Questions
FAQ
A. customersupport@itsyourframe.com
A. All orders are shipped by ground in Federal Express approved shipping cartons.
A. Unless otherwise specified, all orders are shipped by ground from our facility in Houston, Texas. Most orders will deliver within 1-3 days depending on the distance.
A. Absolutely! Please reach out to our customer service via email or phone.
A. New orders will be processed for production each business day morning. If you realize you’ve made a mistake, please reach us within the first 24 hours and we’ll gladly make any changes you need. After that period there may be additional fees to make changes.
A. We custom make frames starting at 4” x 4” and go up to 40” x 60”.
A. Orders will typically be produced and shipped within 3-5 business days from the order date.
A. Although we package exceptionally well, on occasion an item will be damaged during shipping. Not to worry, please contact customer service and we’ll walk you through what we need. Essentially, pictures of the box and the damaged item and we’ll take it from there.
A. At this point no, but please stay tuned……… we plan to roll out additional options and features going forward.
A. Absolutely! Included with each order will be a wire / hanging kit. Each kit contains D rings, screws, and wire.
PayPal, Visa, Mastercard, American Express, and Discover.
Once your purchase has been boxed and labeled for shipping, a tracking number will be sent to the email of record for the purchase.
All orders are custom made, therefore we do not offer refunds or returns.
Glossary
This occurs when artwork is matted and framed using materials that are not conservation quality (acid-free). Acid burn presents as a yellow or brown discoloration on the art paper.
The movement of acid from an acidic material to material of lesser or no acidity, either from direct contact or through exposure to acidic vapors in the surrounding environment.
Paper materials with a pH of around 7 are considered to be acid-free. These materials are less likely to harm artwork over time. Materials with a pH below 6.5 or above a pH of 8.5 are not considered acid-free.
Often called plexiglass (derived from the brand name Plexiglas), acrylic glass is often used in as the clear cover or “glazing” in framing. It is lighter than real (silicate) glass and allows for a clearer, untinted view of the artwork behind it. It does not shatter and can be treated to be archival and UV-resistant.
In picture framing, an adhesive is used to affix the artwork to the mat or backing. Double sided tape or a wet adhesive such as a spray glue can be used. If the piece must maintain archival quality, an adhesive must be used that is acid-free and can be removed without damaging the artwork. Water-activated paper tapes and rice starch are most common.
The additional space provided to avoid overflow or miscalculation in picture framing. Often, the rabbet will have an allowance beyond the thickness of the contents of the frame, so points or brads can be inserted. The framer will also cut your frame with a 1/16" allowance on each side. Should your artwork expand due to humidity or temperature changes in the future, this extra space will prevent buckling.
The width and height of the artwork for which you are purchasing a frame. It is important that these measurements are accurate to 1/16th of an inch, as your frame will be custom made using these dimensions.
Used in a rolling tape dispenser, ATG tape is an alternative to double-sided tape that applies a thin line of adhesive when pressed and rolled along a surface. Available in acid-free, this tape is useful for hinging images to mats or backing prior to fitting art into a picture frame, or for mounting artwork onto backing for frameless displays.
A semi-hard backing is placed behind the art in a frame to keep the artwork safe and prevent warping. The backing is generally a piece of foam board cut to size, and is available in white, black or acid-free (archival). The glazier points or tabs inserted into the back of the frame to keep the artwork in place will press against the backing.
A sloping edge common on picture frames and linen liners. Generally, the approximately 45 degree slope begins at the top of the lip of the frame and slants in toward the artwork.
A shortened term for "composition ornamentation", a method of applying raised designs to a flat surface. In picture framing, it is the application of decoration to the frame face. A mold is made of the desired design, from clay or plaster, and then pressed onto the wood face. Once the entire piece is painted or otherwise finished, the molded design and the wood frame appear as a single piece.
Conservation picture framing results in an archival quality display, and ensures that whatever processes are done to the art can be reversed without damaging the original piece. It requires the use of acid-free materials (paper, backing, adhesives) and UV-protective glass or plexiglass.
