Abstract:
I disclose a frameless display apparatus for flat or essentially flat artwork. The apparatus comprises a transparent envelope with flaps to fold around the edges of the flat artwork. Four perpendicular pairs of rods meet at a hub to create a T-shaped cross brace. Clips on the terminal ends of each pair of rods couple to the edges of the enclosed artwork to stabilize the artwork from twisting in place. The artwork and cross brace rest directly in a wall mount, or spaced forward of the wall with one or more interlocking forward extension elements.

Description:
CROSS-REFERENCE TO RELATED APPLICATION 
       [0001]    (not applicable) 
       STATEMENT REGARDING FEDERALLY SPONSORED RESEARCH OR DEVELOPMENT 
       [0002]    (not applicable) 
       NAMES OF PARTIES TO A JOINT RESEARCH AGREEMENT 
       [0003]    (not applicable) 
       REFERENCE TO SEQUENCE LISTING, A TABLE OR A COMPUTER PROGRAM LISTING COMPACT DISC APPENDIX 
       [0004]    (not applicable) 
       FIELD OF THE INVENTION 
       [0005]    This invention relates to an apparatus for framelessly mounting and displaying flat artwork on a wall. 
       BACKGROUND OF THE INVENTION 
       [0006]    In our digital age, it is becoming increasingly easier to create and duplicate flat artwork. Posters and photographs can be produced in a staggering variety of media, sizes and proportions, for comparatively little money. 
         [0007]    The frames that display artwork are just as important a consideration. They are a design statement in their own right: thin, thick, with a matt, wood, plastic or metal. Furthermore, the material covering the artwork can determine how long it lasts—thin acetate on one end of the spectrum, and ultraviolet light-resistant, glare-free, museum quality glass on the other end. When you add up all of the materials that go into framing artwork, the frame and glass can often be more expensive than the artwork itself. 
         [0008]    What to do, then, when one wants the artwork itself to be the statement? Until now, the options are museum putty, or sandwiching the artwork between two sheets of glass, a sheet of acetate and Masonite and clipping them together. Museum putty is quick, cheap and convenient, but stains paint and loses its adherence over time. Tacks and push pins also technically work, but they create holes, and are unsightly. For larger pictures, such as movie posters, the art often tears off the tacks, falling to the floor. Acetate and Masonite poster hanging kits are widely available in chain craft and hobby stores, but what if you can&#39;t find it in the right size? Two pieces of sheet glass look most professional, but where do you find the hardware to hold it together? And again, where can you have it custom made? What if there was a way to display flat artwork of any height and width on a wall without the expense and bother of frames, and with only simple tools? 
       BRIEF SUMMARY OF THE INVENTION 
       [0009]    In accordance with one embodiment of the invention, I provide a snap-together, frameless mounting and display apparatus for displaying flat artwork. There are no frames and no borders surrounding the artwork. All the viewer sees is the artwork itself against the wall. The apparatus remains hidden behind the artwork. No tools are required to assemble the apparatus, and a common hammer and nails can mount it to the wall. 
         [0010]    The apparatus comprises a flexible and transparent rectangular envelope which encloses the artwork, a rigid brace to stabilize the envelope in three dimensions, a wall mount into which the brace securely snaps, and, optionally, at least one extension bracket to push the artwork further away from the wall. 
         [0011]    The rectangular envelope comprises a thin sheet of transparent polyethylene terephthalate glycol (PETG). The PETG can be glossy or matte. The envelope has an open configuration and a folded configuration. The envelope also has a right side and a wrong side. In the open configuration, the envelope is generally rectangular, with four edges, a top flap, a bottom flap, a left flap and a right flap defined by fold lines. The four fold lines together define an area within which the artwork is laid, enclosed and displayed. When the envelope is not in use, it is flexible enough to be rolled into a tube, from either the flat or the folded configuration. 
