What do we frame?
We frame posters and prints, original artworks, photographs, paintings, drawings, score cards, sheet music..... whatever you want to display!
We also frame needlework and tapestries. We do not staple these, we use stainless steel pins to position the work, and then lace them across the back to hold in place.
We frame memorabilia and other 3 dimensional objects. This includes footy jumpers, medals, toys, artifacts, jewellery etc.
There are no real framing design rules, however there are trends and styles which enhance the presentation. A custom framer will use their experience to choose a look that best suits the work being framed. Good framing is dependent on many factors, including where it is to be hung, the style and colour of the room, and on individual tastes. However, more importantly, the framing must enhance the artwork itself. The frame and colouring is a major element and should be used to complement a piece, not to take over.
There are no magic formulas for deciding how wide a mat or frame should be, but it is better to choose wider spaces, as it gives the eye somewhere to rest, between the picture and frame. Small borders give the impression of a picture being squeezed into a frame that is too small.
- Acid Burn
- Conservation Framing
- Float Mounting
- Mat Board
- Mount Board
- Stretcher Bar
A permanent yellow or brown stain on paper art. Acid Burn occurs when artwork is framed with paper materials that are not acid-free.
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. Paper materials with a pH below 6.5 or above 8.5 are not considered acid-free for the purposes of picture framing.
Inferior framing materials can cause permanent damage to photographs and artwork. Brown stains (acid-burn) around the edges of the artwork are caused by acids from the breakdown of the mat board. Poor quality backing material can cause dark spots (foxing) to eventually appear on the artwork.
We use acid-free materials for all of our standard framing. Standard acid-free mats and backing materials are "buffered" (calcium carbonate is applied to the raw product during manufacture) to slow down the effects of change in pH over time.
A clear, industrial plastic used as a substitute for glass in picture framing.
A process where calcium carbonate is added to mat board to make it more alkaline and therefore more likely to absorb acids and other environmental pollutants.
A type of framing that keeps the artwork as unaltered as possible while using materials which minimise the artwork’s deterioration by environmental factors. It is used for the most valuable items, such as original artworks, limited edition prints, historical documents or items, as well as those of sentimental value.
Conservation framing uses alpha-cellulose or rag mat, acid-free and lignen-free foam core backing or barrier papers and UV filtering glass or acrylic. It also uses reversible attachment methods.
While archival quality materials may look the same as lesser materials, the true difference becomes readily apparent in later years. We will work with you to explain the various picture framing choices available, along with the cost factors involved with each choice.
A mounting technique where the art is mounted on top of the mat and the edges (especially attractive deckle edges) of the artwork are left uncovered. With this application the artwork appears to be floating within the frame or mat board window.
Is a relatively new term for art printed on quality photographic papers, fine art papers, heavy water-colour paper, or canvas. Due to improvements in technologies, extremely fine droplets of ink can be controlled by the computer so that the resolution of the printed image is much finer than conventional printing.
Good quality giclees have a predicted life of 85 to 90 years indoors without any noticeable fading.
The generic term for the material used to cover and protect artwork in a picture frame. Choose from clear glass, non-reflective glass, UV filtering glass, Museum glass, or acrylic. The standard glass used is 2mm clear float glass. If you are hanging your picture where there will be light from nearby windows, interior lights etc. then you should consider using anti-reflective glass. While this inhibits the reflections on the surface, it offers no protection from fading.
Exposure to ultra violet light is the most common cause of colour fading. Using acrylic instead of glass, will cut some of these damaging rays. Acrylic looks similar to glass, but is more flexible, and less likely to crack or break. It is also much lighter than glass, so is well suited to large artworks.
However, if your artwork has major conservation requirements then we recommend the use of conservation glass or museum glass which blocks 99% of UV.
These are the mats that form a border around your art. A window is cut into the mat, so that the image shows through. While presenting a visual border between the artwork and the frame, mat boards are also important because they keep the glass from touching the surface of the image. Without this small space for the air to circulate over your picture, humidity can cause a photograph to stick to the glass, or mould may begin to grow on the art. In hot or humid conditions, mould may form on the mat board. This is an indication that it is time to have the framing package taken apart and cleaned, and the mat replaced.
Exposure to ultra violet light also causes the breaking down of the chemical bonds within paper, and other materials. This is largely due to "lignin", which is a natural product found in paper made from wood pulp. Over time, lignin will eventually turn acidic and accelerate deterioration. While today's standard "buffered acid free" mat boards and foam core backing offer some protection from this deterioration, if your artwork has major conservation requirements then we recommend the use of ragboard (100% cotton), and lignin free foam core backing.
The material (either wood or aluminium) of the picture frame. Moulding can be very ornate and decorative, or it can be very simple. The majority of our woods are stained plantation woods. Some have a veneer or composite coating to produce smooth and glossy surfaces.
The backing board on which artwork is mounted. Foamcore is a light but stiff material that is most commonly used. Acid-free and lignen-free varieties are available for conservation framing. A stronger backing board with less tendency to bow, especially if not being put into a frame, is a product called Goatorboard or Gator foam.
The method of attaching artwork to the mat board, mount board or backing. Paper reacts to changes in temperature and humidity, swelling in high humidity and shrinking in low - illustrated by the wavy appearance of artwork from time to time. To eliminate this, papers and photos are often mounted, or stuck down onto a flat backing surface. There are several methods and materials used for mounting, but they are mostly permanent so the artwork cannot be returned to its original state. Therefore it should not be used for original works, limited editions, or works of any value, as it will diminish their re-sale value. The preferred alternative in these cases is to hinge the artwork at the top, using an acid-free, reversible hinging material. The artwork then "hangs" within the framing package and can change with varying temperature and humidity.
Holds the artwork away from the surface of the glazing. Spacers can be made of plastic, wood, mat board or foam core.
A type of heavy wooden frame designed for a canvas to be wrapped and secured around it.
Also known as the exact mat opening, the window is the opening cut in a mat board through which the image can be viewed.