Framing Overview

 

Frames

In addition to outlining the services we provide, we also have a limited number of frame mouldings displayed online which we think best reflect are very broad range of frames in stock. Our list of frame mouldings online is by no means exhaustive, in fact it is a very small fraction of the frames in our shop, so don't worry if you can't see anything you like online - the chances are very good that we will have something in the shop. Please note that the frame colours displayed by your monitor may not reflect the true colour of the real frame. You should only use our online images as a guide. For more details about how to best view are website and our frame colours, click here.
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Mounts

We stock a very wide range of mount cards found here, but again, as with our frame mouldings, the list of colours and board types is not exhaustive. Likewise, viewing the mount card colours will depend on your monitor, and may not reflect the true card colour. Please visit us in store to see more.
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How-to Guides

We have included a number of simple guides for how to measure your artwork, how to measure a frame, and how best to hang your art work, ensuring you have safely secured your art to the wall. If you would like any information beyond the scope of these guides, then please contact us on 020 7483 2050 where one of our staff will be happy to advise.
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Navigate to:

• Frame Database
• Mount Cards
• Ready-made Frames
• Mirrors
• How-To Guides
• Online quote form for retail customers

 

The Components of a Frame

Figure 1. Typical cross-section of a frame package. Click the image to enlarge.

The Frame: Figure 1 represents a cross-section through a typical frame, illustrating the constituent parts required to safely frame your artwork.

The artwork is protected from the lower surface of the glass by an air gap, which is created by the depth of the bevel around the aperture (the hole cut into the mounting card). This is an important aspect of any frame as it allows the artwork to ‘breathe’. The artwork is backed with a suitable acid-free backing board to protect it from any acids that could leach from the hardboard, which is used as a final backing when assembling and finishing off the frame.  

The Mount: The mount package comprises a window (or aperture) mount and undermount (sometimes also referred to as a back mount or hardboard). To provide adequate physical and environmental protection, both boards should be reasonably thick (>1 mm) so that a breathing space is created. The two mounting boards are generally hinged along one edge using either a conservation gummed white paper tape or linen tape (Figure 2).

Figure 2. Typical mount package. Click the image to enlarge.

With a T-bar or pendant hinge (Figure 3), the artwork is attached to the acid free backing board with acid free tabs to allow the work to ‘hang’ behind the mount, this helps to avoid ‘bagging’ of the paper and as little tape as possible is used. If the artwork is taped in more locations, problems can arise as humidity and fluctuations in temperature can affect the fibre of the paper, and wrinkling and further bagging can transpire. 
 
 
 

 

 

 

 

Figure 3. Pendant hinge, or 'T-bar' hinge. Click the image to enlarge.

The Adhesive: All types of tape are likely to suffer from the drying effects of central heating, and the glue can then lose its tackiness and the artwork can slip from the tape that is holding the artwork in place. Consequently, reinforcing strips can be added to the first acid free tabs to help avoid this (Figure 3).

Certain types of medium such as vellum and parchment, which are in fact animal skin, are notoriously awkward to fix in place due to the inherent oiliness within the skin. Even small fluctuations in humidity can cause the skin to cockle (i.e. shrink and warp); the best way to avoid this is to use Japanese paper tabs all around the edges then, using wheat starch paste, the tabs are slotted through the backing board and stuck down.