Custom picture framing is a craft of its own — an essential element for a truly finished look of your treasured or valuable art. Throughout the designing process, our framing professional will ask important questions; they’ll help you select the best designs that are available in numerous textures, profiles, finishes, and glass if required.
Essentially any custom framing is possible at Frame-Art, including original valuable art, precious art, family
heirloom & heritage art, oversized art, shadowboxes, needlepoint, mirrors, photographs, and documents.
Below are frequently asked questions about our custom framing. If you don’t see your answer below, or if you
have additional questions or comments, please contact us at paul@frameart.co.za and we’ll be happy to help.

Frame-Art quells any anxiety with our guarantee that it will make right any work that does not meet your
expectations and stand behind it with our 100%, five-year workmanship and materials guarantee.

Frames preserve the artwork and prevent deterioration that occurs over time from factors such as environment (temperature and humidity), movement, and storage. Frames also enhance artwork allowing you to coordinate your personal taste with the personality of the piece.

Anything! The sky’s the limit – if you find it, we can frame it. Take a look at our homepage to get an idea of the types of frames and mount-board combinations we can create for you.

Not a problem. If it wasn’t done right the first time or if you’re just looking for some change, we’ll help you find the perfect combination and deliver on it.

Yes. Whether it’s one piece or one hundred pieces, framed the same or in one hundred different ways, we will fill the order.

Absolutely. All of our framing materials are grated for certain qualities required to frame certain standards
ensuring the long-term preservation of your artwork and or keepsake.

The typical turnaround time is about two to three weeks. If you need your piece sooner, we will work to make other arrangements to have it to you when you need it.

Frame-Art frames are absolutely one-of-a-kind. We have the advantage and experience to offer an outstanding consultancy combination at prices that are affordable. Our quality is always guaranteed and the service you
receive is sure to keep you coming back.

No. We use our local moulding manufacturers for our frames from various locations in South Africa. We like to
support local where ever possible.

Absolutely not. Whether it’s a basic poster or fine art, we have a frame to cater to your needs. Our quality will
always be high-end, but our frame offerings suit any budget and any type of artwork.

You name it! Here are just a few examples…
• Original Artwork
• Heirloom art & objects
• Posters
• Sports Jerseys
• Artifacts
• Photos
• Prints
• Vacation Displays
• Diplomas
• Certificates
• Maps
• Blueprints and Architectural Plans
• Military Decorations
• Graduation Pictures
• Family Portraits
• Memorabilia Displays
• Historic Documents
• Needle Art
• Mirrors
• Awards

Mass-produced frames can provide a quick solution at a lower initial cost. But unfortunately, they offer little protection against two things that are most destructive to the objects placed in them – ultra-violet light and lignin-based acids. In fact, the mount-boards and glass used to make factory ready-mades affordable often accelerate degradation. Tape damage, effects from condensation, glass adhesion, and cockling are also common when factory-made frames are used for extended periods. The use of a ready-made frame should be considered a temporary framing solution until the artwork, photograph, or document can be properly mounted and framed. In the long run, it may be more expensive to restore an item framed in a ready-made frame and, if it is left in this type of frame for too long the object may not be recoverable.

Most people will start by considering which particular frame looks best on their artwork, regardless of what it is made from. However, there are some basic differences between frame materials, and these should be considered before making a purchase:

SYNTHETIC – In South Africa we have a bigger selection of frames made from synthetic materials than any other medium. Synthetic frames are made from new & mostly recycled polystyrene extras that is not harmful to art. No gasses or stains and less likely to burn.
WOOD –It is strong and versatile. On the preservation side of framing, the inside of the wood frame’s rebate has to be treated so that the harmful lignin gasses that occur over a period of time does not harm the preservation framed art. We seal the rebate in preservation framing when using wood frames.
METAL – Metal frames are a modern, durable alternative in certain framing styles. No longer limited to chrome finish only, today’s metals come in a limited variety of styles and colours. They will withstand abuse and might be considered in frame-unfriendly environments such as an industrial setting or gymnasium. Their slim profile makes metal frames ideal for hallways and staircases. From a preservation standpoint, metals are not as desirable as other frame mediums because an effective dust cover is generally not applied to the back of the frame.

