Understanding the A to Z of Framing Terminology



A chemical substance with a pH of less than 7.0


A permanent yellow or brown stain on paper art.  Acid burn occurs when artwork is framed with paper materials that are not acid-free.


In glazing and decorative work, acid etching alters one or both sides of the glass sheet to change its reflective qualities. When the etching is completed, all acids are neutralised and the surfaces are cleaned.


A term that describes paper materials with a pH of around 7.0. These materials are considered acid-free and are less likely to harm artwork or discolour over time. Paper materials with a pH below 6.5 or above 8.5 are not considered acid-free for the purposes of picture framing.


Paper manufactured in such a manner that active acids are not included or are eliminated. A paper that has a neutral pH factor of 6.5 to 7.5 at the time of manufacture. Acid-free paper can be produced from virtually any cellulose fiber source (cotton, wood or others) if measures are taken during manufacturing to eliminate active acid from the pulp. No matter how acid-free a paper may be immediately after manufacture, over time chemicals from processing or pollutants from the air may lead to the formation of acid in the paper. The presence of an alkaline buffer will reduce or eliminate damaging effects of these acids for the duration of the buffer’s effectiveness. The most common buffering additive is calcium carbonate. Some materials are chemically neutralised with the addition of alkaline products, other materials are processed to remove the acid.


A chemical reaction where the acid in the paper reacts with moisture in the air, causing breaks in the chain of molecules making up the paper. The end result is weak, brittle paper.


The movement of acid from an acidic material to a material of lesser or no acidity.


A clear, industrial plastic used as a substitute for glass in picture framing


A bonding agent, such as glue or paste, for joining two materials.


A board with an adhesive coating on one side that may be heat-activated or pressure sensitive.


A chemical solvent used to remove artwork from its mounting


A substance with a pH greater than 7.0 is considered alkaline. Alkaline substances added to acidic materials will help neutralise the acid.


Paper manufactured with sheet alkalinity, most commonly associated with the presence of calcium carbonate filler.


The purest form of cellulose. Cellulose is the chief constituent of all plants. Cellulose has three chemical forms or classifications: Alpha, Beta, and Gamma. The Alpha form of cellulose has the longest, and therefore the most stable chemical chain, in turn creating the longest and strongest paper-making fibers.


A metallic surface (such as a picture frame) that has been electrolytically coated with a protective or decorative oxide. Anodizing protects the aluminium parts by making the surface much harder than natural aluminium


These are framing materials such as mount board, mat board and acrylic that are designed to help preserve and protect the artwork from the damage and degradation caused by acids, light and pollution. These include components made pH neutral or slightly alkaline to help with acidity, those with UV protection to help with light, and those with zeolites to help with pollution.


The stack of components for example : mat board, mount board and glazing.


The measured size of the actual image not including borders or paper size.


A brand name for adhesive transfer tape similar to double-sided tape but it is adhesive, sticky on both sized without the tape. ATG actually means Adhesive Tape Gun, and ATG tape is dispensed from the Adhesive Tape Gun, Used for photos, framing, mounting crafts and scrapbooking.



Also known as a dust cover. This is a liner paper adhered to the back of a frame. The back paper keeps dust and insects out of the frame package. It also helps reduce fluctuations in humidity, limits the infiltration of environmental gases and give your framed artwork a professional look.


When the inside edge of the mount board window is cut to a 45 degree angle revealing the white (or cream) core of the mount board.


Polypropylene that has been bi-axially oriented which causes it to become crystal clear making it an excellent packaging material for artistic and retail products.


To give up colour when in contact with water or a solvent. Undesired movement of materials to the surface or into an adjacent material.


When the bottom border of the mount board is wider than the other borders. The concept of bottom-weighting is based on the fact that the optical center (the place where a viewer’s eye spends most of its time) is slightly above the true geometric center in the rectangular region.


A process where calcium carbonate or magnesium carbonate is added to mount board to make it more alkaline and therefore more likely to absorb acids and other environmental pollutants.


A chemical added to regulate the pH of paper. The most common buffering agent is calcium carbonate.



A chemical occurring in nature such as oyster shells, calcite, chalk, limestone etc. or obtained commercially by chemical precipitation. Calcium carbonate is used as a filler in alkaline paper-making, as coating pigment and as a buffering agent.


