Glossary of Terms 

 
 
TERMINOLOGY DEFINITIONS
ACID BURN Some Mat Boards and paper products used in picture framing have a higher acidic content than the artwork that is framed. Consequently, over a period of time the acid from these materials "bleed" onto the artwork. The damage can be seen in the form of  yellowish stains along the edges where the mat board comes in contact with the artwork, or an overall yellowish stain throughout the artwork where the non-acid backing has "bled" onto the art. (Hence "acid burn"). This problem can be avoided by having artwork framed using archival techniques.
ACID-FREE Paper material with a pH of around 7 are considered to be acid-free. Therefore these materials are less likely to harm the artwork over time. Material with pH below 6.5 or above a pH of 8.5 are not considered acid-free.
ALLOWANCE The difference between the size of the objects being framed and the inside dimension of the frame.
ALLOWANCE/ CANVAS An allowance of 3/16" added to a frame size to accommodate a stretched canvas.
ALLOWANCE/ STANDARD An "automatic" addition of 1/8" is given to the frame size when cutting the frame. This allowance assures that the artwork will fit within the frame without being too snug and is small enough to keep it from falling through.
ARCHIVAL With archival framing all of the materials touching the artwork are completely acid-free. The artwork is framed to prevent acid burn and severe detoriation over the years.
BEVEL EDGE The inside edge of a mat board that is usually cut on a 45-degree angle.
BEVEL EDGE/ REVERSED It is also possible to request a "reversed bevel", meaning that the 45 degree bevel in on the underside. This gives the illusion of a clean and sharp cut with some space.
BURNISHING Polishing and smoothing gold and silver leaf that have been applied on a moulding that has a gesso coating.
CHOP a) The action of cutting (chopping or mitering) .         b) Refers to a cut (mitred) moulding that has not been assembled.
COMPOSITION Also referred to as "COMPO". A composite material (generally plaster or plastic) that is applied on top of a moulding which is then moulded (embossed) with intricate designs.  Gold, silver or other metal leaf is generally then applied onto the compo which may also have a wash applied.
CONSERVATION FRAMING All the material used in conservation picture framing that could possibly come into contact with the artwork are completely acid-free along with the usage of UV protection plexi-glass. This achieves the ultimate protection for your piece. (Also referred to as Archival Framing)
CORRUGATED CORNERS Folded pieces of corrugated cardboard that are fitted on the corners of a frame to protect the edges from damage during transportation.
DOUBLE MAT Refers to the process where the artwork has two mats bordering it. When mats are layered in a frame, the top mat forms the main border and the bottom mat (generally 1/8" or 1/4") shows around the image.   Double mats are used to bring out the accent colors of an artwork and gives the framed art an extra sense of depth.
DUST COVER Craft paper is used to seal the back of a frame. This protects the picture from insects, dust and dirt from entering the frame from the back and damaging the artwork.
EMBOSSING Designs pressed onto moulding under heat and pressure. The designs could be pressed onto compo or just on the surface of the wood.
FILLET A small moulding that fits under the inside lip of a frame or mat that generally matches the frame and/or compliments the artwork.
FLOATER FRAME A moulding without a lip (rabbet). The moulding is cut to fit around a stretched canvas. Many floater frames have a "step" that separates the moulding from the artwork and gives the impression the artwork is "floating" in the frame.
FLY SPECKS Small specks spattered over finish for antiquing. Gives moulding a mellow look.
FOAM CORE A petrolium based board on which artwork may be mounted or used as backing inside of a frame. This material is very light and comes commonly in white and black. Foam core is also available in an acid-free variety for conservation framing.
FOIL Thin paper or metal plain or with design that is attached to a plastic base with adhesive. Available in rolls.
GESSO A water or plastic based coating applied directly on the wood to conceal grain and defects.
HARDWARE The hangers, brackets, screw eyes and other materials that are used to assemble a frame and hang it up.
HOT STAMP A process where foil attached to a plastic carrier is adhered to moulding through pressure and high temperature.
JOIN To assemble a frame that has been mitered or cut out of a moulding.
LACQUER A high gloss paint that is applied over a sanded gesso base moulding. Also available in matte or semi-gloss finishes.
LAP MARKS The visual overlapping lines created when the leaf sheet are applied on top of gessoed moulding.
LEAF A thin metal material that is applied on moulding as a finish. It is usually gold, sliver or copper.
LEAF/ BROKEN Small/broken pieces of leaf which are applied onto the moulding. This process gives the moulding finish a "crackling" effect.
