Wanted, artists to display their work at the Collins Artworks Art Center Art On Rotation Galleries.
We are currently taking applications from artists for shows at the AOR galleries. Each show is a 2 month commitment. For details and more information call Sheryll Collins at Collins ARTworks Art Center 978-368-3300. Also visit us on FACEBOOK. See link on sidebar

We finally finished replacing the signs on the front of the building. Our goals were to make it more obvious what we are, especially for drive-by traffic, increasing impact, and making more of the windows open to view from the outside.

To hang your work in the Collins Artworks Art Center gallery, it should be framed to archival standards, meaning that the frame must be an acid-free, watertight and dust blocking environment for your artwork. This requirement only applies to works on paper, works that are susceptible to contact, moisture or dust damage, such as drawings, watercolor paintings, and pastel paintings. If you aren’t sure if you need an archival frame for a specific piece, give us a call or stop in and we'll be happy to answer any of your questions.

A basic archival frame begins with the frame itself, which is most commonly made of wood. Specifically, to seal out dust and moisture, the corners (also known as miters) must be glued as well as nailed to provide both strength to the joints and a barrier to dust and moisture.

You may have encountered frames and frame kits made of a compressed cardboard product with a wood-like veneer with a groove on the back for spring clips. I generally do not recommend these frames, but they can be used if cost is a big factor. The spring clips tend to pop off after a while, and the grooves tend to widen over time, eventually making it impossible for the clips to stay in place. Wood is a much better choice, but as long as the miters are glued, these cheaper frames will still provide an archival result.

If your matted work happens to match a common size, you can likely find decent pre-made ("readymade") wooden frames, sometimes with mat, backing board and glazing included at a discounted price as compared to a custom frame. So it can pay to paint standard size works. If you think a readymade frame will work, make sure you get one that’s a minimum of 5” longer and wider than your work. The frame should be close to the dimensions of the painting, giving anywhere from 2” to 4” of mat width depending on the size of the painting and the desired look. If the frame varies proportionally from the painting, the variance should be no more than an inch or so, and only in the vertical direction. The variance should be left on the bottom of the mat, with the other three sides being the same width, and the bottom being wider by the amount of the variance.

A custom frame is generally cut from frame stock using a miter saw. The mitered frame pieces are then joined using neutral-PH (acid-free) wood glue (Elmer’s Carpenter’s Glue or similar) and nails.

Once the glue is dried on the frame, the rest of the components are placed in the frame in the form of a sandwich.

First is the glazing, which can be acrylic, Plexiglas or glass. Each has pros and cons, but generally acrylic or Plexiglas is preferred in a gallery setting because it’s lighter and much less likely to break than glass. Glass tends to be cheaper and less susceptible to scratching. Glazing is usually at least 1/8" thick, though you may need it to be thicker for larger frames.

For an added cost, you can choose glazing that provides UV protection and reflection control to reduce glare. When your work will hang in a space that gets significant sun light, UV protection is well worth the added cost.

Second is the mat, artwork, second mat, and backing board. The mat is cut to overlap the artwork somewhat, generally 1/8" or so all around (HINT: That means you should plan to lose a little of the edges of the work, so don’t sign your name too close to the edge!). Next, the mat is taped to a second piece of mat board along the top edge using linen hinging tape. The artwork is then aligned under the mat and anchored to the second mat using a variety of methods. The goal is to mount the artwork so it won’t move and to do so without getting any kind of adhesive on the artwork. Whatever is done to mount and frame the artwork must be completely reversible. The backing board, usually foamcore, is placed under the second mat.

Note: The backing board and mat needs to be neutral-PH. A framing shop (including us) will generally know to use neutral-PH materials, but make sure you look for it if you decide to buy your own materials or make your own frames.

Once the mat/artwork/backing board is assembled, the glazing should be carefully wiped with a static-free cloth to get rid of dust, hair, or whatever detritus manages to be there. Immediately after wiping, the mat/artwork/backing board sandwich is placed in the frame. A series of nails is shot into the edge of the frame where the backing board meets the frame. The goal is to put slight, even pressure on the backing board all the way around the frame. I recommend using flat framing nails because they can be bent up to allow easy removal of the frame contents, and they provide wider contact with the backing board. However, small brads will work too.

Third, the back of the frame is sealed by running frame sealing tape over the seam between the frame and backing board all the way around, overlapping as needed to insure a total seal.

Fourth, a dust cover can optionally be applied to the entire back surface of the frame using double-sided tape.

Fifth, mounting hardware is screwed into the back of the frame around 30% down from the top edge of the frame. We prefer hardware that lies flush (or close to flush) against the back of the painting, minimizing the chances for damage during handling. This rules out eye screws. Picture hanging wire is then threaded through the hardware, wrapped around the hardware twice, and then twisted for an inch or two around the wire.

Sixth (and last), felt or silicone bumpers are glued to the bottom corners of the back of the frame.

When framing for shows or display in a gallery, a simple black or brown frame and a white or near white mat is preferred. Also, “inner” mats cost extra and are generally unnecessary, though if you do have one, make sure that any glue used to install it is acid-free. Finally, if you have a choice of backing board, go with acid-free foam core. It’s light weight, stiff, and easy to work with.

If you’re interested in doing your own framing, or would just like to know more than you currently do, there are some excellent resources on the internet.

Whatever you do, if you don’t have a Wetcanvas login, get one now! (wetcanvas.com) Then login, and check out the Studio Tips and Framing forum, and the Framing Discussion forum. You will very likely find answers to your questions. There are dozens of forums on Wetcanvas, all very active, incredibly useful resources.

One final word. We have several reasons for expecting that all works displayed in the gallery are framed to archival standards.

• Your work should be treated with respect, as objects of value, both to you, the gallery, and to prospective customers.


• The customer deserves to buy a quality product that can be depended upon to weather the test of time.


• The gallery has a reputation to maintain, a reputation for marketing quality art work at reasonable prices.

Collins Artworks provides a full range of custom framing services, along with full service digital imaging and fine art printing. We welcome you to consult with us on your next framing, scanning or printing project. We offer quality workmanship using the best materials at a very competitive price.