Framing Advice

Dear collector, thank you for your recent investment in a ‘Minna’ Limited Edition print.

We find that our clients usually frame their pieces specifically to their taste or the environment in which it will be displayed. This is an approach we always recommend, however we understand that the number of different framing options available can sometimes be overwhelming, making the decision difficult. For the longevity and preservation of your artwork we strongly recommend that the print is professionally framed. Therefore, we thought it would be helpful if we describe/ illustrate some frames for you, including terminology that your framer will recognise and understand. If you choose to open your print at home, please take great care to lay it on a flat, dust free surface in good light and return it to it’s tube carefully afterwards to give to your framer.

Lighting

Whatever framing choice you make, we do strongly suggest that this artwork is lit. Due to the dark nature of the scene, the true colour and depth of the piece is transformed once light is directed at it. This will greatly enhance it’s impact in a room and allow you to enjoy and explore the details fully. Lighting does not need to be expensive, a simple overhead picture frame light or ideally a small spotlight aimed at the subject would work perfectly.

Frame Quality

Due to the picture’s focus on nature, we recommend a timeless wooden frame painted black or stained dark brown . We normally use a solid wood ash frame with Hoffmann jointing. The ash is very strong, and has a good texture/ grain that shows through a painted finish. The Hoffman jointing ensures that the corners are very robust.

Black Floating Frame

(A contemporary elegant finish)

Select a slim wooden frame, painted black, with visible grain.
The print is then dry-mounted to an aluminium composite backing board (dibond), which is then distance-mounted within a tray frame. This creates a very crisp shadow gap between the frame and the print. *Please note this is a more expensive option than traditional window mounting. If you are concerned about your budget we advise you to view the black window mount option given further down on this page.

Traditional Window Mount

(For anyone wishing to display the signature on their print)

Select a black painted ash frame, with off-white mount: The artwork is then held in position using an archival-grade mount/ mat (solid core, conservation mount board,  conservation backing) and a rigid backing board.  This is a traditional, cost-effective framing method that avoids any permanent fixing/ mounting having to be used, so the artwork can be removed and archived in the future if required.  The mat/mount creates a border around the print so the frame size is made larger to suit.

Slim Black Wooden Frame / Black Window Mount.

This is a more affordable alternative for those wishing to achieve a similar appearance to the black floating frame. All details remain the same as the traditional window mount description given above, simply select a high quality solid black mat.

 Wide Chamfered Dark Wood Frame

*All details as above for a traditional window mount

Borderless, Dark Wood Frame

(Dry-mounting in a borderless frame: This gives a clean, distraction-free finish)

The print is securely and permanently mounted to a rigid backing board in a frame without a mat/ border.  We normally use a 3mm aluminium composite artwork backing (dibond) as this is the industry standard.  Archival-grade spacers/ fillets at the edge of the frame keep the mounted artwork press against the frame but separated from the glass.  Please note that the extents of the image can end up being covered by the spacers/ fillets, but this can be compensated for by slightly oversizing the backing mount.

**Please note this can make the artwork feel smaller than the previous options given. We tend to only use this approach for larger artworks, however it does give a modern elegant look. For those intending to make the print a centrepiece in a room we would not suggest this finish.

Glazing Options

We normally use anti-reflective glass as it is so effective and can greatly enhance your daily enjoyment of the work. However it can be expensive, so one should consider that good positioning and efficient lighting can also negate the need for anti-reflective glass. The fine art photo paper has been tested for longevity with excellent results and therefore we would suggest that UV protected glass is only necessary if the print were to be hung in constant strong direct sunlight.

 Reference Images

(Left) traditional window mount. (Right) dry mounted, borderless wooden frame painted black

(Left) Floating frame. (Right) Close up of ash wood frame, hand painted black, with antique white window mount, spaced for visible signature  / numbering.