Frequently Asked Questions
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- What makes different?
- Can you help me design my piece?
- What can I frame?
- What is conservation framing?
- What is mounting?
- What is drymounting?
- What shouldn't be drymounted?
- What is wetmounting?
- Do you build my frames, or must I do it?
- What is a standard sized frame?
- Do I need a frame?
- Should I get a wood, metal or plastic frame?
- What is a mat?
- Why use mats?
- What are basic mat dimensions?
- How many mats should I use?
- What is artwork glazing?
- How is the back of the frame sealed?
- What's the difference between printed art forms?
- Does sell artwork?
- How are your frames priced?
- How do your prices compare?
- Do you have special promotions?
stores are individually owned and operated. Allow us the opportunity to show you what framing craftsmanship and originality can bring to your artwork. We are dedicated to providing the best service and craftsmanship you can find.
We specialize in Preservation Plus™ framing, the process and materials used to encase your artwork in a protected environment, as well as 3-D shadowbox framing, helping to turn your momentos into works of art to display with pride.
We carry a huge selection of mouldings and unique
framing materials. All framing projects are done
right on the premises and our work is
guaranteed,
so you'll get just the look you want -- when you want it.
Can you help me design my piece?
You're not alone when you arrive at . You will find knowledgable design personnel on staff at all times, waiting to work with you.
Our trained design staff has a great deal of experience helping customers just like you every day. With over 15,000 frame styles, hundreds of mat colors and a dozen types of glazing, we will expertly help you sift through the infinite number of combinations to make your artwork look its best.
Working on a budget? No problem. We can
show you alternatives and advise you on how you might
best leverage your dollars. With our computerized
pricing system it is easy to try different frames,
different mats and different glazings until you find
the combination that satisfies your senses and meets
your budget.
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3D Objects of All Kinds
- Musical Instruments
- Sports Jerseys
- Artifacts
- Childhood Memorabilia
- Wedding Momentos
- Prizes / Awards / Ribbons
- Company Products
- Oil / canvases
- Pastels
- Limited Editions
- Prints
- Documents
- Tapestry
- Certificates
- Newspaper Articles
- Mirrors
- Maps
- Trade Show Displays
- Needlework
- Puzzles
- Leaded Glass
- Money
What is conservation framing?
Conservation framing (also known as preservation framing) is the professional application of knowledge, materials and techniques to the framing of valuable artwork such that the artwork is not permanently altered in any way. In short, it is doing everything possible to ensure that a piece of artwork removed from the frame at a later date will not show any evidence of having been framed, thus preserving its long-term value.
However, complete conservation treatment of a
particular piece of art is not always appropriate,
desired or affordable. Therefore, there are always
degrees of appropriate conservation to be applied in
any situation. For example, a wrinkled and torn old
poster, primarily of sentimental value, might best be
drymounted for its best appearance, but acid free
mats and U.V. protective glazing applied to reduce
the liklihood of continued deterioration. The
designer will advise you of the options and possible
consequences, but the degree of conservation is
always your choice.
What is mounting?
There are many methods by which your artwork may be held in place within the frame. In general, there are two categories of mounting:
- Permanent mounting
- Conservation mounting
There are advantages and disadvantages to each method, and specific circumstances under which certain methods are recommended.
Permanent Mounting is just that -- the irreversible mounting of your artwork onto another material. Permanent mounting is usually done to improve the appearance of your artwork by permanently holding it flat and in position regardless of heat, humidity or physical mistreatment. While the appearance of your artwork may be improved, permanent mounting is not recommended in cases where the value (or potential value) of the artwork may be jeopardized by permanent alteration.
Conservation Mounting encompasses a body of
techniques employed to hold your artwork in place
without subjecting it to irreversible mounting
processes. The objective of conservation mounting is
to make it possible to remove your artwork from the
frame at a later date without evidence of it having
been framed.
What is drymounting?