LEAF/ GOLD Real gold, usually 14K or 22K, applied in sheets over moulding which has a base coat of gesso, shellac and sizing.
LEAF/ METAL Imitation metal in sheets or rolls applied on moulding which has a base coat of gesso, shellac and sizing.
LENGTH Referred to an uncut piece of moulding. Generally available in lengths from 6' to 10'.
LINEN LINER A plain moulding that is covered in a fabric material and fits inside a frame. Liners are very commonly used to frame oil or acrylic paintings.
MATT BOARD A paper material that is used to accentuate a piece of art. The mat border can be any where from 1" to 12" wide. Mat board comes in many colors and designs. Mats also protect the artwork from coming into direct contact with the glass and provides an aesthetically pleasing border to draw the eyes to the artwork. Mat board is available as acid-free sheets as well as rag board. These are used for archival or  conservation framing.
MATTE A dull or semi-dull finish on a moulding.
MILL The particular way in which a moulding has been cut at the manufacturer. This may sometimes vary to a small degree causing problems in matching different mills in a frame.
MITRE The chopped angle of a frame.
ORNATE The carved design on the outside of a moulding. Usually leaves, beadwork, flowers or lines, etc. Most times it is pressed into compo.
OUTSIDE DIMENSION The measurement of a frame that is taken from the back (outside) of the frame. This dimension is used when the framed piece has to fit a specific space and the mat work and art size can be adjusted to fit into the frame.This dimension is cut exact and does not get the standard allowance.
PRIMER A coating of paint (usually white) on an unfinished wood or liner. This gives the moulding a smooth base which, when paint or leaf is applied, the finish is smooth and consistent.
PROFILE The curves and design of a frame. A frame's profile includes the height, width and rabbet. It also come in a variety of shapes and sizes.
RABBET The inner lip of a frame in which the glass, mats, artwork and backing are held.
RABBET/ HEIGHT The inside wall of a moulding that is measured from the base of the moulding to the inner underside of the rabbet. This height measurement varies depending on the style of the moulding.
RABBET/ WIDTH The measurement of the lip which measure from the inside of the rabbet to the outside wall of the lip.
RAIL One single piece of a frame that has been chopped (mitered).
ROUTE The underside of mitered moulding has grooves routed out into which plastic inserts are fitted with glue to hold the frame together. Also known as "wedges".
SAMPLE / CORNER Moulding that is cut into and assembled as a corner sample that is generally 6" to 12" in length. It is used to represent a moulding style and its number.
SAMPLE / LENGTH A cut piece of moulding usually 2' in length used to represent a moulding style and it's number.
SEALER A base coat used to seal the wood prior to application of various finishes.
SHADOW BOX A moulding that has a medium to deep rabbet (generally 2" to 4") that will accommodate framing objects that are deep and bulky.
SIGHT SIZE The "VISIBLE" size of the artwork that is seen when the artwork is in a frame.
SIZING Adhesive coating applied over shallac to adhere leaf.
SPACER A wood/plastic or paper product that is used to separate the artwork from the glass. The spacer is fitted under the rabbet of the moulding and is thin enough so as not to be seen from the front. Various heights can be used to give depth to the artwork as well as prevent the artwork from touching the glass.
STACK When two or more mouldings are used together (stacked) to make one completed frame.
STAIN/ DYE Strong penetrating stain applied directly on to the wood.
STAIN/ GLAZING Used over pre-sealed woods for shaded effects.
STAIN/ PENETRATING Oil based stain applied directly to the wood.
STRAIGHT CUT When the moulding is cut straight down on the ends and is not mitred or angled.
SUEDE The smooth cloth that surfaces some liners and fillets.
TOP COAT Final protection coat for mouldings.
VENEER Very thinly sliced wood. This veneer is adhered to a "BASE" moulding and stained to create specialty moulding that mimics the original product. For example the use of Birds-eye Maple veneer to create a burled moulding.
V-GROOVE A v-shaped incision on the surface of a mat board that reveals the core and act as a decorative boarder. V-grooves should be cut approximately 5/8" away from the window.
WARP The twisting or bowing of a moulding generally caused by the moulding absorbing or releasing moisture as a result of the change in the moisture contact  from one environment to another.
WASH The "PAINT" that is applied to a finished moulding to create an antique, dusty or distressed look.
WEDGE Dual Definition referring to the routed holes in the mitered corners of a frame or the pegs to assemble the frame.
WINDOW The opening cut in a mat in which the image can be viewed.