Answers to your Custom Framing Questions
Custom picture framing is a craft of its own—an essential element for a truly finished look of your treasured art. With over 50 years of combined experience, our award-winning framers take an innovative approach to assisting our clients with our extensive selection of over 3,000 frame samples, thousands of fabrics, fillets, and specialty cut mats.
Throughout the designing process, our framing professionals will ask important questions; such as where you plan to hang the piece, what wood and cloth materials are used in the surrounding décor, the color of the room, what is the style of your home and office and is there a statement you wish to make in your selection. With this information, they'll help you select the best designs available in numerous textures, profiles, finishes, and glass, if required. Any custom framing is possible at Studio Seven Arts, including oversized art, shadowboxes, needlepoint, mirrors, family heirlooms, photographs, and documents.
Below are frequently asked questions about our custom framing. If you don’t see your answer below or have additional questions or comments, please get in touch with us at info@StudioSevenArts.com; we’ll be happy to help.
How many years of experience does Studio Seven Arts have with picture framing? Our professional framers have over 50 years of combined experience in custom framing.
Guarantee? Studio Seven Arts quells any anxiety with our guarantee that it will make any work that does not meet your expectations right and stand behind it with our 100%, five-year workmanship and materials guarantee.
Delivery? Our framings offer free pick-up, delivery, and installation services for the entire East Bay. Call us if you have an issue getting or picking up your art.
Why do I need a frame?
Frames preserve the artwork and prevent deterioration over time from environmental (temperature and humidity), movement, and storage. Frames also enhance artwork, allowing you to coordinate your taste with the piece's personality.
What can I put in a frame?
Anything! The sky’s the limit – if you find it, we’ll frame it. Look at our homepage slideshow to get an idea of the types of frames we’ve created in the past.
What if I’ve already got a picture and want it reframed?
That's not a problem. If it wasn’t done right the first time or you’re just looking for a change, we’ll help you find the perfect combination and deliver on it.
Do you cater to bulk orders?
Yes. We will fill the order, whether one piece or one hundred pieces, framed the same way or in one hundred different ways.
Do you perform conservation framing?
Absolutely. Our framing materials are acid-free to ensure the long-term preservation of your artwork and/or keepsake.
How long does it take to get my finished piece?
The typical turnaround time is two to three weeks. If you need your piece sooner, we will work to make other arrangements to make it available when you need it.
What makes your company different from other frame shops?
Studio Seven Arts frames are one of a kind. We have the advantage of offering larger, unique moldings at lower prices than the basic frames offered by most frame shops. Our quality is always guaranteed, and the service you receive will keep you coming back.
Does your company manufacture its frames?
No. We import our frames from various locations across the globe.
Does Studio Seven Arts cater only to high-end framing?
Absolutely not. Whether it’s a basic poster or fine art, we have a frame to cater to your needs. Our quality will always be high-end, but our frame offerings suit any budget and artwork.
Framing serves three purposes:
A-frame provides a solid environment where artwork remains safe from physical damage.
Using proper materials and techniques, framing can provide a stable environment that helps preserve artwork and valuable items while allowing them to be viewed and enjoyed.
Properly designed framing can focus attention on artwork and enhance its enjoyment. Framing can also create art from objects not originally intended as artistic endeavors.
What can I frame?
You name it! Here are just a few examples...
Original Artwork
Posters
Sports Jerseys
Artifacts
Photos
Prints
Vacation Displays
Diplomas
Certificates
Maps
Blueprints and Architectural Plans
Military Decorations
Graduation Pictures
Family Portraits
Memorabilia Displays
Historic Documents
Needle Art
Mirrors
Awards
What is a standard-size frame?
Mass-produced picture frames come in limited pre-built sizes, designed to match common photograph and document sizes. The most readily available standard-sized frames are 4"x6", 5"x7", 8"x10", 8 ½”x11", 9”x12”, 11"x14", 16"x20", and 20”x24”. Standard poster frames are also available in larger sizes.
