Custom Framing

  • Come and visit us any time with your artwork, no appointment necessary.

    We will have a chat and work with you to choose the best option based on on your tastes and your home, as well as what will work best for your artwork both stylistically and from a protection standpoint.

    We’ll be talking about frames, mat boards and other mounting techniques, glass types and more, catering all of these to your piece. Our advice is all case by case and specific for the piece of art, object or photograph you bring in (we try to find a way to frame anything).

    We’ll compare pricing between all the different options, and find the perfect combo that works for the piece and your budget.

    From there, we put the piece into our production schedule. Our standard turnaround is 2 weeks with some capacity for quick turnaround jobs when needed, just ask us if you need something by a specific date and we’ll do what we can. We will contact you when they are ready for collection.

    Most importantly, ask us as many questions as you like! There is a lot that goes into custom framing, and we’re happy to explain, probably in too much detail, how everything works so that you make an informed choice about your frames.

  • Our standard turn around is 2 weeks. When busy or we have staff on leave this may extend out but we will always tell you what our expected turnaround is when confirming your details at the end of the consultation.

    If you need something quick turnaround, we try our best to have extra capacity to accommodate this. Either touch base to see if we can accommodate your timeline, or mention it at the top of our consultation so we can figure out the best way to make that happen for you. We may need to make some compromises, for example choosing a frame profile we have on hand, in order to get the job out in time.

  • The short answer is yes, probably. Most things in NZ are a lot more susceptible to fading and discolouring due to our lack of ozone and harsh UV conditions. How they are printed/produced is a big factor in whether they are more robust against the UV light, some things are reasonably stable and many are not at all. The question we always ask our customers is ‘Will you be upset if it discolours over time?’ If the answer is yes, UV glass as extra protection is always a good idea to minimise it as much as possible.

    Some things are more delicate than others. We elaborated on all the things that should have UV protection, and what we weigh up when recommending it to our customers, in our ‘How do I know if my artwork will fade?’ article.

    CLICK HERE to read more.

  • Archival materials for framing are papers and boards which will not create an acidic environment around the artwork over time.  Acidity and UV light are the two biggest enemies of framed artwork (although moisture would be a close third).  Traditionally archival materials for framing were made from 100% cotton fibre (“rag” or “cotton rag mat”) which unlike fibre from wood pulp does not contain lignin.  Lignin gives trees their strength but it is not helpful when manufacturing paper and boards and contributes to increasing levels of acidity over time.  However more recently brands have managed to create more affordable alternatives that offer great protection, without the need to be full cotton, referred to as Conservation Grade boards by most brands.

    Acid Free is a bit of a tricky marketing term. You could easily assume this means it will be archival, meaning more likely to remain acid neutral long term, however acid free boards are only acid free at the time they are manufactured, and will develop this acidity over time (some more rapidly than others) which is where Archival Grade boards are considered to be superior in quality.

  • Spacers provide an air gap between the work and the glass which reduces the risk of growth of mould and the opportunity for the artwork to adhere to the glass which normally has fatal outcomes for the artwork.  The use of a mat board around the framed item provides a natural separation due to the thickness of the board itself (typically a little over 1.0mm; and sometimes more).  Items framed without mat board or floated on top of the mat should have spacers installed under the frame rebate (which are relatively invisible) to ensure this gap is established.  Costs can be reduced by eliminating spacers but should only be applied to works of low value, that can be easily replaced and in budget framing situations.


  • Any painting, print or photo on paper will suffer the effects of dust, dirt, moisture and light if not protected by glass or acrylic (Perspex).

    Paintings on board or canvas however are a lot more robust and can typically be displayed without glass. They aren’t prone to fading and also have a protective layer of varnish which can be cleaned or replaced over time by a conservation specialist. 

    We live in a harsh environment for artwork, so we do have some people putting canvases and works on board behind glass for extra protection, however this is not common.

  • There a quite a few options (many more than are listed here) but let’s try and keep it relatively simple.

    • Standard Clear (“float”) Glass: commonly used in framing on work that is not valuable or required to last indefinitely; or not prone to fading; or can be easily replaced.  Clear glass is the cheapest option.
       

    • UV Glass (or more correctly, UV filtering glass):  UV glass protects the framed article from the damaging effects of UV light.  UV not only fades pigments and dyes, but also ages paper causing it discolour and become brittle.  UV Glass is an affordable solution for many framing projects and in a country where UV damage is very high due to our lack of ozone layer, is highly recommended for most items.  Typical application would be paintings on paper, especially delicate watercolours; limited edition prints that will hold value long term; offset prints if required to last more than a few years (this covers a wide range of printed material).
       

