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Gallery
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timeframe@telus.net
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Sunday 12:00-5:00
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Time Frame Gallery can help bring your ideas to life. Our custom framing is tailored to your needs. Since 1977 we have been framing art or your special memories for homes and offices, providing a wide selection of the highest quality materials and professional workmanship in the market today. Our knowledgeable  staff will help you choose a design that not only works best with your original art, prints, fabrics or special object, but one that also compliments your room, your personality and your style. Follow this link for
Tips on Hanging Pictures
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Frame Sample Area

Our list of services...

  Corporate Picture Framing
 
Conservation Framing
  Sports Jersey, Memorabilia and Object Framing

  Canvas Stretching

  Posters Framing
  Plaque Mounting
  Canvas Transfer
  Needle Art Framing

   



Conservation and Museum Quality Framing

One of the major purposes of framing is to diminish or delay the effects of aging on artwork. This means protecting the art from damage arising from (1) physical abuse like bumps, punctures, abrasion, and dirt, (2) the chemical effects of air pollution, (3) excessive light, (4) excessive heat or cold, (5) excessive humidity or dryness, and (6) insects.

Young artists generally pay little attention to the quality of materials and the future of their work, but as we get older we try to ensure that we use "artist quality" materials in our work. These are materials such as pigments and papers   that will not deteriorate over time. Nonetheless very few artists succeed in using these materials all the time; most don't have enough money to do so, and many contemporary artists work spontaneously in unconventional media, grabbing anything at hand and including it in their work. In addition, I have found that not all materials labeled "artist grade" are in fact lightfast (no fading). Therefore people who buy original works of art should not assume that the work is going to last "forever" (why should it? nothing else does), but should instead consult with the artist and framer, and use common sense in considering the materials used and how to best preserve them for a reasonable cost.

Framing to fully preserve the art is often called "museum" framing, but museums must preserve art for all time, while most of us need to preserve it only for  a lifetime or two. Museum framing has a very stringent sent of protocols that demands, among other things, the full reversibility of anything done to the art. The framing discussed here might better be called "preservation" or "acid-free" or "acid-reducing" framing, which is similar but less stringent, and allows for some irreversible procedures, such as mounting with non-resoluble adhesives. I will also focus on works on paper, since the vast majority of my own work is on paper.

Preservation framing has become increasingly important because of the increasing acidity of papers and pollution of the atmosphere. Most papers are made from wood fibers and are more or less acidic, and, upon exposure to acids in the air or acids in objects placed near them, become even more acidic and turn brown and brittle. The "cheaper" the paper, the quicker this happens; everyone knows a newspaper turns dark and brittle very quickly. At the other end of the spectrum are "acid-free" paper products, either made of non-wood plant fibers like cotton or linen (hence called "rag") or of alkali-buffered wood pulp. Using these products in producing, framing, and storage will preserve the art for the longest possible time.

The framer can help primarily by surrounding the artwork -- front, back, and sides -- with acid-free materials. One purpose of the mat, for example, is to provide a buffer between the art and pollutants that creep in from the edges. Of course the mat itself should be acid-free. When acidic mats are put in contact with the art paper, acid migrates from the mat and creates visible browning of the art paper, not just directly under the mat but also creeping into the art from the edge of the mat. This may be noticeable around the edge of the mat widow within a year or so, and damages the fresh, pristine look of the art.

Of course, the art paper should also not come into contact with acidic materials from behind; never put corrugated or grey cardboard up against the back of a valuable work of art. Foam boards are not usually completely acid free, but they are quite inert and, except for the most valuable or delicate pieces, are probably adequate for backings. But don't mount valuable art onto foam board; it is too easily dented and punctured.

Frequently compromises are made (not by museums, but by the rest of us). For example, less expensive, acidic materials may be used inside the frame, but not right next to the art. This is okay, if done correctly, and may prevent visible damage for many years, but keep in mind that it is the acidity of the entire environment within the frame that will ultimately affect both the art paper and media.

