Custom Framing

Framers work individually with each of our customers to explore framing selections that will optimize the beauty of their pieces: from prints and paintings to medals and jerseys. Our framers can recommend a proper method to mount your artwork, suggest mats to compliment colors within the piece, find frames that pull attention to the art, advise the appropriate type of glass or acrylic to cover the piece, and help determine whether additions like fabric mats, liners, or fillets, might enhance the art.

Mounting Artwork

Following are various methods of preparing artwork for framing.

Hinging - a mounting procedure typically used on paper artwork, ranging from very thin and delicate papers to thick watercolor paper. In this procedure, acid-free tape is applied to the backside of the artwork on two or three small places at the top edge, depending on the size of the piece; the resulting tabs are taped to acid free backing with additional pieces of tape. The artwork is never taped to the matting; this allows for easy mat changes in the future without remounting the artwork.

Pastel Mount - uses the same hinging technique as mentioned above; the difference is behind the mat. Strips of acid free foam core are applied to the back of the mat, approximately 1/8" from the inner opening, so that the foam is not noticable when the piece is framed. This catches most flakes of pastel that fall over time, keeping the front of the mat clean and fresh.

Float Mount - a process where the artwork is hinged to a piece of matboard of a size just smaller than that of the piece. This piece of matboard is then mounted using acid free glue onto the matboard color chosen during the design process. The result is a piece that appears float just above the background mat. Floating artwork is especially attractive when used to show the unique edges of different artwork, like the feathered edges of handmade paper.

Vacuum Mount - this is a method of mounting artwork directly onto foam core using an adhesive spray. This is only recommended for artwork that is easily replaced, such as snapshots or posters, as the process is not easily reversed and can adversely affect the artwork over time. It does help to flatten out wrinkles or bends in artwork, but we always advise trying a conservation mounting method before resorting to this method.

Baste Fabric - basting involves hand-sewing a fabric piece, like sports jerseys or other clothing, onto another piece of fabric which has been stretched tight across stretcher bars.

Needlework Block - When the stitching and fabric of a needlework are warped, it may be necessary to block the piece. This process first requires wetting the needlework with cold water, and then stretching it across a gridded board so that it is properly aligned. The blocking is finished once the piece is dry. It is removed from the board and stretched.

Needlework Stretch - the needlework is placed on top of a piece of acid-free foam core cut to size and is stretched evenly, alternating sides, by inserting small pins into the cut sides of the foam core after gently pulling the fabric. This allows for easy removal and restretching of the piece at a later time.

Lace Mount - a more traditional method of stretching needlework and other fabrics. This process is more labor-intensive than the aforementioned process but is necessary for fragile fabrics whose fibers might pull if pinned. The fabric is placed over a piece of acid-free foam core cut to size, and is sewn by lacing thread in a zig-zag pattern that connects the top of the piece to bottom, and the sides to each other.

Canvas Stretch - a process where an image on canvas is stretched over a wooden frame composed of stretcher bars cut specially to size. The canvas is stapled at one spot into the side of the stretcher on opposite sides, pulling the canvas tight each time, and is rotated, continuing to staple evenly working from the center of each side to the corners until the entire canvas perimeter is secured.

Matting

Choosing matting, like choosing a frame, is a matter of personal preference. Main Street Gallery has a selection of over 500 acid-free paper mats and nearly 300 fabric mats in a variety of hues, values, and intensities. We use only acid-free matting to frame artwork.

Here are a few options to consider when matting artwork:

Single - A single mat is one piece of matboard with a custom cut opening to fit the artwork. The border size depends partially on the size of the piece, but also on the overall aesthetic of the artwork and frame combined. Single mats are often used for a clean, simple look.

Double - A piece with double matting has two pieces of matboard, where the top mat generally spans the majority of the border, and the bottom mat is added as an accent color with a reveal smaller than that of the top mat. The amount of matting exposed is altered depending on the piece, but generally is left at a measurement between 1/8" and 1/4".

