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We
would like to show you what framing
craftsmanship and originality can bring to your
artwork. We are dedicated to providing the best
service and craftsmanship you can find.
We specialize in Preservation Plus™ framing, the
process and materials used to encase your
artwork in a protected environment, as well as
3-D shadowbox framing, helping to turn your
memento’s into works of art to display with
pride.
We carry a huge selection of moldings and unique
framing materials. All framing projects are done
right on the premises and our work is
guaranteed, so you'll get just the look you want
-- when you want it and never a rush charge!
You're not alone when you arrive at FASTFRAME.
You will find knowledgable design personnel on
staff at all times, waiting to work with you.
Our trained design staff has a great deal of
experience helping customers just like you every
day. With over 15,000 frame styles, hundreds of
mat colors and a dozen types of glazing, they
will expertly help you sift through the infinite
number of combinations to make your artwork look
its best.
Working on a budget? No problem. Our designers
can show you alternatives and advise you on how
you might best leverage your dollars. With our
computerized pricing system it is easy to try
different frames, different mats and different
glazings until you find the combination that
satisfies your senses and meets your budget.
You
Name It ... We Frame It!
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Oil / canvases
Pastels
Limited Editions Prints
Documents
Tapestry
Certificates
Newspaper Articles |
Mirrors
Maps
Trade Show Displays
Needlework
Puzzles
Leaded Glass
Money |
3D Objects of All Kinds
Musical Instruments
Sports Jerseys
Artifacts
Childhood Memorabilia
Wedding Momentos
Prizes / Awards / Ribbons
Company Products |
What is
conservation framing?
Conservation framing (also known as preservation
framing) is the professional application of
knowledge, materials and techniques to the
framing of valuable artwork such that the
artwork is not permanently altered in any way.
In short, it is doing everything possible to
ensure that a piece of artwork removed from the
frame at a later date will not show any evidence
of having been framed, thus preserving its
long-term value.
However, complete conservation treatment of a
particular piece of art is not always
appropriate, desired or affordable. Therefore,
there are always degrees of appropriate
conservation to be applied in any situation. For
example, a wrinkled and torn old poster,
primarily of sentimental value, might best be
drymounted for its best appearance, but acid
free mats and U.V. protective glazing applied to
reduce the liklihood of continued deterioration.
The designer will advise you of the options and
possible consequences, but the degree of
conservation is always your choice.
A CPF (Certified Picture Framer) is a framer who
has studied conservation framing, passed a
lengthy examination and has been certified by
the Professional Picture Framing Association as
a professional. There are relatively few CPF's
in the entire country, and many FASTFRAME stores
have one on staff.
What
is mounting?
There are many methods by which your artwork may
be held in place within the frame. In general,
there are two categories of mounting: Permanent
mounting & Conservation mounting. There
are advantages and disadvantages to each method,
and specific circumstances under which certain
methods are recommended.
Permanent Mounting is just that -- the
irreversible mounting of your artwork onto
another material. Permanent mounting is usually
done to improve the appearance of your artwork
by permanently holding it flat and in position
regardless of heat, humidity or physical
mistreatment. While the appearance of your
artwork may be improved, permanent mounting is
not recommended in cases where the value (or
potential value) of the artwork may be
jeopardized by permanent alteration.
Conservation Mounting encompasses a body of
techniques employed to hold your artwork in
place without subjecting it to irreversible
mounting processes. The objective of
conservation mounting is to make it possible to
remove your artwork from the frame at a later
date without evidence of it having been framed.
What
is drymounting?
Drymounting
is a process which flattens and permanently
mounts artwork to the backing board. The 'dry'
part of the term means that no risky wet
adhesives are used in the mounting process.
Instead, a sheet of dry adhesive material is
placed between the artwork and the backing
board. Then both are placed into a large vacuum
press which flattens the artwork as it heats the
adhesive to cause a permanent bond to the
backing board. Our heat/vacuum drymount presses
can mount artwork as large as 40" x 60".
Drymounting serves two purposes:
One
is to flatten the artwork. Paper artwork can
easily become wrinkled from handling.
Drymounting will remove virtually all wrinkling
from damaged artwork. Even sharp crinkles which
have broken the fibers of the paper artwork will
be flattened out (although you may still see a
line where the fibers were permanently damaged.)
Second is to keep the artwork flattened,
regardless of the environment. Unmounted artwork
will expand and contract over time, depending on
heat and humidity. These expansions and
contractions can translate into undesirable
undulations and bowing of the artwork within the
frame. A drymounted piece of artwork will remain
flat, regardless of changes in the surrounding
environment.
What
shouldn't be drymounted?