If an item being framed is not the same size as a standard-sized frame, it can sometimes be matted to fit. It may not be properly proportioned, but it may provide savings over making a custom frame. Studio Seven Arts can cut mats to adapt non-standard paper and photos to standard frames.
Isn't it cheaper to use a ready-made frame?
Mass-produced frames can provide a quick solution at a lower initial cost. But unfortunately, they offer little protection against the most destructive things to the objects placed in them – ultraviolet light and lignin-based acids. The mats and glass used to make factory-ready-mades affordable often accelerate degradation. Tape damage, effects from condensation, glass adhesion, and cockling are also common when factory-made frames are used for extended periods. A ready-made frame should be considered a temporary solution until the artwork, photograph, or document can be properly mounted and framed. In the long run, it may be more expensive to restore an item framed in a ready-made frame, and if it is left in this type of frame for too long, the object may not be recoverable.
Should I get a wood or metal frame?
Most people will start by considering which particular frame looks best on their artwork, regardless of its origin. However, there are some basic differences between frame materials, and these should be considered before making a purchase:
Wood—Today, wood is still the preferred choice for frame material. It has the widest selection of styles and colors. It is strong and versatile and provides advantages for conservation framing that other materials do not. From an environmental standpoint, wood is an excellent choice for framing. Today’s manufacturers increasingly use wood harvested from managed forests under programs that ensure net-gain reforestation.
Metal – Metal frames are a modern, durable alternative to wood frames. No longer limited to chrome, today's metals come in various styles and colors. Top-quality metal frames are about three times sturdier than a wood frame of the same width. They will withstand abuse and might be considered in frame-unfriendly environments such as an industrial or gymnasium. Their slim profile makes metal frames ideal for hallways and staircases. From a conservation standpoint, metals are less desirable than wood because an effective dust cover is generally not applied to the back of the frame.
What is a mat?
A mat is the thick paper-like material you often see surrounding artwork. Mats have several functions:
* A mat's original and most functional purpose is to keep the frame’s glass from touching the image. When glass is in direct contact with artwork or photographs, there is a risk of condensation damage, mold, and adhesion where the surfaces touch.
* Mats provide visual separation of the image being viewed and the frame. Generous mats tend to better focus the viewer’s eyes on the surrounded image. Narrow mats often make artwork look cramped and pull the viewer’s eye toward the frame and away from the central focal point.
* Strategically selected colored mats can help focus a viewer’s attention on subtle elements in a piece of art and help enhance the viewing experience. Mats may also contain accent elements, decorative cuts, spaced layers, and other elements to complement framed objects. Today, matting as a design element has overshadowed the original purpose of protecting the artwork.
* Current mat choices go well beyond the traditional paper finish. This makes matting as much a part of the design process as frame selection. Mat finishes now include marbleized designs, fabric and wraps, textured surfaces, leather, foils, printed finishes, and appliqués.
* Asymmetrical and bottom-weighted mats can help control the position of artwork within a frame.
* Good mats will contribute to the conservation of framed items. However, lower quality mats may accelerate or cause deterioration damage within a frame.
* Mats can sometimes fit a piece of artwork into a pre-made frame that is too large. The design may not look balanced, but this sometimes provides an economical alternative for someone on a tight budget.
What is bottom weighting?
Bottom weighting is accomplished by cutting a mat wider at the bottom than on its sides and top. This style is widely used as the standard in Europe, while evenly balanced mats are more common in America. Bottom weighting can have a functional purpose. Many works of art have a focal point lower than the image's physical center. This is common with landscapes that show an expanse of the sky. By increasing the size of the bottom mat border, the focal point is raised within the frame. This technique may lead to a better-balanced look.
What kind of mats should I use?
Only conservation or museum-grade mats should be used to protect artwork. There are three basic types of mats used in picture framing.
