We're pleased to announce we will be offering full-service framing for all our prints in the coming months, this service will be available to add onto your order at check-out with the flexibility of frame colour choice.
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In the meantime, below is a comprehensive summary of the different framing elements and is a guide to to help you choose the best option for you and your needs. If you need any help choosing framers or framing options, please don’t hesitate to contact us at email@example.com, along with your order number - we’re more than happy to help!
If you've bought any of our 'easy-frame' universal print options (any A4 to A1 sized print), you can have this professionally framed, or you can frame this yourself using a store bought frame.
The most important thing to remember is to ensure you have clean, dry hands before handling your print so as not to damage or mark your beautiful new print.
Keep the print in the tissue paper to protect it and then carefully unroll the prints, putting these under a couple of heavy books to help flatten them out. You can leave these there to flatten for a couple of hours or up to 24-48 hours.
Then depending on which store bought frame you go with (IKEA, Country Road etc), framing your new print yourself should just be a matter of simply taking out the back of the frame, slipping your beautiful new print into the frame and securing it at the back with the backboard.
Take care to minimise your direct handling of the print and be gentle when inserting this into the frame so as not to damage or crease your print when framing.
**WHEN YOU RECEIVE YOUR PRINT**
We strongly recommend not opening your mailing tube when you receive it so as not to damage or mark your print. To avoid natural oils on the skin deteriorating the archival cotton rag or unwanted creases or damage while unrolling your print, we suggest leaving this to a professional framer who can show you the print before framing.
One thing to keep in mind, framing is not just framing, when obtaining quotes for your frame it is important to understand that all frames are made by hand and you pay for the quality that you're getting. Below are some of the different components that will affect the price and quality of your newly framed Giclée Studios print.
Dry mounting is the process used to adhere prints or artwork to a rigid backing (substrate) before they can be framed. Choosing the right substrate to mount your new Giclée print on will influence how long your print will remain looking its best. The more rigid the substrate, the better your print will cope with any temperature or humidity fluctuations.
Dibond (Aluminium Composite Panel)
The gold standard for dry mounting, Dibond® or commonly known as Aluminium Composite Panel (ACP) combines two 0.3 mm aluminium surface layers that sandwich a polyethylene core. This premium option is the choice of professional photographers and museums. Generally the most expensive, however offers the most stability and durability over a long period of time.
Gator Board or KAPA®mount (Aluminium Lined Foamed Core Board)
A very close second yet slightly more cost effective is KAPA®mount, an aluminium lined foam core board that has excellent warp resistance when compared to standard paper lined foam core. Used by professional artists and
photographers and is considered an exhibition grade framing around the word, the aluminium lining will ensure your print stays flat for many years to come.
Foam Core Board
Foam core is the cheapest and the most common option suggested by framers and can come in multiple widths (5mm and 10mm being the most common). We recommend avoiding light-weight foam core for any prints larger than 60cm x 80cm as prints larger than this are more likely to warp over time. Foam core is a great option for smaller prints, we'd highly recommend using a denser foam core for larger prints to ensure your prints maintains its integrity over time. If you're unsure, please don't hesitate to contact us for support.
Tru Vue® Glass
The best option when selecting glass for your frame, Tru Vue® manufactures this non-reflective glass that will allow your print to be seen from all angles in all light conditions without interference. Used by premium framers and museums, we highly recommend investing in Tru Vue® glass when selecting glazing for your frame.
Standard glass is the cheapest and will generally be 3mm thick. This is a suitable option for cheaper framing and in the right light conditions will allow your print to be seen perfectly from most angles.
Arylic offers a similar optic to standard glass, however it is actually the more expensive option. The advantage of acrylic is that it is easily transported as it won’t break and damage your print. The disadvantage of some acrylic qualities is that it can show some slight signs of warping on certain angles when used for prints over 60cm x 80cm in size unless it is museum grade acrylic.
FRAME DESIGN AND COLOUR
Frame colour is always personal and depends on the surrounding space where your print will be hung. We’re happy to offer our thoughts on which frame colours would suit each print, but when looking at your space we recommend matching the frame in with similar or neutral colours to the colours in your space.
There are 2 main types of moulding (main frame profile), Custom or stock moulding. Premium framers generally make their own moulding that sets them apart, when doing this they have complete control of the quality, finish and colour of the frame. Most quality framers will hand paint and stain their timber to get the perfect finish to suit your needs.
Stock moulding profiles are often much cheaper and generally a very smooth or artificial timber look with cheaper look and feel to them. In some cases this is perfect for the look you are looking for, that’s fine but be aware that
these types of frames may not last as well over time, especially if they are at a larger size.
SPACER VS. GLASS MOUNTED
We strongly, strongly recommend getting a frame that includes a spacer.
A spacer is a thin strip that sits between the glass of your frame and the dry mounted print, it gives the print some breathing room so it’s not pressed up against the glass and also helps to protect your print.
Cheap framing quotes will most likely not have a spacer included, this method is called Glass mounting. It’s much faster, easier and cheaper for framers to use this method and we recommend avoiding this where possible and insisting with your framer that they use spacers between the glass and print. If they can’t do it, we suggest finding another framer.
When asked what colour space you would like, this is out rule of thumb;
Prints with a white border – White spacer.
Full bleed print (printed right to the edge, no border) – Match the spacer colour to the colour of the frame.
That is a very comprehensive overview of everything you need to know to get your new print framed and ready to hang in its new home! If you need any further information, advice or even recommendations for framers in your area, please don’t hesitate to contact us at firstname.lastname@example.org.
We always love seeing our prints in their new homes, so please tag us in your social media or email us a photo of your print once it’s framed. We would love to see it!
Thankyou again for your support,
The Giclée Studios Team xx