         [0012]    Each corner of the open rectangle is cut off in an isosceles right triangle so that when each flap is folded on the fold line, the edges of the flaps meet perfectly mitered and form a similar, but smaller, rectangle matching a length and width dimension of the artwork to be displayed. The fold lines are scored only part way into the envelope, causing the flaps to only fold in one direction, toward the wrong side. In practice, the envelope is laid out in the open configuration and the flat artwork laid inside, the right side of the artwork facing the wrong side of the envelope and the wrong side of the artwork facing the user. The apparatus is optimally configured for flat artwork, such as those in sheet form like photographs, posters, or drawings on paper, paintings on canvas. The edges of the artwork are lined up with the fold lines and the flaps folded over to enclose those edges. Optionally, additional fold lines can be scored into the envelope to create options for enclosing and displaying thicker, multi-sheet artwork, such as covers of comic books or trade paperback books. 
         [0013]    Each flap has a retention slot cut out at its midpoint, starting from the edge of the unfolded rectangle, running perpendicular to the edge and stopping short of the flap fold line. The piece of envelope remaining between the end of the retention slot and the fold line serves as a tab to rest on, position and stabilize the envelope within the brace. 
         [0014]    In the embodiment shown in the drawings, the brace comprises a hub, four pairs of spaced-apart parallel rods snapped to the hub in one plane, radiating 90 degrees apart. It resembles a plus sign or a lowercase t. Each pair of spaced-apart parallel rods has an end that snaps into the hub, and an opposing end that snaps into a clip. It is important to use spaced-apart parallel rods, rather than a single rod, to brace the artwork. The pair of rods working in tandem prevents the artwork from twisting forward and backward in space. Each such clip in turn has space to receive and retain a corresponding envelope flap. The clip has a distinct front and back side, joined at a top and a bottom with bars. The slots and tabs on each flap of the envelope rest on the top bar, preventing vertical and horizontal motion. When all four edges of the envelope are inserted into the corresponding clips in this way, the envelope cannot move in any direction. It is not being pulled by tension, but rather, is simply held by the envelope perfectly fitting into the brace. 
         [0015]    In a preferred embodiment, the hub itself is also generally shaped like a plus sign or lowercase “t,” comprising a central square, with coplanar rectangular extensions radiating away from each edge of the square. Each extension of the plus sign has a pair of spaced-apart rod retainer elements positioned within the extension and dimensioned to accept a corresponding pair of spaced-apart parallel rods. Each rod in the pair has a hub and a clip end. In the embodiment shown, the spaced-apart rod retainer elements are shaped like a C. The diameter of the C is the same as the diameter of the rod, so that the rod snaps tightly into place. The hub also has four pairs of stops integrated into the edge of the square and spaced distally from the extensions. These stops block the hub from sliding along the rods. In this way, the hub ends of the four pairs of parallel rods can be slid into the C-shaped rod retainer elements and up against the edge of the central square, thereby creating a larger plus sign shape. 
         [0016]    The back of each clip also has two spaced-apart rows of three C-shaped rod retainer elements. The clip end of each rod can be slid through the three C-shaped rod retainer elements. A corresponding pair of stops distal to the three C-shaped rod retainer elements prevents each clip from sliding vertically down the pair of rods. The envelope flap inserts into the clip from above and between the front of the clip and the back of the clip. When the envelope slot is slid over the top bar, the tab in the envelope rests on the top bar and prevents the envelope from shifting vertically and horizontally. Not only does the bottom bar stabilize the clip, but it also rests on the wall mount. A plug projecting downward from the back of the clip further secures the clip to the wall mount. 
         [0017]    The wall mount has a front facing surface and a back facing surface. The front facing surface of the wall mount notably has a pair of spaced-apart parallel slots centered between the pair of fastener positioning holes, dimensioned to receive the pair of rods of the brace. It is a close, but not snap-tight, fit. This allows the brace to rest within and atop the wall mount, then be easily lifted out. The front facing surface also has an integral groove cut thereinto which is dimensioned to receive the plug. In this way, the clip rests atop as well as within the wall mount. Mounted correctly, the brace is retained closely, though not loosely, within the wall mount. The plug fits into the groove, and the rods fit into the slots, securing the brace from shifting up and down, right and left, as well as forward and backward. 
