Fine Art Framing 101

Inside the woodshop at Adjective's Stoughton facility

Whether it’s extravagantly carved and accented with 23 karat yellow gold or simple natural maple, a picture frame's primary goal is to protect our art. Frames create an outer shell that safeguards valuable and nostalgic works from damaging environmental conditions. But what goes into choosing the right one? When to use glazing (what even is glazing?) and how to pick a style or color? I spoke with three local framers to learn what goes into custom framing, and why it matters. Thanks to experts Liz Levitt of A Street Frames, Alex Jacobson of Adjective Art & Framing and Richard Siegel of Stanhope Framers who contributed insights and technical details for this article.

The information is intended to help you learn more about what goes into framing and why it is important for your artwork. And yes, it can be expensive and time consuming to select the right frame, but I’ll explain why it matters. Investing time and money into the process is like finding a good doctor. The right framer, as Richard explains, will “strongly advise on the structural components and then work with the customer on the aesthetic decisions. It’s a symbiotic relationship.”

Why Custom Framing

Long lasting quality, archival materials and expert workmanship are the main reasons to go with custom framing. At a custom shop, the frames start as raw materials and they design, construct and fit each component exclusively for the piece it’s designed for. In Adjective’s 7,000 sf Stoughton woodshop, every piece goes through an elaborate and high tech process that ensures the art is handled by as few people as possible. The art piece itself is securely wrapped in archival materials, stored on shelves or in flat files and barcoded to keep it safe through the process that can include up to 15 different steps.

Custom framers use hardwoods, a specific class of wood from deciduous trees. The denser, harder grain structure makes for a stronger frame. These woods include maple, cherry, ash and walnut. Adjective works with lumber suppliers based in Vermont and New Hampshire, with sustainably farmed wood coming from Northern New England and South Eastern Canada. Richard at Stanhope Framers explains that every wood takes on finishes differently. For example, walnut looks beautiful natural or stained, while maple is more suited to a lacquer finish. So your desired finish type is one factor in determining the type of wood you select.

Most of the employees at these shops have backgrounds as fine artists and artisans, and many have trained in art schools or apprenticed along the way. They are all passionate about their work and agree about their favorite part of the job. As Richard says, the “best perk is the endless treat of seeing beautiful work” pass through their hands. Most framers have stories of memorable jobs or favorite pieces. Richard remembers an Alberto Giacometti ink drawing that was only 3 x 5 inches. He worked on that piece 20 years ago and still thinks back to it. Alex recalls the massive Christiane Baumgartner prints he framed for an exhibition at the Davis Museum. The German artist is best known for her monumental woodcuts. The prints were 100 x 140” and the frames had to be built in the shop, disassembled for transport and then reassembled on site.

Richard Siegel, in Stanhope's Somerville shop, opening the frame of a Joel Meyerowitz photograph

Selecting the Right Frame

A frame's foremost function is to protect the art. That includes considering any special needs for the particular media. Works on paper and photography have very specific mounting requirements, and a custom framer can help you determine the best type of glazing. Even within photography there are different needs for vintage prints versus contemporary inkjet prints. Glazing, which is the term for the glass or acrylic used in framing, is used to protect works on paper. Acrylic is also referred to as plexi, and custom framers will always use UV filtered glazing. Glass is used on smaller pieces, while acrylic has become increasingly common for all pieces and always for works larger than 36 x 48 inches. Liz Levitt, of A Street Frames, explains that “glass larger than that is dangerous for anyone to work with and actually constitutes a danger to the artwork itself.”

Liz Levitt in front of Anish Kapoor's Halo at the Peabody Essex Museum

The frame’s secondary function is aesthetic. In deciding on the frame, Liz says she considers “the type of artwork, where it is hanging in the room and what kind of style the client has in their home or office. We also consider what the client wants the piece to say. Does it need to be quiet and recede into the background, or does the piece need attention called to it?” The range of options and materials makes the decision making process complex and many customers are afraid of making a mistake. Alex Jacobson, a veteran framer and the owner of Adjective Art & Frames, says “My job is to be the expert and guide the client to the right frame, just like an advisor.”

What are Archival Materials

You have probably heard the terms 100% acid-free or UV resistant glass (or plexi). These are museum-grade materials that are used to ensure the work remains in the same condition as when it was framed. Also known as “conservation framing” or “preservation framing,” every material, from the tape that secures a work on paper to the matting, is selected to prevent condition issues such as fading or color bleed. Harmful environmental factors include light (sunlight and ambient light), moisture, temperature fluctuations, dust/pollution and movement. While you should always place art in the safest surroundings possible, the right frame will serve as an important protective barrier to these frequently unavoidable conditions.

Inexpensive mats and frames can actually cause damage. By putting acidic materials into contact with artwork, the piece can age and discolor in a matter of months. So archival materials are always worth the investment.

Why Does it Take so Long

While it depends on the shop, most custom orders are completed in 2-4 weeks. The pandemic has pushed some lead times out, due to reduced staffing along the production chain (even they need to social distance), but rush jobs can often be accommodated.

As the piece goes through the production cycle, each artisan cuts, crafts and finishes their part of the process. This labor intensive operation usually involves 5-8 people and up to 15 different steps. From cutting, sanding and staining materials, fitting and wrapping, the process is getting faster and more precise thanks to new technology and software. Alex relies on high tech production tracking software to know how far along a piece is and what’s needed next. It’s also helpful when the client needs an update on the completion date. Soon clients will be able to login to his system to follow the updates and track the finish time themselves.

Alex Jacobson in the Adjective Art & Framing woodshop

Why is it so Expensive

Sustainably sourced materials, quality artisans, hand made - all these factors add up. In a custom shop, everything is fabricated specifically for the piece, nothing is pre-cut. The materials are 100% archival, glazing includes a UV filter and the frames are intended to last for decades. The best way to think about it, Richard advised, is “to amortize the cost of framing over how long you plan to keep the piece.” He says that they don’t try to up-sell more expensive materials, but the goal is to give the client what they will be happiest with. The custom shops I spoke to also make a practice of paying their workers a living wage, including healthcare and retirement benefits.