1. Acetate

Is made from a cotton or wood pulp that has undergone processing, defining it synthetic. It reacts to high concentrations of alkalis or acids. Therefore at John Jones we use archival Polyester film which is often referred to by the brand names ICI Melinex or Mylar.

2. Acid

Acid attacks cellulose fibres causing paper to discolour, become brittle and breakdown. Acid comes from the lignin in wood. It can also be contained in chemicals used in paper manufacture, lower grade picture framing materials and atmospheric pollution.

3. Acid-free

This can be a very misleading phrase, sometimes used to describe materials that have acidic content but which have in reality been highly buffered to raise the pH value. We use 100% cotton mount boards that contain absolutely no Lignin.

4. Acrylics

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 UV filtering, low reflectance 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.

5. Adobe RGB (1998)

The RGB working space created by Adobe Systems. Adobe RGB’s gamut is reasonably large; it encompasses most of the colours that can be reproduced by common output devices today, and is considered the standard colour space for converting and storing images.

6. Alkaline

Materials with a pH level more than 7.0 will contain alkali, neutralising (but not removing) acidic content.

7. Artwork Present. Template

This headlines how you want the artwork to appear in the finished frame. There are twenty three different options of presentation and they will all fall into one of the following option groups… To Edge, Mount or Lay-On.

8. Backboard

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

9. Backing

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

10. Baguette Frame (Tray Frame)

Box solution to float a canvas or a work on board (usually oils).  Always unglazed.

11. Bevel

Angled edge cut into a mount aperture or into part of a frame profile. 

12. Bleed

When an image is printed to the edge of a piece of paper, it is said to bleed to the edge.

13. Box Frame

Frame designed to house an artwork using fillets (spacers). Generally quite contemporary and glazed.

14. Bracketing

Practice of making additional images varying exposure to insure accurate exposure of a given subject; e.g., additionally exposing "one stop under" and "one stop over." Automated feature in recent camera models.

15. Buffering

The addition of an alkaline substance usually Calcium carbonate in order to help neutralise, prevent (or even disguise) acids.

16. 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.

17. Burnished

A high shine, smooth finish applied to gold leaf frames by hand polishing with an agate quartz stone.

18. C-type print

A colour print in which the print material has at least three emulsion layers of light sensitive silver salts. Each layer is sensitized to a different primary colour - either red, blue or green - and so records different information about the colour make-up of the image. During printing, chemicals are added which form dyes of the appropriate colour in the emulsion layers. This is the most common type of colour photograph. It is now possible to produce C-type prints digitally while still maintaining the chemical processing.

19. Calcium carbonate (chalk)

The buffering agent most commonly used in the manufacture of paper.  The higher pH achieved by buffering is not permanent and the alkaline reserve will eventually drop over time.        

20. CCD

Charge Coupled Device: one of the two main types of image sensors used in digital cameras. When a picture is taken, the CCD is struck by light coming through the camera's lens. Each of the thousands or millions of tiny pixels that make up the CCD converts this light into electrons. The number of electrons, usually described as the pixel's accumulated charge, is measured, and then converted to a digital value. This last step occurs outside the CCD, in a camera component called an analog-to-digital converter.

21. CD-R

CD-Recordable. A compact disc that holds either 650 or 700 MB of digital information, including digital photos. Creating one is commonly referred to as burning a CD. A CD-R disc can only be written to once, and is an ideal storage medium for original digital photos.

22. CMYK

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).

23. Coated Glazing

Glazing and Acrylic can be coated with either a fine film or spray to increase UV filtration, abrasion resistance or reduce reflection.

24. Colour profile

A representation of the colour properties of a device's colour space. Today, virtually all profiles conform to the ICC specification.

25. Colour Space

A visual representation of a device or colour model's colour gamut used for colour management.

26. Conservation mountboard

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.

27. Conservation level framing

The Fine Art Trade Gild is the UK trade association for the fine art framing industry and has defined five professional levels of framing which are recognised around the globe. Conservation level is the 2^nd highest level designed to visually enhance artwork and offer a high level of protection for approximately 20 years under normal conditions. John Jones no longer offer framing at conservation level and concentrate solely on Museum standard.