A type of frame used to display a gallery wrap canvas. This frame allows the entire front surface of the canvas to be visible. Any colour applied to the canvas wrapping the sides of the stretcher bars will be somewhat visible in the ‘float’ space.


A print or poster image that has been transferred and fixed to a canvas surface.


A genre of art in which the urban environment is the principal subject. Cityscapes, the urban equivalents of landscapes, include street scenes and skylines.


A term used to describe the contents of a picture frame and includes mount board and glazing.


A type of framing that keeps the artwork as unaltered as possible while using materials which minimize the artwork’s deterioration by environmental factors.


Materials such as mount board, glass and acrylic that are designed to minimize the artwork’s deterioration by environmental factors.


A professional who specializes in the restoration and conservation of artefacts such as photographs, artwork and documents. Conservators examine artefacts, determine their condition, suggest methods for treating them and recommend preventive conservation techniques to the artwork owners.


In mount board, the central or innermost part of the material between the face paper and the backing paper. Less expensive mount boards may have a cream colour core, some mounts have a white or black core. High end rag mounts have a core the same as the top and bottom paper.



Consists of two mount boards (top and bottom). The window (opening) of the bottom mount surrounds the image. The top mount covers the bottom mount. It has a larger window, which allows a small border of the bottom mount, called the reveal, to be shown.


The application of artwork to a substrate, such as foam core, using heat-activated adhesives in a heat press.


A liner paper adhered to the back of a frame. The dust cover keeps dust and insects out of the frame package. It also helps reduce fluctuations in humidity. Also, limits the infiltration of environmental gases and gives your framed artwork a professional look.


A device for hanging pictures. Two D-rings are needed to hang a picture, one on each side.



Items normally made of paper, created for a specific, limited purpose. Some examples of ephemera include advertisements, tickets, brochures and receipts. People often collect ephemera because of their association with a person, place, event or subject.


In matting, the ability of a surface to withstand the removal of light pencil lines with a rubber or gum eraser.



A gradual change in the colour of a paper. It is usually applied to the change produced by light.


Also called enhancers or slips. Fillets are thin, decorative pieces of picture frame moulding. Fillets are often placed inside a larger frame or in between mount boards


Many picture frame mouldings are made with finger-jointed wood. Finger-jointing is a process where short lengths of timer are bonded together to produce longer lengths. Finger-jointing reduces wood waste by utilizing shorts to create a dimensionally stable and environmentally friendly product.


A cabinet specifically designed for flat items such as drawings, prints, maps and large documents.


A mounting technique where the edges of the artwork are left uncovered by a mount board. With this application the artwork appears to be floating within the frame or mount board window. Artwork can also be float-mounted on a piece of black or white foam core without a mount.


see Canvas Floater Frame


see Picture Frame Size



A modern style of displaying art in which a canvas is stretched so that it wraps around the sides of a thick wooden frame and is secured to the back of the frame. It is suitable for displaying without a picture frame or can be mounted in a Canvas Floater Frame.


A heavy duty extruded polystyrene foam board bonded between two layers of  wood-fiber veneer. Also known as Gatorboard.


Traditionally a mixture of animal glue binder, chalk and white pigment used as primer coat on wood panels, canvas and sculpture.  Modern gesso may be acrylic or soy-based and comes in a variety of colours.


A high-quality fine art print created with an inkjet printer.


Bright and dazzling reflected light.


A type of glazing used in picture framing.  Glass is commonly composed of sodium carbonate, lime and silica (sand).


The generic term for the glass or acrylic used to cover and protect artwork in a picture frame.


Adhesive of animal origin, composed of complex protein structures. In modern usage, the terms “glue” and “adhesive” are used interchangeably and may also include petrochemical adhesives.



Contains the components necessary to hold an assembled picture frame. A wood frame hanging kit will contain screw hole hangers with screws, hanging wire or cord and protective wall bumpers. A metal frame hanging kit will contain Omni hangers for attaching the wire to the frame, hanging wire or cord and protective wall bumpers.


The hangers, brackets, screw eyes and other materials used to assemble a metal picture frame.


A term for adhering the components of a picture frame together including : hinging the mat board to the mount board, hinging the picture to the  mount board or hinging the picture to the mount board.



Infrared energy located below the colour red on the light spectrum. Infrared energy exists in sunlight and tungsten. It heats artwork, which can dry it out prematurely and accelerate decay. Keeping artwork out of direct light and in cooler areas can help reduce damage from infrared energy.


