No matter which type of framing you choose, framing your art will beautify your home.

GLAZING

Glazing is a term that describes the protective covering used in picture framing. It refers to either glass or acrylic.

General rules to consider when using glass / glazing:
· Glass is not recommended for oils, canvases or high-value artwork that may be ruined if the glass is   shattered.
· Pictures Plus' glass is approximately 1/8" thick.
· The largest size of regular glass available is 40"x48".
· The largest size of non-glare glass available is 36"x48".
· The largest sizes of plexi-glass available are 51"x101" & 60"x96". Larger sizes up to 87”x120” are available   via special order.
· We do not carry or handle glass larger than 40"x48" due to safety precautions and weight.

Types of Glass

Regular
· Used for general framing purposes

Non-glare
· Recommended in areas of high glare. Not recommended if using more than two mats, on shadow boxes or if   over liners in multiple frames, as it may make the image unclear.

Plexi-glass
· Recommended for high-value artwork, as it won't shatter and ruin the artwork. It is also recommended for   large artwork, as it is lighter in weight and works well for artwork being shipped. The disadvantages are that   it scratches easier than glass and requires a special plexi-glass cleaner to prevent hazing
  (Windex will damage it).
· It is not recommended for shadow boxes or artwork that is hinged without mats or when using glass spacers -   a "vacuum" effect or static electricity is created.

Non-glare Plexi-glass
· Same characteristics as plexi-glass, with non-glare attributes.

Ultra Violet (UV) Glass/UV Plexi-glass
· Protects against ultraviolet rays.
· Sometimes limited to stock available.
· UV Glass is available up to 36"x48". UV Plexi is available up to 48"x96".

Glass Spacers
Glass spacers keep the glass off of the artwork. The strips are basically hidden under the lip of the frame. Recommended for photographs, quilts or very puffy material, as the glass tends to sink into the quilting and give, at most, a minimal effect.

If the artwork is not dry mounted or on a rigid backing, spacers are not recommended. This is because the spacers will only hold the outside of the piece down and the middle will "sag" and end up touching the glass. Plexi-glass is also not recommended with glass spacers, because it is not rigid like glass and will "sag" and touch the artwork. Glass spacers may be used in pieces with small beading or such and when no mats are being used, to keep the glass off of the artwork.

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Matting

Matting is a colored border used to enhance artwork. Mats keep the artwork off the glass to prevent the artwork from sticking to the glass. There are literally hundreds of different types of mat colors, textures and designs to choose from.

There are basically two types of mats:
1) regular and
2) acid-free.

Acid-free mats are fade resistant and much safer for your artwork.

For those who live in a humid climate, matting products do not reduce high humidity or its negative effects on paper. Choosing the right materials will protect the integrity and value – be it monetary or emotional – of all artwork, photographs and memorabilia.

The following are general guidelines to follow when matting:

· The recommended trend when matting is towards wider mats or 2” in width from the image.

· The appropriate size of the mat is determined by:
a. Your preference.
b. The type of artwork.
c. The size of the artwork.
d. The type of look that is trying to be achieved.

· The minimum bottom mat is 1/8" or larger.

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MOUNTING

Mounting is the process of adhering artwork to a rigid surface. This can be done in several ways:

Dry Mounting

Dry mounting is the method of "permanently adhering artwork to a rigid surface, using a heat and vacuum process". Mounting tissue is placed between the artwork and a rigid board (mat or foamcore).

By combining heat (160 -180 degrees Fahrenheit) to melt the tissue and a vacuum to compress the artwork evenly, we can permanently adhere the artwork into a flat, easy to frame format.

The primary advantage of this method is that the artwork becomes much flatter than any other mounting process and minor creases and waves are "ironed" out.

Some things to consider when dry mounting:
· Anything on the back of artwork will show through (i.e., stickers, tape, threads, etc.).
· Thin parchments, rice paper and onionskin paper may crease during processing due to the thinness of the   paper.
· Water damaged areas have a possibility of creasing.
· Anything that doesn't lay flat may have a tendency to crease.
· In artwork with more than one layer, dry mounting will only adhere to the back layer.

