Frequently Asked Questions:

Custom framing
 
Q: What is custom picture framing? 
A: With custom framing your item is measured, a border size, which looks best, is determined, and using these figures a frame is custom cut to the correct size.  If your item requires a 9 1/4" x 12 7/8" frame, that is what is cut.  Custom framing should never compromise your work of art.

Q: What can I frame? 
A: Frame your collectibles, frame your life, and frame a mirror.  If you love it, frame it.  We can frame just about anything you can imagine.

Q: What does "rabbet" mean?
A: The rabbet is the inside space where your artwork fits into the frame.  The rabbet depth is the width of this space.

Q: What are United Inches? 
A: United Inches is a framing term that you get by adding together one height and one width of your frame.  (i.e.  13 7/16" + 18" = 32 U.I.)  Any fractions of an inch, round up to the next longer inch.

Glass

Q: How should I clean plexi-glass?
A: Plexi-glass is plastic, not glass. Do not use glass cleaners and paper towels or the surface will become cloudy and scratched.  We recommend using a soft, damp, cotton cloth and  plexi-glass cleaner.

Q: How should I clean glass?
A: You need to undusted the surface of the artwork than apply glass cleaner to a cloth and moist it enough to clean the art work never apply cleaner directly to artwork which may cause damages to the mat boards and arts.

Q: You mean there’s more than one kind of glass?
A: Yes! Glass is generally made from sand, soda and lime…just like it was hundreds of years ago. But quality varies, as do features. There are several types of glass:

• Regular Picture Framing Glass – Clear glass of a higher quality, and usually thicker and clearer than ordinary “hardware store” window glass.
• Non-Glare Glass – Picture framing glass that has been lightly etched on one or both sides. It refracts the light to make the surface less reflective. However, it does slightly dull the image under the glass…especially if there are multiple mats.
• Anti-Reflective Glass – A term generally applied to conservation and museum glass whereby the non-glare characteristic is achieved chemically rather than mechanically (as with etching). 
• Conservation Glass – Filters up to 97% of ultraviolet rays with a silica coating bonded to the inside of the glass. Ultraviolet light causes fading and deterioration of artwork.
• Museum Glass – Better than Conservation Glass, Museum Glass is coated with a quartz-like substance that not only blocks UV rays, but does so with no loss of clarity.  Museum glass lacks the objectionable green color when viewed on-edge.

Q: Why should I use TruGuard UV protection glass? 
A: It will help conserve your precious memories, photographs and works of art from damaging sunlight, which, over a period of time, will fade the artwork
 
Cost

Q: Isn’t custom framing expensive?
A: Not when you include the benefits of personal attention, creative design, choice of moldings and other materials, technical knowledge, equipment, and long lasting quality that enhances, protects, and preserves your "suitable for framing" items. Store-bought ready-made frames are great for things that don’t matter too much. They are often made from compressed paper or synthetic materials, and sometimes even cost more than "custom" frames. Most quality custom framers also offer a selection of non-custom, standard size frames.
 
Mounting

Q: What do you mean by "having the image mounted"?
A: Mounting is the process that secures the image (artwork, print, poster, photo, needle art, etc) to a more rigid backing or support. Some techniques are permanent (that is, non-reversible), while others allow the image to be restored to its original configuration without evidence of mounting. Professional framers typically use the following techniques, depending on the situation.

• Dry Mounting – Uses heat sensitive thermoplastic adhesives to bond the image to a substrate.
• Pressure Sensitive Mounting – Uses adhesive materials that become effective under pressure, and that are often "reposition able" until activated by pressure.
• Wet Mounting – The use of either water soluble glues or spray adhesives
• Conservation or Museum Mounting – The use of a mounting process that absolutely allows the image to be returned to its original (unmounted) condition without damage. The mounting is reversible. Thus, it is appropriate for original and limited edition works of art.
• Static or Friction Mounting – Certain materials can be suitably and non-invasively mounted with man-made materials that use static cling to hold the item in place.  Cibochrome photographs are a common example.