         [0018]    This same groove in the wall mount can also accommodate an optional forward extension bracket. The forward extension bracket allows the brace to be mounted forward of the wall. Thus, the brace can be either directly mounted against the wall, or alternatively, indirectly mounted to project forward in space. The front facing surface of the wall mount can only accept at any given time either a pair of parallel rods and plug, or a forward extension bracket, never both at the same time. In an alternative embodiment, the forward extension bracket can also connect the wall mount to the hub. In another alternative embodiment, a connector can slide up and down the spaced-apart pair of parallel rods and couple to the wall mount, allowing a user to vary the vertical positioning of the brace without moving the wall mount. 
         [0019]    The back facing surface is flush to and can be permanently secured to a wall. The front facing surface of the wall mount has a pair of spaced-apart fastener positioning holes running through the entire wall mount from the front facing side to the back facing side. The fastener positioning holes accept nails, screws, anchors or similar permanent fastening device. The wall mount can also be affixed to the wall without using fasteners and holes, such as with an adhesive, such as Command® brand repositionable wall adhesive. 
         [0020]    The forward extension bracket couples the clip of the brace to the front facing surface of the wall, and pushes the artwork forward into space relative to the wall, when a user wants the flat artwork to sit away from, and not directly against, the wall. To frame a piece of flat artwork, a user lays the flat artwork face down into the envelope in the unfolded configuration. It is important to align the edges of the artwork with the fold lines. The flaps are folded inward and over the edges of the artwork, thereby enclosing the artwork in the envelope. The user places the enclosed artwork front side down on a work surface, and lays the brace atop the back side of the artwork. He locates the notch in each flap and slides the notch over the bar of each clip. The brace thus holds the enclosed artwork flat, but not stretched. The brace-envelope assembly in this position can then be slid directly into the wall mount at any of four orientations, or into a forward extension bracket, which itself gets snapped into the wall mount. 
     
    
     
       BRIEF DESCRIPTION OF THE SEVERAL VIEWS OF THE DRAWINGS 
         [0021]      FIG. 1  is a perspective view of a frameless flat artwork mounting and display apparatus, being mounted on a wall 
           [0022]      FIG. 2  is a perspective view of the frameless flat artwork mounting and display apparatus 
           [0023]      FIG. 3  is a close-up perspective view of the frameless flat artwork mounting and display apparatus 
           [0024]      FIG. 4A  is a perspective view of an envelope in an open configuration 
           [0025]      FIG. 4B  is a perspective view of a front of the envelope in the folded configuration 
           [0026]      FIG. 4C  is a perspective view of a back of the envelope in the folded configuration 
           [0027]      FIG. 4D  is a perspective view of a front of the envelope in the folded configuration, and with artwork enclosed within 
           [0028]      FIG. 5A  is a rear view of a hub 
           [0029]      FIG. 5B  is a side view of the hub 
           [0030]      FIG. 5C  is a front view of the hub 
           [0031]      FIG. 6  is a close-up perspective view of the frameless flat artwork and display apparatus 
           [0032]      FIG. 7A  is a perspective view of a clip 
           [0033]      FIG. 7B  is a front view of the clip 
           [0034]      FIG. 7C  is a bottom view of the clip 
           [0035]      FIG. 7D  is a side view of the clip 
           [0036]      FIG. 8A  is a perspective view of a wall mount 
           [0037]      FIG. 8B  is a front view of the wall mount 
           [0038]      FIG. 8C  is a bottom view of the wall mount 
           [0039]      FIG. 8D  is a side view of the wall mount 
           [0040]      FIG. 9  is a close-up perspective view of the frameless flat artwork and display apparatus as coupled to the wall mount with three extension brackets 
           [0041]      FIG. 10A  is a perspective view of one such extension bracket 
           [0042]      FIG. 10B  is a top view of the extension bracket 
           [0043]      FIG. 10C  is a front view of the extension bracket 
           [0044]      FIG. 10D  is a side view of the extension bracket 
       
    
    
