Questions About Wood Frames

[Stephen Willard]

As noted in a early thread, I will be offering wood frames as well as metal frames for my photographs. I have a few questions about wood frames.

1. Has anybody used synthetic wood frames before? The product I am considering using is called banana wood, and it is very much like hardboard that you find at Home Depot. I suspect it is a very stable material, but I am concerned about its strength and how well it will hold up over time. It looks just as good as the real thing unlike many imitations, and it is about 40% cheaper then the real stuff.

2. Is a dust cover necessary for the back of the frame? The library of congress say that wood frames are not archival and that you need to tape the rabbit to prevent gases from bing expelled into the mat sandwich. I am consider not using a dust cover to facilitate venting the mat sandwich just like the open back of a metal frame.

3. If I decide to use a dust cover, can anyone recommend an inexpensive place to purchase it. Of course I would like it to be acid free. Are there any quick ways to attach it. Perhaps some kind of gluing applicator will help?

Thanks for your considerations and thoughts.

[Marko]

If you want pretty, get real wood. If you want stable and durable, few things beat Kevlar, except that there's no mistaking it for wood.

But weren't you against fakes?

[jwaddison]

I'm guessing here, since I've never heard of banana wood, but I imagine it's reconstituted from banana tree fibres. The glue typically used in reconstituted wood is urea formaldahyde, the same glue that is used in plywood. It's probably very stable (as long as it's kept away from any moisture), and plenty strong enough for what you want. I don't know if the glue would have any long-term effects on the photo. You should probably seal the wood in any case.

[anchored]

I have in the past mounted a few images by others into frames they've supplied that sounds like the material you're describing... looks like hardboard (wood dust that's been mixed with glue), shaped into moulding, and painted. The inexpensive "wood" frames from Michaels, Aarons, Hobby Lobby and other such places sell such frames if it's the material I believe you are referring to.

I hate them. Appearance-wise they look quite decent but there's a few problems with them. The groove on most of them are too shallow to accommodate artwork mounted and double-matted... the sandwich sticks out the back after complete. The corner joints generally are weaker than hardwood frames, and I question their longevity. But... the worst problem: this material doesn't hold their paint covering as well as hardwood frames... chipping is more common, and driving in the tips used to secure the artwork in the frame quite frequently results in creating dust and tiny paint chips into the artwork. Also... if one attempts to remove these tips the same occurs. I also question their ability to hold the mounting points over time without problems.

On the dust covers: I use framing tape (looks like aluminum) for sealing, and archivable kraft "butcher" paper for the outside seal. It's very easy to apply using double-sided tape (I use Swiss Scapa). I've tried the black dust sealing paper but find it more prone to tearing and it's harder to work with. For a supplier, you really need to find a local supplier since the rolls are very heavy and shipping costs would be quite high I would think.

IF one produces framed artwork for sale, and if you have a tax number, look intoyou opening an account with a wholesale framing supply company. Discounts, especially if you do any volume, are quite deep, and one can purchase very high-grade hardwood frames for little more than you'll spend on the "inexpensive" wood composite frames general local stores handle.

[Drew Wiley]

I would strongly recommend that you do a little research on archival framing. Good info
is available in books from picture framers' associations as well as on line. For one thing,
wood potentially contains tannins, turpenes, and acids which which need to be isolated
from the mats. Typically the rabbet is selaed with true shellac (not varnish or lacquer).
The pH of the matboard itself must be matched to the type of print involved. A catalog
from someone like Light Impressions will give you a good clue about this. Some frame
wholesalers will sell to photographers, some won't. The quality of the frames out there
varies considerably, so try a small order before a volume order. I've personally given up
with that rat race, and either run the hardwood mouldings myself or sub them out to
a trustworthy local milling shop. Otherwise, if you are able to get a wholesale account,
ask to see samples of their inventory. For a fee most shop will provide a "chop" service
to mitre frame sides to specified lengths, which you will have to assemble yourself, but
it is much more economical than fully assembled frames, unless you are using only a
very limited selection of options at volume. I should add that a dust seal on the back
is helpful not only for dust but for the little booklice and other bugs which relish glue
and gelatin. But make sure things are truly dry inside first. Rag museum board is highly hydroscopic.

[Stephen Willard]

The company that sells the synthetic frames is a wholesale place, and they specialize in making cut-to-size frames for artist and photographers. Their prices for their synthetic frames range from the same I pay for wholesale Nielsen metal frames to $10.00 more for a 25x29 frame to hold a 16x20 print.

The company has been in business I think since 1979, and they said they have never had a frame returned. They said they hold up well and touch up well if scratched. They have lots of choices including real wood samples to sell. The only way I could tell the difference between the wood and the synthetic samples was to look at the back of the frame. The rabbits were varied just like the wood frames ranging from 3/8" to 7/8". I need at least a 1/2" rabbit for my mat sandwich. I have ordered six synthetic frames of various styles and will be using them in a show I have coming up. I intend to hang one of them at home to see how it holds up hanging around the house. I use the wall space of my home as part of my inventory. So the prints get moved around a lot. The company I am using is www.colorframe.com/index.php. You may want to take a peek.

[mrladewig]

Stephen,

If you have a business license, then I'd work with ABC molding in Denver to source your molding. I would be very suspect of this banana board myself.

[Stephen Willard]

Stephen,

If you have a business license, then I'd work with ABC molding in Denver to source your molding. I would be very suspect of this banana board myself.

Thanks mrladewig. I already have an account with them, and I am trying some of their real wood frames as well. In fact, I have ordered many samples, and now many frames from different companies, before I make my final decision. I am the kind of guy who needs more than a 4" sample to figure things out.

I did get my banana frames in today, and there is no way you can tell the difference between the real thing and the synthetic unless you look at the back of the frame. They are structurally just as strong as wood frames, but whether they hold up for a 100 years or just how unarchival they are is unknown. The material is not chip wood glued together, but rather looks like hardboard, however, its much more rigid. The company calls it banana wood just to give it a wood name to make it perhaps more appealing then calling it synthetic frames.

[bglick]

Stephen, a few things to consider....

1) Are you making the frames yourself, or buying them ready made? Big difference here....because you need to consider the joinery used, which is dependent on the size of the piece and the weight loads on the joint, as well as the wood used.

2) You did not mention sizes of exterior frames, and the width of the mouldings, two critical factors in your decision making process.

3) As a general rule, rabets should be covered with archival tape, as others mentioned, you can not have varying levels of ph making contact with each other. I cover all my rabets with archival tape.

4) Do you use glass / plexi ? Or are the prints exposed? Glass can be a blessing or a curse. if you trap the gases, which out gas from parts of the installation, mainly the wood, you have created a toxic air mixture that can "eventually" destroy what you are trying to protect. So caution must be had to seal off the enclosed area as best possible.

5) Do you spray the prints? both sides? IMO, this is the safest and most cost effective bet for archival status.