Triple and beyond - Though we typically do not use more than three mats on a piece, we certainly are capable of adding any number of mats onto a piece, with varying exposures, to acheive the desired look.

Reverse bevel - Matboard is cut on a 45 degree bevel so that the color of the core, generally white, shows just along the opening. In a reverse bevel, the matting is cut the opposite direction so that this core is not visible. This often comes in handy when framing older photographs which tend to look dirty next to the bright white of a bevel, but is an option that can be used on any matting for no additional charge.

Fabric mats - These are mats that either arrive with the fabric pre-mounted to acid-free matboard, or raw fabric is ordered and then vacuum-mounted to matboard at the gallery. The raw fabric selection (of over 150 colors and textures) provides the background for any work that is to be basted, such as sports jerseys.

Fillets - A fillet is similar to a very small frame, but is flat and designed to either fit into the lip of a frame, or into a mat opening. Many frames come with coordinating fillets; when used in conjunction with the matching frame these create a nice, finished, professional look, commonly seen in diplomas or formal portraits.

Multi-openings - These are simply more than one opening cut into the same mat. Multi-openings are used to frame more than one picture together in a frame, arranging oddly shaped newspaper clippings in an appealing layout, adding small captions to pictures, or making a space to add a medal, plaque, or other object.

Decorative openings - There are a few options for adding decorative corners and shapes to mat openings. Though traditional styles tend toward a simple straight cut, these more elaborate openings can be quaint on botanicals or antique-looking prints.

V-groove - a groove cut into a matting at a specified distance from the opening. The mat is cut just deep enough to expose the core color. More than one groove can be cut into a mat.

French mats - mats decorated with watercolor wash panels, colored lines, or a combination of the two.

Glazing

Glass - The gallery stocks the following types of TruVue brand lites:

Premium Clear Glass - referred to as "regular" glass at the gallery, this glass does not offer sufficient UV protection to prevent prints from fading over a few short years of light exposure; it should only be used when art is not of significant value, such as posters that are switched in and out of the frame frequently.

Reflection Control Glass - reduces glare to less than 4%, and, as Premium Clear, does not offer high UV protection; this would be used on a temporary, inexpensive piece hung in an area with direct overhead lighting or sunlight.

Conservation Clear Glass - has the appearance of Premium Clear, but absorbs 97% of harmful UV rays to help prevent fading. This is our most commonly used glass, as it meets our minimum requirements for art conservation.

Conservation Reflection Control Glass - absorbs 97% of harmful UV rays to help prevent fading and reduces glare and reflections; consider this for pieces in direct lighting when reflections on the glass may make viewing the artwork difficult.

Museum Glass - absorbs 97% of harmful UV rays, reduces glare while preserving clarity of image better than other reflection control glasses; especially recommended for valuable artwork.

Acrylic - The following glazings are thinner and lighter than glass, and are commonly used on pieces exceeding the maximum available glass size, generally 40" x 60", depending on the type selected:

Acrylic Sheet Clear - clear acrylic with 87% UV protection (compare with Premium Clear Glass).

Acrylite Sheet Non-glare - non-glare acrylic with 87% UV protection (compare with Reflection Control Glass).

Acrylite Sheet UV Filtering - clear acrylic with 98% UV protection (compare with Conservation Clear Glass).

Acrylite Non-glare UV Filtering - non-glare acrylic with 98% UV protection (compare with Conservation Reflection Control Glass).

TruVue Optium Acrylic AR - non-glare acrylic with 93% UV protection and anti-static properties.

TruVue Museum Optium AR - non-glare acrylic with 98% UV protection and anti-static properties, available in sizes up to 70" x 120" (compare to Museum Glass).

Framing Process

The following will guide you through the process of framing a pre-matted paper print. There are many procedures that might be added, altered, or omitted to tailor the process to other pieces. Each order placed at the gallery is as unique as the next; we customize our framing process to best serve each piece. We pride ourselves in customizing the framing process for each order placed at the gallery.

