What is Floating

• Floating is in my opinion one of the nicest ways of framing artwork on paper, particularly artwork with beautifully hand-deckled edges.

• Float framing is a method where artwork is raised by a 3/16” piece of acid-free foamcore. The acid-free foamcore is inset about 3/8” all around from the edges of the artwork. This allows the artwork to float on top of the background mat with the foamcore adding a spacer, creating beautiful shadows.

• When framing work, we generally use 3/4" face with a 1 1/2 "depth solid wood frames. This is the smallest frame size recommended for larger works. Depth is important if you intend on floating the art work.

Elissa’s Frames

We use a local, sustainable frame supplier for my work called Triple Touch and if you are in the GT(H)A it is the moulding 237 - 19 (cherry) or 237 - 53 (walnut) that you can ask for. White Oak (light with a more golden undertone) or Maple (a very hard, light tone wood with a cooler, most pink undertone) are also stunning options.

Before this (and for many years) we used a sustainable US frame supplier called Larson Juhl who is widely available through most framers in the US and Canada. The line I recommend from LJ is called “Cumberland” - my personal frames are their cherry and I often use their maple as well.

Technical Tips: three mounting methods to achieve a perfect float

1.     The drymount inset float also referred to as drymounting with a reverse bevel is a permanent method where the piece of acid-free foamcore is drymounted to the back of the artwork making it perfectly flat. The acid-free foamcore will either be inset 3/8” (from the edges of the artwork), or cut with a reverse bevel right up to the edge of the artwork (depending on the paper type) so as to ensure that the foamcore your artwork is floating on is not visible once it is framed. These methods are not reversible so it may not be recommended on high value artwork. Framing with the inset float method generally requires the use of spacers of some kind to keep the glass from resting on the artwork. We often use a contemporary shadowbox frame where we line the inner walls of the frame with acid-free foamcore creating the space needed between the artwork and the glass.

2. T-hinges with wheat starch paste The t-hinges are created from a mulberry hinging paper and adhered using wheat starch paste. This method gives you the option of removing the artwork at a later date by cutting off the t -hinges and by remoistening them to remove them from the art. Typically some wheat starch paste residue is the only thing left behind on the back of the artwork. The only downside to t-hinges with wheat starch paste is that the artwork doesn’t typically sit perfectly flat, and in many cases the artwork will be quite wavy. It can also change according to inevitable humidity changes. If waviness in the paper will bother you, this may not be the method of framing for you.

3. Double sided tape For artwork with little to no value (prints that are not hand produced or temporary wall décor) this is an option. Again this method is not reversible (permanent) and it will not make the artwork lay perfectly flat. In addition, the double sided tape may eat though the artwork over time causing visible acid-burn on the front. However, this can typically take 10 years plus, depending on variables such as the thickness of the paper.

In all three methods of mounting it is also very common to mount directly to the background mat, using the 3/16” acid-free foamcore behind to float on is completely optional. It’s all personal preference. No matter the option you use, all of these methods result in a truly unique and beautiful way to display your Elissa Barber art piece.