Drymounting is a process which flattens and permanently mounts artwork to the backing board. The 'dry' part of the term means that no risky wet adhesives are used in the mounting process. Instead, a sheet of dry adhesive material is placed between the artwork and the backing board. Then both are placed into a large vacuum press which flattens the artwork as it heats the adhesive to cause a permanent bond to the backing board. Our heat/vacuum drymount presses can mount artwork as large as 40" x 60".
Drymounting serves two purposes:
- One is to flatten the artwork. Paper artwork can
easily become wrinkled from handling. Drymounting
will remove virtually all wrinkling from damaged
artwork. Even sharp crinkles which have broken the
fibers of the paper artwork will be flattened out
(although you may still see a line where the fibers
were permanently damaged.)
- Second is to keep the artwork flattened, regardless of the environment. Unmounted artwork will expand and contract over time, depending on heat and humidity. These expansions and contractions can translate into undesirable undulations and bowing of the artwork within the frame. A drymounted piece of artwork will remain flat, regardless of changes in the surrounding environment.
What shouldn't be drymounted?
You should not drymount any artwork which would be reduced in value by being permanently attached to the backing board. This would include original artwork, limited editions and any collectable piece. In the minds of collectors, mounted artwork is not as valuable as the same artwork in its original form.
You should not drymount art which will melt at 190
degrees. This would include wax-based artwork, fax
paper and some of today's color copies. In these
cases, a careful wet mounting process should be
employed in a cold press.
What is wetmounting?
Wetmounting is different from drymounting only by the type of adhesive used to attach the artwork to its backing board. A spray glue or paste is applied between the artwork and the backing rather than using a sheet of dry adhesive. The wetmounted piece is usually processed through the same vacuum press as if it were being drymounted, except without heat being applied.
The disadvantages of wetmounting:
- Moisture is being introduced directly onto the artwork.
- The artwork is usually in more handling jeapordy during the mounting process than if it were being drymounted. However, some types of artwork cannot withstand the heat of the drymount process and can only be wetmounted if permanent, full-surface adhesion is desired. We regularly do wetmounting as well as drymounting, and you will be advised as to which technique is most appropriate for your artwork.
Do you build my frames, or must I do it?
We do all of your frame construction right in the store's framing room. We work closely with you during the design phase to create a clear specification of your project.
While we normally do the entire framing project, we
can also do only as much as you want us to do. If you
only need a piece of glass or a mat cut, we can
accommodate that as well. We will do as much or as
little as you would like us to do -- and you don't
lift a tool.
What is a standard sized frame?
Common, mass-produced picture frames come in a limited number of pre-built sizes -- usually 4"x6", 5"x7", 8"x10", 11"x14" and 16"x20". Anything larger, smaller or between these sizes is usually found only by exception in the pre-made market.
At , we custom build your picture frame by
hand to exactly the size that is most appropriate to
your particular artwork -- down to the 16th of an
inch. In most cases, your artwork should determine
the size of the frame, rather than the other way
around as is the case with pre-built frames.
Do I need a frame?
A frame serves three purposes:
- To provide a solid, protective environment in
which your artwork will remain safe from physical
damage.
- To provide a dependable, non-destructive means of
displaying your artwork.
- To provide aesthetic enhancement to the artwork.
We've all used the thumbtack and Scotch tape
techniques at some time in our past. However, if the
piece is important to you, you should consider having
it professionally framed. Framing a piece of artwork
which is valuable to you, either monetarily or
sentimentally, will make it look better and last longer.
Should I get a wood, metal or plastic frame?
Sometimes it just comes down to which particular frame you think looks best on your artwork, regardless of what it is made. However, there are some basic differences between frame material:
-
Wood Moulding - Today, wood is still the
preferred choice for frame material. It has the
widest selection of styles and colors, and often
costs no more than metal. Conservationally, wood is
superior because it offers a smooth surface back on
which to attach the frame's dust cover which
protects the artwork from dust and insects.
