The picture area is the artwork edge that meets the mat. If a piece is to be surface mounted then the actual artwork edge would be the picture area. Everything follows once this has been established.
The border width is the amount of mat that is visible behind the glass. See Acid Free Matboard.
The mat should always be substantially larger than the frame.
Use the range of moulding samples and mat board chevrons available to eliminate combinations and arrive at the one that works.
The studio stocks the most commonly used glass for picture framing, 2mm Soda lime glass, also No-glare glass and acrylic.
Pricing is determined by three factors; size, moulding cost and construction time.
A base price is determined from the size of the backing board area which includes the backing board, a single mat, glass and fittings.
Added to this is the moulding cost and construction time. All measurements and choices are recorded and held for future reference.
If a matt were to be cut with all sides equal, the bottom margin would appear to be narrower than the other three sides. This is a visual illusion, counteracted by making the bottom margin thicker or weighted. This does not apply to oval mats.
More things to consider...
A reveal is the amount of mat board visible once a second or top matt is placed over it. Often the colour of the reveal ‘picks up’ it’s colour from the item being framed.
When an item is float mounted it sits on top of the mat board. As it is closer to the glass, this method requires at least double or triple matting and sometimes a box frame.
Box frames have deep rebates which allow the greatest distance between artwork and glass. Often used for memorabilia framing and float mounted artwork. Mats can also be floated with gaps in between allowing for shadowplay.
Fillets of mat board or balsa wood can be placed under the rabbet of the frame to keep the glass and the artwork separated.
Standard and Deep (Gallery) stretcher bars are stocked for stretching canvas prints.
The acid content of regular mat board will cause a darkening of the paper. This is particularly noticible along the matt window cut out.
The alum used in ordinary matboards is acidic and capable of picking up an appreciable amount of Sulphur Dioxide from the atmosphere; this reacts with the trace heavy metals to turn into sulphuric acid, the fumes of which will attatch to the artwork paper causing it to darken and become brittle.
Matting keeps the artwork from coming into contact with the glass. The difference in temperature between the outside and inside of the frame often causes glass to perspire on the inside.
This moisture as well as damaging inks and colours, will furnish a foothold for fungi, opening the door to mildew and foxing of the paper. See mat-free approach.
Acrylic glazing has a softer surface that wears and scratches easily under normal wear and also attracts dust due to its static electricity. This is why pastels are never recommended to be framed behind acrylic. Pastels should be framed as far as possible from the glass, at least 1/4” about 7mm.
All FSR frames are fitted with frame bumpers. They create a gap between the back of the frame and the wall allowing the free movement of air behind the picture when hung.
All customer items are stored in an A0 sized wooden plan chest.