Acid-Free

Q: What’s the big deal about acid-free materials?
A: Acids ruin artwork. Wood contains acids. Paper is made from wood. Today, NO credible framer would ever use ordinary paper mats. Insist that matting and mounting materials are acid-free (that is, pH-neutral) and lignon-free. (Lignon is what makes inexpensive paper turn yellow).
Acid free paper mats are manufactured by adding calcium carbonate to "buffer" the acidic characteristics. It works much the way an antacid table calms the stomach!
The BEST material is 100% rag. That is, made from all cotton…not paper. Rag mats are completely inert, and thus the safest matting and mounting board material.
Even wooden frames can be sources of acid that can damage the art that’s intended to be protected. True conservation framers will always line the rabbet of the frame with a sealing tape or coating so that even the frame itself cannot transfer acid to the artwork or mats.
 
More on Mats and Custom Framing Questions

Q: Why do I need a mat?
A: Mats provide two important functions: design/color and protection. Color and texture are important elements in any design. Framed art (photos, needle arts, prints, etc) can almost always be visually enhanced with one or more mats. Better yet, the mat prevents the artwork from coming into direct contact with the glass…a very desirable benefit, especially with photographs, pastels, and other delicate works.
 
Q: Is your framing sent out or done on the premises?
A: All of our framing is done in the shop. When we say that a frame is a "special order" we mean that it is not one of the 300 plus mouldings that we have in stock but is a moulding that is ordered cut to size and joined in our shop. While we can frame a piece in the same day with the mouldings that we stock, the special order frames usually arrive in a couple days and the framing can be completed in less than a week.

Q: Why does framing, in some instances, cost more than the art?
A: The cost of your art in no way relates to the cost of the materials and labor involved in framing the art. Many posters are 24x36 and cost about $20.00 to $30.00. Because of the large size the poster will require more framing materials than a smaller piece. This, along with the cost of labor to prepare the materials and assemble them into a finished framing, will dictate the cost involved. Thus, the cost to frame this large inexpensive poster may exceed the cost to frame a smaller more expensive work of art. There are also a variety of mouldings, matboards and glass that have a wide range of price points. We will be happy to give you an estimate and work with you to achieve the look that you desire and stay within your budget constraints.

Q: Does my art need glass?
A: Glass is usually not used on oil or acrylic paintings. In rare instances, glass is used (with a spacer) to provide extra protection on fragile paintings. Some needleworkers do not like to put glass on needlepoint (which is done with wool yarn) or on cross-stitch. This is acceptable as long as mats are not used. We recommend glass when mats are used because mats are paper and are subject to soiling and warping if left unprotected. Some photographers suggest that their photos do not need glass because they have been "sprayed." We have found that while the coating may protect the photo from ultra-violet fading, it is not protected from scratching and other damage that may be sustained by an unprotected photo. We generally recommend some type of glazing (glass or acrylic) on all other items that are framed.

Q: There are so many choices of glass, which one is right for my framing?
A: Glass, or "glazing," is an area of framing that is constantly changing and new, improved products are being developed regularly. The first step is to decide if you like "regular" or "non-reflective" glass. Regular is a standard clear glass and non-reflective is regular glass that has been etched to reduce reflection, creating a slightly frosted look. Regular glass is usually appropriate and lets you see the most detail, but if you are hanging the piece in a room with a lot of glare, you might need to consider non-reflective glass. We can show you samples of each to help you make the decision. The next decision is if you want conservative glass. Conservative glass comes in both regular and non-reflective. "Conservation" means that a coating has been applied that filters out the ultra-violet rays that cause the colors to fade. Visually, you cannot see a difference between conservation glass and standard glass, but standard glass filters only about 45% of the UV rays and conservation glass filters about 97% of the UV rays. Artwork should never be placed in direct sunlight, but since most rooms get some sort of UV light, conservation glass is an excellent choice to protect your framed piece. Another improvement has been in the area of non-reflective glass. As was previously mentioned, the non reflective glass has a slightly frosted appearance. The new product is "anti-reflective glass" and has virtually no reflection and does not have the frosted look of standard non-reflective. It is nearly invisible on the framed piece. This glass is available as regular AR which filters in the 45% range of UV lights and museum which filters in the 97% range. "Water white" glass is a new type of regular glass that is almost colorless (standard glass has a slight greenish tint) but it only filters only about 25% of the UV rays. Obviously, glass that has gone through more processing in order to change its reflective and UV filtering qualities, will be somewhat more expensive.