Saturates the art during bonding and residue will still remain after removal. Examples of invasive mounting techniques are spray adhesives and commercial wet glues.



A high quality paper made from fibers of the mulberry tree. Japanese paper makes great hinges because it is strong without being bulky and does not discolour or weaken with age.



A genre of art in which the natural outdoor environment is the main subject using natural features as the base of the composition.


A layout that is wider than it is high.


An organic substance found in all vascular plants. Papers containing lignin give off acids as they deteriorate which can damage art.


A textile made from the fibers of the flax plant. Linen fabric is one of the preferred traditional supports for oil painting, it is preferred to cotton for its strength, durability and archival integrity.


Mat Board

A material that covers and protects the image. Mat boards have a window (also knows as the exact mould opening) cut in the centre through which the image can be viewed. In addition to protecting the image, mount boards are available in many different styles and colours for the purpose of enhancing artwork.


A term that refers to synthetic fibers that measure less than one denier. (A denier is a measure of linear density used to describe the size of a fiber or filament). Microfiber is used to make non-woven, woven and knitted textiles, such as Microfiber Smooth Towel and Microfiber Terry Cloth. The shape, size and combinations of synthetic fibers are selected for specific characteristics, including: softness, durability, absorption, wicking abilities, water repellency, electrodynamics and filtering capabilities.


The material (either wood or metal) of the picture frame. Moulding can be very ornate and decorative, or it can be very simple.


The board onto which artwork is mounted inside a picture frame. Foamcore mount board is a light, but stiff material that is commonly available in white and black. Acid-free varieties are available for conservation framing.


The act of attaching artwork to the mat board, mount board, backer or display board. One way of mounting is by using hinging. See also Dry-Mounting, Pressure-Sensitive Mounting and Wet-Mounting.



Acrylic with a matte finish etched on one side to reduce glare from lighting. It is optically pure (no tint) and may cause a slight loss in sharpness. When framing with non-glare acrylic remember that the matte side goes away from the artwork.


Means the bonding technique termains totally reversible allowing the art to be returned to its original state without any adhesive residue remaining upon removal. Examples of non-invasive mounting techniques are: hinges, edge strips, natural starch and corner pockets.



A due that absorbs light in the ultraviolet and violet region of the electromagnetic spectrum. OBA’s are used in many papers, especially high brightness papers, resulting in their strongly fluorescent appearance under UV illumination.


The release of gasses from a material.


A term that refers to how much of the artwork will be covered by the mat board. A standard mat window opening overlaps approximately 5mm on each side.



A picture that depicts a wide, horizontal view, particularly a landscape. Panoramas are significantly longer in the horizontal dimension than the vertical dimension.


A standardised colour matching system used by artists, designers, printers, manufacturers, makers and clients in all industries worldwide for accurate colour identification, design specification, quality control and communication.


A material made of cellulose pulp, derived mainly from wood, rags and certain grasses, processed into flexible sheets or rolls by deposit from an aqueous suspension and used chiefly for writing, printing and drawing.


A logarithmic scale that measures how acidic or basic a substance is. The pH scale ranges from 0 (acid) to 14 (alkaline); the neutral point is 7.


This is an international standard test (ISO 18916) developed by the Image Permanence Institute that evaluates photo storage and display products. For more information about the PAT visit the Image Permanence Institute at https://www.imagepermanenceinstitute.org/testing/pat.


Provides an attractive border and functions as a structural support for the artwork.


This refers to the size of the matted/mounted artwork. Framers will cut the picture frame moulding approximately 2mm larger to accommodate the matted/mounted artwork and the glazing. Occasionally this can refer to the outside frame size, which is the exterior dimension of the frame with the moulding. Galleries will often ask for this dimension because they need to know how much wall space to allow for in an exhibition.


“En Plein Air” is a French term that translates to “in the open air”. In the art world it is used to describe the act of painting outdoors. Plein air painting is often associated with the Impressionist art movement. A plein air frame is usually a wide flat moulding with a raised and rounded top edge. Plein air frames are ideal for canvas art.


A brand of conservation grade acrylic glazing.


