A preferred embodiment of the artwork lighting master/museum frame of my invention is illustrated in
These are typical sizes. Smaller or larger framed artwork can be lighted either by substituting electrical resistors to control the circuit current where less than 50 lights are needed or by paralleling light series where more than 100 lights are needed. Typical electrical specifications, in addition to the Underwriters Laboratory requirements, for miniature lights are:
These are available from the Lighting Division, General Electric Co, as well as other manufacturers. The artwork lighted frame window size of my invention is identical to the artwork window size of the unlighted master/museum frame. The light director,
The artwork and stretch frame are secured in place in the artwork lighting master/museum frame by conventional clamps. This is so standard that no further discussion is deemed necessary.
Some quality artwork is mounted on a composition material board or wood. The artwork nestles in the master/museum frame in the same manner as a stretch frame. This type of mounting can be set onto the light director and a dummy stretch frame can secure the artwork in position to be lighted. The dummy stretch frame may be secured to the artwork retainer bar using clamps and screws as referenced above. A light pocket is closed by a barrier strip of cardboard or tape or any similar material which is assembled to the four sides of the artwork retainer of the master/museum frame and the back of the stretch frame. This is to prevent light leakage to the wall. The backside of the master/museum frame and artwork assembly may be enclosed with a paper dust backing which is standard to the industry and no further discussion is necessary.
The type of power cord to be used to energize the super-bright miniature lights is determined by the final installation. This cord can be installed at anytime since it is a simple plug in. An outlet in the wall directly behind the artwork controlled by a wall mounted switch dictates the need for a standard extension cord. If no such outlet is available and the power source is a standard wall outlet then an extension cord containing a power switch would be recommended.
There are various possibilities with regard to the method of securing the super-bright miniature lights such as a flexible plastic light holder sized to fit the length and width dimensions of the light pockets. These could be pre-assembled as required and installed within the light pockets. The identical number of vertical and horizontal lights would be assembled into the light holder with only one slot required through the artwork retainer frame for the power cord. The assembly of the barrier strip and method of securing would be the same.
Advantages
From the description above, a number of advantages of my picture lighting master/museum frame become evident:
The manner of using said picture lighting master/museum frame for artwork is basically the same as framing the artwork in a standard, commercial, non-lighted master/museum picture frame. Namely, the standard size commercial quality artwork is interchangeable, forward and backward, using either a master/museum frame or a picture lighting master/museum frame. The difference is that the picture lighting frame contains hidden super-bright miniature lights and a light director system to provide a near isotropic distribution of illumination upon the artwork face when energized. The interior of the frame is designed to accept the light director and the artwork and stretch frame, or board mounted artwork using a dummy stretch frame, as an integral assembly. The external view of the non-lighted master/museum frame and the picture lighting frame are identical with one exception: the artwork and stretch frame nestled on the light director presents the artwork approximately ¼ of an inch deeper inside the frame window.
The picture lighting master/museum frame contains, in a hidden manner, the super-bright miniature lights which when energized provides lighting which is directed by the light director onto the picture face and restores some of the aura and refinement of the artwork and reduces the detrimental effects of the ambient lighting.
The super-bright miniature lights are assembled into the “light pockets” generated by the master/museum-frame artwork retainer frame, the light director and the stretch frame when the stretch frame is installed in the master/museum frame. The power cord and switch assembly are arranged at the bottom center of the retainer frame.
A typical arrangement of lights for a 16×20 inch artwork lighting master/museum frame would dress 8 lights clockwise across the horizontal bottom of the retaining frame, 10 lights vertically on the left, and 7 lights arranged horizontally across the top from the left. Completing the light arrangement would require 7 lights counter-clock wise across the horizontal bottom of the master retaining frame, 10 lights vertically on the right side and 8 lights horizontally across the top from the right side. The lights may be free standing or secured using either insulated staples or by assembly into a simple plastic light holder. Artwork requiring 100 lights or more are routed in a similar manner, with one group of 50 lights dressing clock-wise, the other group of 50 lights dressing counter-clockwise Accordingly, the reader will see that said picture lighting master/museum frame of this invention can restore the aura and refinement of quality artwork when displayed in an ambiance that could severely detract from the intended original artistic rendition. The artwork presentation in the home, office or other location would approach the aura and refinement of the art gallery when viewed in a picture lighting master/museum frame. Furthermore, said picture lighting master/museum frame has the following additional advantages:
The light director employs a prismatic exit for projecting the light onto the picture face. The angle of the exit face controls the light field on the picture face. Typical exiting angles are 65, 70, 75, 80, or 85, degrees. An angle of 65 degrees would project the light closer to the frame and would be ideal for the smaller master/museum frames. An angle of 85 degrees would be considered for the largest master/museum frame and picture sizes.