6 Questions to Ask Before Choosing a Picture Framer

Choosing a picture framer is about finding a frame with the right materials, mounting the artwork in a way that suits the piece and selecting the right glazing based on the work and where it will hang. How the piece is handled can affect how the finished work looks and define the space it will be hung in.

For a replaceable print, some of these decisions may be relatively straightforward. For original artwork, works on paper, photographs, memorabilia or sentimental pieces, they matter much more. A good framer should be able to explain what they are recommending, why it suits the piece and what alternatives are available. At Amarisco, we have been framing artwork and personal pieces in Sydney since 1976. These are six questions we think are worth asking before you hand your work over to any framer.

1. Who will be completing the work?

Ask whether the work is framed on site and whether any part of the process is outsourced. This is particularly important for:

• original artwork;

• works on paper;

• valuable photographs;

• limited editions;

• fragile pieces; and

• items with significant sentimental value.

Some specialist jobs may legitimately require outside services but the framer should be able to explain what will happen to the work and who will be handling it.

At Amarisco, our framing is carried out in our Artarmon workshop by our own framing team. For printing, specialised mounting (especially for larger works) and acrylic boxes / panels, we work closely with our trusted partners.

2. Which materials are suitable for my artwork?

There is no single framing specification that is right for every piece. The appropriate materials depend on the artwork, its condition, its value, where it will be displayed and how important long-term preservation is to you.

Ask your framer about the materials used to put together the frame including:

• mats;

• backing boards;

• adhesives; and

• spacers or other internal components.

Useful questions include:

• Are these materials suitable for long-term display?

• Can the artwork be removed later without unnecessary damage?

• Is a conservation-grade material appropriate?

• Is there a simpler or lower-cost option if conservation is not a priority?

• Why is this particular material being recommended?

For valuable, original or irreplaceable artwork, we will generally discuss conservation materials and mounting methods as part of the framing design. Please let us know if the work is important or valuable so we can assist you with conservation options.

3. How will the artwork be mounted?

Mounting is one of the most important parts of the framing process, even though you usually cannot see it once the piece is finished.

Different types of work require different mounting methods. Depending on the piece, the artwork may be supported using hinges, adhesive tape, sewing or other techniques. Some methods are designed to be removable while others are effectively permanent. For example, a mounting method that may be completely appropriate for a decorative poster may not be suitable for an original drawing, signed photograph or limited-edition print.

Ask: How will the artwork actually be held in place inside the frame?

For valuable or irreplaceable works, it is also worth asking whether the mounting can be reversed later. There is rarely one mounting method that is correct for every situation. The method should suit the particular artwork.

4. What mat or mount design will work best?

Matboard has both a practical and a visual role. For many works on paper and photographs, it creates separation between the artwork and the glazing. It also affects the proportions, colour balance and overall scale of the finished frame. A difference of a few centimetres in mat width can significantly change how a piece looks.

When choosing a mat, it is useful to consider:

• the colours in the artwork;

• the size of the piece;

• the width, colour and style of the frame;

• the wall where it will hang;

• the surrounding furniture and finishes; and

• whether you want the framing to be understated or more prominent.

We generally recommend choosing the mat with the actual artwork in front of you rather than trying to select it from a photograph or colour name. A good framing design should work with the artwork first and the room second. That also helps avoid creating something so closely matched to a particular interior that it becomes difficult to use elsewhere later.

5. Which glazing option should I choose?

Glazing can make a substantial difference to the appearance and performance of a framed piece.

The main things to consider are:

• reflection;

• clarity;

• ultraviolet protection;

• weight;

• breakage risk; and

• cost.

Some of the standard options we carry include:

• Standard glass: Standard glass is suitable for many everyday framing jobs and is generally the most economical choice. If the piece will hang in a location without problematic reflections and does not require higher levels of UV protection, it may be all that is needed.

• Acrylic: Acrylic is lighter than glass and much more resistant to shattering. It can be useful for large frames, public spaces, children's rooms, commercial projects and situations where weight is a concern. Our standard acrylic also comes with 70% UV protection, which makes it a relatively cheap upgrade from standard glass, but it does scratch more easily.

• Art Glass (low reflection, UV protection): If a piece will hang opposite windows, bright lighting or large areas of glass, reflections can make it difficult to see. Low-reflection or anti-reflective glazing can substantially improve visibility. Different products offer different levels of UV protection, so it is worth understanding exactly what you are being offered. We typically use a 70% UV protection low-reflection product but we stock 92% and 99% UV protection options as well.

• Lifetime Acrylic (low reflection, UV protection acrylic): Our higher-end acrylic product provides lower reflection and 99% UV protection. For valuable, delicate or significant artwork, the additional cost can be worthwhile.

The most expensive glazing is not automatically the best choice. We normally look at where the piece will hang, the value and sensitivity of the artwork, the level of reflection in the room and the customer's budget before recommending an option.

6. What does the complete price include?

Two framing quotes can look similar at first glance while actually covering very different specifications.

The final price can include:

• the frame moulding;

• mats;

• glazing;

• backing, mounting and spacers;

• canvas stretching; and

• labour.

The size of the artwork has a significant effect on cost. Larger pieces require more moulding and larger sheets of glazing and backing as well as oversized matboards and backing. Very large or heavy pieces may also require different construction methods or additional labour.

If you are comparing quotes, make sure you are comparing like with like. A lower-priced quote may use different glazing, backing or mounting materials rather than simply offering the same job for less.

At Amarisco, our prices generally include all of the above costs and GST.

What should I bring to a framing consultation?

Where practical, bring the actual artwork. Seeing the piece in person allows the framer to:

• measure it accurately;

• assess its condition;

• understand how it has been made;

• identify any mounting issues;

• compare frame samples against the artwork; and

• test matboard and glazing options properly.

A photograph of the room where the piece will hang can also be useful. If you have them, bring:

• photos of the wall;

• approximate wall measurements;

• examples of nearby furniture or finishes;

• existing frames you would like to match; and

• examples of framing styles you like.

Also tell the framer about anything unusual about the location, such as strong sunlight, high humidity, a public setting or concerns about weight or breakage.

And if you have a target budget, say so. Custom framing can usually be approached in several different ways. Knowing the budget helps the framer focus on combinations that make sense rather than designing an option that is never going to be suitable.

Need advice on framing a piece?

You are welcome to bring your artwork into our Artarmon workshop and speak with the Amarisco team. We can show you frame, mat and glazing options against the actual artwork, explain the differences and provide a quote before you decide.

Amarisco has been providing custom picture framing in Sydney since 1976, working with individual customers, artists, galleries, designers and commercial clients.

Visit us in Artarmon or request a quote online.