A ply (plural – plies) is a layer within a mat board, High quality mat boards are manufactured in plies, dyed for colour and laminated together. Mat board comes in 2-ply, 4-ply, 6-ply and 8-ply. Standard mat board is 4-ply and is approx. 1.4mm thick. Some mat board is not manufactured with separate plies, but will often be referred to as 4-ply to give a relative indication of the approximate thickness.


A hand-held device that fires points with pneumatic-like force into a picture frame.


A vicing tool that squeezes the point into the rabbet.


Thin metal tabs used to hold the mat, mount board and/or glazing inside the wood picture frames. Some points are stiff while others are flexible to allow access into the frame.


A thermoplastic polymer used in a wide variety of applications including packaging, textiles, plastic parts and reusable containers of various types.


A depiction of an individual’s likeness. Portrait styles include: head-and-shjoulders, bust, three-quarters and full-length.


A layout that is taller than it is wide.


A printed illustration that is usually mass-produced and intended to be framed and hung as decoration.


The Library of Congress Preservation Guidelines for Matting and Framing defines preservation framing as “the appropriate housing to display the intrinsic beauty and interest of an object while prolonging its life by securing the object in a mechanically and chemically stable environment”.


The application of bonding artwork to the substrate, such as foam core, using an adhesive that activates when pressure is applied.


see Artwork Size


A term describing how picture frame moulding looks when viewed from one end. A picture frame moulding’s profile includes its height, width, contour and rabbet.



The inner lip or groove of the picture frame, which holds the frame’s  components, including the glazing, mat(s) and backing.


The height or depth of rabbet. This measurement tells yo how much room you have inside for the frame’s components.


Mat board from non-wood products such as cotton linters, or cotton which are naturally lignin-free, stable and durable.


A term used to describe the small bottom or middle mat border left visible in a double or triple mat application.


A reverse-bevel cut positions the bevel inside of the mat window so that it is not visible. It gives a straight edge to the mat window.


Describes the ability to undo a framing or mounting treatment, returning the object to the condition it was in before treatment.


The mount of distance between the top edge of the stretcher bar and the broad flat op of the stretcher bar. The riser determines how much distance you will have between the canvas and the top face of the stretcher bar.



Small metal bars with a serrated (sawtooth) edge that are used in place of hanging wire. Aswtooted hangers are best for lighter weight picture frames.


Screws with a loop at the end. They are used to attach hanging wire or cord to the back of a wooden picture frame.


A deep frame with glass or acrylic in front traditionally used to display personal mementos such as military medals, antique jewelry, old coins, sports memorabilia and children’s toys.


One mat whose window (opening) surrounds the image.


A wood used to make picture moulding. The name refers to those species whose major range is in the United States south of the Mason-Dixon line and east of the Great Plains. There are four principle species that make up 90% of the Southern Pine timber – Loblolly (P.taeda), Shortleaf (P.echninata), Longleaf (P.palustris), and Slash (P.elliotii)


Hold the artwork away from the surface of the glazing. Spacers can be made of plastic, wood, matt board or foam core.


The application of artwork to a substrate using glues applied with aerosol sprays.


Acrylic with no coatings, finish or tint. It is translucent and optically pure.


A canvas that has been mounted onto a stretcher bar support framework in preparation for framing or hanging.


A type of heavy wooden frame designed for a canvas to be wrapped and secured around it.


The four pieces of wood material that make up a stretcher bar frame.



A method of attaching artwork to the mount board. The top of the artwork is adhered while the bottom hangs free. Used when the mat board will be covering the edge of the artwork.


A characteristic of the grain in the surface of various paper, especially drawing papers, handmade papers, and other papers of low finish. A patterned roughness in the form of minute depressions between fibers or groups of fibers on the surface. Tooth can be produced on the paper machine during forming or pressing.


Consists of three mat boards (Top, middle and bottom). The window (opening) of the bottom mat surrounds the image. The middle mat covers the bottom mat and it has a larger window which allows a small border of the bottom mat, called the reveal, to be show. The op mat covers the middle and bottom mats and it has an even larger window which allows a small border, also called the reveal, of both the lower mats to be shown.



An invisible portion of the light spectrum. Ultraviolet energy fades artwork and causes paper to become yellow and/or brittle. Using ultraviolet-filtering glazing helps minimise potential UV damage to artwork.


Acrylic with a UV-filter that will block most ultraviolet radiation. It has a slight yellow tint, which may create a warming effect on the artwork.


Acrylic that blocks ultraviolet radiation and has a matte finish etched on one side to reduce glare from lighting.



