Which of our popular hanging options is most appropriate for your work can depend on a range of factors – including size, substrate, how and where the final piece will be presented. Sub frames and split battens are both popular hanging solutions for our mounting services alongside some framing services depending on requirements. We generally advise that pieces larger than 1 metre square will require the support and stability of a sub frame, which provides extra rigidity through the frame itself. For lightweight, flexible substrates such as Foamex or Foamboard, we suggest using fixings such as Velcro, which can be purchased in a heavy-weight strength suitable for hanging a range of relatively lightweight artwork safely.

A subframe is produced from aluminium strips which frame the reverse of the mount, these are bonded to the back of the mount using a small border from the edge of the substrate. Sub frames provide support against warping or bending, as the entire piece has the additional strength of the frame. Sub frames are suitable for a range of rigid substrates – perfect for materials such as Dibond or aluminium, but unsuitable for substrates with flexibility, such as Foamex or Foamboard, as any movement will cause the fixings to become unstable. A metal sub frame will ‘float’ approximately 20mm from the wall.

The term ‘split battens’ refers to a set of wooden strips (usually MDF) cut at an angle so they can be locked together. These are presented on the back of the mount or frame as two interlocking battens and a third ‘spacer’ or ‘support’ batten. Split battens achieve the same ‘floating’ effect and can be a more cost-effective solution but are unsuitable for particularly large pieces.

Certainly! We do have an extensive range of framing solutions, in a wide range of finishes and we know that the process of choosing the perfect frame can be quite daunting. We are very happy to talk you through the framing process and to help you choose the right solution for your photographs or artwork.

When finishing your work, it’s important to think about how the mount or frame can enhance the aesthetic appeal of your work, and additionally, what your requirements are in terms of archival stability or budget. One of the most important elements to consider when choosing how to finish your work, is that the frame type and moulding compliments the look of your work rather than dominating it – our client service team are always on hand to advise with this, with years of experience, and we have a diverse range of sustainably-sourced mouldings available to choose from. Alongside the aesthetics of the piece, framing is also often chosen as a type of finishing because if its archival values – a particularly important consideration for galleries and museums as well as individual artists or designers. Our frames use, as standard, anti-reflective Artglass, which is the best option for reflective-free and neutral viewing without the distraction of reflections of the surrounding area. Artglass also incorporates a 70% UV filter to protect your valuable artwork from fading. In addition to traditional glazing, we also offer durable and lightweight Perspex – perfect for larger frames. For additional protection for your artwork, our passé-partout’s, or window mounts, only use the finest 8-ply acid-free and neutral PH museum conservation-quality board, which is certified by The Fine Art Trade Guild and offers exceptional preservation qualities that conform to the highest conservation standards. Additionally, the wooden mouldings we use for our framing are from sustainable sources that are managed to meet environmental, social and economic needs for both the present and future, as certified by the FSC scheme.

The glass in frames can be gently cleaned using glass polish and a lint free cloth, we recommend spraying glass cleaner on to a cloth rather than directly on to the glass to avoid contact with the frame. As a general rule, our range of mouldings can be cleaned with a mildly damp, lint free cloth. We recommend that as little water as possible is left on the wood as this can lead to warping.

We use anti-reflective Artglass as standard for our framed works, which is the best option for reflective-free and neutral viewing. This incorporates a 70% UV filter to protect your valuable artwork from fading. In addition to traditional glazing, we also offer durable and lightweight Perspex – perfect for larger frames.

Yes. We care about the environment, which is why the wooden mouldings we use for our framing are from sustainable sources that are managed to meet environmental, social and economic needs for the present and future, as certified by the FSC (Forest Stewardship Council) scheme.

Readymade, or shop bought frames, are often popular because of their price and the fact that images can be changed easily and quickly. The cost saving is made by using much cheaper materials and through offering less size and moulding options than a bespoke approach. In terms of archival stability, readymade frames do not offer the same level of protection and are not produced to the same archival materials as we offer.

A passé partout, or window mount is a mount produced using archival grade mount board with a cutout, which is placed over your print and under the glass in a picture frame. This not only offers aesthetic benefits but also adds protection for photographs or artwork (by providing separation between the artwork and glass to prevent damage from any condensation).

When in comes to Passé-Partout’s, or Window Mounts, we only use the finest 8-ply acid-free and neutral PH museum conservation-quality board, which is certified by The Fine Art Trade Guild and offers exceptional preservation qualities that conform to the highest conservation standards.