     REFERENCE NUMERALS 
       [0000]    
       
           1  Frameless flat artwork mounting and display apparatus 
           10  Envelope 
           11  Fold lines 
           12  Flaps 
           13  Retention slot 
           14  Tab 
           20  Brace 
           21  Hub 
           22  Central square 
           23  Extensions 
           24  C-shaped retainer elements, hub 
           25  Stops 
           26  Pair of parallel rods 
           27  Hub end of rod 
           28  Clip end of rod 
           30  Clip 
           31  Front of clip 
           32  Back of clip 
           33  Top bar 
           34  Bottom bar 
           35  C-shaped retainer elements, clip 
           36  Stopper end 
           37  Plug 
           40  Wall mount 
           41  Front-facing side 
           42  Fastener positioning holes 
           43  Slots 
           44  Groove 
           45  Back-facing side 
           50  Forward extension bracket 
           51  Male element 
           52  Female element 
       
     
       DETAILED DESCRIPTION OF THE INVENTION 
       [0077]      FIG. 1  shows an overview of one embodiment of a frameless flat artwork mounting and display apparatus  1 . An envelope  10  wraps around and partially encloses a piece of flat artwork (right side not shown in this view). A brace  20  stabilizes the artwork within the envelope  10 . A wall mount  40  is permanently affixed to a wall. The brace  20  is set into the wall mount and displays the right side of the artwork to a viewer. 
         [0078]    The envelope  10  is preferably transparent and colorless. Preferably, the envelope is made of polyethylene terephthalate glycol (PETG), because this material is thin, heat resistant to 150 F, malleable, rollable and holds a crease without cracking. The PETG can have a glossy or a matte finish. Preferably, the PETG envelope is 0.010 inch thick, although other thicknesses having the above properties are also within the scope of this invention.  FIG. 4A  shows additional details about the envelope. 
         [0079]      FIG. 4A-4D  shows the envelope  10  in more detail. Envelope  10  has an open configuration and a folded configuration, a front, and a back.  FIG. 4A  shows the back of envelope  10  in the open configuration. In  FIG. 4A , envelope  10  is a rectangle of unequal sides, although a square could also be used. The dimensions of the rectangular or square envelope can be varied by those of ordinary skill in the art to accommodate flat artwork of a particular length and width. The envelope  10  in the open configuration has four edges and an isosceles right triangle cut off of each corner. Fold lines  11  are scored into the truncated rectangle equidistant to each edge of the rectangle. The area between the edge of the rectangle and a corresponding fold line  11  defines a flap  12 . Note four such flaps  12  identified in  FIG. 4A . In the embodiment illustrated, one set of four fold lines  11  is shown. The artwork rests atop and fills an area within and defined by the one set of fold lines. The dimensions of this area can also be varied by those of ordinary skill in the art to fit a particular size of artwork. 
         [0080]    One such set of fold lines can enclose and accommodate a sheet of artwork, such as a drawing, photograph or a poster. In an alternative embodiment, not shown, a second set of fold lines can be scored into the envelope equidistant and perpendicular to and within the area defined by the first one set of fold lines. The second set of fold lines defines a flap that can fold twice. Such a bi-fold flap can neatly enclose and securely display within the apparatus relatively thicker pieces of artwork, such as comic books and trade paperback books. A slot  13  is cut at the midpoint of each flap perpendicular to and from the edge of the rectangle, toward but not all the way to the fold line  11 . Tab  14  is a segment of envelope remaining between and end of the slot and the fold line  11 . 
         [0081]      FIG. 4B  shows the front of an empty envelope  10  in the folded configuration. Phantom lines show how the four flaps  12  have been folded back at the fold lines  11  to meet perfectly mitered at the back of the envelope.  FIG. 4C  shows the back of an envelope in the folded configuration.  FIG. 4D  shows the front of the envelope in the folded configuration enclosing a rectangular piece of artwork. The edges of the artwork are congruent with the fold lines, thus fill the envelope in the folded configuration. The flaps fold behind the artwork and cannot be seen. 