28. Conservation/Museum Glass

Glass that contains enhanced UV filtering to reduce the damage caused by Ultra Violet light. Traditional “float glass” will only filter 40% where as Conservation/Museum glass can filter as high as 98%.

29. Corrosion intercept

Containing highly reactive copper particles bonded into a polymer sheet it neutralises corrosive gasses and is not affected by moisture, humidity and temperature. This material can be used as an additional barrier sheet between your artwork backing board and the frame backing. Once the copper colour changes to black you will need to replace it with a new one, this colour change will be identified upon regular “health” checks of your framed artwork.

30. 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.

31. Cromalin

Often misspelled as Chromalin. Cromalins are a well known photo-mechanical proofing method from DuPont'. They are capable of producing CMYK proofs as well as spot colour and Pantone Matching System proofs.

32. Deckled edge

Paper with uneven, feathered edges which should be float-mounted so that the whole sheet is on view.

33. Diasec ®

This process makes it possible to glue images double-sided between various types of materials. In this is way the Diasec ® process is also called a "sandwich".

Diasec ® uses a specialized liquid glue which guarantees that no air bubbles, dust or residue will interfere with the quality or presentation of the art work.

No heating is used in the process and therefore the integrity of the image is not endangered.

34. Digital images

These are created using a gridded mosaic of light sensitive picture elements, called pixels, embedded on a computer chip. The pixels emit electrical signals in proportion to the amount of light they receive and these signals are converted to numbers and then stored electro magnetically - in a computer or on a disc, for example. Digital images can be manipulated and altered by computer and regenerated in many ways: on computer or television screens, on film, printed or projected. The technology for producing digital images is evolving rapidly with new possibilities constantly emerging.

35. Distilled Water

Is boiled water left to cool which will remove any remaining impurities. Distilled water should always be used in connection with Museum level framing, for example, on all Japanese hinge applications using Sodium Carboxy Methyl Cellulose as the adhesive paste.

36. DPI (or PPI)

Dots Per Inch/Pixels Per Inch. The resolution of an image or how many pixels are defined in the boundary of a square inch. The more correct term is pixels per inch, however dots per inch is often used instead.

37. Dry mounting

Bonding paper entirely to a substrate keeping it permanently flat, using a heat activated adhesive on acid free tissue with a flat bed press or rollers. This is very effective on Cibachrome photographs with a 1.5mm Aluminium sheet acting as the backing.

38. Duratran

Duratran is a trademark name used to describe a large format, backlit transparency, presented in a display lightbox. They are popular with photographers and artists working with digital images. The surface is delicate and should be handled with white cotton gloves.

39. Fillet

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. John Jones use a revolutionary acid free paper covered Perspex fillet (Patent’s pending) which unlike the wood version will not contaminate the frame chamber over time. 

40. Float Glass

Traditional picture frame glass normally supplied in 2mm thickness upwards. However glass technology has come a long way in recent years and we supply a low iron glazing as our base product, which eliminates the slight green tint associated with traditional float giving a clearer view of the object.

41. Formaldehyde

Is a substance used in the manufacture of MDF, textiles, leather and paper. It occurs naturally in some plants and contains formic acid which is a corrosive.

42. Gamma

The values produced by a monitor from black to white are nonlinear. If you graph the values, they form a curve, not a straight line. Gamma defines the slope of that curve at halfway between black and white. Gamma adjustment compensates for the nonlinear tonal reproduction of output devices such as monitor tubes. Gray Gamma 1.8 matches the default grayscale display of Mac OS computers. Gray Gamma 2.2 matches the default grayscale display of Windows computers.

43. Gamut

The total range of colours produced by a device. A colour is said to be "out of gamut" when its position in one device's colour space cannot be directly translated into another device's colour space. For example, the total range of colours that can be reproduced with ink on coated paper is greater than that for uncoated newsprint, so the total gamut for uncoated newsprint is said to be smaller than the gamut for coated stock. A typical CMYK gamut is generally smaller than a typical RGB gamut.

44. Gesso

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.