In South Africa we refer to Mats as Mount-boards
A mount-board is the thick paper-like material you often see surrounding artwork. Mount-boards have several functions:
* The original and most functional purpose of a mount-board is to keep the frame’s glass from touching the framed image. When glass is in direct contact with artwork or photographs, there is a risk of condensation damage, mould, and adhesion where the surfaces touch.
* Mount-boards provide visual separation of the image being viewed and the frame. Generous mount-boards tend to better focus the viewer’s eyes from the frame and the surrounded mount-board, to the image. Narrow mats often make artwork looked cramped and tend to pull the viewer’s eye toward the frame and away from the central focal point, the art piece.
* Strategically selected coloured mount-boards can help focus a viewer’s attention on subtle elements in a piece of art and help enhance the viewing experience. Mount-boards may also contain accent elements, decorative cuts, mount-board decorating (wash-line or French Matting), spaced layers, and other elements to compliment framed objects.
* Current mount-board choices go well beyond the traditional paper finish. This makes mount-boards as much a part of the design process as frame selection. Mount-board finishes now include marbleized designs, fabric
surfaces and wraps, textured surfaces, leather, foils and printed finishes.
* Asymmetrical and bottom weighted mount-boards can help control the position of artwork within a frame.
* Good quality mount-boards will contribute to the preservation of framed items. However, lower quality mount-boards may actually accelerate or even cause deterioration damage within a frame.
* Mount-boards can sometimes be used to make a piece of artwork fit into a pre-made frame that is too large. The design may not look balanced but this sometimes provides an economical alternative for someone on a tight budget.

Bottom weighting is accomplished by cutting a mount-board wider at the bottom than on its sides and top. This style is widely used as the standard in Europe while evenly balanced mount-boards are more common in America and South Africa. We favour the weighted look. Bottom weighting can actually have a functional purpose. Many works of art have a focal point that is lower than the physical centre of the image. This is common with landscapes that show an expanse of the sky. By increasing the size of the bottom mount-board border the focal point is raised within the frame. This technique may lead to a better-balanced look. In most cases a weighted bottom mount-board framed article is more balanced and does not look top-heavy.

For protecting artwork, only preservation or museum-grade mount-boards should be used. There are three basic types of mountboards used in picture framing.
REGULAR MOUNT-BOARDS. LEVEL 3 AND 4 – These mount-boards, while being cost-effective, contain a product called lignin. Over time lignin breaks down creating an acidic gas that can leave a burn mark on artwork. The colour of the mount-board will also change over time and the white bevel will gradually darken to a light brown colour. These mount-boards are referred to as Level 4 and level 3 mount-boards. Because art sellers and artists
generally want to maximize their profit, this type of mount-board is often used on pre-mounted artwork and sold on. For this reason, we would recommend level 2 and level 1 mount-boards that meet the correct standards for preservation framing.
WHITE-CORE MOUNT-BOARDS. LEVEL 2 – Cellulose is the chief material in all plant life. Alpha cellulose, where all lignin has been removed, (also known as pure white-core), is the purest form of this material. These mount-boards are buffered to maintain a slightly alkaline ph. They are considered to be preservation quality. As long as the
buffering agents are active these mount-boards will not harm artwork, nor will they fade. Alpha cellulose
mount-boards provide protection from acids for many years.
MUSEUM RAG MOUNT-BOARDS. LEVEL 1 – Made from cotton liners, rag mount-boards are naturally lignin-free. Some rag mount-boards are made with a buffered colour surface paper and are considered preservation grade. Rag mount-boards may also be 100% cotton rag and tinted only with inert pigments with a solid colour throughout. Pure cotton rag museum mount-boards are the best in the world. We can frame to the highest international
standard comparative to any museum framing in the world.

