METHOD, MATERIALS & SPECIALITIES
We want your piece to remain as vibrant and vivid as the day you brought it to us. Glass quality is one of the most important factors in framing. Where your budget allows, our preference is for superior quality museum glass. Because Harmful UV fades artworks, our minimum quality is 99% UV filtering glass or acrylic.
To reduce the risk of damage should it ever need to be removed, we always mount artwork to the backing, rather than the mount
Our museum standard framing includes traditional Japanese hinging, the approved method for museum grade conservation framing for works on paper.
Vital in a humid climate such as Queensland’s, we use traditional water activated paper backing, to seal and protect the inside of the frame for many years.
We stretch canvases over high quality strainer frames. Available in NZ pine or western red cedar.
Conservation standard includes sealing timber to prevent the migration of acids into the canvas.
We prefer to use quality metal D-Rings, screws and soft strand plastic coated wire.
There are many different gummed and pre adhesive tapes on the market that framers use but these are not accepted as suitable for preservation mounting. One method that is accepted by the Professional Picture Framers Association (a world recognised organisation of which Erin Salguero is a member) is Japanese hinging. Although the hinges can be different in execution the basics are the same. The hinge is made using Japanese mulberry paper and the adhesive is a pure wheat starch paste that is made by hand. The wheat starch is the perfect ph and does not change over time. It is also 100% reversible and can easily be removed from the work. This method is used for mounting works on paper. The same process can be used for repairing works and relining paper works that are fragile or torn.