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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.
We have made it back from Quartz Mountain to my shop here in Norman. I work out of my home and have done an extensive remodel in order to be able to accomplish the tasks of the framing business. One souvenir I did bring back from Quartz Mountain is a little bit of a sore throat. So bear with me if my voice comes and goes while we do the next few movies. I want to talk to you about the options that are available to you when you start to select a frame. I think everybody has picked an easel backed frame, those are the ones that you line up on your mantle piece, or table top, typically showing family portraits.
We have got a few examples here that come in varying sizes from typical 4x6, 5x7, I think we have a 8x10 one over here. They generally function with a series of latching mechanisms that will hold a hinged back in place or removable back in place, and you just insert the art in the back, and we'll go over some important techniques to do that properly in a little bit. One thing I suggest you look forward in easel backs, notice there is a strap here that connects the stand to the frame itself that's real important over time, because most of the backs on those are just a heavyweight cardboard, and if you have an easel back frame like this without that reinforcing strap, over time, this cardboard will start to band and the frame will eventually get closer and closer to flyout, so look for that strap when you're picking an easel back.
The next step is in simplicity is a sectional frame, and we have here a metal section, you buy these in pairs of legs and so truly you can customize your size to almost any size as long as it's in whole inches and see here the components we have here for 11x14 frame, and when you buy the two pairs of legs, you'll also get a hardware kit that has all the parts necessary to assemble the frame. Once again, we'll go over this in depth in a later movie.
Beyond the sectional frame you can also buy what's called open back frames. These come in a variety of standard sizes and many different styles, there are great choice price wise that are typically more economical than having a custom frame made. Disadvantage of them is typically you'll only find them in the standard frame sizes, but they are fairly simple proposition to put together. If you look at the back here you can see that the recess here, the hole where your art package goes this offset we call a rabbit, and this overhang in the front of the frame is what actually holds the work in place, so you drop your glass and mat package in there and then use framers points from the back to apply pressure to hold in place.
Once again we'll go over that in detail, that's an open back frame. This is actually a back quite like an easel back frame, but it's not an easel back. Oval frames are an interesting choice for portraits, typically the oval shape is a nice highlight for the shape of the face. They also fit well too in different core themes, typically oval frames would fit in a more traditional theme than a more contemporary.
And lastly, when you're buying custom frames, you can buy either length, or you buy whole sticks of the molding, typically those sticks run from eight to ten feet in length, or you can buy chopped molding, and I typically buy chop. A couple of reasons for that if you buy length you have to contend with the scrap, you typically have to keep more of an inventory, so it ties up a lot of space with my studio setup the way it is I don't really have the storage to deal with length. The other advantage of buying chop if you look at this piece here, the chop comes like the sectional frames where you buy pairs of legs and they are cut in to size, the advantage of chop is you don't have to deal with whole inches, you can get them cut to any size, and you can see here how clean the cut is on the edge.
This is if actually a burl surface, it's a real nice hardwood veneer and they have, the wholesaler that I buy from, they use this saw that cost about $10,000 to make this cut, and you can see it's just beautifully smooth. There's no nicks in the veneer, which makes assembly really easy. I do have a miter saw here, and I occasionally do chops myself, but because my saw is not of the quality that my wholesaler has, I typically have to saw then sand to get this kind of an edge.
So this is a real timesaver and very affordable way, you can also buy chopped and joined molding where they'll cut it and put it together for you as well. One of the things that comes up with buying either chop or sectionals or open back frames is typically they come without the glazing. And when I say glazing I'm referring to either the acrylic or glass that is your first barrier of protection in front of the work. When you buy an easel back frame, you don't need to worry about glazing because typically the easel back frames will come with either glass or acrylic already in place.
So what I want to talk to you about now is the choices that you have when you look at glazing materials.
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