45. Giclee

Pronounced "zhee-klay" the French word "giclée" is a noun that means a spray or a spurt of liquid. The term "giclee print" connotes an elevation in printmaking technology. Images are generated from high resolution digital scans and printed with archival quality inks onto various archival substrates including canvas, fine art rag paper, and photo-base paper. The giclee printing process provides better colour accuracy than other means of reproduction.

The quality of the giclee print rivals traditional silver-halide and gelatin printing processes and is commonly found in museums, art galleries, and photographic galleries.

46. Gilding

The highly skilled and delicate application of laying gold-leaf onto a surface.

47. Glass (WW)

Water white glass is a low iron (WW) glass, because there is less iron content the glass appears whiter, losing the slight green tint associated with traditional float. The benefit affords a greater clarity when viewing your artwork within its frame.

48. Glass (WW AR)

In addition to being low iron, this variety has a low reflect (AR) coating that reduces light reflection from a standard 8% down to 1% making it difficult to detect.

49. Glass (UV AR)

This option has the addition of an ultraviolet light (UV) filter, as well as incorporating low reflect properties. Standard float glass has a natural filter in the region of 44% which can be increased to 99% by using (UV) coated or laminated products. However this version is not low iron and therefore is not water white and retains the usual tint of standard float. 

50. Glass (WW UV AR)

With low iron content, UV filtering and a low reflect coating all combined, this glazing option has proven to be our most popular choice. This glass also comes in a laminated variety, making it much more suitable for use with larger size frames.

51. Grey Scale

An image made up of varying tones of black and white, containing no colour, so greyscale is synonymous with black and white. The 256 grey levels system divides the grey scale into 256 sections with black at 0 and white at 255.

52. Hinging

Sometimes referred to as fixings or tabbing this describes the attachment method of artworks to their substrate (backing). We prefer to use hinges made from lightweight Japanese paper, bonded to the artwork with water soluble SCMC (Sodium Carboxy Methyl Cellulose). However for photographic papers the best method is clear polypropylene corners with acrylic adhesive.

53. Humidity

In order to ensure its longevity artwork should be hung in a stable atmosphere where the temperature and humidity levels are not susceptible to rapid change. Temperature should ideally be within 65 & 75°F (18 & 24°C) with humidity ranging 45% - 55%

54. ICC Profile

The International Colour Consortium, a group that sets standard guidelines for colour management in the imaging world. Most printers, monitors and scanners as well as digital cameras, usually come with a driver disc for Windows and Mac systems that includes ICC profiles for the particular device.

55. Image size

This refers to the “actual picture” not paper size or any plate line/borders. Borders, plate lines and paper sizes are all recorded separately for accuracy and are used dependant on the artwork presentation template chosen.

56. Image Resolution

The number of pixels in a digital photo is commonly referred to as its image resolution.

57. Inter-negative

An inter-negative is made by duping a positive slide or transparency onto colour negative film. The inter negative can then be printed on colour negative (Type "C") paper. Negative printing materials have lower contrast than do positive papers, but the inter-negative process will reduce overall sharpness and colour saturation.

58. 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. It is important that the paper selected is of a lighter weight than the artwork paper, so if by any chance the frame was to fall from the wall, on impact the hinge would tear and not the artwork.

59. Joining

Term used to describe fixing the corners of a frame together - splicing, screw plug, underpinning, butt join are a few references.

60. JPEG

Acronym for Joint Photographic Experts Group that describes a digital image file format standard in which the size of the file is reduced by compression. A JPEG image file name carries the extension "jpg". JPEG compression is "lossy", meaning it loses some image information as opposed to other formats like TIFF. A "high quality" JPEG file looses less than a "low quality" JPEG file.

This is a common standard on the WWW, but the data loss generated in its compression make it undesirable for printing purposes.

61. Laminated glass

By inserting a plastic laminating film between two sheets of glass and bonding them together, a thicker and much larger sheet of glass is instantly available widening the usage of glass containing WW UV AR properties. In the unlikely event of being broken, laminated glass will not detach from the film thereby keeping your artwork much more protected from damage than it would if single sheet glass is used. By using a laminated product you also instantly introduce a 99% UV filter.

62. Lay-On

Artwork presentation template. The object is placed onto a backing usually larger than the paper size so that it is made visible, then it is secured using Japanese Hinges.

