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Matting and framing is relatively simple, and doing it yourself costs less and is more rewarding than using a framing service. In this course, photographer and professional framer Konrad Eek describes the tools, techniques, and creative decisions involved in matting, framing, and hanging photographs.
The course begins with an overview of framing concepts, terms, and tools and then shows how to choose and work with the various components of a framed print: matboard, frame, glazing, wire hangers, and more. The course also examines the issues and creative options behind hanging an exhibit, whether in a gallery or in a home.
Now that we have cut the window in the mat, the next step is assembling the mat in order to prepare it for the placement of the artwork. I have the board that we cut the window in here and then another matboard that's cut to the same 11x14 size. There are numerous choices you can use for backing board, but in this case, we have a quite a bit of matboard on hand. It also makes for a when we're hanging it just as a matted work having a double layer matboard is a little bit more elegant than some of the other backing boards you can choose. So I have got both mattes face up and then I'm going to fold this one back.
So the side that I have marked is visible. And the bevel is going in the right direction, I'm going to very carefully align the edges. And then I'm going to take an acid-free artist tape. I'm going to tear a small strip of it off. And then double checking my corner alignment. I'm going to place tape at this corner. And take another small strip and tape this corner. And now that I have kind of stabilized the two pieces together, I'm going to take a third strip, the length of the junction, center it carefully.
And now I have the two sides of the mat well affixed together. Then I'm going to fold it closed. Make sure everything is aligned well. And I'm going to take this moment too to just visually inspect the mat, and make sure there are no flaws in it at all, make sure there's no marks on the surface. And one thing I always look to is the corners where there's the slight overlap in the cuts that we had to make in order to make the beveled corners nice looking and the cuts even. And I notice, there's a couple of places where there are little over cuts, and I have a burnishing bone here.
And I'm going to take and just gently rub on those over cuts. This place has a little bump and just by the slightest little bit of pressure with this burnishing bone, we smooth all that out and make the mat really pristine. And at this point it's ready for the insertion of the artwork.
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