are weathering the storm, we are always looking for a few more projects. If you’ve got one of those I’ve-always-been-planning-to-get-this-framed items hiding in a closet or a drawer, maybe this is the time to come and see us. If you aren’t planning on framing anything right now, come see us anyway – just to stop in and say hello. We just might be able to show you something interesting in the shop. And, we’re always glad to see old friends and meet new people!