A type of mat board cut where a thin line is cut around the top mat’s window opening. The v-groove exposes the mat board’s inner core colour. It is a purely decorative cut done for the sole purpose of generating extra focus on the artwork.


A method for attaching artwork to the mount board. Similar to the T-hinge except it is used when the mat board will not be covering the edge of the artwork.


A term that refers to a mat board with a smooth, texture-free surface.



Small, felt-covered or soft rubbery plastic adhesive-backed disks that provide a cushion between the frame and the wall. Bumpers also help the frame hang flat against the wall.


The application of bonding artwork to a substrate, such as foam core, using wet glues and pastes with a press or weight.


A special type of glue made from wheat starch powder and water that is used for adhering paper.


Also known as the exact mat opening, the widow is the opening cut in a mat board through which the image can be viewed.



Aluminosilicate substances added to mat board that help it absorb harmful environmental pollutants


Source : Frame Destination




















Posted in Framing Info

Framing pastel and charcoal drawings

Pastel drawingCharcoal portraitsPastel drawingPastel drawingPencil sketch

Framing pastel and charcoal drawings

Framing pastel and charcoal drawings require special framing techniques. Generally picture framers agree on industry standard framing techniques, but you should ask your Framer at the time of placing an order if you are unsure about anything.

In this blog, I talk about the way we were taught to frame pastel and charcoal drawings. The most important thing to remember is, however you decide to get your pastel or charcoal drawing framed, as long as the materials or the process haven’t damaged the artwork, it can simply be re-framed and corrected.

By their very nature, pastels and charcoal drawings  produce loose particles which can dislodge at anytime, even if it has been sprayed with fixatives. Some fixative products can cause a slight colour shift when used so not all  artists use fixatives on their work. Particularly in these circumstances pastels and charcoal drawings need to be handled with extreme care so as not to cause damage to the actual artwork itself. In addition these drawings will shed loose particles which can accumulate on the bevel edge of the mount causing staining.

The solution is to use a pastel trap mount to control the way loose particles from the artwork are collected. This keeps the bevel edge of the mount clean ensuring your artwork looks fresh for years to come. Should you elect not to have a pastel trap mount any loose particles may stick directly to the glass leading to impaired viewing of the image. I would recommend that you always use a pastel trap mount for all charcoal and pastel art.

When selecting a frame for a pastel trap mount you should ensure that there is sufficient depth for the additional layers used to make pastel trap mounts to be accommodated into the frame. Normally the frame should be approximately 10mm deep.

When framing original works of art, it is advisable to use UV filtering glass to protect the art from fading. However, normal float glass can be used as long as the art work is not exposed to direct sun light or other strong sources of UV light which may lead to irreversible UV damage. For more information on glass options please click here.

When transporting a framed pastel or charcoal drawing, try to keep the frame vertical, avoid harsh movement which could dislodge any loose particles.

Try to avoid using acrylic or Perspex when framing charcoal or pastel drawings as these are prone to static build up over time. To clean the glass in your frame spray appropriate window cleaning  liquid onto a soft lint free cloth and wipe the class gently. Do not rub the glass vigorously as this will cause static electricity to build up which may lift loose particles off of the drawing and cause them to stick to the glass.


Posted in Framing Info

What are Normal Conditions?

More information for looking after your framed art work and preserving treasures.

When it comes to picture framing we often refer to how a product will perform under normal conditions. What does this mean? Normal conditions are affected by three environmental factors namely sunlight, temperature and relative humidity.

Light damage is the most pervasive and difficult to avoid. The damage is predominantly caused by the length of the light exposure and the intensity of the light source. Damage caused by sunlight is cumulative and irreversible. It is evident in several ways : – cellulose based materials may bleach, darken or yellow or become weak and brittle. Pigments and dyes may fade and/or change colour.

Temperature – normal conditions is defined as between 10 and 25 degree C. Artwork should, if possible, be kept in stable temperatures but this may be difficult in domestic environments.  High temperatures can cause chemical reactions to occur faster. Fluctuations in temperature can lead to dimensional changes which may cause pigments to flake, whilst photographic emulsions might be damaged and paper may cockle or buckle.