The use of fabric mount-boards can really add distinct elegance to your framed art. Whether it is suede, linen, silk, or various other fabrics, the colours and textures of fabric take your framing design to a new level. The majority of these mount-boards though, are not preservation grade. This is because the fabric does not meet standards for bleed resistance. If you cannot find a pre-covered fabric mount-boards to suit your needs, mount-boards can be hand wrapped with virtually any fabric. You may also bring in your own fabric for us to wrap.

The use of two mount-boards is most common – a wide outer mount-board plus a narrow amount of inner mount-board exposed from under the outer mount-board. The colour of the outer mount-board is often selected to expand the feeling of the image being framed. The colour of the inner mount-board is often chosen to accent secondary or tertiary colours within the image.
We create a very different feel and an expanded look by using four (4) mount-boards. Inner and outer
mount-board of the same colour to expand the image without hemming inn the image and the two (2) accent
colours in the middle to accent the secondary colours needed for a very balanced and eye pleasing experience.
Sometimes no mount-boards is necessary. Sometimes three, four, or even six mount-boards might look best. Each mount-board adds depth and multiple mount-boards can expand the number of accent colours. There is no set rule for determining how many mount-boards should be used. The artwork and framing budget are the significant determining factors, but mostly, the artworks itself will give one the feel for what is best for that art piece. Keep in mind that the effect of mount-boards should always be to enhance the artwork, not to overwhelm it.

Liners are special frames, usually covered with linen or other fabric, that are designed to fit inside the mainframe around a picture. Like mount-boards, they provide visual separation between a frame and artwork. Liners also add much more depth and dimension than mount-boards. Generally, liners are used when framing artwork on canvas, such as original oil or acrylic paintings or giclée prints on canvas. But they may also be used in combination with mount-boards to give other types of framed art a look of sophistication or flair. White, black and oatmeal-coloured liners have been commonly used for years but now liners can be custom wrapped using almost any fabric to create unique, beautiful, and truly spectacular framing finishes.

Mounting is the process of securing and holding artwork or artifacts in place. There are a number of ways to mount items for framing. But the most critical consideration is the importance of preservation. Some items have little long-term value and are framed strictly for decorative purposes. Permanent mounting often provides the best-looking, most secure, and least expensive alternative for these items/prints. Other items have value, either financial or sentimental, that will be diminished if a permanent mounting is used. In these cases, conservation mounting techniques should be used. Before framing anything, you should understand its value to you, your
family members, or as an investment. Once you know this your framer can help determine the best type of
mounting technique for your project.
Permanent mounting is irreversible. An object is attached, usually using adhesives, to a backing material that will hold it securely in place within a frame. Permanent mounts can hold paper and other thin objects flat to avoid
waving or cockling, and can minimize creases or folds. Permanent mounting techniques can also avoid the use of visible attachments such as straps, wires, thread, or other mounting materials that might detract from the
appearance of a framed object because they are visible to the viewer. But remember, with permanent mounting artwork or objects cannot be un-mounted and returned to their original condition. If an item is determined to be of significant value after framing, that value will almost certainly be diminished by a permanent mounting that cannot be undone.
Preservation Mounting holds artwork and artifacts in place without subjecting them to irreversible mounting
processes. The objective of preservation mounting is to make it possible to remove the objects from the frame at a later date without evidence of them having been framed and in their original condition.

You should not paste any artwork which would be reduced in value by being permanently pasted to the backing board. This would include original artwork, limited editions, and any collectible piece. In the minds of collectors, pasted artwork is not as valuable as the same artwork in its original form.

