Our framing process
What we decide at the design table has to be clear in the workroom.
Once you approve the design, the bench should not have to guess. We record the frame, finish, dimensions, matting or liner, glazing, mounting, backing and hardware so the finished piece follows the decisions we made together.
1 · Examine before designing
We start by looking closely at the piece.
Material, condition, size, edges, existing mounts and the way the work will be displayed all affect the next decisions.
Paper
Look for old hinges, mounts, distortion, loose or powdery media and whether the sheet edge matters to the design.
Canvas
Check the stretcher or strainer, bar depth, tension, bracing and the condition of the canvas edges.
Textile
Read fibre, weave, weight, hems, weak areas, previous attachments and whether the piece can safely bear its own weight.
Object
Identify contact points, center of gravity, fragile surfaces, moving parts and the amount of depth required.
2 · Design the visible composition
Then we work through the visible design.
Profile, proportion, finish and the space around the artwork are judged together. If five samples are all almost right, we keep looking.
- 01
Set the frame proportion
How much frame and surrounding field can the piece carry?
- 02
Choose the profile
Contemporary, period, float, architectural, carved, gilded, hardwood, metal or another direction.
- 03
Choose mats, liners or float space
Matting, liner, slip, float gap or spacer becomes part of the visual proportion.
- 04
Choose the finish
Surface is selected against the actual artwork and, when useful, room or finish references.
- 05
Confirm glazing and support
Glazing, support and depth are confirmed before the design is finalized.
3 · Write the specification
The approved design gets written down.
The workroom should not have to work from memory. We record dimensions, materials and approved samples so the bench has clear instructions.
Trade and repeat work may also include corner samples, finish references and client approvals. We keep repeat reference numbers so later pieces can follow the same approved direction without rebuilding the decision from memory.
4 · Build, mount and fit
Different kinds of artwork take different paths through the shop.
Paper, canvas, textiles and dimensional pieces require different mounting and fitting work, even when the finished frames look equally simple from the front.
Frame fabrication+
Length moulding is cut and joined in the shop. Hardwood, metal and other custom work may be fabricated differently, while specialist finished-corner frames are ordered from the maker as complete frames.
Matting and liners+
Mat openings are cut, deep or layered mats assembled, and fabric surfaces or specialty details prepared.
Mounting and support+
Hinges, stitch mounts, stretchers and other supports are completed before the frame is finally fitted and closed.
Glazing and spacers+
Glazing is cut to fit and kept away from the artwork with a mat, fillet, spacer or another suitable separation.
Backing and hardware+
The back is closed with the correct rigid or dust-protective system and hanging hardware is selected for the finished weight.
5 · Final review
Before pickup or delivery, we inspect the finished frame.
We check the presentation, cleanliness, structure, hardware and the details that were part of the original specification.
Presentation
Alignment, reveals, mat openings, float gaps and frame surface are reviewed under normal viewing light.
Cleanliness
Glazing and interior surfaces are checked before final closure.
Structure
Joints, backing, mounts and hardware are checked for the finished weight and intended orientation.
Documentation
For repeat and trade work, we keep the details that will save time and preserve consistency on the next piece.
Start by bringing us the piece.
You do not need to fill out a technical worksheet before you come in. We will ask the questions that matter as we work through it.