Regular or paper mat – While cost-effective, these mats contain a product called lignin. Over time, lignin breaks down, creating an acidic gas that can leave a burn mark on artwork. The color of the mat will also change over time, and the white bevel will gradually darken to a light brown color. Because art sellers and artists generally want to maximize their profit, this mat is often used on pre-matted artwork. For this reason, art sold with these mats should be matted before framing. Studio Seven Arts does not stock or sell paper mats with lignin.
Alpha cellulose mat – Cellulose is the chief material in all plant life. Alpha cellulose is the purest form of this material. These mats are buffered to maintain a slightly alkaline pH. They are considered to be preservation quality. As long as the buffering agents are active, these mats will not harm artwork or fade. Alpha cellulose mats protect from acids for many years.
Rag mat—Made from cotton liners, rag mats are naturally lignin-free. Some rag mats are made with buffered-color surface paper and are considered preservation grade. Rag mats may also be 100% cotton rag and tinted only with inert pigments, with a solid color throughout. These are considered museum-grade mat boards.
What about fabric mats?
The use of fabric mats can add distinct elegance to your framed art. Whether it is suede, linen, silk, or other fabrics, the colors and textures of cloth take your framing design to a new level. Various fabric types and colors come pre-covered onto alpha-cellulose and rag mats. The majority of these mats, though, are not preservation grade. This is because the fabric does not meet the standards for bleed resistance. Some fabric mats, like Bainbridge’s Alpha Linens®, are of preservation quality and can be used in higher forms of artwork.
If you cannot find a pre-covered fabric mat to suit your needs, mats can be hand-wrapped with virtually any fabric. Studio Seven Arts has a large selection of fabrics from which to choose. You may also bring in your fabric for us to wrap.
How many mats should I use?
Two mats are most common—a wide outer mat and a narrow inner mat exposed from under the outer mat. The color of the outer mat is often selected to expand the feeling of the image being framed, and the color of the inner mat is usually chosen to accent secondary or tertiary colors within the image.
Sometimes, no mat is necessary. Sometimes, three, four, or even six mats might look best. Each mat adds depth, and multiple mats can expand the number of accent colors. There is no set rule for determining how many mats should be used. The artwork and framing budget are the significant determining factors. Remember that the effect of matting should always be to enhance the artwork, not overwhelm it.
What is a liner?
Liners are special frames, usually covered with linen or other fabric, that are designed to fit inside the mainframe around a picture. Like mats, they provide visual separation between a frame and artwork. Liners also add much more depth and dimension than mats. Generally, liners are used when framing artwork on canvas, such as original oil or acrylic paintings or giclée prints on canvas. However, they may also be combined with mats to give other types of framed art a look of sophistication or flair. White, black, and oatmeal-colored liners have been commonly used for years, but now, liners can be custom wrapped using almost any fabric to create unique, beautiful, and truly spectacular frames.
What is mounting?
Mounting is the process of securing and holding artwork or artifacts in place. There are several ways to mount items for framing. However, the most critical consideration is the importance of preservation. Some items have little long-term value and are framed strictly for decorative purposes. Permanent mounting often provides the best-looking, most secure, and least expensive alternative for these things. Other items have financial or sentimental value that will be diminished if a permanent mounting is used. In these cases, conservation mounting techniques should be used. Before framing anything, you should understand its value to you and your family members or as an investment. Once you know this, your framer can help determine the best mounting technique for your project.
Permanent mounting is irreversible. An object is attached, usually using adhesives, to a backing material that will securely hold it within a frame. Permanent mounts can hold paper and other thin objects flat to avoid waving or cockling, and can minimize creases or folds. Permanent mounting techniques can also avoid using visible attachments such as straps, wires, thread, or other mounting materials that might detract from the appearance of a framed object because they are visible to the viewer. But remember, permanent mounting artwork or objects cannot be dismounted and returned to their original condition. If an item is determined to be of significant value after framing, that value will almost certainly be diminished by a permanent mounting that cannot be undone.
