Aperture size
The bevelled (inside) edge of the mount (or innermost mount if choosing a multiple mount) should overlap your artwork to hold it firmly in place. This is not a problem if white space has been left around the image. If, however, the image itself goes right to the edge of the paper, you will need to lose some of the picture under the image. As an average guideline we suggest that the mount overlaps the artwork by at least 3mm all round. The larger the picture, or the thicker the paper, the more important this is—to avoid the artwork cockling and bowing through the front of the mount. If an image or signature goes right to the edge of the paper and you do not want to lose anything, we may be able to dry mount the artwork on a secondary, acid-free paper or board for you so that you have a surface which can be safely held in place under the mount.
Mount width & outer dimensions
Mount width is down to personal choice but remember that being tempted to go with a narrow mount will probably make your artwork look crowded and detract from its importance. A thin moulding on a large picture may not be strong enough to take the weight of the glass. We suggest a mount that is at least 25-40mm wide on very small artworks and at least 70mm wide on larger works. Mounts are usually ‘weighted’ at the bottom by 5mm. For example, if a mount is 70mm wide top and sides, it will usually be 75mm wide at the bottom. If when we receive your order we think that the mount is too thin, we will suggest changing this before proceeding. When choosing a mount for limited-edition prints, monotypes and other valuable works, the mount’s outer dimensions must be big enough to cover the paper without trimming the borders to fit the mount—this will devalue your artwork. Approximately 5mm of the outside of the mount will be hidden in the moulding.
Multiple mounts
Double mounts—and even triple mounts—make a fantastic difference, whilst adding relatively little to the overall framing price. Not only do they look great and add depth, but they protect your artwork better by holding it further away from the glass. Again, there are no hard and fast rules and you should feel free to experiment, but we recommend that the width of the overlap should be 5mm between mounts, all round. This is the default setting when ordering online, although you can change this if you wish. The inner mount is usually the darker one if using more than one colour.
Unbalanced mounts
Unbalanced mats can also create visual interest. Old photographs can look great with a mount with a heavy weighting at the bottom. Any number of unbalanced designs can be incorporated, depending on the artwork.
Wash lines
Gold and/or cobalt lines on a neutral single, double or triple mount are ideal for prints of country pursuits, antique botanicals, natural history prints, architecturals, maps, etc., although they can work with other types of art as well.
Gold & Pewter mount slips
Gold slips add a touch of elegance worth considering with more precious artworks and prints.
Floating:
when you want to see the edges of your work It may be that you do not want a traditional mount—perhaps because the artist has used paper with deckled edges which have been intended for display. ‘Floating’ can be a good way to display works like this and make the piece really stand out. Remember—it is always important that the artwork does not touch the glass, so a spacer is still needed. A floated piece can either have a mount which is placed away from the edge of the artwork (usually by at least 40mm) or alternatively spacers inserted along the inside of the moulding. Another floating technique is to have the artwork float up from its backboard by mounting it on a support. The support is cut slightly smaller than the artwork so that it is invisible, making the art appear to float just above the backboard. A box frame is then used with an overall effect of depth being created—which is ideal for works such as collages, woodblock prints and tapestries. This technique can be combined with a mount which is wider than the work and floated on a deeper support.
What frame: is there a right answer?
Choosing the frame itself—or ‘moulding’ - is about complimenting your picture whilst not overwhelming it. The width, colour and material of your frame are entirely down to personal choice. And whilst we have years of experience in recommending mounts, frames and special effects, only you know the exact character of the space where the image will hang. Don’t forget that you could choose the most dramatic frame and mount combination which in your chosen setting could look totally out of place.
As a starting point, think about the colour of the hanging space. A red mount might suit your watercolour of yellow primroses but look less than ideal against pale pink walls! Also have a think about style. Is the setting contemporary and perhaps suited to a relatively simple, modern frame, or do you need something a little more classic for the space, perhaps a gold moulding, gold with a wooden edge and distressed in a variety of widths and depths. We have designed the framing section of this site so that you can navigate by ‘contemporary’ or ‘classic’ frames to make this easier.
