A frame designed to display a 3D object or other artwork where depth is required to show off your specific item.

Method of mounting the artwork and fabrics with easy-to-apply modern adhesives. Dry-mounting adhesives do not require the addition of liquid to create a bond. It is a good method of flattening disposable artwork. It is not suitable for stitched, wool or 3D fabrics. Dry mounting methods are only provided at Budget, Minimum and Commended Levels.

A process whereby artwork is framed with all four edges showing. Shadow box affect can also be used here.

A board that has been chemically purified to remove virtually all the lignin. Lignin is the component in wood (the sap from the tree) that generates acid as the board ages.
All conservation boards are buffered. Uses: Collectable artwork that is to be kept long term eg original paintings and limited edition prints of moderate to high value, as well as items of sentimental value.

Suitable for :
Collectable artwork that is to be kept for the future, eg original paintings and limited edition prints of moderate to high value, as well as items of sentimental value. Processes must be reversible.
Multiple mounts of deep spacers.

If you require several pictures to be shown in the same frame you may require multiple apertures to be cut at the required size on the one piece of mount board.

This is a specialist method of finishing fabric ready to be framed.

Using stretcher bars and specialist tools we can stretch your canvas ready to be hung or subsequently framed.

Framing without using a window mount, ie. the edge of the artwork is under the rebate lip of the frame. This is the cheaper and most simple method of framing available.

A narrow decorative strip of wood protruding from under the window mount.

The process whereby the artwork is framed with all four edges visible. The artwork is attached to the surface of the mount board, or fabric in the case of needlework.

Dry mounting refers to methods of mounting artwork with easy-to-apply modern adhesive.
However, the adhesive is not water-soluble and should only be used for artwork with no long term commercial or sentimental value. Artwork that has been dry-mounted onto board will lie flat, even if it was previously cockled.

There should be a barrier layer between the artwork and the back board

Ideally most artwork should be attached to the under-mount with a T-hinge on the top edge. T-hinges allow the work to expand and contract with humidity and temperature change and are therefore less likely to cause the artwork to ripple.

“Some fabric art requires squaring, usually modern needlepoint which will go out of square very easily while being stitched. Most framers damp the back of the needlepoint so that it will alter its shape more easily and use commercial squaring appliances but squared board with peg or pins can be used.”

“The key principle behind conservation framing is that the framer should encase and preserve artwork while leaving its original condition unchanged and that all framing materials and techniques should be reversible”

The main threat to artwork, that cause it to deteriorate, are UV light, heat, damp, insects, air pollutants or the quality of the materials touching or in close proximity to the artwork.