Framing
To produce a quality-framed picture requires the best equipment matched with the best skilled operators. In the following, we will give you an insight into some of the skills and equipment we have developed in our business.
All our framing and associated work is undertaken in our recently acquired workshop on Cuddies Lane beneath our Shop and Gallery in the village of Colinton. With the acquisition of modern precision machinery we are able to produce the very best product promptly for our customers.
Quick Links
1. Frame Cutting
Our Morso guillotine provides accurate control over mitre cuts of frame mouldings. A precision mitre cut will ensure a neat and strong join at each corner of the frame. This is particularly important on larger narrow frames.
2. Frame Jointing
A computer controlled compressed air under pinner from Cassese recently replaced our manually controlled machine. This machine provides improved control over alignment and butting of the frame moulding. Pre-programming for the many frame moulding shapes improves accuracy and cycle times.
Unless specifically requested, we always glue the mitred joints of the frame.
3. Mount Cutting
We operate a precision semi automatic window mount cutter. An alternative machine cuts oval and circle windows. Thus ensuring accurate widows to minimise art work overlap.
4. Dry Mounting
Many forms of artwork look their best if dry mounted onto mount board or other rigid supporting medium. This is especially so in the case of photographs and posters. All paper and cloth used to support artworks move with variations in temperature and humidity. Where appropriate, dry mounting bonds art work flat for cockle free appearance. For this purpose, we use an electrically operated heat and vacuum bonding press.
Although it is possible to reverse dry mounting, archival or original works should not be dry mounted without considering the long term implications on the artwork.
5. Assembly
Our attention to detail in assembly methods and appearance of your artwork is of the utmost importance to us. Therefore, if we are in any doubt over your selection of frame or mount while your artwork is in our process we will call you to review the situation. Further, we encourage the use conservation level of framing as laid down by the Fine Art Trade Guild. In this way we ensure your picture is correctly assembled and offers the best level of protection.
We can provide a budget level of framing, if specifically requested, for works that are of little value or have a limited display period.
6. Standards
Our skills and services are wide ranging, including framing up to museum level if the artwork warrants this. We can frame pretty much anything including memorabilia, medals, coins, needlework, textiles and fabrics, oils on board or canvas, photographs, watercolours, charcoals and pastels.
The Fine Art Trade Guild specifies five levels of framing utilising different qualities of materials and framing techniques.
These standards range from Minimum through to Museum levels. As this affects the cost and more importantly, the level of protection and conservation for the artwork a brief description of each is given below.
Minimum |
Framing to a minimum quality and budget and is only suitable for low value items. We do not recommend framing at this level.
|
Budget Framing |
This is for the budget conscious using basic grade materiel but is not recommended for any items of value.
|
Commended |
Framing for items of moderate commercial or sentimental value but using "standard" materiel this is an acceptable method.
|
Conservation |
This is our preferred level of workmanship, as all techniques are reversible and uses conservation grade materiel to protect the artwork.
|
Museum |
This is the highest quality level of framing and uses expensive high grade inert and filtered materiel for lifetime protection and image quality.
|
For more framing advice visit the Fine Art Trade Guild web site: www.fineart.co.uk
7. Glazing
There are over fifteen glazing options for the framed work, glass and Perspex options being the most common. Mirror aside, the choice of glass divides into products that offer protection from damaging effects of ultra violet rays (artificial and natural) and those that can offer an almost clear view (minimising the effects from reflection).
8. Conservation
Much of the glazing used in art is unobtrusive depending upon the exposure to light, humidity and temperature changes. Colour fading from ultra violet sources is by far the most common damage. Stains and foxing can be bleached out and careful selection of paper with reduced acid levels by the artists for their works can help preservation. However, colour lost through fading cannot be restored.
Glazing with a U.V filter blocks out over 95% of U.V radiation and preserves family heirlooms, thus ensuring investments retain their value.
9. Reflection
If irritating reflections are likely to occur on a glazed picture exposed to a strong light source (large windows/patio doors) it is worth considering anti reflection glazing material. Acid-etched, diffused or non-reflective glass is a budget option, but clarity will be lost giving a hazy appearance and cannot be recommended for the clear display of the work. The correct solution is to use an optically coated glass giving the clearest picture glass clarity available.
10. Materials
Although we stock over 250 popular frame designs on our premises, 2000 designs are available from our principle suppliers at short notice (within 3 working days) and can be selected from our catalogues. For important works where the finish is paramount we can obtain sample pieces within a few days.
Our range of mount boards exceed the minimum standards appropriate for each level of framing quality laid down by the Fine Art Trade Guild. The preservation as well as the presentation of your artwork is of considerable importance to us and we will guide you on the best selection of quality appropriate to your artwork.
11. Hand Finishes
Few framers have the skills or willingness to offer the comprehensive range of hand finishes.
Our large range of plain (barefaced) natural wood mouldings - oak, beech, ash maple, look good with just a wax finish, whilst we can also stain and/or lime wax ash and oak to bring out the grain. These as well as obeche and ramin can be painted to any design or style you wish, matching room décor.
12. Memorabilia
We have all acquired memorabilia, be it an heirloom or a presentation and as we do not know how to display it, it is filed away in the deepest cupboard or attic. The other option is to frame it and enjoy the memories it recalls. Items we have framed are extensive and we believe we can frame most things, as long as they remain still long enough.
Clients
James Rainey-Brown, Artist and schoolmaster from Merchiston Castle School
Loraine O’Shea, Chairperson Colinton Business Association
"I have been a customer of Colinton Arts for several years. Since Bill took over the business. I have always been impressed by the service offered by Bill and his team. The expertise, efficiency and quality have always been evident in the finished product and in turn the enhancement of my artwork. Personal service is not always what it should be these days, but I find the attention and service I get at Colinton Arts is second to none and is a great asset to our village”