Glazing is the general term for a clear coating that protects artwork while allowing you to see it. There are many forms of glazing, including glass, acrylic and lamination. And there are many forms within each of these glazing categories, such as clear, non-glare, reduced reflection, and U.V. protective. There is no single glazing material
that is perfect for all framing conditions. And there are advantages and disadvantages to using each.
* Regular clear glass has been the most common type of glazing. It is durable and more scratch-resistant than non-glass forms of glazing material. Common disadvantages are that most forms are brittle and breakable, and weigh more than acrylic glazing alternatives. Glass inherently provides a low level of U.V. filtering (less than 50%). Regular clear glass will generally be the least expensive glazing.
* In locations where reflection from strong lighting might be a problem, non-reflection control glass may improve your ability to view the framed artwork. Its ability to diffuse light also tends to make the image it protects less
distinct. Generally, 14% of the clarity is lost with South African made non-reflective control glass. Sometimes the softer image caused by non-reflection control glass is desirable, as in tapestries for example, but sometimes it masks sharp details. The quality of non-reflection control glass varies considerably and its use should be carefully
considered. Non-reflection control glass will cost more than clear glass. The main benefit of non-reflection control glass is the reduction of glare, but the loss of clarity is of a greater concern. It does not provide any additional U.V. protection.
* Anti-Reflection (or AR) glass is a special, optically coated glass that significantly reduces reflection and glare. In most lighting situations artwork appears to be unglazed. People often feel compelled to reach out and touch the glazing to make sure it’s there. The advantage of AR glass is its incredible visual clarity. The U.V. filtering properties of AR glass are the same as regular clear and non-reflection control glass. Not available in South Africa yet.
* Framing-grade acrylic makes excellent glazing. It is lighter than glass and less prone to breaking. This makes it an ideal material for artwork that will be placed in a child’s room, high activity area, or public location. Acrylic will scratch more easily than glass, especially lower grades, which are sometimes called plexiglass. Acrylic is far more expensive than glazing with normal glass.
* Lamination is light-duty glazing, which protects the surface of artwork from dirt and liquids, but not necessarily from physical penetration. Lamination is a thin film of plastic material that is applied to the surface of a previously mounted piece of flat art. The cost of lamination is similar to that of other glazing’s. Its major advantage is that it is lightweight.

Ultraviolet (or UV) light is the band of light rays that fade vibrant colours and breaks down paper causing yellowing and brittleness. Constant exposure to ultraviolet light rays can severely damage artwork or valuable artifacts.
Natural light contains the most harmful level of UV light rays, but fluorescent, halogen, and even incandescent lights also emit UV light.
Framed items should never be located where they are exposed directly to natural light. But in order to view artwork, it must be exposed to some light.
One of the most significant recent developments in framing technology is the availability of glazing that blocks UV light rays.
Artwork and artifacts that have any value, monetary or sentimental, really should be protected from light damage. In South Africa, we have available UV with AR finishes.
UV protection glass sold here is either in 60% or 90% UV filtration

The sealing on the back of a frame is primarily functional, not decorative. The purpose of sealing the back of the frame is to keep unwanted elements away from the contents of the frame. Insects, dust, dirt, airborne grease, and contaminants can all harm artwork and photographs. A proper seal will protect against these elements.

Paper backing: In South Africa, paper backing is not generally in common use. We at Frame-Art apply papering on most off our framed items. The adhesive is applied around the entire perimeter of the back of the frame to provide a tight seal. We use an 80gsm backing kraft paper that we apply and trim to the edge of the frame.
Framing tape backing: This is the most common style of backing in South Africa. Brown framing tape is applied around the perimeter of the back of the frame to seal the gap between the frame and the backing board. This can be more durable than a paper backing but it makes later access to the frame’s contents more difficult and does not have a clean, finished appearance.
Oil paintings on canvas: At one time it was thought that canvas artwork, especially oil paintings, should either not have a backing or that the backing should be vented so the canvas could “breathe”. (A myth being exposed). Extensive research has determined this is not the case. Framed canvas art benefits from a sealed back for the same reasons as paper artwork. To properly protect the canvas from back punctures and tears, it is also recommended that a protective 4-ply layer be attached to the back of the stretcher frame prior to applying the backing. Our main concern is to keep the back of the canvas dry to stop any canvas-rot. The oil used as the drawing medium does not breathe. We discuss the various options with our clients.
Metal frames: Metal frames are generally not backed. Their shape and construction make the application of a backing difficult. But when correctly assembled and properly fitted, the nature of the frame’s mechanics provides sufficient protection for most art.