Conservation Mounting holds artwork and artifacts in place without subjecting them to irreversible mounting processes. The objective of conservation mounting is to allow the objects to be removed from the frame at a later date without evidence of their having been framed and in their original condition.
What is dry mounting?
Dry mounting is a process that flattens and permanently mounts artwork to the backing board. The 'dry' part of the term means that no risky wet adhesives are used in the mounting process. Instead, a dry adhesive material is placed between the artwork and the backing board. Then, both are placed into a large vacuum press, which flattens the artwork as it heats the adhesive to cause a permanent bond to the backing board. Our heat/vacuum dry mount presses can mount artwork as large as 40" x 60".
Dry mounting serves two purposes:
One is to flatten the artwork. Paper artwork can easily become wrinkled when handled. Dry mounting will remove virtually all wrinkling from damaged artwork. Even sharp crinkles, which have broken the fibers of the paper artwork, will be flattened out (although you may still see a line where the fibers were permanently damaged).
The second is to keep the artwork flattened, regardless of the environment. Artwork that is not full-surface mounted will expand and contract over time, depending on heat and humidity. These expansions and contractions can translate into undesirable undulations and bowing of the artwork within the frame. A dry-mounted artwork will remain flat, regardless of changes in the surrounding environment.
What should NOT be dry mounted?
You should not dry mount any artwork that would be reduced in value by being permanently attached to the backing board. This would include original artwork, limited editions, and any collectible piece. In the minds of collectors, mounted artwork is not as valuable as the same artwork in its original form.
You should not dry mount art as it will melt at 190 degrees. This would include wax-based artwork, fax paper, and some of today's color copies. In these cases, a careful wet mounting process should be employed in a cold press.
What is wet mounting?
Wet mounting differs from dry mounting only by the adhesive used to attach the artwork to its backing board. Spray glue or paste is applied between the artwork and the backing rather than using a sheet of dry adhesive. The wet mounted piece is usually processed with a vacuum press as if it were dry mounted, except without heat being applied.
The disadvantages of wet mounting are that:
Moisture is introduced directly onto the artwork.
There is more risk of the mounting process damaging artwork than dry mounting.
It is the least preferred mounting option. However, some types of artwork cannot withstand the heat of the dry mount process, and wet mounting may be the only permanent, full-surface mounting option.
What is glazing?
Glazing is the general term for a clear coating that protects artwork while allowing you to see it. There are many forms of glazing, including glass, acrylic, lamination, and styrene. There are many forms within each of these glazing categories, such as clear, non-glare, reduced reflection, and U.V. protective. No single glazing material is perfect for all framing conditions. There are advantages and disadvantages to using each.
* Regular clear glass has been the most common type of glazing. It is durable and more scratch-resistant than non-glass forms of glazing material. Common disadvantages are that most forms are brittle and breakable and weigh more than acrylic glazing alternatives. Glass inherently provides a low level of U.V. filtering (less than 50%). Regular clear glass will generally be the least expensive glazing.
* In locations where reflection from strong lighting might be a problem, reflection control glass may improve your ability to view the framed artwork. Its ability to diffuse light also makes the image it protects less distinct. Sometimes, the softer image caused by reflection control glass is desirable, but sometimes, it masks sharp details. The quality of reflection control glass varies considerably, and its use should be carefully considered. Reflection control glass will cost more than clear glass. The main benefit of reflection control glass is the reduction of glare. It does not provide any additional U.V. protection.
* Anti-reflection (AR) glass is a special, optically coated glass that significantly reduces reflection and glare. It serves the same purpose as reflection control glass but without softening or diffusing the image. In most lighting situations, the artwork appears to be unglazed. People often feel compelled to reach out and touch the glazing to make sure it's there. The advantage of AR glass is its incredible visual clarity. The U.V. filtering properties of AR glass are the same as regular clear and reflection control glass.
