Is made from a cotton or wood pulp that has undergone processing, defining it synthetic. It reacts to high concentrations of alkalis or acids.


Plastic glazing material that is lighter than glass, ideal for larger artworks. We mainly use Perspex, Optium and Artshield. With these products you can select whether you need Ultra Violet light filtering (UV), low glare (LG) or low abrasion properties included. The drawback to this product is that due to holding a static charge it is not suitable for glazing pastels charcoals or fine lightweight papers.



Exterior backing must be chemically inert or acid free and ideally should be puncture proof.


Internal backboard, usually visible (but not always), used to protect or help display the artwork.


Board is composed of layers of compressed paper
e.g. 8-ply board is made up from 8 layers of paper

Buffered Mount Board

Buffered mount boards contain an alkaline filler which raises the pH value of the product from 7.0 (neutral) to 9.5 (high alkaline) to reduce the possibility of acids forming within the adhesive layers.


Calcium Carbonate

Acronym for Cyan (process Blue), Magenta (process Red), Yellow and Black, the primary colours of ink used in professional printing process to which Black is added for enhancement or for true Black. Not to be confused with the primary colours of light which are Red, Green and Blue (RGB).

Conservation Board

Conservation boards are made from wood pulp that has all of the Lignin removed. They contain a small amount of a buffering to protect the board from acidic pollutants. The pH level achieved will fall in time and the board will turn acidic eventually so 100% Cotton Museum is the preferred option.

Cotton Museum Mountboard

Superior to Conservation Mount board because it is made from pure 100% cotton fibre so does not contain acidic lignin like boards made from wood pulp. This board will be buffered in the main to prevent acidic content forming within its adhesive layers.



Sometimes referred to as spacers, these strips traditionally made from wood or mount board are placed within a frame chamber to separate the artwork/mount from the glazing to prevent adhesion, a common problem with photographic papers.



A substance derived from animal skin and bone.  Various grades of purity are available, and the animal source can be selected to fit in with cultural traditions.
Its uses include; as an adhesive, a sizing agent, and a pigment-bearing emulsion in photography.


Made from a mixture of plaster, chalk and glue, gesso is the base onto which gold leaf (gilding) is applied. It can be carved and moulded enabling it to be used to make decorative frame mouldings.


Japanese Paper hinges

Japanese papers are lightweight, strong and long fibred which is important when attaching artworks to the substrate. Once torn and feathered for soft edges, the likelihood of the hinge creating a ridge that shows through to the front of the artwork is much reduced. Paper will always react to moisture addition however Japanese hinging is the ultimate attachment method for museum standard framing.



Medium Density Fibreboard. Although used by many as a frame backing, for purity reasons we do not. MDF is made from various scrap wood fibres including sawdust and is bound together with an agent that contains formaldehyde, incorporating formic acid which is a corrosive.


The name given to describe the shape of a wood profile used to create a frame.


Rabbit Skin Glue

An ingredient that is traditionally used in Gesso as a gilding base, Acrylic Gesso is available but it does not perform as well.