Mats, Mats & Mountings
When it comes to photo frames, everything revolves around function and elegance. Framed mattes give a photo or photo a certain amount of detail. Blankets are also used as a great way to conserve a treasured piece of work. The mat plate offers a separating film between the photo or the paint and the acrylics or glasses.
Each of our individual photo mat is made of high grade material. It is the structure, styling, width, form and color of the individual mat that determines how the framed work will look. Frame matting is used to create several different art effect. They can be used, for example, to make sure that some colors attract attention.
Frame mattes make a work of artwork look sophisticated, stylish, classic, cheerful or just in between. Feel free to try a wide range of colors, and if you're not sure, just get in touch with our expert staff to help. Professional mat ting and frame specialists are specialists in this area and can select the right colors and finishes for your image styles.
Frame Now provides a wide range of high quality mat accessories and mat colors for your frame needs. Do you need an individual dimension? Contact us and we will make sure that your individual frame needs are taken into account. Frame matting is sold in various dimensions and forms. Each of our photo frame manufacturers has a degree in art and a wealth of photographic frame manufacturing expertise.
Whatever your frame needs, we can do it.
between the image and the border, protecting the image and changing its look. A mat (or passe-partout in British English) in the photo frames is a thin, shallow sheet of stationery contained in a photo frames that acts as extra decorative element and performs several other more convenient roles, such as the separation of artwork from crystal.
Placing a mat in a border is referred to as dulling, a concept that can usually be used in conjunction with the mat. Sometimes used in English, the word passe-partout (or passe-partout) is used in France. Places an illustration (photo or printing, sketch, etc.) underneath, framed by the section. There are two uses for the passe-partout: first, to avoid the painting coming into contact with the lens, and second, to surround the painting and reinforce its impact.
As a rule, the cut-out in the passe-partout is bevelled to prevent shadowing of the image. You can also use the term in France for the adhesive paper used to glue the back of the image to the border. Among amateurs, the mat for photo frames is best known as an extra decorative element to add visual value to a frame item, sometimes in combination with a filet or more seldom with linings made of wood profiles with a fabric topping.
Though the mat usually contains only one opening per shift, it cannot contain one if an image is "floating" or "above" (placed on the mat), and there are two or more mat, more often with photos of the familiy or images of single members of the familiy than other kinds of artworks.
Usually, if the meshes are coordinated correctly and with care, they are used to direct the gaze to the part or to a certain pivotal component of the part. While the mat is usually seen as something that optimally complements or stages the workpiece, or does not disturb or competes with it (neutral mat is often favored by high-end galleries,[quote required]), there are some instances where the mat is seen by the performer as part of the work.
As described below, meshes can be decorative, used as a finish for the work' s continuity within, or to include three-dimensional considerations, although the latter two are very uncommon. Blankets are quite flexible in the pictorial meaning. As they are usually quite thin (American meshes are usually 1/16 inches thick ), they can be trimmed to a "stack" within a screen, which allows dual, triple or quadrature mattes or even rounding between meshes.
Matting is available in a wide range of colours and hues and, more rarely, in pre-printed samples or styles. Matting can readily be found or modified to incorporate other ornamental characteristics, such as a fabric cover (usually plain or satin, although various kinds of fabric covers are also available from some companies) or other ornamental covers or finishes (such as metal finishes or structured and embossed finishes that may contain ricepaper).
The majority of our matting is available with a blanket, a blanket, a blanket, a black blanket or a plain (cream) blanket, but a few blankets are also available with brilliant blankets of dark colours. One mat with several trendy colours and a watercolour table. With a few exceptions, matting is made of paper-based materials.
It tends to absorb smaller complements to the finish such as inks and paints (a very large diversity of other materials, even humage, has been used) well; fabric-covered matting may also have attached or stitched things such as badges, flag or patch, a technology often used in shadow boxing to prevent things from having to be glued to the carrier.
