All of our wood is reclaimed lumber, usually Douglas Fir, that is sourced from local deconstruction companies. Other species of wood are available, such as Oak, Redwood, and Cedar.
Most boards are at least 100 years old. No two pieces of wood are identical, so there will be variations in the look of the grain on each frame. Most of our lumber is from old floor beams or rafters, which have nail and/or staple holes, cracks/splits, insect damage, and other imperfections. Rather than throw these pieces away, we have chosen to incorporate it into our product. We believe it adds to the beauty and uniqueness of each frame. We the craftsmanship of all of our frames.
Our frames are finished with natural oil stains. We custom mix the colors, in small batches, with pigments from earth, rock, and minerals that are suspended in a natural oil base. The that manufactures these stains maintains that the ingredients are easily renewable, and obtained by fair trade practices. All of the stains are free of any animal products and testing on animals. Please keep in mind that our frames are individually handcrafted from reclaimed wood. While our batches of colors are consistent, no two frames will look exactly alike. The colored finishes will vary slightly, from frame to frame, based on the absorbency of a particular piece of wood.
A mat provides two functions for artwork. It adds decoration and protects the artwork from touching the glass. This is a must if the artwork is to be preserved. Since we only use conservation materials in our framing, we have chosen Crescent’s RagMat line of matboards. RagMat is naturally acid and lignin free because it is made from annually renewable cotton. It has been guaranteed safe for all types of artwork. Conservation of artwork is our first priority and we feel confident in the quality of this line. To learn more and see all available colors, please visit Crescent’s .
A protective barrier in the front of a frame providing a window to the artwork. The two types of glazing are glass and acrylic. In conservation framing, the glazing never touches the artwork and blocks up to 99% of UV light. We offer several levels of glass and acrylic. Museum glass and acrylic are also available upon request.
Standard glass that we use in most frames (only blocks 45% of UV light)
Minimizes glare (only blocks 45% of UV light)
Blocks 99% of UV light. Suitable for conservation framing.
Conservation Reflection Control:
Blocks 99% of UV light and minimizes glare. Suitable for conservation framing.
Blocks only 66% of UV light. Shatterproof.
Minimizes glare. Blocks only 66% of UV light.
Blocks 98% of UV light. Suitable for conservation framing.
Conservation Reflection Control:
Blocks 98% of UV light and minimizes glare. Suitable for conservation framing.
A protective barrier in the back of the frame behind the artwork. We use acid-free foam core for most applications. For conservation framing, we use Cotton RagMat board behind the artwork, then foam core, and an optional dust cover.
An alternative to matting, spacers separate the glass from artwork. This is a great option when working with a tight budget and when the look of matting is not desired. Using spacers allows you to keep the frame the same size as the artwork. For more info and a good photo of the product we use, please visit FrameTek’s .
A dust cover is a paper backing that is applied to the back of the frame to seal off the artwork from dust. This is the final component in conservation framing. We use Kraft paper for all dust covers. Brown Kraft paper is 100% recycled. We also use black Kraft when appropriate.
Our easel backs are custom made for us from 100% post consumer recycled chip board. Easels are available on all 4” x 6”, 5” x 7” and 8” x 10” frames. Easels on 8 1/2” x 11” are available by request.
We use sawtooth hangers on all frames with easels (4” x 6”, 5” x 7”, and 8” x 10”) for the option of table top or wall display.
Larger frames all have hanging wire installed prior to shipment. Wire can be changed so that frames can hang horizontally or vertically.