Conservation framing (also known as preservation framing) is the professional application of knowledge, materials, and techniques to the framing of valuable art, historic documents, and valuable artifacts in a manner that does not permanently alter those objects. In short, it does everything possible to ensure that when an item is later removed from the frame it will not show evidence of having been framed, thus preserving its long-term value.
Complete preservation treatment of a piece of art is not always appropriate, desired, or practical. Therefore, there are always degrees of appropriate preservation framing to be applied. For example, a wrinkled and torn old poster, primarily of sentimental value, should not be pasted, even if it would enhance the appearance. Then acid-free mount-board and UV protective glazing might be used to reduce the likelihood of continued deterioration. We are able to advise the correct procedures.

Images can be put onto paper in a number of ways. The techniques are many, and the terminology is confusing. Below you will find a brief description of the most common techniques.
REPRODUCTION ART
Posters: Four colour process lithographic reproduction of a painting usually with type on or around the image. Massed-produced art is generally considered a poster even though people sometimes refer to them as prints.
Limited Edition Print: A reproduction of original artwork that is limited to printing a specific quantity, after which the plates are destroyed to ensure that no more copies will be made. Each piece is numbered and signed by the artist. Limited editions were originally intended as a way for artists to distribute a desirable work of art without greatly diminishing the value of the image. More recently some popular artists have tried to create an illusion of rarity by releasing “limited editions” that are produced in the tens of thousands, often far surpassing demand and the
availability of many open edition prints. A reputable and well know artist will in some cases have some value.
Unknown artist’s limited edition prints usually do not have great value.
Open Edition Print: A reproduction of original artwork that is distributed according to demand. If all available copies are sold, more may be printed.
Offset Lithograph: Four-color process lithographic reproduction done on an offset press. Same as a poster, limited edition print, etc.

Chroma Lith Replica: A continuous tone reproduction with hand-drawn touch colours, using both serigraphy and lithography.
Giclee’: A reproduction of original two-dimensional artwork or a photograph that is printed from a digital file using
a high-quality continuous inkjet printer and archival grade ink.
Imprint: A dot-matrix reproduction with hand-drawn touch colours, sometimes with handwork by the artist.
Collotype: A gelatine-based plate producing a continuous tone reproduction.
Canvas Transfer: A reproduction that has been adhered to canvas.
Raphigraphy: A photographic fused film technology producing an image on the canvas.
Litho-serigraph: A mixed media reproduction using four-color process separations as a base with silkscreen touch colours added.

ORIGINAL PRINTS
Etching: The image is cut into a plate by acid and ink is rubbed into the remaining incised area. Wet paper is laid over the inked plate and printed under extreme pressure on an Intaglio press.
Engraving: The image is scratched into a plate then inked and printed like an etching.
Stone Lithograph: An image is drawn or painted with a greasy substance on a limestone slab. The stone is treated to accept water, then inked with a roller and printed on a lithography press.
Original Lithograph: The printing process is the same as a stone lithograph but the image is drawn on an
aluminium plate or mylar, which is then transferred to a plate.
Original Serigraph: A silkscreen printing process using stencils adhered to silk or nylon mesh through which ink is pushed by a squeegee.
Collagraph: An image is created by building up a relief surface with materials such as mat board, cloth, sand, wood, or putty. Rubbing ink into the textured surface or rolling ink on with a brayer then inks the surface.
Monotype: The image is created by painting on a Plexiglas or metal surface with printer’s ink and printing a single copy on an Intaglio press. Ghost images are sometimes printed.
Monoprint: Sometimes used interchangeably with monotype, but the monoprint usually has a common image
matrix that is inked differently each time.
Woodcut: An image is created by carving a negative image into a block of wood. The surface is inked with a brayer and printed on a relief press or an Intaglio press.
Linoleum Cut: The same as a woodcut except that the block of wood is replaced by linoleum.
Seri Lith: A mixed media process combining hand-drawn lithography and hand-drawn serigraphy.