Dry mounting is not recommended for heat sensitive artwork (i.e.: waxes, "rubber prints", some crayons, color copies, laser copies, wet or thick paints, etc.), as they may melt due to extreme heat.

Dry mounting is also not recommended for originals or irreplaceable art.

Regular Dry Mounting

Regular dry mounting uses regular dry mount tissue and regular foamcore. This process is recommended for poster prints, photographs, some fabrics and "low-value" artwork.

Acid-free (Archival) Dry Mounting

Acid-free dry mounting uses 100% acid-free tissue and 100% acid-free foamcore. It is not 100% removable, although heavy paper (watercolors, etc.) is potentially removable.

This process is recommended for artwork of medium to high-value (i.e.: limited editions, signed and numbered prints, etc.). The primary advantage of dry mounting is that the artwork will lay flatter as opposed to the hinge mount process.

Dry Floating

The dry floating process is done by dry mounting the artwork onto the top of a mat board (color side up). It is recommended if you want to show the edges of the artwork.

Hinge Mounting

Hinge mounting is the alternative to drymount. Hinge mounting is the process of adhering the artwork to a rigid surface using artist or acid-free tape.

The primary advantage is that the artwork is removable, if you want to replace the picture with one of a similar size, you could very easily do so.

This process is extremely effective for smaller pieces of artwork (usually 8" x 10" or smaller). The main disadvantage is that the artwork may not lie as flat as it would with the dry mount process and may slip or fall over time (the hinge release).

Regular Hinge Mounting

Regular hinge mounting uses artist's tape and regular foamcore. The largest size recommended is 40" x 60". Hinging is recommended for artwork that cannot be dry mounted or images that you want to be able to remove at some later date.

Hinge Floating

Hinge floating is the process of adhering artwork onto a mat board by using hinge tape. This procedure is done when you want the edges of the artwork to show.

Slits are made into the mat board and strips of tape (artist's tape or acid-free tape) are then pushed through (this is called an "S-hinge"). Tape is then adhered to both the artwork and the back of the mat.

This is not recommended for "heavy paper artwork" due to the weight pulling on the tape.

Hot Glue Mounting

Hot glue mounting is achieved by adhering items to the mat or backing using quick-setting hot glue. This is recommended for heavier items (i.e.: brass plaques, raised objects, medals, pins, etc.). This process is a permanent and irreversible mount and is not recommended for originals or other irreplaceable artwork.

Tack Mounting (Sewing)

Tack mounting is recommended for fabrics that are thick or heavy - jerseys, clothing articles, etc. Heavier items require more sewing tacks.

Wire Mounting

Wire mounting is recommended for very heavy pieces of artwork (i.e.: weapons, pool cues, etc.). The artwork is usually shadowboxed.

Stretch Mounting

Stretch mounting is recommended for quilts, cross-stitches, needlework, tapestry with beading, latch hook rugs, embroidery, clothing or other fabrics with beading or raised objects.

When stretching and mounting fabrics, there are specific facts that you should be aware of:

· All materials that are hand-made are usually not perfectly square.
· When stretching, there is a cause and effect on the artwork. If one area is pulled to make straight, another   area may look looser, thus the overall image does not look good.
· "Puckering” makes the fabric tight in some areas. Stretching will not take all of the puckers out.

Stretching on Foamcore

In order to secure the material a 1” to 1-1/2” border is required for a good mount.

Dry Stretching (dry mounting fabrics)

Dry stretching is the process of using dry mount tissue and a vacuum heat press to adhere the fabric to foamcore.

Stretcher Bars

Stretcher bars involve a flat wooden frame where a 1” to 1-1/2” border of the artwork is stretched around the wooden frame and secured with staples.

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Hardware: Backing/Wiring

The apparently simple process of finishing off a framed piece is sometimes not, given the thought it requires. We generally back all of our wooden framed pictures (as opposed to metal frames) with Kraft tape.

This is done primarily to keep bugs from getting into the frame. Occasionally we cover the entire back and, although aesthetically pleasing, this will not deter bugs in the same manner as adhesive tape.

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