* Framing-grade acrylic makes excellent glazing. It is lighter than glass and less prone to breaking, making it ideal for artwork placed in a child’s room, high-activity area, or public location. However, acrylic will scratch more easily than glass, especially lower grades, which are sometimes called plexiglass. Acrylic is available with the same clear, reflection control, and AR finishes as glass, but it is more expensive to glaze than glass.
* Lamination is light-duty glazing, which protects the artwork's surface from dirt and liquids but not necessarily from physical penetration. Lamination is applying a thin plastic film to the surface of a previously mounted piece of flat art. A heat/vacuum dry mount press permanently fuses the plastic film to the artwork's surface. The cost of lamination is similar to that of other glazings. Its major advantages are that it is lightweight, does not require a frame to hold it onto the artwork, and is penetrable (by push-pins, for instance.) The lamination material used at Studio Seven Arts is inherently U.V. protective and is available with a matte or faux canvas finish.
* Studio Seven Arts does not stock the glazing material styrene plastic. It is typically thinner than quality framing-grade acrylic, soft and susceptible to scratches, warps and bows easily, and yellows over time. Its only redeeming value is that it is cheap—but you'll have to buy it from a less quality-conscious organization.
What does UV light have to do with framing?
Ultraviolet (or UV) light is the band of light rays that fades vibrant colors and breaks down paper, causing yellowing and brittleness. Constant exposure to ultraviolet light rays can severely damage artwork or valuable artifacts. Natural light contains the most harmful UV light rays, but fluorescent, halogen, and even incandescent light emit UV light. Framed items should never be located where they are exposed directly to natural light. However, to view artwork, it must be exposed to some light. One of the most significant recent developments in framing technology is the availability of glazing that blocks UV light rays.
Artwork and artifacts that have any monetary or sentimental value should be protected from light damage. TruVue glass and acrylic glazing products used in our shop now have an effective UV filtering level of 99%.
All the glass and acrylic finishes mentioned previously are also available with UV protection. Here is a list of the various rigid glazing products available at Studio Seven Arts and their UV-enhanced counterparts:
Premium clear glass .............................. Conservation clear glass
Premium clear acrylic ........................... Conservation clear acrylic
Reflection control glass ........................Conservation reflection control glass
Reflection control acrylic ......................Conservation reflection control acrylic
Anti-reflection glass ............................….Museum glass
Optimum acrylic .................................Optimum Museum acrylic
Choosing glass for your framing project need not be a confusing issue. A knowledgeable framer can help you determine the right choice based on the value of your artwork, the planned location for your finished project, and your budget.
How is the back of the frame sealed?
The sealing on the back of a frame is primarily functional, not decorative. Its purpose is to keep unwanted elements away from the frame's contents. Insects, dust, dirt, airborne grease, and contaminants can all harm artwork and photographs. A proper seal will protect against these elements.
Frames are sealed in several ways:
Paper backing: Paper backing is most common in the USA. The adhesive is applied around the entire perimeter of the frame's back to provide a tight seal. Then, a backing, usually kraft paper, is used and trimmed.
Framing tape backing: This is a European style of backing. Brown, black, or white framing tape is applied around the perimeter of the back of the frame to seal the gap between the frame and the backing board. This backing can be more durable than a paper backing, but it makes later access to the frame’s contents more difficult and does not have a clean, finished appearance.
Oil paintings on canvas: At one time, it was thought that canvas artwork, especially oil paintings, should either not have a backing or that the backing should be vented so the paint could “breathe”. Extensive research has determined this is not the case—framed canvas art benefits from a sealed back for the same reasons as paper artwork. To properly protect the canvas from back punctures and tears, it is also recommended that a protective 4-ply layer be attached to the back of the stretcher frame before applying the backing.
Metal frames: Metal frames are generally not backed. Their shape and construction make the application of a backing difficult. But when correctly assembled and properly fitted, the nature of the frame’s mechanics provides sufficient protection for most art.
What is preservation framing?
