How the work is framed

A NOTE ON FRAMING

A felt cotton print and a textured metallic one do not sit the same way behind glass. So I frame each piece to the work itself, the same way I choose the paper. Solid Swedish pine, cut to the sheet. Acid-free all the way through. The glass and the mount chosen for the paper in front of them.

The atelier frames in solid Swedish pine, locally made and cut to each work, with a slim 15mm face. Inside, everything is acid-free and pH-neutral: backing, hinges, and tapes. The standard glazing is 2mm float glass; the art-glass option upgrades to hand-cut Museum Glass, which filters UV and cuts glare. Mounts run from a flush mount to a raised float, or a shadow box for textured and metallic papers.

The art glass earns its place where daylight is direct, keeping glare and ultraviolet off the print. The mount is the other choice: a flush mount sits the sheet level, a raised float lifts it off the backing so the deckled edge shows, and a shadow box gives a textured or metallic paper room behind the glass so its surface is never pressed flat.

Keep the print out of direct sunlight and away from damp. The prints use pigment inks on acid-free archival fine art paper, which resist fading and yellowing far better than dye-based photo prints. For the most protection, frame behind UV-filtering glass, and ask the framer for a spacer mount so the textured paper is not pressed flat against the glass. Handle the sheet by its edges with clean hands or cotton gloves.

The spacer mount the care note asks for keeps the textured surface off the glass, so the paper can hold its own light. The raised float and the shadow box do the same. If the atelier frames the work, that spacing is already built in.