You
should not drymount any artwork which would be
reduced in value by being permanently attached
to the backing board. This would include
original artwork, limited editions and any
collectable piece. In the minds of collectors,
mounted artwork is not as valuable as the same
artwork in its original form.
You should not drymount art which will melt at
190 degrees. This would include wax-based
artwork, fax paper and some of today's color
copies. In these cases, a careful wet mounting
process should be employed in a cold press.
What
is wetmounting?
Wetmounting
is different from drymounting only by the type
of adhesive used to attach the artwork to its
backing board. A spray glue or paste is applied
between the artwork and the backing rather than
using a sheet of dry adhesive. The wetmounted
piece is usually processed throught the same
vacuum press as if it were being drymounted,
except without heat being applied. The
disadvantages of wetmounting is that moisture is
being introduced directly onto the artwork.
The
artwork is usually in more handling jeapordy
during the mounting process than if it were
being drymounted. However, some types of artwork
cannot withstand the heat of the drymount
process and can only be wetmounted if permanent,
full-surface adhesion is desired. Our skilled
craftsmen regularly do wetmounting as well as
drymounting, and you will be advised as to which
technique is most appropriate for your artwork.
Do
you build my frames, or must I do it?
Our
professional craftsman do all of your frame
construction right in the store's framing room.
We work closely with you during the design phase
to create a clear specification of your project.
Then, usually within the next day or so, you
return to pick up your framed work of art.
While we normally do the entire framing project,
we can also do only as much as you want us to
do. If you only need a piece of glass or a mat
cut, we can accommodate that as well. We will do
as much or as little as you would like us to do
-- and you don't lift a tool.
What
is a standard sized frame?
Common, mass-produced picture frames come in a
limited number of pre-built sizes -- usually
4"x6", 5"x7", 8"x10", 11"x14" and 16"x20".
Anything larger, smaller or between these sizes
is usually found only by exception in the
pre-made market.
At FASTFRAME, we custom build your picture frame
by hand to exactly the size that is most
appropriate to your particular artwork -- down
to the 16th of an inch. In most cases, your
artwork should determine the size of the frame,
rather than the other way around as is the case
with pre-built frames.
Do I need a frame?
A
frame serves three purposes:
To
provide a solid, protective environment in which
your artwork will remain safe from physical
damage.
To provide a dependable, non-destructive means
of displaying your artwork.
To provide aesthetic enhancement to the artwork.
We've all used the thumbtack and Scotch tape
techniques at some time in our past. However, if
the piece is important to you, you should
consider having it professionally framed.
Framing a piece of artwork which is valuable to
you, either monetarily or sentimentally, will
make it look better and last longer.
Should I get a wood, metal or plastic frame?
Sometimes it just comes down to which particular
frame you think looks best on your artwork,
regardless of what it is made. However, there
are some basic differences between frame
material:
Wood Moulding Today, wood is still the
preferred choice for frame material. It has the
widest selection of styles and colors, and often
costs no more than metal. Conservationally, wood
is superior because it offers a smooth surface
back on which to attach the frame's dust cover
which protects the artwork from dust and
insects. (Incidentally, manufacturers of wood
frames today harvest and replenish their
resources with strict regard to the
environment.)
Metal Moulding Metal frames are a modern,
durable alternative to wood frames. No longer
limited to chrome, today's metals come in a wide
variety of styles and colors. They will
withstand a lot of abuse, and should definitely
be considered in frame-unfriendly environments.
Conservationally, metals are not as desirable as
woods because an effective dust cover is not
applicable to the back of the frame.
Plastic Moulding Plastic frames are quite
often the least expensive of frames. They are
usually composed of a hollow plastic shell,
filled with an inexpensive filler, like pressed
paper or foam. This filler material makes these
frames structurally weak, limiting them in size
and to holding inferior glazing materials like
1/16" styrene. Because of the lack of structural
integrity of today's plastic frames, FASTFRAME
does not carry this type of moulding. We suggest
using a low-cost sectional metal frame as a
structurally superior alternative to plastic.
A
mat is the thick paper-like material you often
see surrounding the artwork, filling in the
space between the artwork and the frame. There
are several reasons mats are used in framing.
The
original and fundamental purpose of a mat is to
keep the glass from touching the artwork. If the
glass is in contact with the image, there is a
risk of mold and/or adhesion between the two
substances where they touch. The mat is normally
positioned on top of the artwork, and the glass
(glazing) is positioned on top of the mat. The
thickness of the mat then determines just how
far away from the artwork the glass is held,
leaving a protective air space between the two.
A
more recent development is the use of colored
matting material. Mat colors can now be chosen
to enhance the image or highlight aspects within
the image. Today, matting as a design element
has overshadowed the original purpose of
protecting the artwork.