         [0082]      FIG. 2  shows brace  20  in more detail. Artwork is not shown here, for clarity and simplicity. A back view of the brace  20  is shown here holding an envelope  10  in the folded configuration. Brace  20  comprises a hub  21  and four pairs of parallel rods  26  radiating therefrom 90 degrees from each other. Each pair of parallel rods  26  snaps into the hub at one end and, at an opposing end, snaps into to a clip  30 . Each clip  30  in turn retains a midpoint of one flap of the envelope  10 . In this way, the artwork is held taut, notably not by tension, but rather by the envelope fitting perfectly into the brace. Preferably, the hub  21  and clips  30  are injection molded from 10% glass-filled polypropylene (GFPP). This blend is stronger than pure polypropylene, but flexible enough to allow the hub and into the clip to bend slightly while the pair of parallel rods is snapped thereinto, without the hub and clip breaking. Other compounds can be used to make the hub  21  and clips  30  as long as they are both strong and flexible. 
         [0083]    In the embodiment shown, the hub is 2.6 inches across in its largest dimension, but other dimensions can be created without undue experimentation by those of ordinary skill in the art, without deviating from the scope of this invention. In the embodiment shown, the clip is 1.743 inches wide, 1.48 inches tall and 0.400 deep, but again, these dimensions can be varied by someone of ordinary skill in the art. 
         [0084]    Each rod in the pair of parallel rods  26  is made preferably from 30% GFPP, although a nylon plastic blend can also be used. The advantage of GFPP is that it is stronger than pure plastic, and has a matte texture which increases static cling friction with the wrong side of the flat artwork. Preferably, each rod in the pair of parallel rods has a diameter of 0.232 inch, but other dimensions can be used and still be within the scope of this invention. The length of the rods can be varied and customized to accommodate the length and width of a particular artwork. 
         [0085]      FIG. 3  shows the brace in more detail, in particular, how each pair of spaced-apart parallel rods snaps into both the hub  21  and, at an opposing end, into a clip  30 . On the back of both the hub  21  and clip  30  can be found a pair of C-shaped rod retainer elements  24  and  35 , respectively. A hub end of each rod is snapped into the C-shaped rod retainer elements  24  on the hub. A clip end of each rod is snapped tightly into the C-shaped rod retainer elements  35  on the front of the clip. These C-shaped rod retainer elements prevent the rod from shifting outside the retainer. The C shapes have an interior diameter equal to the diameter of the rod, so that the retainer element securely holds the rod when it is snapped in. Each pair of rod retainer elements  24 ,  35  on both the hub and on the front of the clip, respectively, are spaced apart the same distance on both the hub  21  and the front of the clip  30  so that when a pair of rods is snapped therein, the rods are tightly held parallel to each other. The space between the rods can be varied by one of ordinary skill in the art. In the embodiment shown, the distance is approximately 1 inch. An advantage of bracing the artwork with pairs of spaced-apart parallel rods, is that it prevents the artwork from twisting in place. Prior art braces have only single rods or spokes, and are prone to twisting. Note also stops  25  integrated into the hub and stops  36  integrated into the clip. These stops prevent the hub and clip, respectively, from sliding up and down the rods. 
         [0086]    Details of the hub  21  are shown in  FIGS. 5A, 5B and 5C . In a preferred embodiment, shown here, the hub is shaped like a plus sign, comprising a central square  22  and a coplanar extension  23  radiating from each side of the square. However, other hub shapes are entirely possible and within the scope of this invention.  FIG. 5A  presents a view of the back. Seen more clearly in  FIG. 5A  are the stops  25  that prevent the hub from sliding along the pair of spaced-apart parallel rods. A rod is snapped into a C-shaped rod retainer element  24  such that the hub end  27  of the rod abuts a corresponding stop  25 . This is repeated for all eight rods in this embodiment. 
