FRAMING TERMS

Acid burn--A brown line or brown coloration on paper that is the result of prolonged contact with acidic cardboard or other materials. Acid burns are often seen on the face of paper artwork that was matted with acidic cardboard mats.

Acid-free--A term used to describe adhesives, papers, mat boards and other framing supplies that have no acid in them. Acid-free materials should be used when framing works of art on paper. Mat boards, mounting boards, tapes, envelopes and other framing materials all are available in acid-free varieties. Some have been chemically treated to remove impurities; others, such as those made of 100 percent pure cotton rag, never contained acid and are generally the best choice for framing fine art.

Backing board--General term for the material used to fill the back of the frame; most often scrap matboard or foam-core board. The backing board is held in place by glazier's points or brads and is covered with a dust cover (usually kraft paper).

Blocking--Refers to straightening and shaping a piece of fabric or needle art. The material is dampened, stretched slightly to straighten, and tacked to a board. It must be allowed to dry while tacked before it is mounted.

Brad--A small nail used in joining frames, and sometimes, in securing the backing board into the frame.

Conservation framing--Using materials and techniques to protect artwork from being damaged in the framing process.  Hinging the artwork instead of mounting it, using high-quality acid-free boards and mats, using nonstaining paste, and glazing with conservation glass or acrylic.  These generally accepted procedures are used to help preserve artwork. The same procedures are sometimes referred to as "preservation framing."

Conservation mounting--The process of attaching the artwork to the backing board to avoid damage to the artwork.  Materials used include ragboard, rice or wheat paste, and mulberry hinges, or other inert (non deteriorating or non staining) materials and processes. Many framers call this process "museum mounting" or "preservation mounting."

Dust cover--A protective paper sheet (usually kraft paper) attached to the back of the frame to protect the contents from dirt. Often, the dust cover  is attached with ATG tape laid along the frame edges.   A variety of glues also may be used to attach the dust cover.

Foam-core board--A lightweight, plastic-centered board sold in large sheets. Foam-core board is used as a mounting or backing board, and as a spacer in deep frames or shadow boxes. Foam-core board is also used in routine mounting of needlework and paper art.
Manufactures offer a variety of Foam-core boards including boards with different compositions, colors and face papers.

Fillet--(1) A very thin moulding used as an accent in framing inside another moulding or liner. It is sometimes used under the glazing at the edge of the mat window opening. Some framers also refer to the edge of an undermat (a thin border that shows around the artwork) as a fillet.

Fillet --(2) Any thick piece of paper or board or thin piece of wood glued to the moulding rabbet to hold the glass away from an unmatted piece of artwork. Another term for "fillet" in this second usage is Fitting--The process of putting together the pieces of the framing package: the joined moulding, glass, mounted artwork, matting, backing board, dust cover and hardware. Fitting also includes cleaning the glass and checking the entire job for flaws before closing the frame.

Fitting--The process of putting together the pieces of the framing package: the joined moulding, glass, mounted artwork, matting, backing board, dust cover and hardware. Fitting includes cleaning the glass and checking the entire job for flaws before closing the frame.

Glazing--A broad term that includes a wide variety of glass and acrylic products used to finish and protect framed artwork. Varieties include regular picture framing glass, conservation/preservation glass and acrylic, anti-reflective and nonglare glass. Many manufacturers carry products that offer combinations of these features.

Lip--The thin, projecting edge of the moulding that is just above the rabbet; mats and glazing generally fit under the moulding lip.

Mat Board--A paper or rag board used over artwork to separate it from the glass. mat board generally is made up of three layers: the face paper, the core and the backing. Matboards come in a wide variety of thicknesses (plys), colors, textures and compositions, and many acid-free Mat boards are for conservation framing.

Matboards can be carved, cut or painted to add decorative elements to the frame design. Various colors and textures can be stacked, spliced and combined in numerous ways.
Mat board usually have a whitish material in the center so that a white line (bevel) shows when it is cut. However, some Mat boards also have black or colored cores, resulting in a colored bevel when the mat boards are cut. Cores may be the same color as the face paper or a contrasting color. Colored-core mat board expands the design possibilities for framers.

Matting--The process of cutting and placing a piece of mat board, with a window opening cut, over or around artwork. The mat serves two functions: it protects the artwork by separating it from the glazing and providing air circulation; and it enhances the artwork it surrounds. It may be a highly decorative part of the design, or it may simply provide a restful area around the artwork.

Moulding--The material used to build a frame. Mouldings can be wood, metal, plastic or laminate.

Mounting--The procedure of securing artwork or an object to a surface to hold it in the frame. There are many methods of mounting, including dry mounting, wet mounting, spray mounting, vacuum mounting, lacing, stretching, stapling and hinging. It is important to choose the proper method to preserve the value of the items being mounted.

Rabbet--The groove under the lip of the moulding that allows space for the mat, glass, art and mounting.

Rag board--A board manufactured from cotton or other fibers. Virgin rag board was the only choice of conservators for many years and is still considered a high-quality choice for conservation framing. However, many conservators today find that chemically neutralized colored boards made of purified wood fibers also are acceptable for use in conservation.

Source: www.decormagazine.com