Both our fabric and standard glazed lightboxes come mains powered, simply plug them in and go!

We can! If you would prefer to add your artwork later on, or if you can’t send your artwork to us because of its fragility or insurance purposes, we can supply frames with flexible pins – so you can place your work inside yourself. We recommend finishing with framing tape.

It can be difficult to know which substrate to mount your work on – there are a lot of choices! Our team are always happy to guide you through the options and to help you find the most suitable solution for your work, but as a guide we generally advise the following suitability: Shorter term applications / lightweight solutions Foamex and Foamboard provide lightweight mounting solutions at an affordable price and are popular for shorter term exhibitions and uses in places where holes for fixings cannot be drilled into the wall. Foamex® is a lightweight mounting board which has a polyurethane foam core and is characterised by its light weight and semi-rigidity, whereas Foamboard is made up of three layers – an inner hard foam polyurethane core clad with a reinforced aluminium layer (adding protection for photographic images) and outer covering of card. Long term applications Dibond and Aluminium mounting are popular substrates to mount to because of their rigidity and the archival nature associated with aluminium because of the lack of degradation to the material over time – making them ideal for work that is required to be archival. Aluminium is thinner, but weightier than Dibond, which is constructed from two 0.3mm aluminium panels around a polyethylene core. Perspex or Glass Face Mounts also provide excellent durability and are a popular choice for those looking for contemporary mounting with added protection from Perspex or Glass for the print. Both are produced by sandwiching the print between a back layer of Dibond and the front layer, of either Perspex or Glass. MDF can be used to achieve a three-dimensional quality on works, and we provide this in two thicknesses: 12mm and 18mm. The edges can either be painted, or left natural, and either keyholes or split battens are provided for hanging. MDF is a popular choice as a relatively cost-effective but long-term mounting solution, with excellent rigidity.

Both Perspex and glass face mounting services provide exceptional finishing for photographs or artwork and use much the same process – the only real difference is the substrate chosen as the top layer of the finished piece. Glass is less prone to scratching than Perspex although Perspex is a much more lightweight substrate and is available in a greater choice of sizes.

No, they are the same mounting process. Perspex Mounting is sometimes referred to as Reverse Perspex Face Mounting due to the fact that the print is mounted behind the Perspex, sandwiched between the Perspex and a Dibond or aluminium backing sheet.

Perspex and Glass Face Mounts do not require a frame as the print is protected by both the Perspex (front) and Dibond (back). This ‘sandwich’ protects the c-type or Giclée Fine Art print much as a traditional frame would. Both styles of mount are finished with a subframe for ease of hanging – a contemporary solution to present your photos.

Dibond, an aluminium composite, is comprised of two ultra-thin 0.3mm aluminium panels sandwiched around a polyethylene core. The aluminium we use is 2mm thick, which is considerably thinner. Mounting on Dibond gives you all the advantages of aluminium but with a significant weight saving – making it ideal for mounting larger photographic prints without any bowing.

Aluminium and Dibond mounts are sealed during the process to add protection to the image. They are, of course, less protected than traditional glazed prints but are favoured for their contemporary aesthetic and frameless finish. Both styles of mount are finished with a subframe for ease of hanging. Additionally, Dibond and Aluminium mounting are popular substrates to mount to because of their rigidity and the archival nature associated with aluminium because of the lack of degradation to the material over time – making them ideal for work that is required to be archival.

Both Foamex and Foamboard are exceptionally lightweight and ideal cost-effective mounting solutions. Foamex generally has a better strength to weight ratio than Foamboard – so it will not be as easily damaged, we generally recommend Foamex where mounted photographs or artwork will be exhibited multiple times.

This term is sometimes used to describe materials that may have acidic content but have been buffered to increase their PH value. A neutral or alkaline pH value will provide a more stable environment for your print to be mounted to, and is linked with longer life expectancy. All our papers, window mounts and boards are acid free to protect and conserve your artwork.

The term archival refers to a material being permanent, durable or chemically stable. As such, the term is non-technical and unenforced.

A backboard is attached to the back of the frame. The material used must be chemically inert or acid free so as not to damage or degrade the print over time.

The term ‘Internal backboard’ describes the board used to protect or help display artwork. Internal backboard is usually visible (although not always) and must be chemically inert or acid free so as not to damage or degrade the print over time.

A box frame uses a spacer or fillet between the glazing and the print. This framing solution is ideal for 3D artworks as the space be adjusted between the glazing and the artwork.

