Firstly if your not sure of the answer then no question is stupid

Ok if its glass or perspex you should always use a soft, white cloth....

For glass esp. UV glass you should use a cleaner that contains no alkaline, and for perspex boxes and such forth methylated spirits is a good choice. As long as it hasn`t been flame treated..
The best thing to do, is, not to spray or apply directly onto it. Just apply a little onto the cloth and clean in a circular motion, then using a completely dry piece to finish it off. The circular motion should help you to reduce smearing/streaking but this is often hard to do when cleaning perspex, and perspex marks very easily so be careful when cleaning this.

I hope this is of use to you

Crikey oh riley. I know I'm not Dale but I would just get your money back and take it elsewhere!

I left my print for the framer to have a look at as I had only spoken to the girl who helps out -he rang tonight and said the print was ok, he had forgotten to put the stretcher board in, whatever that is, so it wasn't any rolling problem as I had doubted anyway. I will be checking it thoroughly tomorrow before I leave the shop!
I suspect the girl who wasn't too helpful (or knowledgeable!) might be the one who damaged my original print, but no-one has owned up. Guess she's not too happy it cost them £1100 for a new one, but if it had happened a week later a replacement would have cost them around £3500+ thanks to the Bonham sale.
The original, damaged, print is up in the shop at the moment as they haven't decided what to do with it yet -if anyone knows a good restorer it could be a worth making them an offer!
They have also finishing framing some other prints for me but I've got a couple still in tubes, so I'll take your advice and store them flat in a print sleeve, thanks very much for taking the time to reply.

Any examples of Nick Walkers TMA Hollywood or ideas as there is only alsabars on display in the peoples gallery at present.
Many thanks

Thank you very much for your reply Dale and please excuse my late reply.

I think I shall very shortly be trying to sort getting my print out your way.

I very much like the TMA London you did that is shown in another thread



..and think that I would like to go down the white framed look (as it will be going in a rather dark hallway which needs to retain as much lightness as possible) and also go with your tripple mounted suggestion.

Ok, the long awaited and much over do information that some of you are waiting on.
Unfortunately no pictures, but hopefully the decriptions will help you identify the parts from photos that have been posted on the other section of misterframeman .


Mounts/mattes These are the surrounding borders that are used to enhance the image of the pictures, they should be used if the print is going directly into a frame, so that the artwork does not come into contact with the glazing, as this can and most likely will damage the art. Colour options are vast but remember to obtain PH neutral/acid free mounts. Cotton rag and artcare are 2 types I would recommend. Can be used as single mounts or as many as is req. to make a nice format, Also come in many different thicknesses, known in the trade as microns, Standard boards are 1400 microns and increase steadily upto 3000+.

Backing board for the print/ Hinging of the print This is what the print is hinged onto, using acid free, water adhesive tapes (such as japenese hinges for fine papers and archival for heavier works). Hinges are applied to the back of the print and then `hinged` to the backing sheet of board, and allowed to hang. The print should never be hinged direcly to the mount. It is instead positioned and carefully hinged onto the backing, which is of acid free quality, as is the mount.

Slips/Bevel accents These are two different things that add to the overall effect of the mount. Slips are made of wood and are usually in the design of the actual frame. As they are made of wood they req. acid free tape applied across the area that comes into contact with the print, to act as a barrier, so that the acid from the wood cannot come into contact with the print. Bevel accents are made from foam, covered with PH nuetral paper, and are normally approx 3/8" in thickness. They are normally in the same colour as the mount that is being used and are used to deepen the mount card. As they are made from foam they have no impurities/ so no acid content.

Spacers Spacers are used when the artwork needs to be raised away from the glass, where mounts arent used, such as in floatmounting. They are most commonly the same colour as the frame and come in a wide variety of depths. Artwork should never press directly onto the glass so spacing/ box framing is a good option. If the frame is made to be the same size as the paper the art is on, then again acid free tape should be used to cover the areas of exposed wood above the spacers. Spacers are fixed into the inside edges of the frame to create enough depth between the work and glass.

Glass Already a section on this on page 1.

Backing for the frame I tend to use acid free water resistant cori boards, but a lot of framers still use hardboard. As long as the prints are mounted and backed correctly this isnt a problem. Even though I use water resistant board for the backing every care should still be taken to keep your framed product from coming into damp climates.

Tapes to seal the frame Many framers use brown tape to seal the frames but as I use white corri board I use Aluminum coated white tape, either are good as they finish the overall framing and help to prevent thunderflies and dust from entering the frames, although they will not guarentee 100% protection.