We offer all types of glass and show you examples so that you can make an informed decision.

Another type of glazing that you may wish to consider is "acrylic." We usually recommend acrylic on larger pieces because of the weight of a large piece of glass. It is also a good choice if you are planning to ship your framed piece or anytime that you desire a lighter, shatter resistant glazing. Acrylic has the added benefit of filtering approximately 90% of the UV rays.

Q: How do you learn to frame?
A: Many people ask us this question and it is a good question to ask of someone who may be handling your valuable, irreplaceable artwork. Our owner EROL ELMAS has been in the framing business for close to 11 years. Since 1994, he has owned Budget Framer & Gallery 3435 E FIRST AVE DENVER CO. He has a wealth of experience and knowledge. In 1994, he received the designation CPF. CPF stands for "Certified Picture Framer". The CPF test is a three-hour test that can be taken after a year of framing experience. It tests everything from woods and papers used in frames and art to tools, equipment and hardware, color theory, fabric framing, conservation practices, and many more topics. Every five years, a recertification is given with updated information and theories. The test is given by the PPFA (Professional Picture Framers Association), which offers many seminars on framing topics throughout the year to its members. You can be assured that our new employees go through a rigorous training and are closely monitored at all times by one of the CPFs. They start out on the most basic of framing jobs and not until at least a year they fully knowledgeable in all the standard framing procedures. Because we have such a long training period we try very hard to retain our employees. You can feel confident in our expertise.

Q: Do you carry artwork?        
A: Yes, we have a wide selection of artwork. We carry almost all the major publisher of limited editions in the United States. We carry everything from canvas prints, to limited editions, to poster prints. We have numerous catalogs you can check out to view at home and also Virtual Gallery which is a CD-ROM program that allows you to look up thousands of art images selected by subject, artist, title, or price.

Q: Do you offer do-it-yourself framing (DIY)?
A: We offer do-it-yourself framing. Once a popular genre, it has fallen out of favor in more recent years; probably because people are losing so much of their free time! The procedure for DIY is that we cut and join the frames, cut the mats, glass, backing etc. and the customer assembles the framing package with guidance from one of our employees. The money saved is our fitting or labor charge. The customer realizes a greater savings if the art is needle-art because it must be stretched before it is framed and stretching is a labor intensive, and therefore more costly, process. We may charge you 1/3 amount of labor for materials to cover the back of your artwork.

Q: Do you frame needlework?  How should I prepare my needlework before I bring it to be framed?
A: We take pride in our needlework expertise. We have needleworkers on staff, so we realize the time and effort that goes into needlework. Proper framing ensures that the needlework will be preserved for the enjoyment of future generations. Generally needlework is stretched with silk pins, or, if you prefer, we can lace them (pulling with criss-crossed thread). Either method is completely reversible in the event that you want to remove them from their frame. Needlepoint can be blocked at our store; so don't worry if they are not square when you bring them in for framing.

It is very important to keep your cross stitch clean as you work on it. Dirt from hands and hoops usually does not come out and shows up more clearly once they are stretched and framed. You should have at least three inches of fabric bordering the work to permit easy handling during stretching. After the piece is finished you should inspect it thoroughly for missed stitches, loose threads and errors in word or dates.

You should also sign your work. Even if the design is not yours, the labor is. Your signature or initials and a date will become more significant as years go by.

Q: What is your turnaround?        
A: When we started this business, we realized that no matter how long it takes for a customer to get their piece to the shop for framing, once they have selected mats and frames they are very anxious to see the finished product. The term "custom" has come to mean a long wait in the home furnishings industry (drapes, upholstery, furniture etc.). Erol Elmas has always retained a sufficient effort for a quick turnaround. he has made a point of stocking about 100 mouldings (and as many mats and sufficient glass and acrylic) so that last minute framing can be ready for you on the same day. Our usual turnaround for non-rush items is one week. We consider a quick turnaround to be an important part of customer service.