Matting can also be used to make a piece of
artwork fit into a pre-made frame which is too
large. A mat is cut with outside measurements to
match the frame size and inside measurements to
match the image size, thus filling in the empty
space between the artwork and the perimeter of
the pre-made frame.
The
decision to use matting is, for the most part, a
personal, aesthetic choice. Following are some
considerations when deciding whether or not to
use matting on any particular piece of artwork.
If
you do not want to risk damage to your artwork
caused by mold and/or adhesion between the
artwork and glass, then matting is the best way
to hold the glass off of the artwork. (Note that
a material called 'frame-space' can be hidden
under the lip of the frame to serve the same
purpose if mats are not employed.)
The
coloration of mats can be used to enhance an
image, enliven the artwork, focus the viewer's
eye, or make a statement of importance or
elegance.
Use
the texture of fabric, suede, leather and foil
to enhance the image.
Cut
multiple openings from a single mat to display
several images within one frame.
Mats
can form an area around the image upon which
decoration can be added, like decorative
grooves, hand-carved images, signatures,
drawings, plaques, etc.
You
may want to use mats to make your finished frame
bigger so that it will cover a larger wall area
than the framed image would by itself. While mat
width is typically 2" to 3", any width is
possible.
There are two basic approaches to mat widths.
One is to make the mat an equal width all the
way around the picture - for example, 3" of
matting material on the top, bottom and sides of
the image. The second approach (referred to as
'weighting the bottom') makes the bottom of the
mat wider below the image -- for example, 3" of
matting material on the top and sides, but 5" at
the bottom of the image. The 'weighted bottom'
approach to matting is a historic technique.
There are two stories about how it came about.
The
first one is that in the Victorian era, pictures
used to be hung very high up on the tall walls
of that time. Because the viewing angle from the
floor was so acute, it caused a visual
foreshortening of the bottom of the mat.
Therefore, to make the matting appear more equal
all the way around, designers cut the mats to be
larger at the bottom.
The
second rationale is that psychologically, human
beings are more comfortable around stable items
-- a stable item being heavier, wider, thicker
at the bottom, such that the viewer does not
perceive it to be unstable, or likely to tip
over.
Who knows? What matters now is that both
techniques are acceptable, and the preference is
yours. The equal all-the-way-around technique is
the more common and modern of the techniques.
However, if you are framing a very old photo,
something like a Michelangelo print, or if you
just want to create an 'artsy' feeling, you
might consider weighting the bottom of your
matting.
The use of two mats is most common -- a wide
outer mat, plus a narrow amount of inner mat
exposed from under the outer mat. The color of
the outer mat is often selected to expand the
feeling of the image being framed. The color of
the inner mat is often chosen to accent the
focal point of the image.
Sometimes no mat at all is most appropriate.
Sometimes six mats might be most appropriate.
Whatever is most effective for any particular
image is the determining factor. Keep in mind
that the effect of matting should always be to
enhance the artwork, and not overwhelm it.
What
is artwork glazing?
The
general term for the clear coating, which
protects the artwork while allowing you see it,
is glazing. There are many forms of glazing,
including glass, acrylic, lamination and
styrene. 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 is 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%.)
In
locations where reflections from strong lighting
might be a problem, non-glare glass may improve
your ability to view the framed artwork. Its
ability to diffuse light also has the affect of
making the image less distinct. Sometimes
'blurring' this is desirable and sometimes not.
Non-glare glass costs more than clear glass and
affords the same low-level U.V. protection as
regular glass (less than 50%.) At FASTFRAME we
carry a high grade non-glare glass which is more
expensively etched on just one side. Elsewhere,
cheaper grades of non-glare glass are used which
are etched on both sides in an acid bath,
resulting in increased distortion of your
artwork.
Reduced reflection glass is a special, high-tech
type of non-glare glass. It serves the same
purpose as regular non-glare glass, but without
the same diffusion of the image. Reduced
reflection glass is almost invisible. People
often feel compelled to reach out and touch the
glazing to make sure it's there. This is the
second most expensive glass on the market, is
breakable, requires more care to clean, and
affords the same low level U.V. protection as
regular glass. This is one of the Cadillacs of
glass, and costs proportionately so.
Ultraviolet protection is an attribute added to
glazing. U.V. protection is available in most
forms of clear and non-glare glass or acrylic.
Also known as conservation glazing, it is a
special coating which filters out more than 97%
of the harmful ultra-violet radiation.
Conservation glass will significantly reduce the
fading damage your artwork experiences as a
consequence of being exposed to virtually any
source of light. Cost is slightly more than the
form of glazing to which the attribute is
applied.
