With constantly changing trends in the market place we are able to bring you leading presentation concepts to the highest of standards and at the fore front of design. Our forte is that of mount cutting where we can give you unique designs not available on the high street.
DRY MOUNTING is the process of bonding photographs, prints and artwork to another surface, called the 'substrate'. We take pride in our ability to tackle demanding and large scale commissions to a very high standard of craftmanship. We have the expertise to handle fibre based, ink jet and pigment prints on traditional papers. Click to see available substrate's
Choice of glass is vitally important and we are able to offer two upgrades for glass which are as follows:
CONSERVATION GLASS - This is identical in appearance to standard glass, but has a UV coating on one side of the glass which prevents harmful UV rays from passing through to the artwork, as a result, the artwork is preserved from light damage for longer. Normal glass will reflect about 50% of UV light, where as conservation glass reflects 98%.
MIROGARD - Simply put, Mirogard is the clearest framing glass in the world. Utilised by institutions such as The Tate, The National Gallery, The Royal Academy of Art to name but a few, Mirogard is optically coated waterwhite float glass. In appearance, Mirogard has no colour and allows 100% of light to pass through, in contrast to just 95% with standard glass, the result is that colours are more vibrant with zero colour shift.
The optical coatings are identical to that of a camera lens, and hence Mirogard has a very low reflective quality which can, in certain hanging conditions have the appearance that there is smply no glass there at all.
Recent commissions involved mounting and framing
unglazed archival inkjet prints which were over one metre square
for an exhibition held at 33 Portman Place, London.
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