Either for looks or for conservation.
STYLES
Box frames: An internal gap, keeping the work away from the glass, is created by inserting a “fillet” (spacer) along the inside of the moulding. Box frames can also be used as regular frames without fillets. The mount/work will then be sandwiched to the glass. Although no gap is visible within the frame, its depth is visible from the outside.
Standard frames: These do not have enough space to insert a fillet. Glass, mount and work are sandwiched to fit. These regular mouldings offer a wide selection of shapes and profiles. Ornate frames can come pre-finished or in bare wood to be finished by the framer. They tend to be chunkier and come in a variety of profile shapes inspired by various stylistic eras (Dutch Old Masters, Victorian, etc).
Canvas tray frames: Often referred to as gutter boxes, these L-shaped mouldings are designed to accommodate stretched canvases or paintings on board. They cannot be glazed as they do not have a “lip” which traditionally holds the glass in place; they do not cover the edges of the painting so none of the artwork will be “lost” in the framing.
FINISHES
Pre-finished wooden mouldings come in a variety of shades – painted, stained or gold / silver leafed. They can be an economical option. Bare wood moulding can have finishes custom-applied in order to exactly match the requirements of the work. Bare hardwood mouldings made of grained timber such as oak, ash, beech or maple can also be clear-waxed to achieve a natural look. Stains are waxed to ensure a long-lasting finish. Painted finishes can be sealed with a clear matt varnish for extra protection. Metal frames come in a variety of profiles with shiny, frosted or brushed finishes. They are a good solution when a thin frame is needed. Their construction and sturdiness allows them to support heavier glass than thinner wooden frames.
Don’t be an arsehole. Ron Henoq
MOUNTS
Standard mount card is made from acid-free woodpulp and comes in a wide variety of colours. It delays increase in acidity of work and offers good protection from environmental toxins, but it is unsuitable for museum standard framing.
Conservation mount card has been chemically treated to remove any dangerous elements from the source material (woodpulp). The mount protects work from contamination over very long periods of time. Conservation mount card comes in a limited range of colours.
Museum mount card is made from cotton rather than woodpulp, which requires the least amount of processing in the manufacturing process. It is the highest standard mount card available. Museum mount card comes in a limited range of whites and off-whites.
The window mount: is the most traditional way of mounting work. An aperture is cut out of the mount card to reveal the work.
A float mount: also called a “lay-on”. The work is simply laid atop the mount card and held in place using acid-free adhesives. The work can either be fixed on all corners (good for transport) or just suspended from the top, allowing the material to move over time and with atmospheric changes.
A raised float mount: a smaller board, usually acid-free foamcore, is placed in-between the work and the mount card, lifting the work off the backing and creating a shadow and the illusion of floating.
Works can also be framed “straight in” without any kind of mount card surround. They will then be backed by a sheet of mount card which acts as a barrier to toxic materials. Specialised dry-mounting to aluminium, Foamex or card must be carried out by a specialist.
GLASS
Regular float glass: a reflective glass. It comes in thicknesses of 2mm, or 3mm for extra large pieces.
UV glass: comes in a variety of grades and can offer up to 99% protection from damaging sunlight. It has been coated with a UV filter layer. It is also reflective and looks almost identical to regular float glass. A minimal reddish hue can only be seen in direct comparison.
Non-reflective glass: often called diffused glass, has been etched on one or both sides. It cannot be used in box frames as visibility and clarity decreases instantly when the glass is raised off the work.
Anti-reflective glass: often referred to as museum glass, is of a very high standard and usually offers a degree of UV protection alongside highly reduced reflection. It is the best reflection-free option.
Acrylic glass: also known as Plexiglas, is a great solution for framing large pieces when size and weight push the boundaries of safe frame construction. It is much lighter in weight than glass and will not break. However, by its nature it holds a static electric charge, attracting dust, making it harder to keep clean. It also scratches easily.