(Incidentally, manufacturers of wood frames today
harvest and replenish their resources with strict
regard to the environment.)
-
Metal Moulding - Metal frames are a modern,
durable alternative to wood frames. No longer
limited to chrome, today's metals come in a wide
variety of styles and colors. They will withstand a
lot of abuse, and should definitely be considered
in frame-unfriendly environments. Conservationally,
metals are not as desirable as woods because an
effective dust cover is not applicable to the back
of the frame.
- Plastic Moulding - Plastic frames are quite often the least expensive of frames. They are usually composed of a hollow plastic shell, filled with an inexpensive filler, like pressed paper or foam. This filler material makes these frames structurally weak, limiting them in size and to holding inferior glazing materials like 1/16" styrene. Because of the lack of structural integrity of today's plastic frames, does not carry this type of moulding. We suggest using a low-cost sectional metal frame as a structurally superior alternative to plastic.
What is a mat?
A mat is the thick paper-like material you often see surrounding the artwork, filling in the space between the artwork and the frame. There are several reasons mats are used in framing.
- The original and fundamental purpose of a mat is
to keep the glass from touching the artwork. If the
glass is in contact with the image, there is a risk
of mold and/or adhesion between the two substances
where they touch. The mat is normally positioned on
top of the artwork, and the glass (glazing) is
positioned on top of the mat. The thickness of the
mat then determines just how far away from the
artwork the glass is held, leaving a protective air
space between the two.
- A more recent development is the use of colored
matting material. Mat colors can now be chosen to
enhance the image or highlight aspects within the
image. Today, matting as a design element has
overshadowed the original purpose of protecting the
artwork.
- Matting can also be used to make a piece of artwork fit into a pre-made frame which is too large. A mat is cut with outside measurements to match the frame size and inside measurements to match the image size, thus filling in the empty space between the artwork and the perimeter of the pre-made frame.
Why use mats?
The decision to use matting is, for the most part, a personal, aesthetic choice. Following are some considerations when deciding whether or not to use matting on any particular piece of artwork.
- If you do not want to risk damage to your artwork
caused by mold and/or adhesion between the artwork
and glass, then matting is the best way to hold the
glass off of the artwork. (Note that a material
called 'frame-space' can be hidden under the lip of
the frame to serve the same purpose if mats are not
employed.)
- The coloration of mats can be used to enhance an
image, enliven the artwork, focus the viewer's eye,
or make a statement of importance or elegance.
- Use the texture of fabric, suede, leather and
foil to enhance the image.
- Cut multiple openings from a single mat to
display several images within one frame.
- Mats can form an area around the image upon which
decoration can be added, like decorative grooves,
hand-carved images, signatures, drawings, plaques,
etc.
- You may want to use mats to make your finished frame bigger so that it will cover a larger wall area than the framed image would by itself. While mat width is typically 2" to 3", any width is possible.
What are basic mat dimensions?
There are two basic approaches to mat widths. One is to make the mat an equal width all the way around the picture - for example, 3" of matting material on the top, bottom and sides of the image. The second approach (referred to as 'weighting the bottom') makes the bottom of the mat wider below the image -- for example, 3" of matting material on the top and sides, but 5" at the bottom of the image. The 'weighted bottom' approach to matting is a historic technique. There are two stories about how it came about.
- The first one is that in the Victorian era,
pictures used to be hung very high up on the tall
walls of that time. Because the viewing angle from
the floor was so acute, it caused a visual
foreshortening of the bottom of the mat. Therefore,
to make the matting appear more equal all the way
around, designers cut the mats to be larger at the
bottom.
- The second rationale is that psychologically, human beings are more comfortable around stable items -- a stable item being heavier, wider, thicker at the bottom, such that the viewer does not perceive it to be unstable, or likely to tip over.
