Framer's Loft: Glossary

Glossary of Picture Framing Terms
acid-free	adj.	A chemical process by which paper products are treated to neutralize acids, rosin, and lignin which would otherwise stain artwork.
archival	adj.	More or less interchangeable terms denoting the materials used in or the process of minimizing the deterioration of framed artwork over time. This may include acid-free or rag mat boards and backing, acid-free tapes or acrylic corner mounts, and ultraviolet filtration glazing materials.
conservation
museum
gallery
art	n.	Pretty much whatever YOU choose to call art … and anything worthy of framing.
artist’s proof	n.	Traditionally, a print retained for the artist’s for own use or sale bearing the designation A/P; and, by convention, limited to 5 prints total or not more than 5% of the limited edition print run. The “numerator” indicates the number of the print; the “denominator” indicates the total quantity of the artist’s edition, e.g., “A/P 9/12”. See “Limited Edition”.
bevel	n.	The exposed core of the mat visible in a window opening. Designed to reduce shadows falling on the art, bevels may be painted or gilded, but are most frequently white, black, or cream colored.
block	v.	To adjust badly distorted needle point prior to being stretched. Unneeded if canvas is square. Rarely needed with cross stitch or crewel.
bumpers	n.	Small pads, made of rubber, cork, or felt, placed on the bottom corners of the back of a frame. Designed to allow air to circulate behind the frame, bumpers help stabilize a hanging frame and reduce damage to walls.
dry mount	v.	To bond art work to a backing material with an adhesive tissue using heat and pressure. Dry mounting should be considered irreversible.
dust cover	n.	A barrier (usually paper) fixed to the back of a wood frame with glazing to prevent dust and insects from entering the frame package. Most dust covers are not impervious to moisture or environmental contaminants.
E. A.	n.	Épreuve d’Artiste (French). See "Artist’s Proof".
encapsulation	n.	A conservation technique by which fragile or two sided documents are sealed between two sheets of Polyester or Mylar to provide support and protection from handling and atmospheric contaminants. Unlike lamination, the document is not permanently fixed to the enclosure and can be removed.
engraving	n.	An intaglio process of printing from a metal plate e.g. copper, relief, steel, stone and wood, which has been inscribed with a sharp tool called a burin. The prints are characterized by clean, sharp, regular lines used to create depth and perspective.
etching	n.	An intaglio process using a tool in incise a design on a metal plate that has been coated with an acid-resistant substance (a ground). The plate is exposed to an acid bath which etches the exposed areas. The resulting prints are characterized by a greater variety of tonal values but less regularity of line than with an engraving.
fillet	n.	pronounced: fill-it – American version pronounced: fil-lay – snobby version Thin decorative strips of wood or plastic placed in the bevel of a mat or under the lip of a wood frame.
fit	v.	To place and secure artwork, glass, mats, and/or backing into a picture frame.
fit	n.	The reaction by a customer to the cost of picture framing.
float	v.	Techniques to secure items such as papyrus or post cards so that the edge borders of the art are visible.
float mat	n.	A window mat raised and separated from the support backing by spacers.
float frame	n.	A contemporary molding style designed to give artwork the appearance of being unattached to the frame.
foxing	n.	A discoloration of paper characterized by dull rusty spots or patches attributed to mold growth or impurities in the paper’s manufacture. This condition may develop or be accelerated if the paper is exposed to extreme light or dampness.
giclée	n.	pronounced: zhee-clay 1. A type of digital fine-art print. 2. Most often associated with reproductions; a giclée is a multiple print or exact copy of an original work of art that was created by conventional means (painting, drawing, etc.), then reproduced digitally – typically via inkjet printing.
intaglio	n.	A process wherein a design is incised below the surface of a printing plate using a sharp tool.
key	n.	A wedge shaped object made of wood or plastic used in the slots of stretcher bars to spread the corners and tighten the mounted canvas.
lamination	n.	A non-conservation technique of fusing documents into a thermoplastic material similar to a drivers license. Unlike encapsulation, the document is permanently fixed to the enclosure and cannot be removed.
limited edition	n.	The issue of collectable art, such as prints or photos, fixed to a certain quantity of numbered copies. The “numerator” indicates the number of the print; the “denominator” indicates the total quantity of the edition, e.g., “135/250”. Once the issue is complete, the printing plate or negative is supposedly destroyed. See “Artist’s Proof”
liner	n.	An inner wood frame often fabric covered used occasionally between art on canvas (oils and acrylics) and a more ornate supporting wooden frame. Seldom used with glazed art.
lithograph	n.	A print made from a flat stone or metal plate by a method based on the repulsion between grease and water. The design is put on the surface with a greasy material and water and ink are successively applied; the greasy parts repel water and absorb ink, but the wet parts do not. This process was traditionally done by hand but is now more commonly accomplished by photomechanical printing presses.
mat	n.	A cardboard or cardboard-like (e.g. cotton) material with one or more "window" openings cut to display an underlying image.
matte	adj.	Flat, non-reflective surfaces. ANT: shiny, glossy.
Matt	n.	Nickname for Matthew or Matilda.
mount	v.	To fix and position artwork into a mat or onto a backing material.
poster	n.	Art with or without illustration containing descriptive information designed to advertise or publicize a product, service or event. Generally printed on a paper or a cardboard medium, posters may occasionally be printed or mounted onto canvas.
print	n.	Traditionally, a generic term used to describe pictures or designs printed from a plate, block or roll such as a woodcut, etching, engraving or lithograph. Sometimes referred to as Graphics. The term has recently been expanded to include photographs and original drawings on paper media.
rabbet	n.	pronounced: râbb-it The channeled recess in the interior of a frame designed to receive the art and keep it secure against the front. Most rabbets are commonly 1/8” to 1/4” in width and may be up to several inches in depth.
rag	adj.	Garment and picture framing term for 100% cotton e.g. rag mat. Rag does not imply discarded scraps of old tee shirts.
remarque	n.	An additional original drawing or marking by the artist occasionally found in the border of a print .
reverse bevel	n.	A window mat whose mat core is not visible. Most often cut for mats containing a fillet. Occasionally used for unfixed pastel mediums so that shedding pastel “dust” collects behind the mat and does not discolor a standard exposed bevel.
shadow box	n.	A picture frame having the depth to accommodate a three dimensional object.
shrink wrap	n.	A process by which matted and/or mounted art is covered and protected by a thin envelope of removable transparent plastic.
sink mat	n.	See “Float Mat”.
strainer	n.	A non-decorative wooden support frame with fixed corners used to mount canvas art or tapestries.
stretch	v.	To mount needle art or canvas art onto a backing material. Stretching does not imply distorting the fabric.
stretcher	n	A non-decorative wooden support frame with adjustable corners used to mount canvas art or tapestries. Once mounted the canvas can be tightened by "keying" the corners.
wet mount	v.	To bond art work to a backing materials with water soluble glues or spray adhesives. Wet mounting is more likely to result in the incomplete adherence of the art to the backing than is dry mounting. Wet mounting should be considered irreversible.

Glossary of Picture Framing Terms