Hanging methods String is a most common method, in which D rings, double D rings and triple straps are screwed directly into the frame, using suitable screws and the suited choice of fixing for the picture, depending on size and overall weight. Then picture cord, or wire is used. I use cord as I believe that picture wire, as no stretching capability and can also corrode over time. Whichever of the two is used, they should be checked every few years to ensure that the cord or wire is not giving too much. Saying that I have large pictures that are hanging on cord for 4 years+ and are still going very strongly. I only say this as a precaution.
Alternatively there are mirror plates, which are screwed into the frame and have `ears` to them that protrude outwards of the frame. These `ears` have holes in them to allow them to be screwed directly to the wall. They are mainly used to prevent people moving the pictures but do keep the whole frame tight up against the wall. Or there are upside mirror plates that are hidden behind the frame and have a keyhole style fixing that can be used to drop onto screws in the wall.
Also there are security fixings which once again are screwed to the frame but are hidden from the eye. They have a specifically shaped slot in them and require a specific screw to be screwed into the wall. The fixing and frame is then placed over the screw, and using a tool that is provided, the screw is then turned half way round, locking the frame and fixing to the screw.
I try to use picture cord, and also provide bumpers (small pads) which go on the bottom corners of the frame. These are to keep the frame 1/4" away from the wall, not only to keep it balanced and square to the wall, but to allow air to circulate around the back of the frame.

As with all pictures please remember the following. Keep them the correct way up and facing the right way, to prevent the artwork from slipping from its mounted position. The less strain on the work the better. Keep them out of direct sunlight or strong lighting and out of cold, hot or/and damp areas, eg. over radiators, damp cold conservatories etc as this will damage the paper and art. When cleaning the glass spray the cleaner onto a cloth and not directly onto the glass. When hanging your framed art, if your hanging it off cord/wire and using just screws, into the wall, screw at an angle, downwards, and use screws that have blank ends to them (around the screw head) so that the corkscrew spiral doesn`t cut through the cord. Might sound silly to most people but I have had things come in too me in a bad way, and these are a few of the reasons as to the problems . A good framing job will last for many many years without needing redoing in anyway, and your beloved art will be preserved inside the frame, as long as it is looked after suitably.

Sorry there are no pictures but I hope this info is of help. Any specific information or more indepth, please feel free to ask

Hey there tatboy.
Sounds as if you have been busy in the last few months . Using acid free mount board for such a large amount of prints would probably become fairly expensive, so I would advise buying an actual print holder. They come in many different shapes and sizes, most are in the form of a carrier wallet. Keep your print protected still, though, by using the tissue paper that your print should have come rolled in.
As for framing advice, if you are serious about getting them framed, we offer a full door to door collection and drop off service. Our prices are very good, as is our service. We proceed to select a combination of mounting and frame choice and then inform you of our choice. If this is something you are not sure of we can send images of the selection we have made to you via email. The end decision is totaly down to you, but this is probably the easiest way of doing it as to bring the hundreds of mount and frame choices to you would be a task in itself. Deliveries to London are at least once a week, and we do deliver and collect across the country depending on quantity in the area or on route. For more information contact gary@photographyframing.co.uk

I am sure you will be very satisfied with the finished product and all materials used are of the highest quality. Why not send one or two to start with, just to get a feel of the service provided. Hope this is of help to you, and if your having difficulties obtaining a print wallet/sleeves let me know and Ill get on the case (so to speak )

Hi Dale & Gary
Any suggestions for framing these two Denning drawings?

Preparitory drawing #629


Preparitory drawing #606

If your print has borders that are gonna be covered or shown just a little bit through the mat how do you feel about using
mylar photo corners or see through mounting strips? Or do you prefer t-hinges or similar ?

I so did have a great holiday thanks . Amazing what a break in the sun can do for recharging some very exhausted batteries. ;D

As they are sketch works I would do as little as possible with them. Maybe an off white mount, with a dark grey bevel accent. If the grey accent doesnt work with the off white bevel on the mount then maybe an off white accent that matches the top mount and then put a small sliver of dark grey mount beneath the accent. A subtly modern but not O.T.T frame, also perhaps in a dark silver/grey tone.

Hi Dale and cheers for that.
They'll be winging their way across to you soon (along with a few more bits )so I'll look forward to seeing what you both come up with.

Howdy,

We are a frame shop in the US, and have framed Banksy, OBEY, etc. with great reviews. Some of the frame ideas came from this site...particularly the lacquered ornate frames. One question...There's a picture of an acrylic museum box with yellow sides & a clear back with a "smiley face" print. I've float hinged paper to acrylic, and I can't say i enjoyed it (hours of trial & error on scraps before i came up with the answer). How is this "hinged"? it looks like there may be small pegs holding the print into place? Another thing - did you use UV Plexi (OP3)...and would you do this again?

Thanks for the awesome website, and considering my question. If there are any collectors reading this in the USA (Northeast), look us up at www.trinityframing.com to see our site & blog. We have a couple of Banksy pieces & a Ryan McGinley in the works - we hope you'll have us post the photos. Watch for them in the upcoming weeks!