These panels are usually made of solid brasses and can also be attached to the photo frames themselves if the frames are made of timber. One of the most popular forms of decorations on non fabric-coated matting is the line or line in France and the plate or slab in France. Lines are lines of paper usually printed on the mat with inks or colors, and usually a whole box or corner around the opening in the mat.
It is similar to a line, with the except that it is heavier and made of a decoration that ranges from golden leaves to designs in colour or inks. A lacquered plate in watercolour is usually made in France, which is sometimes also called a watercolour plate.
A V-groove is similar to a line in France. They are used for the same purposes as the line in France. In particular, this applies to matting where the edges are not the same, such as an 11x14 with an 8x10 opening. When archiving or preserving photo frames, matting has a number of important features.
An important function is the separation of the window from the artwork or documents being mounted; this is especially important because the condensed moisture that forms on the inside of the window can be transmitted to the part if it is not kept separate, causing damages caused by moisture, mould or molds.
Pictures should also be removed from the lens, as the lens of the picture is particularly easily damaged and can even detach from its printed origin and adhere to the lens when damp; therefore, any photo of value should be mounted so that the lens does not directly touch the picture.
A further important feature of the mat in archive frame (where the mat used is made of non-acidic and wood-free paper) is carried out during the assembly work. Archiving does not usually involve gluing stationery to the back, as it will prevent someone from securely and simply removing it in the event of damage to a frame, record, or mat, and make it harder to recover a corrupted original or work of artwork.
Instead, such objects are usually placed against the back with cylindrical "photo corners" (tiny rectangular bags into which the edges of the pieces of papers are inserted). Adding extra (albeit light) weights to the mat can help keep a part in place while hiding the back and photo corner.
When archiving, the mat is not stuck to the item or the back, but "hung" with adhesive strip on the back, although when using more than one mat, the mat is usually stuck together. Mat materials come in two major types: sour and " acid-free " (neutral pH).
Old matting (wood paper) is usually sour, as acid-free papermaking has only been widely used or sold in recent years. Whilst most newer matting is acid-free, there are some acids containing grades and you should ask the photo frameer about the acids in the matting if the required lifetime of the frame is more than 75-100 years.
It is important for the long-term preservation of the item that the differences are made because acids can lead to so-called mat burns, i. e. spots of acid that sneak into the exposed item from the outside. Whilst mat burning can sometimes be reversed by brushing the workpiece, brushing may not be possible if the workpiece has been painted in water-soluble paint or varnish such as watercolour.
Therefore, it is important to know whether the mat used is acid-free if the item is to be stored for a long while. In order to measure the pH of an older mat with a blank centre, check whether the centre (visible where the mat has already been cut) is brown or yellow; if so, it is sour.
A number of different types of mat panels exist, all of which are divided by the degree of security provided to the artwork or artefact being frame. Whilst some say that sour frame material should be prevented for all but the transient frame, it is not certain to say that all "acid-free" matting is suitable for long-term use.
Made of 100% 100% organic fibre, it is archived and protects and preserves the content of a framework. It is the most costly available stock, but the discrepancy between real stock prices and those for frames is minimum. Preservation or archive mat board - Made from 100% virgin high alfa cells (wood pulp) and inertly processed for up to 300 years.
Care should be taken when choosing the frame types. Nevertheless, non-archival grade matting may be suited for photo and/or lasing applications which are not designed for long life. In addition, unlike computer printed images, those produced with conventional chemistry using photo films (i.e., darkroom development) are inherently slightly sour, and therefore much less likely to be harmed by non-archival dots.
Furthermore, the right "conservational" framework encompasses all components, not only the mat plate used directly behind the lens, but for this purpose, and due to the shallowness of many smaller frameworks, it is not unusual for mat plates to be used as supports for a photo framework, although foam core and assembly plates tended to be more rigid.
When it comes to long-term preserving, it is also important to ensure that the frameer uses a good method of preserving the frame.