Clear plastic corners for securing / mounting artwork or photography to foam core mounting surface
Thick, sturdy paper comprised of two smooth layers with a layer of ridged paper in between. Used as a packing material and as a backing.
Hanging hardware commonly used to hang picture frames and gallery wrapped canvases. This style of hanger has a D-shaped metal opening attached to a flat metal strip that can be nailed or screwed into the wood of the frame. Hanging wire is then strung between the rings on either side of the frame.
The feathery, uneven edge of some handmade or purposefully cut papers - common in old manuscript and book pages. Float mounting is ideal for these pieces, to fully highlight the historical significance of the style.
When mats are layered in a picture frame, the top mat forms the main border and the bottom mat shows slightly, just around the image (called the "reveal"). Double mats give an extra sense of depth to the framed piece.
The face of the picture frame (or molding) is the part of the frame you can see when standing directly in front of it while it hangs on the wall. It includes only the frame itself, not the space between the sides, nor the artwork within. The face is generally the decorated or sculpted part of the frame. The frame face width refers to the measurement from the outer edge of one side to the inner edge of the same side. It does not include the perpendicular edge (the height).
The act of securing your artwork bundle (plexiglass, mat, art, backing) in the frame. Glazier points, thin metal tabs or nails may be pressed into the wood of the frame against the backing, using a hammer or other tool. Alternately, turn buttons can be affixed to the back of the frame, which allow for simple removal and replacement of the art.
A picture framing style that creates a shadow between the image and the backing. The artwork is raised off the backing with a panel concealed behind the image. The glass and frame are cut larger than the artwork so the backing (often mat board) is visible as a recessed border. A frame with a deep rabbet is required for this style.
A light but firm material used as the backing in framed artwork. It is constructed of a thin (approximately 1/4”) foam sheet sandwiched between layers of thick, generally glossy, paper.
Refers to the dimensions of the matted artwork that will be placed in the picture frame. For example, if the artwork is 8x10", with a 2" mat, the frame size is 12x14". The framer will automatically add an additional 1/8" to both dimensions to allow for expansion of the art over time. This additional amount is not included in the frame size.
The clear cover placed over an artwork within a frame; this may be plastic, plexiglass or real glass.
The process of adhering artwork to a backing or mounting board. Acid-free tape is attached to the top of the work and another strip is placed over the top to secure it on both surfaces. Try to hinge only from the top so the artwork is able to hang freely. This helps prevent the piece from buckling, as it enables the different components — artwork, frame, mat, mounting board, etc. — to expand and contract at their own rates with the temperature and humidity.
This is the measurement of the space into which your artwork will be placed. If the frame is intended for an 11x14" image, the inside size will likely be approximately 11 1/8" x 14 1/8". 1/16" is added to each side to accommodate the potential expansion of the contents due to humidity and temperature changes.
Refers to the angle at which the framed or canvas image is hung. Landscape oriented images are those displayed lengthwise, so that the top edge (parallel to the floor) is the long dimension of the painting, and the side edge is the short dimension.
The inner edge of the picture frame, that is thinner than the rest of the frame. The lip conceals the rabbet and provides an extension that keeps the artwork from simply falling through the frame. Often, the lip of the picture frame is ornamented or painted a different color from the rest of the frame.
A mat serves two purposes within a picture frame: first, to prevent the image from touching the glass, and second, to frame the image and enhance its visual appeal.
Refers to the hue or shade of the mat board which will be cut to border an artwork within a picture frame. Mats are available in almost any color, though shades of white and cream are most common.
A joint created by cutting two pieces of material at 45 degree angles and affixing them together to create a 90 degree corner. A miter is the most common type of corner used in picture framing.
The lengths of picture framing material that will be cut and shaped into a custom-size picture frame. Moldings are made from a variety of materials, including wood, metal and Styrofoam.
