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Matting, Framing, and Hanging Your Photographs
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Hanging the show


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Matting, Framing, and Hanging Your Photographs

with Konrad Eek

Video: Hanging the show

The final part of the preparation of the exhibition was translating the grid that we had laid out onto the floor to a mathematically precise hanging rectangle on the wall that we had to use as our canvas. So, the first thing I did was I went down the grid we laid out and just took a piece of paper and made note of the top width of every matted piece as I walked down the line. Then I counted the number of spaces in that row, added to that an extra 2 inches thinking I really wanted a tightly spaced grid in order to make it hold together well.
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  1. 5m 59s
    1. Welcome
      1m 46s
    2. Using this course
      1m 19s
    3. Understanding why we frame
      2m 54s
  2. 25m 31s
    1. Visiting a professional framing studio
      6m 22s
    2. Working with a framer's vocabulary
      4m 16s
    3. Conversing with a framer
      14m 53s
  3. 50m 36s
    1. Selecting a mat
      5m 13s
    2. Deciding on the window size
      9m 27s
    3. Understanding standard vs. custom mats
      1m 46s
    4. Using a handheld mat cutter
      4m 11s
    5. Using a production mat cutter
      8m 37s
    6. Assembling the mat
      2m 5s
    7. Mounting art in a mat
      3m 25s
    8. Mounting the art with photo corners
      4m 51s
    9. Mounting the art with repositionable mounting adhesive (RPMA)
      6m 52s
    10. Exploring troubleshooting techniques
      4m 9s
  4. 32m 11s
    1. Selecting a frame
      5m 15s
    2. Understanding the kinds of glazing
      4m 14s
    3. Cutting glass
      7m 15s
    4. Scoring acrylic
      3m 52s
    5. Sawing acrylic
      4m 42s
    6. Keeping the glass clean
      6m 53s
  5. 46m 10s
    1. Assembling an easel back frame
      6m 21s
    2. Assembling a metal frame
      8m 33s
    3. Using a V-nailer to assemble a chopped frame
      7m 49s
    4. Putting the frame, glazing, mat, and art together
      12m 4s
    5. Using a band clamp for assembly
      6m 10s
    6. Reviewing alternative hanging devices
      5m 13s
  6. 13m 21s
    1. Prepping the show
      2m 26s
    2. Using a wall as a canvas
      6m 46s
    3. Hanging the show
      4m 9s
  7. 36m 2s
    1. Introduction to hanging tools
      8m 2s
    2. Using lasers for precision
      3m 18s
    3. Hanging on plaster and lath
      6m 42s
    4. Hanging on either drywall or panelling
      6m 56s
    5. Hanging on brick, stone, or steel
      7m 35s
    6. Lighting your work
      3m 29s
  8. 54s
    1. Goodbye
      54s

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Matting, Framing, and Hanging Your Photographs
3h 30m Beginner Sep 20, 2012

Viewers: in countries Watching now:

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.

Topics include:
  • Conversing with a framer
  • Selecting a mat and a frame
  • Deciding on window size
  • Using a handheld or production mat cutter
  • Mounting art
  • Cutting glass
  • Assembling frames
  • Hanging photographs in groups
  • Hanging photographs on different surfaces
Subjects:
Photography Printing Photos
Author:
Konrad Eek

Hanging the show

The final part of the preparation of the exhibition was translating the grid that we had laid out onto the floor to a mathematically precise hanging rectangle on the wall that we had to use as our canvas. So, the first thing I did was I went down the grid we laid out and just took a piece of paper and made note of the top width of every matted piece as I walked down the line. Then I counted the number of spaces in that row, added to that an extra 2 inches thinking I really wanted a tightly spaced grid in order to make it hold together well.

And then I took that total number of inches, divided it by 2, found the center of the wall and working from the center to the left side, made my starting mark for horizontal positioning. I then measured up from the floor and made by starting mark for vertical positioning. So I essentially established the top-left corner of the exhibition as a starting place for the hanging of the work. Once we had accomplished this, I went over the adhesive we were going to use, which is a padded Permanent Double Stick Adhesive-- Permanent and adhesives is a relative term-- and I knew from experimentation that this provided a strong enough bond to support the weight of the work.

Particularly some of the work on alternative media that had quite a bit of weight to them, but I knew we could stick it to the vinyl, it would adhere well, but it was also possible to remove it without damaging the vinyl. It comes in rolls with a backing tape on one side, and I had the students tear it in the specific length and on the smaller pieces just put one piece, stretched horizontally at each corner. On the larger pieces, I had them--the students-- put one piece at each corner as well as another piece in the top-center to help support the additional weight of the bigger pieces.

So, once we had established our starting point both horizontally and vertically, I got up on the ladder and used a laser level. Because of the nature of this wall, it's a very tall wall, there was no active measure to the ceiling and the floor is uneven, so I couldn't use it as a reference point. So, the laser was really a key in allowing me to lay this out precisely. One of the things that I have gained over all the years of doing this is an ability to very precisely place things by my eye. I can generally get within a 16th of an inch of accuracy just by eyeballing things.

So as you'll see, as I go down here, I use a measuring device sometimes to establish distances, especially in the placement of the larger images, but a lot of the smaller ones, you'll see me put in position without measuring at all. So finally, we worked our way down the wall, the last few pieces were hung, and the students were able to stand back and for the first time see this assemblage of work in a coherent whole, elevated to a great level by all their hard work and our attention to detail, and presented in a manner and in a scale that I don't think any of them had really experienced before.

I know visitors and parents alike are always stunned by the professional quality of the photography exhibition. I think the matting helps that in some ways, but really, my goal with the matting and the hanging of the show is to really direct the viewers' attention, the quality of the work that these astonishing students have created in the two short weeks we have with them. One of the other real joys as an instructor is it's often this point in time that we get to meet the parents of the students for the first time. And it's something we're always grateful for, an opportunity to talk about the promise and the challenges of a life in the arts, and also about the individual gifts and abilities of the students that they have so graciously put into our care for the two weeks.

The responses I have had from parents over the years have been truly astonishing, and it's also been really delightful to see the success that several of our graduates have gone on to achieve particularly in photography. I have several former students that are working successful professionals in the field.

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