About us
Glossary
What is a mat, a rebate, museum glass or a stretcher frame? Clear explanations of terms from picture framing, canvas printing and print file preparation.
Some terms from framing and printing sound like a foreign language. We explain them the way we use them in practice – briefly and clearly. And if you are not sure, drop by our studio: we will show you everything on samples.
01
Picture framing
- Archival (acid-free) board
- Board free of acids and lignin that does not yellow over time and does not damage the artwork. We use it for originals, photos and anything meant to last for decades.
- Backing board
- A rigid board that closes the frame at the back and keeps the artwork flat. We supply it with every frame as standard.
- Bevelled cut
- A mat window cut at a 45° angle. The core of the board (usually white) shows on the sloping edge, creating a clean light line around the artwork.
- Box frame
- A frame with greater depth for three-dimensional objects – sports jerseys, medals, embroidery, collectibles or souvenirs.
- Conservation framing
- Framing designed for the long life of the artwork: archival materials, UV-protective glass and mounting that can be removed at any time without damage.
- Double mat
- Two mats on top of each other, the lower one with a slightly smaller window. A fine coloured line and depth appear around the artwork, giving it a luxurious look.
- Frame moulding
- A profile of wood, aluminium or plastic from which we cut the frame. Mouldings differ in width, depth, colour, finish and shape – from narrow modern ones to wide ornate ones.
- Hanger
- A hook, ring or wire on the back of the frame. We hang heavier and larger frames on two points so that they hang straight and securely.
- Mat (passe-partout)
- A cardboard border with a window between the artwork and the frame. It makes the artwork look larger and calmer and, above all, separates it from the glass so that the glass does not touch it.
- Mounting
- Gluing a print or photo onto a rigid board so that it stays perfectly flat and does not ripple.
- Outer frame size
- The total size of the finished frame including the moulding. It differs from the size of the artwork and from the mat window – the calculator shows all three.
- Rebate
- The recess on the inner side of the moulding that holds the glass, mat, artwork and backing board. Its depth determines how thick an artwork fits into the frame.
- Shadow gap moulding
- A moulding for paintings on canvas, also called a floating frame. The picture "floats" in it with a narrow gap from the frame – creating an elegant shadow while the edges of the picture remain visible.
- Spacer
- A narrow strip hidden in the frame that keeps the glass at a distance from the artwork. We use it where you do not want a mat and the artwork must not touch the glass.
- Visible area
- The part of the artwork that remains visible after framing. The mat or rebate covers a few millimetres around the edge to hold the artwork in place.
02
Glazing
- Acrylic glass
- A light and shatterproof alternative to glass. It is suitable for large formats, children's rooms or frames sent by carrier. It is softer, so we clean it only with a soft cloth.
- Clear float glass
- Basic picture framing glass. It is clear and affordable but reflects ambient light – you will see reflections opposite a window or lamp.
- Matt non-reflective glass
- Glass with a roughened surface that diffuses reflections. However, the image behind it softens slightly, so it is suitable only where the artwork lies directly against the glass (without a mat).
- Museum anti-reflective UV glass
- The highest class of glazing. A special coating reduces reflections so much that the glass is almost invisible, colours remain true and the artwork is protected from UV radiation.
- No glass
- Paintings on canvas, oils and acrylics do not need glazing – the paint surface is durable and its texture stands out without glass.
- UV glass
- Glass with a coating that blocks most UV radiation. It protects the colours of originals, photos and signatures from fading.
03
Canvas prints
- Canvas
- A fabric made for printing. It has the typical texture of woven cloth and, once stretched, looks like a painted picture.
- Crossbar
- A brace inside the stretcher frame that prevents it from bending. We add it automatically for larger formats.
- Gallery wrap
- The canvas is wrapped around the sides of the stretcher frame and fixed at the back. The picture needs no frame and can be hung straight on the wall.
- Keys (wedges)
- Small wooden wedges in the corners of the stretcher frame. Tapping them in gently tightens the canvas again.
- Picture edge
- The sides of a stretched picture. We always mirror them: the edge of the image is reflected when folded over the side, so the whole picture stays on the front and the edge continues seamlessly.
- Pigment inks
- Inks with coloured pigments instead of dyes. They are more lightfast, so pictures printed with them last considerably longer.
- Stretcher frame
- A wooden frame onto which we stretch the canvas. It has keys in the corners that can be used to re-tension the canvas later if it loosens.
04
Printing and file preparation
- A-series formats
- Standard paper sizes: A4 210 × 297 mm, A3 297 × 420 mm, A2 420 × 594 mm, A1 594 × 841 mm, A0 841 × 1,189 mm.
- Bleed
- Graphics extending beyond the edge of the final format, usually 3 mm. Thanks to it, no white strip remains on the edge after trimming.
- Colour profile (ICC)
- A description of how a specific printer and material reproduce colours. Thanks to profiles we print colours as faithfully as possible.
- Fine art paper
- Matt museum-grade paper made of cotton or acid-free cellulose. It has a fine texture and a long life – ideal for reproductions and photos for framing.
- Foam board
- A light board with a foam core onto which we mount prints and photos. It is rigid, flat and easy to hang.
- Lamination
- Covering a print with a gloss or matt film. It protects it from abrasion and moisture and unifies the look of the surface.
- Paper weight
- The weight of 1 m² of paper in grams. The higher the weight, the thicker and stiffer the paper – ordinary office paper is 80 g/m², a business card around 350 g/m².
- Print files
- A file ready for printing – ideally a PDF in the correct size and resolution with bleed. We are happy to check your files before printing.
- Proof
- A test print to check colours and quality before the whole job is printed. We recommend it for art reproductions and corporate colours.
- Resolution (DPI)
- The number of dots per inch at the final size. For sharp printing on paper, allow for 250–300 DPI. For large canvases viewed from a distance, around 150 DPI is enough.
- RGB and CMYK
- RGB are screen colours (light), CMYK are print colours (inks). Some vivid shades on a monitor therefore cannot be printed exactly the same.
- Satin and glossy photo paper
- Photo papers with a semi-gloss (satin) or glossy surface. Satin reflects less light, glossy gives colours depth.
05
Custom production
- Cut graphics
- Lettering and motifs cut from self-adhesive film with a plotter. They are used on shop windows, cars, glass and in interiors.
- Plotter
- A cutting machine that cuts a shape precisely with a knife according to vector graphics.
- Vector graphics
- Graphics made of curves rather than dots. They can be enlarged freely without loss of quality – we need them for cutting and producing logos (AI, EPS, SVG or PDF formats).
- Visualisation
- A preview of how the finished work will look on site. We prepare it before production so that you can decide without risk.
Didn't find what you were looking for?
Ask us – we are happy to explain anything about framing and printing.