Chopping - The length of moulding is cut to the proper size using a chopper: a machine with two blades set 90 degrees to each other that pressures chops wood moulding at a 45 degree angle.

Joining - Wood glue is applied to the cut surfaces of the corners, and V-nails shot into the underside of the moulding by a joining machine. The assembled frames are set aside to allow the glue to dry. Drying time varies with the size of the frame; larger frames with thick moulding use more glue and require a longer drying time than smaller frames with thin mouldings. Corners of frames that do not set long enough may come loose during the fitting process and will need repair. Once the glue is set, the fitting process can begin.

Glazing - The glass or acrylic chosen during the design process is hand-cut using a glass cutter and is placed into the frame.

Dusting - The glass and mounted artwork are carefully dusted to remove as much dust and other particles as possible prior to setting the artwork face down on the glass.

Inspecting - A few glazier points are stapled into the frame to hold the artwork while it is inspected for any dust or other visible particles visible on the artwork or matting; the framer continues cleaning the glass and artwork until no specks are visible.

Centering - The framer checks the distance from the inside edge of the matting to the inside edge of the frame and moves the piece as necessary until the image appears centered within the frame.

Securing - Additional glazier points are stapled into the frame to ensure the artwork stays in place

Sealing - Double sided-tape or a thin layer of glue is applied to the back of the frame over which brown craft paper is applied and trimmed down to size; the paper creates a seal that will ward against moisture, dust, and other contaminants. The craft paper commonly used is acidic since there exists an acid-free buffer between the artwork and backing; it is also a cheaper option appropriate for most artwork. If the artwork is particularly valuable, or if there is special concern that it will be exposed to the backing, then a more expensive acid-free paper is implemented.

Hangers and Wire - The framer then screws hangers into the back of the frame, measuring approximately one third of the height of the frame down from the top; this leaves room to tighten or loosen the wire while insuring the hook on the wall remains hidden once the artwork is hanging. We do not recommend the use of sawtooth hangers as they are difficult to perfectly center on a frame, causing pictures to hang aslant, and can easily dislodge from either the frame or their precarious place on the wall.

Bump-ons - small plastic bumpers, are applied to the bottom corners of the finished piece to help hold the artwork out a even distance from the wall, as the wire causes the top of the frame to tilt outward into the room.

Finishing - The framer examines the frame corners and touches up any imperfections from chopping and joining the moulding. This does not mean the frame will have perfect finished corners where intricate patterns line up perfectly; there are instances where this is possible, but if perfect corners are your aim, consider finished corner frames by Larson-Juhl or APF Munn in the initial design process.

Packaging - The framer re-examines the piece for visible specks, cleans the glass, places protective cardboard on the corners, packages the piece in plastic and files it pending pickup by its owner.

Front and back view of the finished product

Additional Options

Shadowboxes - We create beautiful, custom shadowboxes using pictures, medals, or other objects relating to each other. Typically, these pieces are placed in deeper frames, commonly referred to as shadowbox frames, to create a deeper space between the glass and the mounted objects. The mounting procedure will vary depending on the objects included.

Fillets and Enhancers - As mentioned in the matting section above, fillets may be added to the inside of a mat for a more formal look, but they may also be a nice addition to a frame. Enhancers are slightly more substantial than fillets, and are also used to add a decorative touch to a frame.

Liners - These are added to the inside lip of a frame to add dimension. Though they can be used with a variety of media, liners are traditionally found on oil paintings, and are most often off-white in color. We have a wide selection of liners, many of which can be customized with a colored fabric if desired to add a more modern flair to your artwork.

Stacking Frames - Sometimes the style of a particular line of moulding may compliment a piece, but the available mouldings may be too narrow. If adding a fillet, enhancer, or liner does not complete the look, we can stack two frames of the collection (or from different collections) within each other, creating a larger profile to fit the piece.

Custom Mirrors - View our mirrors page for more information on creating a customized mirror for your home or office.