Relative humidity  is the amount of moisture present in the air compared to the amount of moisture air can hold at a given temperature. This is probably the most destructive environmental factor. Air holds less moisture than wood and paper therefore if the relative humidity of air changes, an exchange of moisture will occur between air and paper until equilibrium is reached. Increases in relative humidity causes dimensional changes and may cause paper to expand. Low relative humidity may cause paintings to flake, crack or warp and some organic materials may desiccate.  In conditions where the relative humidity is above 70 per cent this may provide the ideal conditions for the growth of mould and associated insect infestation.

Extreme changes or fluctuations in either temperature or relative humidity may cause considerable damage to artwork due to the differential expansion and contraction of materials. Should you have any questions or concerns about your artwork, please contact you framer for advice and guidance.

Source: Art Business Today: Mal Reynolds GCF Adv.

Posted in Framing Info

Thoughtful Gift

A guide on different trees and the wonderful aromas they create when used to warm your home.

A thoughtful gift for a special friend with a warms comfy wood burning stove.

Ashton, Bridie 01

Posted in Framing Info

How to frame photography : part two

How to: guide to framing photography – part 2

In this blog: a word about photographic papers and inks in relation to framing.  A guide on how to take care of your photographs before they come in for framing

Today, it’s a mine field when considering framing materials and techniques.  There are so many options, conflicting information and differing opinions!  My primary advice would be to gather as much advice, research as far as you can and don’t rush into anything!  At some point you will have to put your trust in someone!  Even within the framing industry the “experts” can disagree.

With home printing abundant, it has become more accessible and affordable.  Whilst this is great, it can present the framing industry, professional printers and photographers with big problems in terms of quality and handling.

A word about photographic prints and inks

It is often hard for us to tell, what kind of paper it has been printed on or which inks have been used.  For a start, I’m not a photographer or a printer.  Paper of any kind is extremely unpredictable and susceptible to the environment (e.g. moisture and other conditions).

Many inks are not stable and can easily be smudged or damaged.  The other day we were working on something that had been printed from home and it was a nightmare to work with.  The inks were wrong for the paper and wouldn’t dry, even weeks later.

I’m sure professional printers will agree that it makes it very difficult to make people understand the difference in quality.  If you are wanting to keep a picture safe that holds special memories, it’s important to look at your options.

As I say many times over on this blog, not every framing job is going to warrant the same levels of framing.  We understand about budgets, but it is frustrating at times!

We get photographs printed up for our own examples at exhibitions and we spend quite a bit of money getting it right (and that’s before we even think about the framing side!).

I had a mind blowing conversation with a fine art printer the other day in Bristol about the type of paper he would recommend.  Fascinating!

So, unless your photo has no value whatsoever (in which case you probably would buy a ready made frame anyway), it’s worth thinking about the materials.

Taking care of your photo’s before getting them framed

This is such a common problem that Framers have to do deal with.  This applies to all pictures actually not just photography.

The most common nightmares are:

  • Rolled up pictures in a tube or otherwise

Bain of a Framers life I’m afraid!  It’s a contradiction really because it’s the best way to keep a picture safe especially when storing or posting.  The problem usually comes when you come to get them out of the tubes and unravel them.

Quite often even if you are extra careful, the picture can get damaged or creased when you are rolling or taking it out.  There are ways that you can minimise this happening.

Don’t use your fingers to pull the picture out of a tube, shake it out instead (there is a knack to this).  Of course, the Framer will need to look at the picture, to measure it and for you both to choose a suitable frame, so take care when flattening it out on the table for viewing.

I’m sure someone will shout out, there is some sort of gadget for this, but to be honest we’ve tried quite a few things and talked to other framers about this, we all seem to have the same problems.

TIP ,find the inside of the roll and turn it a little tighter then the rolled up art work comes out much easier.

Some of the damage can be “ironed out” with dry mounting or other methods (more on this in the next blog) but some are unable to be rectified.  Sometimes the damage can be made worse by using some flattening out methods.

Mostly, people don’t notice they are damaged until we point it out.  Sometimes, it can only be seen in certain lights, but it will show when it’s up on the wall.

  • Finger Prints

You would be surprised how many lovely glossy newly printed photo’s come in with big finger prints over them.  Please make sure you handle them with care or with cotton gloves.

Again, normally what happens is, you can only see them in certain lights and that light is bound to be when you put it up on your wall, it will glare at you forever!  Personally, we won’t try to get any marks off as it could end up damaging your print further.  This goes back to the not knowing which inks and paper have been used.