Who knows? What matters now is that both techniques
are acceptable, and the preference is yours. The
equal all-the-way-around technique is the more common
and modern of the techniques. However, if you are
framing a very old photo, something like a
Michelangelo print, or if you just want to create an
'artsy' feeling, you might consider weighting the
bottom of your matting.
How many mats should I use?
The use of two mats is most common -- a wide outer mat, plus a narrow amount of inner mat exposed from under the outer mat. The color of the outer mat is often selected to expand the feeling of the image being framed. The color of the inner mat is often chosen to accent the focal point of the image.
Sometimes no mat at all is most appropriate.
Sometimes six mats might be most appropriate.
Whatever is most effective for any particular image
is the determining factor. Keep in mind that the
effect of matting should always be to enhance the
artwork, and not overwhelm it.
What is artwork glazing?
The general term for the clear coating, which protects the artwork while allowing you see it, is glazing. There are many forms of glazing, including glass, acrylic, lamination and styrene. And there are many forms within each of these glazing categories, such as clear, non-glare, reduced reflection and U.V. protective. There is no single glazing material that is perfect for all framing conditions. And there are advantages and disadvantages to using each.
- Regular clear glass is the most common type of
glazing. It is durable and more scratch-resistant
than non-glass forms of glazing material. Common
disadvantages are that most forms are brittle and
breakable, and weigh more than acrylic glazing
alternatives. Glass inherently provides a low level
of U.V. filtering (less than 50%.)
- In locations where reflections from strong
lighting might be a problem, non-glare glass may
improve your ability to view the framed artwork. Its
ability to diffuse light also has the affect of
making the image less distinct. Sometimes 'blurring'
this is desirable and sometimes not.
Non-glare glass costs more than clear glass and affords the same low-level U.V. protection as regular glass (less than 50%.) At we carry a high grade non-glare glass which is more expensively etched on just one side. Elsewhere, cheaper grades of non-glare glass are used which are etched on both sides in an acid bath, resulting in increased distortion of your artwork.
- Reduced reflection glass is a special, high-tech
type of non-glare glass. It serves the same purpose
as regular non-glare glass, but without the same
diffusion of the image. Reduced reflection glass is
almost invisible. People often feel compelled to
reach out and touch the glazing to make sure it's
there. This is the second most expensive glass on the
market, is breakable, requires more care to clean,
and affords the same low level U.V. protection as
regular glass. This is one of the Cadillacs of glass,
and costs proportionately so.
- Ultraviolet protection is an attribute added to
glazing. U.V. protection is available in most forms
of clear and non-glare glass or acrylic. Also known
as conservation glazing, it is a special coating
which filters out more than 97% of the harmful
ultra-violet radiation. Conservation glass will
significantly reduce the fading damage your artwork
experiences as a consequence of being exposed to
virtually any source of light. Cost is slightly more
than the form of glazing to which the attribute is
applied.
- Museum glass is the ultimate protection you can
give your artwork. There are several forms of museum
glass. Some forms of this glass are made from a
clearer type of glass which does not have the slight
greenish tint of normal glass. Some forms are
constructed like automobile windshield glass with a
layer of acrylic sandwiched in the middle to control
breakage. And all forms include U.V. protection. This
is the most expensive of the glass types, and cannot
be outdone for protecting your most valuable artwork.
- Acrylic Glazing is second most common type of
glazing (to glass), and is often referred to as
Plexiglass (which is actually only one brand of
acrylic.) It is available in several forms. The major
advantages of acrylic are that it weighs
significantly less than glass, it resists breaking,
and inherently has a higher level of U.V. protection
than regular glass (more than 60% filtering.) The
only negative is that it is more susceptible to
scratching. The acrylic used by is a
picture framing grade. This acrylic is different from
the thinner styrene plastics you may have seen on
bargain framing and, due to its substantially higher
quality, actually costs more than regular glass.
Acrylic glazing is available in Clear and Non-glare
forms, and with or without an additional level of
U.V. protection.
