Baren Digest Monday, 16 April 2001 Volume 15 : Number 1390 ---------------------------------------------------------------------- From: Legreenart@cs.com Date: Sun, 15 Apr 2001 00:23:15 EDT Subject: [Baren 14176] Re: Baren Digest v15 #1388 Dear Bareners and Barenesses, Stonemetal Press lost it's web site, evidently. All traces of Homepage .com disappeared while we were unpacking prints and preparing for the opening of Hand-Pulled Prints. I guess they went out of business without a I was able to retrieve the index page from Google's web crawler, but now have to find a new server. Please feel free to nominate you favorite server, send me a note at legreenart@cs.com. By the way, The show is exquisite! If I have neglected any of you, now is a good time to ask for redress, my eyes, at least, are above water for a bit. Yours, Le Green Stonemetal Press Email: legreenart@cs.com No website at the moment, sadly ------------------------------ From: ReadDevine@aol.com Date: Sun, 15 Apr 2001 04:17:12 EDT Subject: [Baren 14177] Framing In a message dated 4/15/01 2:46:31 AM AUS Eastern Standard Time, studiojnc@prodigy.net writes: << Happy Printing Jeanne N. ps. Are there any printmakers out there who actually take their work to a professional framer? I try not to, but I am such a lousy mat cutter. It takes me longer to cut and frame than do the print. >> Unless I'm in a tearing hurry (often) or I'm ripping out an old artwork in a mat and frame suitable; I close my eyes to the expense and go to a professional. I have much better things to occupy my time.... Mellissa Read-Devine ------------------------------ From: "Bea Gold" Date: Sun, 15 Apr 2001 08:12:53 -0700 Subject: [Baren 14178] Re: Salon de Refuses Hi all, I am letting you know that Lynita Shimizu will be carrying the Coordinatorship (like that?) for Baren Exchange #10. It looks like we've been swinging back and forth between East and West - how about next time someone in the middle? Or another country. How would that work? I'm still anxious about #9s poor little Endangered Species but they are arriving in sunny California and it has been wonderful to get to know a group of Bareners a little better. Your cheerful #9 Coordinator, Bea Gold ------------------------------ From: "Maria Arango" Date: Sun, 15 Apr 2001 10:34:49 -0700 Subject: [Baren 14179] framing I guess everyone is different, but once I got a bit of practice, framing became second nature, like the last step of making the print. IMHO, framing with a professional is not a time-saver, it's a money-waster. Might take a little time, but I have much better things to do with my money! My favorite http://www.pictureframes.com but by all means shop around the web. Wide selection at great prices, if you wish you can even buy cut mats, cut plexi, cut backing boards and snap on frames. I invested in a decent mat cutter and buy plexi in large sheets and quantity from home-hardware supply stores. Even when I have to cut everything, in the time that it would have taken me to drive to the nearest frame shop, my work is neatly tucked in attractive and light-weight frames (a must for traveling print-peddlers like moi). Practice makes you faster and better. I pre-cut the sizes I use most so when it comes time to actually frame a piece or two or ten, it's merely a matter of assembly. Perhaps in the future a professional will be a choice. But today when I look at the difference in price between a pro and me...it's a no-brainer! I mat/frame about 25-35 works per month depending on sales. I can buy, say a 16" x 20" frame for $12.50, add 1.00 for a mat (32 x 40 yields 4), 1.00 or 2.00 for plexi. Backing boards are free if you save cardboard and put a sheet of glassine behind your work as a barrier, else use acid free foam board (Jerry's Artarama often has sales on cases http://www.printmakingstudio.com/artsupplies.html). Also cover the cardboard with something attractive as a dust cover (Dan Smith's interleaving paper works well). I charge around $40 more for the framed work as opposed to the matted, still beating any framer by a mile and a half; customers know this too. For 8 x 10 and 11 x 14 very attractive wood frames, complete with glass and mat, visit your nearest Wal-Mart. There you will often find hardwood fluted frames in natural oak, cherry and walnut for $2.00 and 3.00 (gasp!, said my favorite framer friend as she admired my engravings in their neat frames!). If money is no object then by all means use a pro. Health to all, Maria <><><><><><><><><><><><><><> Maria Arango Las Vegas, Nevada, USA http://www.1000woodcuts.com maria@mariarango.com <><><><><><><><><><><><><><> ------------------------------ From: Cucamongie@aol.com Date: Sun, 15 Apr 2001 15:21:40 EDT Subject: [Baren 14180] FRAMING Hi all, Jeanne, I take my bigger prints and whatever else I can afford to a professional framer, as I am also a lousy mat cutter - though I do it when I have to!!! I have a great framer who's not too expensive who drives into NYC from New Jersey once a week to pick up/deliver stuff, who April originally told me about. If anyone in the NYC area is interested in his contact info, please email me OFFLINE. thanks Sarah ------------------------------ From: "eli griggs" Date: Sun, 15 Apr 2001 17:37:36 -0400 Subject: [Baren 14181] do it yourself framing Hi there: I would like to hear more from/about artist/printmakers who are matting and framing their own prints. I have looked at many types and models of mat cutting set-ups over the last few months and feel no better informed than when I first started. How much mat cutter is needed to be productive, yet be affordable for the work alone printmaker? The prices I have seen start about 70$US and run up to well over a thousand. What sort of features account for those differences? What is truly need and what is excess? How much and what sort of gear is needed to do a good job so that a printer can present their work to the public market? Is a full fledge shrinkwrap system a necessity or can a competent job be done with a hair drier or heat gun? Are there differences in shrinkwraps that the printer