Conservation framing (also known as preservation framing) is the professional application of knowledge, materials, and techniques to the framing of valuable art, historic documents, and artifacts in a manner that does not permanently alter those objects. In short, conservation framing does everything possible to ensure that when an item is later removed from the frame, it will not show evidence of having been framed, thus preserving its long-term value.
Complete conservation treatment of a piece of art is not always appropriate, desired, or practical. Therefore, there are always degrees of appropriate conservation to be applied. For example, for its best appearance, a wrinkled and torn old poster, primarily of sentimental value, might best be dry-mounted (not considered a conservation practice). Then, acid-free mats and U.V. protective glazing might be used to reduce the likelihood of continued deterioration. A reputable designer should advise you of options and possible consequences when framing an important item.
What are the differences between printed art forms?
Images can be put onto paper in several ways. There are many techniques, and the terminology is confusing. Below, you will find a brief description of the most common techniques.
REPRODUCTION ART
Posters are four-color process lithographic reproductions of paintings, usually with type on or around the image. Mass-produced art is generally considered a poster, even though people sometimes refer to them as prints.
Limited Edition Print: A reproduction of original artwork limited to printing a specific quantity, after which the plates are destroyed to ensure no more copies will be made. Each piece is numbered and signed by the artist. Limited editions were originally intended for artists to distribute a desirable work of art without greatly diminishing the value of the image. More recently, some popular artists have tried to create an illusion of rarity by releasing “limited editions” produced in the tens of thousands, often far surpassing demand and the availability of many open edition prints.
Open Edition Print: A reproduction of original artwork distributed according to demand. If all available copies are sold, more may be printed.
Offset Lithograph: Four-color process lithographic reproduction done on an offset press. It is the same as a poster, limited edition print, etc.
Chromalith Replica: A continuous tone reproduction with hand-drawn touch colors, using serigraphy and lithography.
Giclée: A reproduction of original two-dimensional artwork or a photograph printed from a digital file using a high-quality continuous inkjet printer and archival grade ink.
Imprint: A dot-matrix reproduction with hand-drawn touch colors, sometimes with handwork by the artist.
Collotype: A gelatin-based plate producing a continuous tone reproduction.
Canvas Transfer: A reproduction that has been adhered to canvas.
Repligraph: A photographic fused film technology producing an image on the canvas.
Litho Serigraph: A mixed-media reproduction using four-color process separations as a base with silkscreen touch colors added.
ORIGINAL PRINTS
Etching: Acid cuts the image into a plate, and ink is rubbed into the remaining incised area. Wet paper is laid over the inked plate and printed under extreme pressure on an Intaglio press.
Engraving: The image is scratched into a plate, then inked and printed like an etching.
Stone Lithograph: An image is drawn or painted with a greasy substance on a limestone slab. The stone is treated to accept water, then inked with a roller and printed on a lithography press.
Original Lithograph: The printing process is the same as a stone lithograph, but the image is drawn on an aluminum plate or mylar and then transferred to a plate.
Original Serigraph: A silkscreen printing process using stencils adhered to silk or nylon mesh through which a squeegee pushes ink.
Collograph: An image is created by building a relief surface with mat board, cloth, sand, wood, or putty. Rubbing ink into the textured surface or rolling ink on with a brayer then inks the surface.
Monotype: The image is created by painting on a Plexiglas or metal surface with printer's ink and printing a single copy on an Intaglio press. Ghost images are sometimes printed.
Monoprint: Sometimes used interchangeably with monotype, but the monoprint usually has a common image matrix that is inked differently each time.
Woodcut: An image is created by carving a negative image into a wood block. The surface is inked with a brayer and printed on a relief or Intaglio press.
Linoleum Cut: The same as a woodcut except that the block of wood is replaced by linoleum.
Serilith: A mixed media process combining hand-drawn lithography and hand-drawn serigraphy.
What makes Studio Seven Arts different?