Museum glass is the ultimate protection you can
give your artwork. There are several forms of
museum glass. Some forms of this glass are made
from a clearer type of glass which does not have
the slight greenish tint of normal glass. Some
forms are constructed like automobile windshield
glass with a layer of acrylic sandwiched in the
middle to control breakage. And all forms
include U.V. protection. This is the most
expensive of the glass types, and cannot be
outdone for protecting your most valuable
artwork.
Acrylic Glazing is second most common type of
glazing (to glass), and is often referred to as
Plexiglass (which is actually only one brand of
acrylic.) It is available in several forms. The
major advantages of acrylic are that it weighs
significantly less than glass, it resists
breaking, and inherently has a higher level of
U.V. protection than regular glass (more than
60% filtering.) The only negative is that it is
more susceptible to scratching. The acrylic used
by FASTFRAME is a picture framing grade. This
acrylic is different from the thinner styrene
plastics you may have seen on bargain framing
and, due to its substantially higher quality,
actually costs more than regular glass. Acrylic
glazing is available in Clear and Non-glare
forms, and with or without an additional level
of U.V. protection.
FASTFRAME does not stock the glazing material
called styrene plastic. It is typically thinner
than quality framing-grade acrylic, it is soft
and susceptible to scratches, it warps and bows
easily, and it yellows over time. It's only
redeeming value is that it is cheap -- but
you'll have to buy it from a less quality
conscious organization.
Lamination is a
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
which is applied to the surface of a previously
mounted piece of flat art. A heat/vacuum
drymount press is used to fuse the plastic film
permanently to the surface of the artwork. The
cost of lamination is similar to that of other
glazings. It's major advantages are that it is
lightweight, it does not require a frame to hold
it onto the artwork, and it is penetrable (by
push-pins, for instance.) The lamination
material we use at FASTFRAME is inherently U.V.
protective, and can be fused to form either a
gloss or matte finish.
The
sealing of the back of your frame is primarily
functional, not decorative. The purpose of
sealing the back of the frame is to seal out
insects, dust and dirt. All three of these
elements love to get inside of a frame without
an appropriate backing. There are four main
types of backing applications, the choice being
that of the individual framer, unless otherwise
specified:
Paper backing:
This is an American style of backing. Adhesive
is applied around the perimeter of the back of
the frame, a brown or black craft paper is
applied and then trimmed. In the USA, this is
the style which is most common.
Framing
tape backing:
This is a European style of backing. Brown,
black or white 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 the paper backing
technique. In Europe, this is style which is
most common.
Oil paintings on canvas:
Oils are a
special consideration. They are normally
paper-backed, but a hole is cut out of the
middle of the backing. The paper backing
provides physical protection, plus a degree of
protection against dust and dirt. The hole in
the back is necessary to allow the oil to
'breathe'. An oil never completely dries, and if
a hole is not provided through the backing for
ventilation, mold may develop on the canvas.
Metal frames:
Metal frames are
not backed because they are, for all practical
purposes, not sealable due to the convoluted
channels inherent to metal frames.
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 for each
of the most common techniques.
REPRODUCTION PRINTS
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Posters: Four color process
lithographic reproduction of a painting
usually with type on or around the image.
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Edition Print: This is the same as a
poster without type around it. It is signed
and numbered and usually printed on better
paper.
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Limited Edition Lithograph: This is
the same as a limited edition print.
Virtually all reproductions are printed
lithographically.
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Offset Lithograph: Four color process
lithographic reproduction done on an offset
press. Same as poster, limited edition
print, etc.
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Chromalith Replica: A continuous tone
reproduction with hand drawn touch colors,
using both serigraphy and lithography.
-
Giclee': A computer generated
continuous tone reproduction printed on an
Iris printer, sometimes with hand work by
the artist.
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Imprint: A dot matrix reproduction
with hand drawn touch colors, sometimes with
hand work by the artist.
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Collotype: A gelatin based plate
producing a continuous tone reproduction.
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Canvas Transfer: A reproduction that
has been adhered to canvas.
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Repligraph: A photographic fused film
technology producing an image on canvas.
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Litho Serigraph: A mixed media
reproduction using four-color process
separations as a base with hand drawn silk
screen touch colors added.
ORIGINAL PRINTS
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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 aluminum plate
or mylar, which is then transferred to a
plate.
-
Original Serigraph: A silk screen
printing process using stencils adhered to
silk or nylon mesh through which ink is
pushed by a squeegee.
-
Collograph: An image is created by
building up a relief surface with such
materials as mat board, cloth, sand, wood,
or putty. The surface is then inked by
rubbing ink into the textured surface or
rolling ink on with a brayer.
-
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.
-
Serilith: A mixed media process
combining hand-drawn lithography and
hand-drawn serigraphy.
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