Frame size
When we talk about frame size, we are referring to the size of the rebate of the frame (the internal measurement at the back). If you are ordering a frame from us with a mount, we will automatically make the rebate of the frame 2mm wider to ensure a comfortable fit (tolerance). If you are ordering a frame only, please make sure that you measure your artwork very carefully and then add 2mm to each measurement (width and height). We will make frames to exactly the measurements you request.
Standard and Non-Glare Glass
The majority of frames made at Courtyard contain standard glass. However, in certain situations you may want to choose a non-reflective glass. This is a non-glare glass which can be used to reduce the negative effect of incident light by diffusing reflections. It is easy to clean and does not affect reproductions of contrasts or colours.
Conservation Glass
For museum level framing - where you are framing something of value—you will want to consider using conservation glass which filters out UV rays which over time cause bleaching, yellowing and fading. There are several types of conservation glass available which filter out between 97 and 100% of UV rays.
Perspex
Perspex is often chosen as an alternative to glass by customers who might want to send their framed image abroad and who are worried about the glass breaking. It is also chosen where pictures are going to be hung in areas where safety is paramount—such as in schools. It is far more difficult to break than glass but there are several disadvantage to choosing Perspex and it requires different care than glass. Perspex generates static and is a magnet for dust and dirt. Clean it with a soft cloth (never with ammonia-based cleaner, which will damage it, or with paper towels, which will scratch it). Perspex is not recommended for charcoal, pastel or other loose mediums because its static properties pull the pigment away from the paper.
Out of the light
Try not to hang pictures directly opposite large windows as sunlight fades colours and discolours paper. Special UV-coated glass can help to slow this down. The Fine Art Trade Guild has set industry-wide standards for printing and framing materials. Ask your framer about the ways in which you can preserve your artwork for the long term.
Avoid heat
Ideally pictures should not be hung above radiators. Extreme or rapid changes in temperature cause paper and wood to warp and dry out and adhesives to fail
Beware damp
Damp can cause pictures to ripple. If the ripples touch the glass, the picture might stick and be hard to remove. Damp also encourages fungal growth - likely to show as brown stains. Conservation framing can slow these effects, but it is always best to avoid hanging framed pictures in humid conditions. Allow six months before hanging pictures on newly plastered walls.
Eye-level display
Remember most pictures are designed to be viewed at eye-level. When hanging a group of pictures of different sizes align the top edges. Groups of pictures need not be hung in symmetrical patterns, but they should follow some sort of overall design. Try arranging them on the floor first.
Hang securely
Use two hooks on the wall, each set about a quarter of the way in from either side of the picture. Check that the cord, wire or other hanger you use is designed to support the weight of your artwork. Where safety is critical, in children's bedrooms, for example, ask your framer about security fittings and glazing.
A gentle clean
Dust frames or treat with a soft brush, rather than risk applying water or cleaning fluids. Don't use cleaning fluids or water on the varnished surface of oil paintings; again dust carefully. If cleaning fluids have to be used on the glass, apply them to a duster first (rather than spraying the glass directly); take care not to let the fluids touch the frame.
Handle with care
When carrying and transporting a picture, grasp the frame firmly on both sides. If you have to store pictures, make sure they are stacked vertically and the right way up. When stacking pictures, stand them 'glass to glass' so that the hangers do not damage the frames.
Regular checks
If you find any evidence of discolouration, unsightly brown dots, small insects under the glass or that the brown paper tape sealing the back of the frame has come unstuck, return the frame to the framer. Check for corroding picture wire or weak or loosening cord. The varnish on oil paintings will gradually discolour, especially if the picture hangs in smoky or polluted conditions. It should be replaced as it dirties. Oil paintings stretched over wooden bars may sag over time and the bars can make a slight imprint on the front of the canvas. Take the picture back to your framer for tightening or re-stretching. The Fine Art Trade Guild recommends inspection every five years.