Studio Seven Arts is a locally owned fine art gallery and custom framing store that offers the best of both worlds—a real frame shop where all work is personally designed and crafted, with top-notch professional services at affordable and competitive prices!
Service
Our experienced, professional staff knows how to handle the items you bring in for framing correctly. If it's important to you, it's important to us! We not only help with unique designs, but when you want something to last, our Preservation Plus™ program gives the assurance you need.
We are a self-contained framing store. Every project is completed in our fully equipped workshop, so you don't have to worry about your work leaving our premises. You’ll love your framing job.
Affordability
Studio Seven Arts offers over 2,500 frame styles at regular prices that are competitive with the “discounted” custom framing prices at area art, craft, and hobby stores. Our discount programs and any coupons we offer truly are savings for you rather than just an adjustment back down to regular prices.
Many of our customers have commented on how impressed they are with the high level of customer service and product quality they receive from Studio Seven Arts at prices that continue to be comparable with the discounted prices elsewhere.
Stop in today to experience the Studio Seven Arts difference for yourself!.
Can you help me design my piece?
When you arrive at Studio Seven Arts, you're not alone. Knowledgeable design personnel are always on staff, waiting to work with you. If you would like, we can reserve a design session time to keep you on schedule.
Our trained design team has extensive experience helping customers like you every day. With thousands of frame styles, hundreds of mat colors, and a dozen types of glazing, we will expertly help you sift through infinite combinations to make your artwork look its best.
Working on a budget? No problem. We can show you alternatives and advise you on how to best leverage your dollars. With our computerized pricing system, it is easy to try different frames, mats, and glazings until you find the combination that satisfies your senses and meets your budget.
How is custom framing priced?
Everyone making an important purchase wants the best value, and price is an important consideration when making a buying decision. Pricing custom framing can be frustrating for both the customer and the framer. The difficulty is that every purchase is a one-of-a-kind custom-made product. Every job is unique, with its own set of construction costs. However, even when two different framers use the same framing materials, the manner of treating the artwork, techniques for building the frame, and methods of assembly will significantly affect the overall quality of a particular job and, therefore, the price. Quite often, these differences are not readily apparent and only reveal themselves when costly issues arise later in the life of the framed piece.
Studio Seven Arts uses a computerized system that identifies the materials, construction and preservation techniques, and time necessary for the framing design to determine a fair and competitive price for each job. We routinely compare our prices to other shops and framing departments to ensure we give our customers the best overall value. We realize that because our shop maintains certain quality and assembly standards, we may not always be the cheapest. However, we hold that we offer the best overall value and back this statement with our Total Satisfaction Guarantee.
How do your prices compare?
Periodic market analysis shows that our prices are competitive, virtually the same, or less than other professional frame shops offering equivalent products and services. At times, other frame shops may quote a job at a significantly lower price. When this occurs, the frame shop generally uses products or techniques that do not meet minimum accepted industry standards. This would include paper mats, cardboard backing, polystyrene frames, knockoff frames using wood or other materials unacceptable to mainstay manufacturers, irreversible glue and tape attachments, second-quality glass, and countless other shortcuts. At times, these shops are shipping your artwork to offsite production warehouses where the quality and experience of their staff are questionable. You must also ask yourself if this framer will be around if you encounter future problems. At Studio Seven Arts, trained staff does all the work on the premises. We also back up our quality with the industry-leading Design and Craftsmanship Guarantee.
Will you match the craft store's 50% or 60% off deal?
To be a good value, a sale or coupon incentive should reduce an item’s price from what it usually sells for – not a higher price that is rarely, if ever, actually charged. No store can stay in business selling products for half of what everyone else charges. The only way a retailer can offer 50% or 60% off deals almost all the time is to have list prices twice what others fairly charge for similar products and services. Since Studio Seven Arts’ regular prices are already significantly lower, we can't honor coupons from the stores that utilize this inflated price strategy. We believe we offer the best value in framing. And when we extend a coupon offer or have a sale, we pledge that the discount is based on real, everyday prices.