Another term for conservation or archival-grade matboard. To qualify, matting must be acid-free in order to prevent damage to the artwork as time wears on. Our museum core matboard is made from 100% virgin cotton rag that is bleed and fade resistant and buffered with calcium carbonite.
Glass where one or both surfaces have been treated chemically or mechanically to slightly roughen the surface, causing reflected incident light to be dispersed in all directions. Because the glass surface is not smooth, art images behind the glass tend to be softened. The softness depends on how far the art is from the glass. No more than two or three mats are recommended to be used with non-glare glass. If clarity is desired, objects in deep frames (shadow boxes) should not be displayed with non-glare glass.
Acrylic where one or both surfaces have been treated chemically or mechanically to slightly roughen the surface, causing reflected incident light to be dispersed in all directions, minimizing glare. Because the glass surface is not smooth, art images behind the glass tend to be softened. The softness depends on how far the art is from the glass. No more than two or three mats are recommended to be used with non-glare glass. If clarity is desired, objects in deep frames (shadow boxes) should not be displayed with non-glare glass.
This measurement refers to the total size of the picture frame, from one outer edge of the frame to the other. In picture framing, this measurement is rarely used, unless the amount of space the frame will take on the wall is an important consideration.
Similar to "offset", this refers to the amount of the artwork a picture frame lip or mat will cover on each side of the piece. An overlap is necessary to keep the contents behind from falling through the opening.
A widely accepted term for the acrylic glass often used in as the clear cover or “glazing” in framing (derived from the brand name Plexiglas). Acrylic glass is lighter than real (silicate) glass and allows for a clearer, untinted view of the artwork behind it. It does not shatter and can be treated to be archival and UV-resistant.
"Plies are the layers pressed together to create a piece of paper. The more plies, the thicker the paper (think 2-ply facial tissue). In picture framing, ply applies primarily to mat boards.
Mat boards are available in 2-ply, 4-ply, 6-ply and 8-ply. With each larger number, the mat board is thicker."
Refers to the angle at which the framed or canvas image is hung. Portrait oriented images are those displayed so that the top edge (parallel to the floor) is the short dimension of the painting, and the side edge is the long dimension.
The profile refers to the cross section of a picture frame molding, which shows the height, face width and shape (bevelled, scoop, etc), rabbet and lip.
The inner lip of a frame in which the picture framing materials, including the glass, mats, artwork, and backing, are held. Selecting a frame with an appropriate rabbet is an important part of the work of a professional framer.
The measurement of the space behind the inner lip of the picture frame, between the lip and the back of the frame. This is the amount of space available for the frame contents. Multiple mats and thick backing may require a deeper rabbet.
A copyrighted term for a specific brand of non-glare picture cover glass. One side of the glass is etched (scratched) to create an uneven surface off which light is scattered, providing a matte, glare-free view of the image underneath.
A simple mat display within a frame, generally consisting of only one mat layer with an equal border all around and a square or rectangular viewing window.
Also called "reverse profile". Refers to a picture frame face style in which the highest part of the frame is at the inner lip, and the face slopes or scoops away toward the outside edge. Reverse moldings can add dimension and interest to the artwork, but also risk drawing the eye away from the central image.
A picture frame face design that has a concave curve. Generally the outer edge is higher than the inner edge, drawing the eye toward the image.
Metal hardware used to hang picture frames that is made of a triangular metal hoop or D-ring, with a flat metal length doubled over around it, through which the screws or nails are placed. Depending on the size of the frame, a framer may use a 1-hole, 2-hole, 3-hole or even 4-hole hanger, with the screws running down the length of the frame moulding.
Metal hardware used to hang picture frames that is made of a triangular metal hoop or D-ring, with a flat metal length doubled over around it, through which the screws or nails are placed. Depending on the size of the frame, a framer may use a 1-hole, 2-hole, 3-hole or even 4-hole hanger, with the screws running down the length of the frame moulding.
A process that results in discoloration of a mat board, backing, Resin Coating or artwork paper. Yellowing is caused by exposure to light, or chemical reactions that cause the substances added to whiten the paper to break down over time.