  • General

It may sound obvious but whatever or however you decide to store your item, just handle and transport it with care.  It may save you money in the long run.

Next blog – How To: Guide on framing photography – Part 3

Note: This article is meant as a general guide and the opinions and procedures are my own.  For help on a specific item, talk to your local picture framer or seek further clarification from the Fine Art Trade Guild.

this article was originally bloged bt the framing fairy here
Posted in Framing Info

Embroidery Sampler

Embroidery by : J Woolford

Woolford Jules 02

Framed without glass in a natural wood frame to compliment the subject matter.

Posted in Gallery

How to: frame photography – an introduction

How to: frame photography – an introduction

In my opinion, Photography is still not taken as seriously as it should be in terms of conservation or as an art form in its own right.  I get very hot under the collar when people think of photography as throw away.

It can sometimes be seen as having no value just because it can be re-printed (but of course so can art in the form of a Giclee print!).  It is often said that because of digital cameras, there is no artistic skill involved, but it’s just a tool, a medium like any other art form.

People are generally more creative these days in terms of the way their treasured family, friends, pets and life events are photographed.  Whether it’s in a studio or out on location.  A photo shoot is a treasured memory for all involved.  If you’ve spent a lot of money and invested time in getting these done, then due consideration should be taken to framing these images.

Independent Composites 02








Some Photographers offer great and professional framing options.  But shop around for advice and ideas first.  Sometimes, the choices and the advice can be limited.  Photographers are not picture framers (unless they are of course, then that is entirely different!).  Some Photographer’s work with other picture framers which is a great idea and can work really well.  But be careful of high handling costs!  This is certainly not true for all, but just take a little time to make sure you are absolutely happy.

Of course, not every photo will warrant the highest level of framing.  Still, it’s good to armed with the knowledge before you make a decision.

If you just want to get a “throw away” (and I use the term loosely) family snap framed, then of course, you are probably not necessarily going to spend the money getting it done.  There are plenty of stores that can cater to the cheaper or readymade side for this purpose.

Sometimes, though, if you want something better quality but again, you are not worried about the conservation, you could ask your local framer to make a “made to measure ready frame”

To me, if you are going to display anything on your walls, then it should look the best it possibly can and therefore is worth taking it to a framer for advice and suggestions.  Take the time to run through the options, digest them, and then make an informed decision.

In this blog, I will aim to cover the relevant considerations bit by bit, from your regular school/university photo type framing, up to the professional & fine art type framing.

As an amateur photographer myself, I fully understand what a mine field this can be.  These days there are so many factors to consider when framing photographs.  With so many people being able to print off their work from home printers and more access to affordable equipment for amateur  photographers, is no wonder it all gets a bit hazy.  Then there is the question of conservation for old and new photos and what about low level general protection?

I will aim to deal with each part separately, hopefully answering common questions at all stages.  I have broken it down as follows:

  1. A word about photographic papers and inks in relation to framing.  A guide on how to take care of your photographs before they come in for framing.

  2. Common problems and how to rectify them including dry mounting and other techniques.

  3. General framing materials to use and conservation considerations.

  4. How to attach a photograph correctly to a mount and why we use a mount or slip when framing photography.

  5. Considerations when mounting multiple photographs.

  6. Creative and contemporary ideas.

  7. Framing large and / or panoramic photographs.

The above should help you whether you are a professional photographer, camera club member, student or just want to get something nicely framed for your home.

with thanks to the framing fairy the full article can been viewed here 


Posted in Framing Info

New Horizons

“New Horizons” by Veronica Mulas is an amazing multi media work incorporating silk threads with modern painting techniques. The stretched canvas has been surface mounted on board. This delicate artwork is protected behind glass in a hand finished white frame.

 More work by Veronica can be viewed at


Miles David 02

Posted in Framing Info

Relief Sculpture

Untitled relief sculpture by Bristol artist Graeme Mortimer-Evelyn. Custom framed with stacked frames to support this very heavy sculpture and hand finished in satin black.

Relief sculpture

Relief sculpture

Posted in Framing Info

New Atlantis by Mr Jago

Limited edition print titled ‘New Atlantis’ by Bristol based artist Mr Jago.

Framed using a black square profile moulding.

New Atlantis by Mr Jago

New Atlantis by Mr Jago

Posted in Framing Info
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