All our mouldings are milled to our own specifications and we are not restricted to a small number of standard profiles. This makes it possible for us to mill new shapes when a customer needs something quite specific.

The woods that we use are ash, cherry, larch, beech, birch, lime, oak, maple, sapele, tulip and walnut. All of these come from renewable sources. No tropical woods are used.

We use a variety of methods in the construction of frames using the most appropriate for each size and type of wood. Our frames are joined for maximum strength in a way that prevents any opening at the corners that can often happen over time.

We offer a range of stained and spray painted finishes. Some woods can be sanded smooth and left plain, others can be stained, sealed and waxed, others to a lacquered high gloss. We have samples that show all the variations of colour and types of wood.

We use only the highest quality museum board for mounts.

Artwork can be window or float mounted depending on the style and nature of the artwork. We use a variety of hinging methods but all to an archival standard and with acid and solvent free materials.

We can make multiple window mounts within the same frame, double thickness mounts for a deep bevel, raised float mounts, the mounting of books and other heavy objects.

We can also dry mount artwork when it is important to keep things flat or when artwork such as large photographs is sensitive to moisture and temperature change.

We can give advice about the aesthetics of mounting artwork, the kind of space that a picture needs around it, whether it is better to float or window mount and the colour of the mount board.

The mount board that we use in most cases is white or off white, occasionally cream or black. We believe that neutrality and understatement are key to the best presentation of artwork.

It is in the choice of glazing that produces the greatest variable in both effect and cost.

We have a make of 2mm picture glass that has good clarity and we use this when cost is an issue.

We also offer conservation glass or UV acrylic which eliminates nearly all harmful UV rays.

If reflections need to be reduced or if the artwork is very dark, we can use an anti-reflective glass which gives almost perfect clarity.

Museum glass which is an anti-reflective glass with a UV filtering coating gives both clarity and protection from harmful sunlight. We also offer Optium acrylic that is a anti reflective UV filtering acrylic

Large frames over a certain size have to be glazed with acrylic. This has the advantage of making frames safe and more easily transported. We can also offer a scratch-resistant form of acrylic. Laminated glass can also be used for safety.

The backboards are made of MDF or Corri-cor in a thickness suitable for each frame.

Most of our frames are sealed with gummed paper tape. This keeps the framing pins in place and prevents dust getting into the frame. We do not use any tape that has a solvent adhesive.

Large frames need the addition of a sub frame. This helps to keep the frame rigid and prevents any twisting or bowing of the frame.

There are several ways of hanging the frame. D-rings and cord, strap hangers, mirror plates, security fittings, cleats and split battens. We can of course give advice about which is the most appropriate in each case.

Conservation foam board is sometimes used in large window mounts as a way of keeping artwork flat.

Some artwork such as paintings on canvas are best framed unglazed and fitted into a tray frame with a shadow gap.

We can also make Perspex covers which have something of a clinical look and allow artwork to be seen in the round.

Also, complex frames with five or more sides in regular and irregular shapes, double glazed reversible frames if artwork needs to be seen from both sides.

We will always try to come up with framing solutions whatever the complexities of the project.