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The Forum for Tempera Painting Issues Sharing the knowledge and experience of fellow tempera painters.

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  #11  
Old 18-10-07, 11:43 PM
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mona mona is offline
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Default Let's talk framing

This is a most fascinating and informative discussion. Thanks to everyone for their input!

My biggest challenge is when I work with Kelmscott vellum on my miniatures with egg tempera, and there is a slight curling effect along the edges of the vellum, even if I have
worked with it mounted flat as I paint.

I am not entirely satisfied with this, but so far, my best solution (and I might be the only one trying it on Kelmscott, but for miniatures there is no smoother surface for detail) is to bind the edges to an acid-free mounting board with archival linen tape. Like Dennis mentioned, where I can plan ahead enough, I try not to paint out to the edges of the vellum, and tape just the unpainted edges down.

Another thing that works overall if you have an unpainted edge is to use those small round plastic spacer discs (mine are called "self-adhesive rubber bumpers" which are also used on the backs of paintings so the wall doesn't suffer frame scrapes.) along the edges under the lip, similar to what you would do with a pastel so the glass does not touch it.
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Old 20-01-10, 03:19 PM
MatG MatG is offline
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Could those of you who glue your painting to a support board please let us know what glues you use? I'm guessing it's rabbit skin glue or another hide glue, but wanted to make certain.

I'm using True Gesso panels which have gesso on both sides. I'm wondering how to attach a frame or a cradle. I've assumed RSG is safe but wondered about its ability to hold physical bonds. I'm guessing that screws would likely chip the surface (on the rear of the panel) and would be prone to raising the surface on the front.

The boards seem dimensionally stable, so I don't expect I'd need a cradle to prevent warping, but it seemed like a lighter way to add support and provide an attachment point for a frame.

Also, if you use spacers to float the panel in front of a sub-panel, do you do anything to the spacers to seal them or otherwise prepare them?
Thanks!
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  #13  
Old 20-01-10, 04:49 PM
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RobM RobM is offline
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Mat, we have a product called 'No Nails' which is a very strong adhesive used in general household jobs. I just use this to glue the panel to the backing board. It is quite rapid but I usually allow it to dry overnight under some weights. There is quite often a small gap between baseboard and panel, I use decorators caulk to fill this gap and give a slightly rounded transition between panel and back board. The sides of the panel and the backing board are then painted with household emulsion paint.
(refer to my photo in previous post on page 1 of this topic)
I would definitely think that RSG would not be strong enough.
The 'No Nails' and decorators caulk are available from local DIY stores.
All panels and backing boards are made up before even sanding. Yup I do get paint all over the backing board during the painting process but the final stage is applying the 'neutral' colour to the backing board and panel edges. Painting the panel edges can be tricky but I just use a 1" flat soft brush, and starting at the backing panel just make a quick stroke towards the painted surface, very rarely have I got emulsion paint on the painted surface.
R
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  #14  
Old 25-01-10, 01:46 PM
Cheryle Cheryle is offline
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Default Let's Talk Framing

"If at first you don't succeed, try, try, try again."
As a Studio Artist framing art is not only a personal choice but a commercial choice as well. Experimenting with different frames, matting textures (if one is being used), colors and sizes are all
important factors when presenting art to customers.
Because I appeal to the emotions of my viewers, frames vary
and one frame thinking does not fit all. For me, frame choices
(and prices) are like the differences between "off the rack clothing" and Custom made or couture. In either case, you get what you
pay for. Quality should not be determined by price alone. Your
fine arts reputation should always demand the best you can provide.
Quote:
Originally Posted by JeffG View Post
I have some framing issues, and I'm not talking aesthetic. Although, I'd like to hear about people's opinions on that too.

At this time, I use the traditional frames with an overhanging lip (forget the pro name for it). Since the painting is not cured by the time I frame it, the outer 1/8 to 1/4 inch of the panel tends to get scuffed and scraped. At first I didnt consider this a problem, since no one will see it. However, now I worry about it, as in the case of perhaps someone will want to reframe it and consider the panel to be damaged, even if reframing would hide it.

What does everyone else do for framing as a protective device? I am thinking I should line the inner edge with padding, but still not sure if that won't stick to the painting. I havent seen much contemporary ET framed in person, but some that I did see was in a floater frame with museum glass spaced overtop. (the practically invisible glass that didnt seem to interfere with the wonderful ET finish). Granted, that seems to be a good way to go but is of course more expensive and doesnt fit in with my last-minute way of doing things.

As for aesthetics, for the most part now, I'm using frames with a "Plein aire" profile, in either gold, warm silver or antique black/gold, as well as the occasional dark distressed type that IMO would go with an old Dutch work.
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