Help with 4 foot wide framing job

[Jeff Bannow]

For my final project in my advanced analog color class, I created 3 panoramic prints mounted onto 6mm Sintra. The final size of each is 16"x48". I have sold one of the pieces and the client wants it in a traditional frame.

My thoughts were to use plexiglass and a Nielson screw-together type metal frame. AmericanFrame.com will cut and ship the metal frame no problem, and I can source the plexiglass locally. I am concerned however with the frame's ability to hold together in this type of application. Any thoughts on if the frame will bow over the long length? I plan on needing two hooks on the wall to hold it up.

Also, do you think the print will be safe up against the plexi or should I aim for some type of spacers? I would like to avoid a window mat on this one if possible due to the size and cost.

 

[Paul Goutiere]

Just a question or two:

Will the pieces be hung horizontally or vertically? If horizontal you may wish to brace inside of frame.
Are the images to be dry mounted? If dry mounted use spacers, if not, you can go against plexi. (I would never do this myself, I'd drymount and use spacers.)

 

[Jeff Bannow]

It is actually 3 sheets of 11x14 paper coldmounted to the Sintra. This would be horizontal - 4 feet wide. Any thoughts on how I might brace the frame?

 

[DWThomas]

One thing I've seen done is to use additional "eyes" for the wire, placing two on the bottom of the frame about 1/4 to 1/3 of the way in from each end. The wire is anchored there and threaded up through eyes in the more traditional locations. This basically supports the frame from the bottom. Something to consider.

DaveT

 

[Murray@uptowngallery]

I think the Sintra is not as rigid as Plexi/acrylic, right?

I would us an absolute minimum Nielsen profile of 15 (no 5 or 11) for something that long, and only if no glazing (probably a 25 is better for stiffness).

For long sides, I crosswire between the long sides, a pair of D-rings, snap-in or screw-type, wired just tight enough to prevent the sides pulling away when you pull a side rail (don't carry by a side rail). If you pull the crosswire too tight, you;ll see the moulding start to roll in from it's normal 'vertical' position.

Even doing that, I get second looks from my wife.

Unless the Sintra bows from having the photos mounted on one side, it shouldn't do so over time. I have read about mounting a piece of paper on the reverse side of things to prevent bowing due to single-sided mounting, but I haven't experienced it yet (other than dry-mounting posters of foam core that are not going to be frames - they can bow a bit).

It's hard to judge when a given moulding profile is 'too small', but if you are surprised at how heavy the assembled materials are before ordering the moulding, that might be a good 'gut instinct' to go a larger profile. I don't think the mounting hardware is any stronger on a 25 profile, but the frame is more rigid.

Murray

 

[Jeff Bannow]

What about a Nielsen 50 or 95 then? And use two sets of clips on the side strung together should allow me to avoid cross-bracing?

I went with the thicker 6mm Sintra, so I hope it shouldn't bow. It looks okay at the moment. I did make sure to coldmount as I have heard the heat from a press can warp the Sintra.

 

[Dan Henderson]

I would suggest calling or emailing American Frame for recommendations on bracing the frame. I don't know what Sintra is, but I would have concerns about framing anything with the art in contact with the glazing. I would figure out a way to provide an air space.

 

[Jeff Bannow]

I sent an email to American Frame and they state they don't see a problem as long as I use a thicker Nielsen frame. I will give this a try, and use extra clips on the sides to balance the load out.

 

[Murray@uptowngallery]

I can visualize a 93, but can't remember the 95 profile - is that the 1" wide one" That should be plenty!

Good point on keeping the glazing off the art-that would be proper, and best for the art, but if it's not practical for you to figure out a way, I'm sure you wouldn't be the first to break that rule :O).

With a 95 (if it's as big as I think), you might not need a cross-wire, but it doesn't hurt...it protects against someone else's handling like lifting by a long side rail, more of a problem with glass.

I don't know what the weight would be, but I'd expect Sintra to be much heavier than foamcore, etc. The whole package may be pretty flexible. The cross wire will help with that also. If you are hanging it yourself, you have some control over the handling.

If someone else is doing the handling, I would do the cross-wire between the two long rails just to make it as sturdy as possible.

 

[mark]

I have no advice what soever but would love to see the images. Any chance of taking a digi snap?

 

[Jeff Bannow]

Thanks everyone for the assistance.

Mark, I will take a few snaps of the work and post it here in the next day or so. I need to get them up on my website anyway, so this is a good incentive.

 

[Jeff Bannow]

Sorry for such the long delay. I finally got some photos taken of the panoramics. I had to take these with a digital while they hung on the wall of the gallery - not ideal circumstances.

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Let me know what you think.

 

[WarEaglemtn]

I have framed this type of work and longer. It is easy to get a few metal back pieces to put in the frame to brace it and keep it from bowing in the future. Will stiffen the whole package as well.

Or, add a few screw in wire hangars and brace with the normal picture hanging wire top to bottom. They are easily put in and can be removed without problems also.

Any really wide frame can bow eventually and this will keep it steady through the years.

As the work hangs you do a 'framing tune up' every five years and this method enables taking things apart easily.

Use spacers to keep the print away from the glazing or you are asking for trouble. If you want it flush to the glazing do front mounting to acrylic so the image is affixed to the glazing. This is permanent so be sure it is really what you want to do.