- does not stock the glazing material
called styrene plastic. It is typically thinner than
quality framing-grade acrylic, it is soft and
susceptible to scratches, it warps and bows easily,
and it yellows over time. It's only redeeming value
is that it is cheap -- but you'll have to buy it from
a less quality conscious organization.
- Lamination is a light-duty glazing which protects the surface of artwork from dirt and liquids, but not necessarily from physical penetration. Lamination is a thin film of plastic material which is applied to the surface of a previously mounted piece of flat art. A heat/vacuum drymount press is used to fuse the plastic film permanently to the surface of the artwork. The cost of lamination is similar to that of other glazings. It's major advantages are that it is lightweight, it does not require a frame to hold it onto the artwork, and it is penetrable (by push-pins, for instance.) The lamination material we use at is inherently U.V. protective, and can be fused to form either a gloss or matte finish.
How is the back of the frame sealed?
The sealing of the back of your frame is primarily functional, not decorative. The purpose of sealing the back of the frame is to seal out insects, dust and dirt. All three of these elements love to get inside of a frame without an appropriate backing.
There are four main types of backing applications, the choice being that of the individual framer, unless otherwise specified:
- Paper backing: This is an American style of
backing. Adhesive is applied around the perimeter of
the back of the frame, a brown or black craft paper
is applied and then trimmed. In the USA, this is the
style which is most common.
- Framing tape backing: This is a European style of
backing. Brown, black or white framing tape is
applied around the perimeter of the back of the frame
to seal the gap between the frame and the backing
board. This can be more durable than the paper
backing technique. In Europe, this is style which is
most common.
- Oil paintings on canvas: Oils are a special
consideration. The back of the painting is protected
with the addition of a (rag) mat board or piece of
foam core which is then sealed with a paper backing.
The hard backing (mat board or foam core) provides
physical protection of the canvas and the paper backing
provides protection from dust and dirt.
- Metal frames: Metal frames are not backed because they are, for all practical purposes, not sealable due to the convoluted channels inherent to metal frames.
What's the difference between printed art forms?
Images can be put onto paper in a number of ways. The techniques are many, and the terminology is confusing. Below you will find a brief description for each of the most common techniques.
REPRODUCTION PRINTS-
Posters: Four color process lithographic
reproduction of a painting usually with type on or
around the image.
-
Edition Print: This is the same as a poster
without type around it. It is signed and numbered
and usually printed on better paper.
-
Limited Edition Lithograph: This is the same
as a limited edition print. Virtually all
reproductions are printed lithographically.
-
Offset Lithograph: Four color process
lithographic reproduction done on an offset press.
Same as poster, limited edition print, etc.
-
Chromalith Replica: A continuous tone
reproduction with hand drawn touch colors, using
both serigraphy and lithography.
-
Giclee': A computer generated continuous
tone reproduction printed on an Iris printer,
sometimes with hand work by the artist.
-
Imprint: A dot matrix reproduction with hand
drawn touch colors, sometimes with hand work by the
artist.
-
Collotype: A gelatin based plate producing a
continuous tone reproduction.
-
Canvas Transfer: A reproduction that has
been adhered to canvas.
-
Repligraph: A photographic fused film
technology producing an image on canvas.
- Litho Serigraph: A mixed media reproduction using four-color process separations as a base with hand drawn silk screen touch colors added.
-
Etching: The image is cut into a plate by
acid and ink is rubbed into the remaining incised
area. Wet paper is laid over the inked plate and
printed under extreme pressure on an Intaglio press.
-
Engraving: The image is scratched into a
plate then inked and printed like an etching.
-
Stone Lithograph: An image is drawn or
painted with a greasy substance on a limestone
slab. The stone is treated to accept water, then
inked with a roller and printed on a lithography press.
-
Original Lithograph: The printing process is
the same as a stone lithograph but the image is
drawn on an aluminum plate or mylar, which is then
transferred to a plate.