    • Acrylic (“Perspex”): Offers two key advantages over glass in being significantly lighter (which is useful for larger works) and much less brittle (in a framing environment is practically indestructible) which is a useful safety feature. It is also useful for works that are to be freighted or items that are frequently transported to shows and displays.  Sometimes we will need to use acrylic as the artwork is too large for sheet glass, which is why it is also available with UV filtering and Museum Grade clarity and reflection control, so your artwork can be protected and look great no matter the size.
       

    • Museum Glass and UV70: These were both wonderful additions to the framing world, although unsurprisingly not without cost.  Museum Glass offers unsurpassed levels of clarity, virtually no reflection, and the highest levels UV filtering, UV70 has the same level of clarity and reflection control but only 70% UV protection.   Most of the great art collections of the world’s galleries today are protected with Museum glass or similar products. The main use case for its use is when something is dark, glossy or detailed, better yet when something is all three. If a piece is going to get a lot of side or harsh down lighting then this is also a great time for these products. For these kinds of situations, standard glass and its reflection will get in the way of the viewing experience. We do however have customers put it on anything they bring to us, as it truly surpasses standard glass in terms of quality.

  • There a quite a few options (many more than are listed here) but let’s try and keep it relatively simple.

    • Standard Clear (“float”) Glass: commonly used in framing on work that is not valuable or required to last indefinitely; or not prone to fading; or can be easily replaced.  Clear glass is the cheapest option.
       

    • UV Glass (or more correctly, UV filtering glass):  UV glass protects the framed article from the damaging effects of UV light.  UV not only fades pigments and dyes, but also ages paper causing it discolour and become brittle.  UV Glass is an affordable solution for many framing projects and in a country where UV damage is very high due to our lack of ozone layer, is highly recommended for most items.  Typical application would be paintings on paper, especially delicate watercolours; limited edition prints that will hold value long term; offset prints if required to last more than a few years (this covers a wide range of printed material).
       

    • Acrylic (“Perspex”): Offers two key advantages over glass in being significantly lighter (which is useful for larger works) and much less brittle (in a framing environment is practically indestructible) which is a useful safety feature. It is also useful for works that are to be freighted or items that are frequently transported to shows and displays.  Sometimes we will need to use acrylic as the artwork is too large for sheet glass, which is why it is also available with UV filtering and Museum Grade clarity and reflection control, so your artwork can be protected and look great no matter the size.
       

    • Museum Glass and UV70: These were both wonderful additions to the framing world, although unsurprisingly not without cost.  Museum Glass offers unsurpassed levels of clarity, virtually no reflection, and the highest levels UV filtering, UV70 has the same level of clarity and reflection control but only 70% UV protection.   Most of the great art collections of the world’s galleries today are protected with Museum glass or similar products. The main use case for its use is when something is dark, glossy or detailed, better yet when something is all three. If a piece is going to get a lot of side or harsh down lighting then this is also a great time for these products. For these kinds of situations, standard glass and its reflection will get in the way of the viewing experience. We do however have customers put it on anything they bring to us, as it truly surpasses standard glass in terms of quality.

  • No we don’t. The main reason for this is the ranges fluctuate often. New things being released, old things being discontinued, and with over 1000 samples on the wall we can’t keep up.

Conservation and Repairs

  • More often than not it is due to acidity in the paper and boards from age, and is called foxing.  Typically it is caused by low quality materials surrounding the print in the frame (see above re acid free vs. archival boards); with pasteboard backings being the most common offender; although old-school mat boards can contribute too. Removing the artwork from this acidic environment is generally enough to arrest the deterioration although the marks won’t go away without professional treatment by a conservator.  If the artwork is actually glued to the backing board then we have a problem as separating them can be difficult and expensive.  This was relatively common practice 30-40 years ago no matter the value of the piece.

    If treated by a conservator, reframing with Archival materials will then better protect it going forward. Reframing using archival grade material without treating the print for the damage done will greatly slow down the progression as it has been removed from the boards causing the damage.

    Sometimes, the acidity is inherent in the substrate that the print or painting is on, occurring in more affordable paper stocks used by hard up artists.  Often even after treatment they will develop acidity again over time.

    Sometimes the damage is mould from being stored in a damp environment. This tends to present slightly darker than foxing, and can often be in clusters spreading from a spot. Mould damage can also be treated by a conservator. When removed from the frame it is in, it is more likely to continue to become an issue over time as the spores are in the artwork. This really needs to be treated or reframing doesn’t really achieve much, the mould will grow and move to the new boards.

  • No we don’t, we have a range of conservation experts who specialise in different things that we send work out to.