If you want to preserve works on paper for many decades, then, you should use acid-free mats and backings. But this is expensive, so be reasonable. If you have an inexpensive, replaceable poster, or a crayon drawing with fugitive colors that will fade in a year, there's no point in trying to make the paper last a century. The good news is that the life span of even very acidic paper can be greatly lengthened by acid-free framing, especially by mounting it to acid-free backing, because then the acids actually migrate OUT of the paper, although the paper will still gradually darken. If you don't mind the darkening, even works on newsprint will last just fine if properly cared for.

 

Sports Jersey,  Memorabilia
and Object Framing
 

Many people don't consider object framing until they see our samples. Wow! You can frame that? Sure, you've seen or may even own a framed sports jersey, but what about a communion dress or baby's first onsite? Consider putting wedding mementos like an invitation or cake topper in a shadowbox with a photo to create a real conversation piece. Over the years we have framed pieces of the Berlin wall, knives, swords, masks and carvings, plates and even pink fuzzy bunny slippers. If you have an object
that you want to display but is usually in a drawer consider framing it.
  
 Jersey    Gloves
Baseball Bat   Gloves & Shorts
 

Canvas Stretching

 

We can stretch all artwork that have been presented on a canvas, whether it is rolled or folded. Here is an example as to how we would go about doing it:

The canvas is stretched right around a special stretcher bar (plain frame) that we make on premises and stapled neatly at the back to make sure there are no messy tacks or staples around the edges. This way, you can hang your print without a frame if you wish to do so. If you prefer, your image can be "gallery-wrapped" around the sides of the stretcher so that printed image wraps around the sides of the frame or the sides can be covered with a heavy duty black masking tape.

 

Posters Expertly Mounted and Framed!

 

We are able to frame posters of any size.
Expertly dry mounted if necessary and requested. Your posters can be framed with no-wave effect and moisture free.
Have your valuable and antique posters framed with museum quality glass and backing board to preserve its value.

 

 

Plaque Mounting

Plaque mounting is a unique, attractive and economical process of mounting, laminating and displaying YOUR photos, posters, certificates and prints.

YOUR print or document is first mounted to a high quality wood which has been custom cut to the size of your print. The surface is then completely sealed with a tough, durable, transparent laminate. Finally, the edges are finished with one off many colors to choose from.

Applications process - How it's made.Many colors to choose from.

This popular technique also known as plaque or wood mounting is an inexpensive yet extremely durable way to protect and hang your poster, print, photo or artwork.  As an affordable alternative to custom framing there is no glass to break or to produce a glare, it is a simple solution that offers long lasting protection.  The end result is a look that's as modern as it is rustic.     

Plaque mounting is ideal for: Plaque mounting is ideal for:

  • Posters
  • Photographs
  • Puzzles
  • Awards & certificates
  • Promotional & advertising materials
  • Newspaper & magazine articles
  • Maps
  • Children's artwork

Our plaque decor line is available in the following styles: 

Flush Mount           Float Mount           Standard Plaque Mount

 

Flush Mount   (1 Inch Deep))

The artwork is dry-mounted onto a sturdy, lightweight 1/8" medium density fiberboard or MDF and heat sealed with a matte laminate. A 3/4" box frame is adhered to the back, flush to the image edge to create a clean, lightweight, contemporary look. The edges are beveled and finished with your choice of colour. A keyhole slot is routed into the back for hanging. This popular style is recommended for oversized artwork (larger than 24 x 36 inches) where weight may a issue.

 

Float Mount

The artwork is mounted onto a sturdy, lightweight 1/4" medium density fiberboard or MDF and heat sealed with a matte laminate. A 3/4" deep box frame is inset 2" from the outer edge and adhered to the back to give the illusion that the image is floating off the wall - an ideal affect for recessed walls or niches. The edges are beveled and finished with your choice of colour. A keyhole slot is routed into the back for hanging. This popular style is recommended for oversized artwork (larger than 24 x 36 inches) where weight may be an issue. An ideal effect for recessed walls or niches.

 

 

Standard Plaque Mount

The artwork is mounted onto a sturdy 3/8" medium density fiberboard or MDF and heat sealed with a matte laminate providing permanent protection from fingerprints, dirt, moisture and other contaminants. The edges of the plaque are beveled and finished with your choice of colour. A keyhole slot is routed into the back for hanging.