         [0087]      FIGS. 7A, 7B, 7C and 7D  show the clip in more detail. Notably, the clip has a planar front  31 , which is parallel to the plane of a back  32 . The front and the back of the clip are joined by a top bar  33  and a bottom bar  34 , creating a space therebetween. The top bar  33  and the bottom bar  34  each have a width. Extending forward from the back of the clip and into this space are two sets of rod retainer elements  35 . In the embodiment shown, each set rod of retainer element has a three C-shaped projections. Other similar means of securely but releasably coupling the rods to the clip are possible and within the scope of this invention. Note particularly in  FIG. 7D  stop  36 . There are a pair of stops  36  on each clip, which prevents the clip from sliding along the pair of spaced-apart parallel rods. Top bar  33  and bottom bar  34  each have two purposes. They join the front and the back of the clip and prevent twisting. Top bar  33  also positions the envelope flap  12  upon the clip. The width of top bar  33  is the same as slot  13  so that the tab  14  of envelope flap  12  rests thereupon. In this position, the envelope flap  12  stays in one position. Note also that the bottom bar  34  rests upon wall mount  40 , further preventing the apparatus from shifting in place. Please see  FIG. 6 . Lastly, projecting downward from the back of the clip in roughly the same plane is a plug  37 . The plug fits into both the wall mount and also into a female element of a forward extension bracket, to be discussed in more detail later. 
         [0088]    In  FIG. 6 , one can see in detail how the envelope is attached to the clip. Slot  13  is slid over top bar  33  so that tab  14  (not shown) rests thereupon. Flap  12  rests in the space between the front and the back of the clip. The area of the envelope within the four fold lines sits in front of the front of the clip. In other words, the clip is sandwiched between the front of the envelope and each flap. If opaque artwork is enclosed within the envelope, the clips would be hidden behind the artwork. 
         [0089]      FIGS. 8A, 8B, 8C and 8D  show the wall mount  40  in greater detail. Wall mount  40  has a front-facing side  41  and a back-facing side  45 . From the front-facing side is cut a pair of spaced-apart slots  43 . These slots are where the pair of spaced-apart rods lay. Thus, the wall mount supports the brace in part by the pair of parallel rods. Preferably, the wall mount is molded from 30% GFPP, although other materials which perform similarly may also be used. 
         [0090]    In the embodiment shown, the slots are spaced 1 inch apart, but this can be varied by someone of ordinary skill of the art without departing from the spirit of this invention. The portion of the front-facing side between the slots projects frontward in space and supports the bottom bar  34  of the clip. The wall mount therefore supports and stabilizes the apparatus in two ways—by the bottom bar resting atop the projection and by the plug fitting into the groove. Fastener positioning holes  42  run through the entire wall mount  40  and permanently secure the wall mount to a wall. One can use nails, screws or anchors, or any other permanent fastener known to those of ordinary skill in the art. Alternatively, one can secure the wall mount to the wall without fastener, such as with permanent or temporary adhesive. 
         [0091]      FIG. 9  depicts an alternative embodiment of this invention, where the brace  20  is not laid directly into the wall mount  40 , but rather is coupled indirectly to the wall mount with at least one forward extension bracket  50  there between. In the embodiment shown, three forward extension brackets are used. These brackets push the brace  20  further forward from the wall. As shown in more detail in  FIGS. 10A, 10B, 10C and 10D , each forward extension bracket has two male elements and two female elements  52 . Preferably the wall mount is injection molded from a 30% GFPP blend although other materials which perform similarly may also be used. 
         [0092]    To connect the brace  20  to the wall mount, a first male element  51  slides into groove  44 . The second male element  51  slides into and supports either a first female element  52  of another forward extension bracket, as shown in  FIG. 9 , or in front of plug  37 . Plug  37  is congruent with male element  51  such that both the plug and the male element can interlock with the female element at any given time. In the embodiment shown, the forward extension bracket  50  is shaped like a letter N, but other shapes and configurations enabling the male elements to interlock completely within its own female elements and also the groove are also within the scope of this invention.