-
Original Serigraph: A silk screen printing
process using stencils adhered to silk or nylon
mesh through which ink is pushed by a squeegee.
-
Collograph: An image is created by building
up a relief surface with such materials as mat
board, cloth, sand, wood, or putty. The surface is
then inked by rubbing ink into the textured surface
or rolling ink on with a brayer.
-
Monotype: The image is created by painting
on a Plexiglas or metal surface with printer's ink
and printing a single copy on an Intaglio press.
Ghost images are sometimes printed.
-
Monoprint: Sometimes used interchangeably
with monotype, but the monoprint usually has a
common image matrix that is inked differently each
time.
-
Woodcut: An image is created by carving a
negative image into a block of wood. The surface is
inked with a brayer and printed on a relief press
or an Intaglio press.
-
Linoleum Cut: The same as a woodcut except
that the block of wood is replaced by linoleum.
- Serilith: A mixed media process combining hand-drawn lithography and hand-drawn serigraphy.
Does sell artwork?
We stock many popular poster prints in easy-to-view browsers.
We also have most of the major poster print publishers' catalogs right in our gallery. Come in and browse through these catalogs at your leisure -- but leave yourself adequate time.
Can't find a particular artist's work? If we don't
find it immediately in one of our gallery sources,
don't give up hope. Just give us a few days.
Out-of-print works of art can often be found by
searching our secondary market contacts.
How are your frames priced?
We price our custom framing with the help of a computer. It can figure out the correct price for any combination of frame, glass, backing, mounting, sealing and labor for any size and shape of frame you can think of. 's computerized pricing system provides the following advantages:
- We can focus our attention on helping you design
your piece, rather than being wound up in pricing
matrices.
- We can easily change components of your frame
design and quickly recalculate the finished price at
the touch of button.
- The price of your custom framing does not depend on the designer you work with -- the computer does not discriminate.
When we give you the price for your custom framing,
we are giving you the price of the finished piece,
ready to hang on your wall, up to and including the
hardware for you to hang it on your wall when you get
home. There is one single calculated price for your
unique finished product. That's it. We don't play
component pricing games with you.
How do your prices compare?
Our periodic market analysis shows that our prices are virtually the same or less than other professional frame shops providing equivalent products and services.
If another frame store quotes a significantly lower price than , one or more of the following is probably true:
- They are using mass-produced pre-made frames
and/or mats, and are cropping your image to fit their
fixed-size products.
- They are using inferior products, like acid-based
mats, cardboard backings, plastic frames, thin
styrene glazing, acid-based adhesives, and/or
overseas knockoffs of quality framing materials.
- They are shipping your valuable artwork to a
large, centralized mass production facility in some
other part of the country for framing. (This is often
the reason why their framing takes weeks instead of days.)
- They are not using state-of-the-art framing
equipment and/or techniques for your framing.
- They are not observing basic conservation framing
practices which are necessary to protect your artwork.
- They do not guarantee their work.
- Framing is not their main business nor concern.
Other departments within the establishment are
subsidizing the framing department.
- They are not in business for the long term.
Do you have special promotions? Online
Be sure to pick up one of our in-store web offers worth $$.
Frequent Framer ProgramWhen you've spent $1,000 with us, we give you $100 off of your next framing order. This is a continuous program, and our computer helps you keep track of your purchase status.
Customer MailingsOnce you are on our customer list, you will receive periodic promotional mailings throughout the year.
Area MailingsWe sometimes do general mailings to an area where we would like to stimulate more interest in framing. If you happen to live in one of these areas, you may receive that current offer.
Standardized Pricing
We don't dicker. We charge a competitive price for a
quality product. Some frame shops sell you picture
frames as if they were selling used cars -- a
different price for every customer. Our pricing is
computerized, and every customer is charged the same
fair market value for the same quality service. We're
here for the long term, to serve you professionally
for years to come.