should be aware of, as there is in mat board? If you are represented by a gallery, does the gallery need bear the cost and leg-work for matting and framing, and is that recouped by their commissions, or does the artist arrange for all? If the artist/printmaker directly covers the cost, should they expect the gallery to drop its' commission accordingly? Any tips and recommendations are welcomed. Eli Griggs Charlotte N.C. USA http://www.geocities.com/eli_griggs/mypage.html ------------------------------ From: Carol Lyons Date: Sun, 15 Apr 2001 15:15:08 -0700 Subject: [Baren 14182] "Show & Tell" Hi My recent visit with Vienna Mike in NY is a message on the Barenforum.org . Also photo. Carol Lyons Irvington, NY rst-art.com/artfulcarol.htm ------------------------------ From: Carolyn Pflederer Date: Sun, 15 Apr 2001 20:20:00 -0500 Subject: [Baren 14183] Re: framing Just read Maria's input on framing. I used to work at a gallery doing framing and I really know how much they charge above the cost of the materials. You will save a huge bundle by doing it yourself! All I use at home is a hand held mat cutter, and at the gallery they used acid free mat and backing board and just whatever scrap cardboard they had (usually from cartons that the mat, glass, etc...came in) to back the work. They never added the glassine, so I guess they figured that the acid free backing board was enough. For a dust cover they had a very big roll of paper like the paper used to make brown paper bags...the lighter weight bags. I save light weight paper bags and use them at home, or you can buy a small roll of "craft" paper or mailing paper that is just basically the same thing as the paper used to make the paper bags. Even the heavier paper bags are O.K. if the piece is small or you can iron out the wrinkles. Another place we (secretly...the owner wouldn't approve!) sent people who wanted to just get something framed very cheaply, was the local Target store. They have a really neat frame section; the very simple straightforward type as well as some wonderful frames for your home. Good stuff at good prices. I also consider the basic ready made frame sizes, and even the mat sizes, if I really want to save myself even more time and money when I am designing a print...not always the way you want to work, I know, but if you really want to pinch those pennies it can't hurt to consider it. (And I can pinch a penny until it screams!) Any good framing book (check the library first!) should have a section that can tell you how to measure to cut out the center of the mat for the artwork intended so that it will fit the frame you want to put it in...also considering alternate ways of setting the mat window besides the usual manner...which could really add to the pieces looks and set it off to its best advantage. Most of what I learned doing framing at the gallery can be found at the library...just get a recently written book. The plexi is certainly lighter weight and of course not breakable like glass, but be warned that it does scratch VERY easily and should not ever be cleaned with regular glass cleaner, it can cloud up the plexi. A soft cloth and a little gentle soapy water will do, although there is a special cleaner you can get to use just for the plexi. So protect that plexi when transporting or handling it. Just put a piece of any clean paper over it when transporting your framed piece. If you want the best for your prints, we always recommended the conservation clear glass. That's plenty for now, Carolyn ------------------------------ From: "bemason" Date: Sun, 15 Apr 2001 18:26:54 -0700 Subject: [Baren 14184] Re: do it yourself framing > How much mat cutter is needed to be productive, yet be affordable for the > work alone printmaker? The prices I have seen start about 70$US and run up > to well over a thousand. What sort of features account for those > differences? Eli, I have a Logan matcutter and it is great, not the cheapest one, but the one that cost about $200. I also have more expenxive ones, a Fletcher that costs $1500 and does a 40"cut. I like the Logan the best for ease of use and accuracy of cutting the inside frames. So the more expensive is not always the best. I never make overcuts with this Logan. > What is truly need and what is excess? How much and what sort of gear is > needed to do a good job so that a printer can present their work to the > public market? I use all 100% rag mat board and all archival material, linen tape and dust covers on the back of the wooden frames. Metal frames are also good and easier to assemble with less equipment than wood. I work to standard size glass sizes and order the frames to go with them. 11x14, 16x20, 20x24, 24x30 > Is a full fledge shrinkwrap system a necessity or can a competent job be > done with a hair drier or heat gun? Are there differences in shrinkwraps > that the printer should be aware of, as there is in mat board? I like bags better than shrink wrapping, they do not tear as easily. I will look for the name of the place I get them and forward it to you, they are only about $.35 apiece. They are very clear and you just pop your work in and fold it closed and tape. > If you are represented by a gallery, does the gallery need bear the cost and > leg-work for matting and framing, and is that recouped by their commissions, > or does the artist arrange for all? This depends on the gallery and the distance, I like to frame my own as I am very fussy at the result and don't trust the gallery to do it the way I want, but would let them if they insisted. I find most of my galleries like getting the work framed. I use very neutral mats and frames. If the purchaser wants a different frame and mat, they can always get it. > If the artist/printmaker directly covers the cost, should they expect the > gallery to drop its' commission accordingly? I give the gallery a framed price and the commissions stay the same. so There you go, this is what I do but others may have different advise. Best to you, Barbara ------------------------------ End of Baren Digest v15 #1390 *****************************