Buffered mount board uses an alkaline filler to raise the pH level from 7.0 (neutral) to 9.5 (high alkaline). This reduces the possibility of acids forming in the layers of the board and is linked with longer life expectancy.

A board is made from layers of compressed paper. Terms such as ‘8-ply’ refer to the layers of paper used – e/g. e.g. 8-ply board is made up from 8 layers of paper.

Conservation level framing uses techniques and materials to help preserve and protect artwork, ensuring longevity for the future. The Fine Art Trade Guild is the UK trade association for the Fine Art Framing industry and has defined five professional levels of framing which are recognised around the globe. Conservation level is the 2nd highest level designed to visually enhance artwork and offer a high level of protection for approximately 20 years under normal conditions.

Both traditional glazing and acrylic can be coated with a layer of fine film, designed to reduce glare and increase the UV filtration and abrasion resistance.

Conservation boards are boards made from purified wood pulp, with the Lignin removed. They contain small amounts of buffering to protect the board from acid pollutants.

Deckled edges are rough and irregularly cut edges of a print. This should be float mounted as this allows the entire print including the edges to be on show.

The process of bonding an artwork to a mounting board using a dry tissue adhesive activated by heat, to keep the artwork permanently flat. The tissue is placed between the artwork and the board and then an iron or heat press will melt the tissue forming a bond between board and the artwork.

Fillets are strips that can be made from wood or plastic, that run through the inner edge of the frame to create a separation between the artwork and the glazing of the frame. Fillets/spacers are used to help prevent mould growth and adhesion to the glass.

The term ‘Float Glass’ is used to describe the standard glass used in picture framing, it is transparent and colourless. The term Float refers to how the glass is made - by pouring molten glass on a bed of molten tin. The molten glass then floats onto the tin and form into the shape of the bed, creating a uniform thickness and flat surface.

Waterwhite glass has a low iron content that makes the glass, essentially, crystal clear. By reducing the iron in the glass this allows more light to pass through.

Waterwhite Glass Low Glare is the same as water white glass but with an additional low glare coating. The standard light reflection on white water glass is 8% but with the low glare coating, this is reduced to 1%.

This is a standard float glass with the additional of an ultraviolet light filter as well as a low glare coating. Regular float glass has a natural filter of 44% but with the additional UV filter and low glare protection, this can be increased to 99%.

Hinges are used to secure an artwork to a backing board or to a mount board are placed on one edge of the artwork. This helps prevent the artwork from falling off, but in worst case scenario it does fall, the hinges will tear off rather than the artwork. Hinges act as extra barrier for the artwork.

Joining is a term used to describe how the edges of a frame are fixed together. There are different methods for this, for example: splicing, screw plug or underpinning. These methods used for joining can depend on the size or type of frame.

MDF stands for Medium Density Fibreboard. MDF is made from wood fibres, which are mixed together with resin and wax and heat pressed to form panels. Medium density refers to how many wood fibres have been broken down to form the MDF.

The term ‘Moulding’ refers to the shape of a wood profile used to make the outer part of a frame.

This is the space between the edge of your artwork and the edge of the mount, which can be increased or decreased to show more or less of the artwork through the aperture of the mount.

A window mount, or passe-partout, is a flat piece of board with an aperture in the middle so your artwork can be viewed through it. A mount is placed on top of an artwork (within a frame) to separate it from the glass and also to enhance the visual appeal of the artwork.

The term ‘Float Mount’ refers to displaying the entire artwork paper for view within the mount aperture. Float mounted prints are often presented with a deckled edge.

Museum level framing is archival grade framing used in museums and galleries worldwide to protect and preserve artwork for display. The fine art trade guild is the UK trade association for the fine art framing industry and has defined five professional levels of framing which are recognised around the globe. Museum is the ultimate level designed to visually enhanced artwork and offer the maximum level of protection for up to 35 years under normal conditions. Museum level framing uses reversible mounting methods to ensure the work framed is left undamaged when removed.

Non reflective glass is glass that has been acid etched on one or two sides to disperse reflective light.

Both terms are brand names used to describe Acrylic.

Split battens are a method of hanging artwork to the wall using corresponding strips of wood. One strip is fixed to the mount and the other is placed to fixed to your wall. The mount will simply ‘hook’ onto the attached batten on the wall.

A sub frame, or subframe is an inner frame that acts as a support system to secure the artwork inside the frame. This is placed behind the artwork and secured with screws. Sub-frames/strainers can also act as a hanging system. As support frames, subframes are particularly used on very large or extremely thin frames.