    When you bvring the work to us, we will assess it in house and where possible give you a rough estimate, before contacting the appropriate conservator for your item and getting their assessment. They will then take the work to their studios and return it to us when the work is completed.

  • Over time, dirt, dust, stains and a general darkening of the varnish can take a wonderful painting and make it appear dark and gloomy. Other than the occasional delicate dusting, paintings should be cleaned and maintained professionally. Be it a cleaning or stripping and reapplying the varnish, we would be happy to make a recommendation.

  • We can give somewhat of a VERY rough estimate via email if you provide us with photos and measurements of the piece, however many of our conservators need to assess in in person before giving a more definitive quote. The best thing ultimately is for you to bring the work in to us, we may be able to give you a rough estimate on the spot, and then either way we will contact the right specialist for the job who will either take the work to their studio for assessment, or assess on the spot in our workshop and provide you a more accurate estimate. We will then confirm with you before proceeding.

Printing and Print Quality

  • We have a large format high end inkjet printer to make getting your digital files into frames easier.

    Examples of what we have helped our customer with recently:

    • Printing family photos to frame for Mother’s Day

    • Digital download artwork

    • A cartoon scanned and reproduced

    • 35mm scanned and printed (all in house)

    • A series of Wedding Photos

    We do not do copy shop style printing (i.e CV’s, Passport Photos, documents)


  • Inkjet is a common, highly flexible and inexpensive technology which has blossomed in the last 10 years or so.  It comes in various flavours.  The key issue to be aware of is light stability.  High-end inkjet utilises light stable inks and the printed result is often called a Giclee print.  This printing method has largely replaced offset printing for fine-art reproduction as it is cheaper (for modest quantities at least), more light stable, has a superior colour range (“gamut”),  is more flexible with sizes; and gives better results on a wider range of substrates. Generally the unit cost for one or two prints will be much the same as the unit cost for ten or fifty.  This is very significant for artists and publishers as they can print according to demand and come back for more if they sell out (“print on demand”).

    At the other end of the spectrum, photos printed on home-user inkjet printers are often very attractive prints but will not last if exposed to light.  Of course they are cheap and easy to reprint! 

  • There are a lot of things that factor into this, including how big you’re wanting to print things. There are also things like files downloaded from messaging services and some email email clients that will have the quality stripped out for quicker messaging that will ruin the quality for printing. The easiest way for us to answer is for you to send the file over to us for a look.

  • We always recommend WeTransfer, as it is the most user friendly platform we have found for people who aren’t familiar with file sharing.

    We’re happy for you to send these to our email via other file sharing platforms, just ensure that permissions are set in such a way that we have edit/download access rather than just viewing access.

    Some files will send over via email okay depending on the mail client you use. If given the option regarding the size of the file, always choose the biggest option (for example, this is labelled ‘Actual Size’ in the native Apple mail app). We will let you know if we have concerns over the quality on our end.

  • The screen printing process works by combining many different layers on ink to create the dimension in the artwork. Screen printed work then is often quite light-resistant as the layer of ink on the final piece is relatively thick, as well as the ink being really good quality.  They do however benefit from using UV Glass as it will protect the paper from yellowing overtime from sun damage. A lot of the time, screen prints are limited edition and can end up being relatively valuable, so keeping it properly protected will help maintain the best resale price possible and protecting your investment.

  • Pretty much all volume commercial printing on paper in New Zealand is printed offset (also known as lithographic offset).  This includes newspapers, magazines, directories, packaging (including CD slicks and 12” vinyl sleeves) and posters.  The four-colour printing process offers very little resistance to fading when exposed to daylight for a long period of time.   Ink manufacturers offer “light fast inks” which are relatively expensive and therefore not used widely.  They are intended for use on prints and posters that are expected to be displayed for a long period.  However the manufacturers hedge their bets as to the integrity of colour over time and quote “months” of protection rather than years.  There is no practical way of telling what type of ink has been used on a finished print so one should assume a low-level of fade-resistance with offset prints.

Frame Care and Maintenance

  • Firstly check the glass type you have. When framed by us, this will be indicated on the back of the frame if it is anything other than Standard Clear Glass. 

    No matter your glass, do not spray cleaning products directly onto the glass, as the cleaning solution may seep in through the edges and damage the mat, frame or artwork.  Instead spray a soft cloth or paper towel with your cleaning solution before applying it.

    For dusting of all types, a clean microfibre cloth is the most gentle way to clean the frame. Ensure there is no other gunk will mean no scratches on the more delicate glass types.

    For Standard Clear Glass or UV Glass, domestic glass cleaners are ok. They will permanently damage Museum Glass or UV70 (the non reflective clarity glass options) as well as perspex, both the clear and UV versions.  A damp cloth with a spot of methylated sprits works well also.

