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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.
Okay, now that we have assembled the mat package, the next step is to mount the photograph within the mat. So, I'm going to open up where I have hinged it and notice too the hinge is at the top of the mat. So, if you were doing a vertical work, the hinge would be on the other end. So I'm going to open up the hinge, and I'm going to slide the work in and then I'm going to let the hinge kind of fall down to where I can see accurately and position the work very carefully, so that all the edges are even. I'm going to take a little piece of matboard and set that on the work to protect it and then set a brick on top of that, and I have taped this brick up with gaff tape.
So, we don't want any little crumbly bits getting on the art. Then I am going to open the mat back up and for these small works on paper like this, I typically mount them with a linen hinge, or in this case, I'm using a Filmoplast hinge. This particular tape does not work well for heavier works, but for a work of this size, works very well. So, I'm going to tear off two pieces of this, one fairly long and one a little bit shorter. So the long is about 2 inches and the short one is just about an inch and a half, and I'm going to put those adhesive side with the adhesive side and then with the shorter piece going down, I'm going to lift the edge of the work, and this is where the brick comes in, and I can get my hand under there and lift it without moving it.
And then I'm going to come back, and I'm going to apply pressure to hold this piece of tape down and then I use the back of my fingernail, to rub on the other, the back of your fingernail works like a burnishing bone essentially, if you don't have a burnishing bone like I demonstrated in the previous movie, you can just use your fingernail, assuming of course your hands are clean. So, once again a piece of tape of about 2 inches long, and then a piece of tape about an inch and a half long, face-to-face. And one of the things that I like about this tape, and I really insist on in any tape that I use for this is that it be reversible.
One of the tenets I always hold on to when I'm doing matting and framing is I like everything I do to be a reversible process. That way, you can undo it, without damaging the work of art. This comes in handy if you redecorate and want to change the way things appear, if some damage occurs to the mat, you can always undo what you have done without any damage to the work of art that you have been dealing with. So now I have got it affixed in place. I'm going to move my brick and the little bit of matboard and here we have the work assembled in the mat.
At this point, I would stop if I was going to put this immediately in a frame, but since this work is going to hang on the wall just in the mat as part of the "Tour de Quartz" exhibition, I am going to do one more step. I'm going to open this back up, and I'm going to get an ATG gun. This essentially is a cool little machine that spits out a strip of rubber cement. And so I'm going to place this along the bottom and pull the trigger and draw across, and you can see I have got a little strip of adhesive here, that's a double-sided adhesive. Then I'm going to come down both sides.
The reason I'm doing this is when we mounted on the wall, all the sides will be securely attached. And so, we won't have it opening up. And so now, you can see it's become a solid unit. It's not loose any more. And it's ready to hang.
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