 

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How to hang a plaque mount

 

Canvas Transfers

An amazing technique that transforms fine art prints and posters into rich beautifully textured works of art that simulates the look and feel of an original painting. Canvas transfers are produced by first cropping the print to the image (borders and text are removed) and then applying a durable, non-reflective, UV-blocking laminate film onto the surface of the fine art print or poster. This protects the image from fingerprints, dirt, moisture and other contaminants. 

Using a special process the image is then lifted from the paper backing leaving only the colored ink. The laminated image is then placed onto a highquality 7 oz (acid free) primed artist canvas and heat sealed in a press. As a result, the image takes on the texture of the canvas giving it the look and feel of an original.

 

Close up of section from art print with canvas transfer technique

 

 

 

 

 

 Stretching (options))

The canvas transfer is then stretched onto your choice of a wooden support frame called "stretcher bars" - available in 3/4, 1 1/4" and 1 3/4" depth. The edges are then finished off with a premium non-glare fabric tape (black or white). You can also choose to have your canvas Gallery/Image wrapped (no edge tape required) which has been very popular the last few yearsThis is where we stretch part of your image around the sides of the stretcher bar giving your finished product a 3-dimensional appearance.  All of our stretching is done by machine which allows us to staple onto the back of the stretcher bars leaving no visible staples on the sides.

Please Note:: When choosing an Image or Gallery wrap that you will lose the following amount of your image on the sides of the stretcher bar:

  • 3/4" deep stretcher bar - 2 inches off the length and width of your image (1 inch off each side)3/4" deep stretcher bar - 2 inches off the length and width of your image (1 inch off each side)

  • 1 1/4" deep stretcher bar - 3 inches off the length and width of your image (1 1/2 inches off each side)

  • 1 3/4" deep stretcher bar - 4 inches off the length and width of your image (2 inches off each side)  

 

  

The transformed artwork becomes a lightweight stretched canvas that is non-breakable and cost effective to ship. Our canvas transfers can be hung on the wall as is or framed in one of our custom floater frames, a perfect compliment to the rich canvas texture. Protective glass is not required for framed canvas transfers. To clean the surface of the image you can use a damp cloth or mild glass cleaner. Please note: The canvas transfer process shrinks the image approximately 1/4" to 1/2" from its original size.

  


Needle Art Framing

Needlework includes all needlework, embroidery, cross-stitch, and crewel, whether they are from kits or original designs. Tapestries include hand woven rugs, handmade quilts, and batiks. Since these articles represent a considerable investment of skill and time, it is very important that they be displayed and protected from damage. There are many ways to display these items, and each may require special treatment to bring out the best in the work to ensure its preservation.

Burmese-Beaded-Fabric
There's no question that stretching is the tedious part of needle art framing.  The lines of stitching must all be straight and even and should stay that way.  A framer will carefully push and pull the work into shape, lining up the stitches and holding the alignment in place with hundreds of straight pins secured into the stretcher board.  Stretching is a labour-intensive process, but properly done, brings out the true beauty of the needlework. 

Sometimes fabric art can end up lopsided and may need further handling before framing.  Blocking is a simple technique that usually solves the problem.  A process of dampening, stretching, shrinking, and pegging often brings the piece back to the proper dimensions.  Once the needlework is evenly aligned, it is secured to the backboard with short, rust-free staples that don't penetrate the fabric.  Some of the larger craft stores are selling amateur framers a sticky board covered with glue to use as a substitute for the time-honoured stretching technique.  Using these "sticky" boards is the worst thing that a stitcher can do.  The adhesive on the boards may eventually break down the fabric backing and destroy the threads.  Chemicals of any sort should never be used on fabric art.  You just can't cut corners with a precious piece of stitchery.

The final step is to select the perfect frame.  A good frame should complement the piece in colour and style and should focus attention on the art.  Moisture can build up inside a glass frame and damage the work if the glass is touching the fabric.  If you decide to cover a fabric piece, use a mat or spacer to create some space for the air inside the frame to circulate.  Mold growth can sometimes be a problem if the piece is hung or stored in a damp or cold room.  Uncovered needlework should not be scotch guarded, because of the chemicals involved, however it may be gently vacuumed clean of surface dust. 

Needle work is a beautiful art form and is often treasured for generations.  Careful attention to proper stitching and framing techniques will keep your labour of love looking it's best for years to come.




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