    For Acrylic (“Plexiglass” or “Perspex”)  use only Acrylic cleaner or a small amount of mild detergent mixed with water and a soft non-abrasive cloth.

    For Museum Glass or UV70, warm water with a clean microfibre cloth, or Isopropanol on a cotton bud for spot cleaning.

    If at all unsure, bring the frame to us and we can do it for you, or give us a call with any questions you have.

  • We’ve seen some nasty damage from accidents that happened in transit, below are our best recommendations to keep you from making those same mistakes.

    • Keeping it clear of hard objects prevents damage to the frame from knocks. 

    • Leave it in the bubble wrap we packed it in until ready to hang, or if moving make sure they are wrapped well in blankets and towels. 

    • Transport frames back-to-back or face-to-face in the car so the hanging hardware doesn’t bruise the frame adjacent.

    • Ensure when placed in the car that the frames are supported, both to prevent twisting as well as sliding when you go around corners or stop suddenly.

    • When carrying the work pick it up by the sides with one hand either side (or two people with big work).  They can be lifted by the wire but it tends to dig in to your hands.

    • Don’t lift by the top edge especially on thinner frames as they can bow under the weight and all sorts of problems can result.

    • Don’t rest it on the corners in order to rotate it (especially with big works). 

    • Try to avoid touching the glazing as finger prints can be pesky to remove.

  • There’s no single answer to this.  It depends on the wall structure (concrete or gib plaster board for example) and the weight and size of the piece to be hung.  We routinely give hooks to our customers – just ask the staff if you require hooks.  They are generally stronger than the hardware store items.  Save yourself the expense of replacing glass and often frames as well as result of a frame falling from the wall.  The artwork commonly suffers damage in a fall too; especially with bits of broken glass skidding around inside the frame.

    The use of a pair of hooks is often useful both to spread the weight and also to improve stability rather than having the work hanging form a single pivot point whereby they are prone to moving out of square.  Position the hooks roughly 25% of the width of the frame in from the edges. Specialist hanging systems are available for heavy items such as big mirrors.  They are more complicated to install however. Professional installers are available for a reasonable fee if you are unsure – ask us for a referral.

    We are often asked about the effectiveness of self-adhesive hanging systems.  Our advice is to follow the instructions and weight specifications carefully.  We only see the results of when they fail in the form of broken glass and frames. This may be due to flakey paint surfaces, dampness and surfaces that have not been prepared according to the manufacturers instructions.

    Putting new string across the back? Don’t use kitchen string! Buy the correct braid or wire from the hardware store or better still come and see us.  Restringing can generally be done on the spot and free of charge.

  • The simple answer is below.  However large and heavy pieces and work hanging in commercial spaces need special consideration for safety and security.  Please discuss with the staff or give us a call for advice.

    1/  Working with another person allows you both to see how the work looks on the wall before hanging; each taking a turn at holding it in situ.  Generally eye level is about the right height but lighting, placement of furniture and so on can influence this.  Also if you have lots of things to hang you may end up stacking things on the wall. 

     2/ Make a small pencil mark on the wall at the top centre of the frame or use a piece of masking tape which doesn’t leave a mark. If the position needs to be very accurate then use a tape measure to get the exact mid-point. 

    3/ Put the picture face down on a flat, soft surface. Measure the distance from the top of the frame to the hanging wire when taut.

    4/ Measure the same distance down from the mark you made on the wall. When you make this measurement, keep the line as vertical as possible. If your picture requires a single hook now you know where it will sit. If more than one hook is desired the proceed as follows. 

    Measure the distance that your wall hooks should be apart (position the hooks about 25% of the width of the frame in from the edge of the frame). Once you know the distance your fixing implements should be apart divide this by 2. Now measure this distance to the left and then to the right of the mark you just made. Use a spirit  level to make sure your fixing implements will be level The tricky bit is that with two wall hooks, the wire will be more taut and the frame will sit higher on the wall.  Someone better at mathematics than us can give you a formula for this.  Otherwise just make an informed guess.

    5/  If you are using nails, hammer these into the correct position, or drill a hole and screw in the screw(s) and associated wall hooks. Make sure that the hook part lines up with your mark, not the top of the hook or the nail! You want the part where the string or wire sits to be on your mark.

    6/ Carefully position the artwork on the hooks.

    7. You can paint out the pencil marks however they often scrub off with a damp, coarse cloth or paper towel or a clean pencil eraser

    This same method can be done by putting these marks on a piece of masking tape, hammering in your hooks on top of it,, them removing the tape from around the hook.