63. Lignin

Lignin is a natural component found in wood and plants and helps to give them their rigidity. Unfortunately it does break down over time forming a highly acidic compound. This is why it is removed from conservation level mount boards and other conservation framing materials.

64. MDF

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.

65. Microchamber technology

Has the ability to delay the deterioration of objects longer than buffered 100% cotton alone. Containing molecule traps called Zeolites, mount boards and paper impregnated with this technology allow airborne pollutants into the very fibre of the material but will not release them, rendering them harmless in the process. We offer a selection of 100% cotton boards with Microchamber technology within our mountboard range. 

66. Migrating acid

Acid contained within a poor grade mountboard or frame component for example will eventually move into the artwork. Similarly should an artwork already contain acid this will infect a poor grade mountboard.

67. Moulding

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

68. Mount

A mountboard cut to the rebate size of a frame with a central aperture (window) created through which to view the artwork image only.

69. Mount (Bleed)

Bleed refers to the amount of artwork paper you wish to see around the artwork image through the aperture when overlaying it with a mount.

70. Mount (Book)

All mounts created by John Jones come with a backing attached, hinged together like a book. It is to this backing that artwork should be attached and never to the underside of the cut mount.

71. Mount (Float)

Float refers to displaying the whole artwork paper for view within the mount aperture.

72. Museum boards

The highest and only grade of Mountboard available at John Jones offering maximum artwork protection. Made from 100% cotton which does not contain Lignin the question of acid in the product does not arise. Some of these boards are Unbuffered making them ideal for use with papers & mediums that are not suited to a high alkaline environment.

73. Museum Level framing

The Fine Art Trade Gild is the UK trade association for the fine art framing industry and has defined five professional levels of framing which are recognised around the globe. Museum is the ultimate level designed to visually enhance artwork and offer the maximum level of protection for up to 35 years under normal conditions. John Jones not only meets these standards but exceeds them where possible; work to improve our standards by continual research into new framing methods and materials is permanently ongoing.

74. Negative

The developed film that contains a reversed tone image of the original scene.

75. Non-reflective glass

Non-reflective glass should not be confused with the low reflect (AR) that we prefer. Non-reflective is a sheet with one etched side that breaks up the reflection. This looks fine when placed directly onto the artwork with nothing between, but it breaks museum standard rules. Artworks must always have a separator from the glazing. Once lifted 2mm or more the clarity of the artwork begins to suffer.

76. Patina (Patination)

With our aluminium and brass frames we can create many different colour/finish effects with patination. It is achieved by the application of corrosive chemicals on the surface of the frame which are left for varying timescales before being removed once the desired effect has been realised. To seal and protect the finished surface an Ercelene Lacquer is added as a final step. In accordance with our strict codes of practice all chemical residue is erased before fitting the frame and artwork together.

77. Perspex and Plexiglas

These are brand names that are generally used mistakenly when asking for Acrylic.

78. pH scale

The pH scale measures whether materials are high alkaline, acidic or neutral. The neutral measurement is 7.0 any result below that figure will indicate acidity. Likewise readings above will indicate alkalinity.

79. Polaroid

An instant film, giving an almost immediate positive print.

80. Profile (1)

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

81. Profile

An ICC description of a particular imaging input or output device that allows the Colour Management Software to apply the proper colour transformations to the image file to match the specific limitations of the device.

82. PVA neutral pH adhesive

Based on Polyvinyl Alcohol, it is used for securing wood frame corners and some forms of artwork presentation. PVA is also used to laminate paper sheets to make mountboard as is EVA (ethylene-vinyl acetate)

83. 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.

84. Raised Lay-On

The difference between this and a regular Lay-On is the addition (usually 100% cotton) of an extra platform on which to lay the artwork. Cut smaller than the paper size, it gives the illusion that the artwork is floating in front of the backing.

85. Raw

The RAW image format is the data from a digital camera as it comes directly off the CCD, with no in-camera processing performed.

86. Rebate size

The rebate of the frame is the inside of the frame where all of its components rest. Rebate size is the internal measurement which will tell you how big the glazing, backing, fillets etc need to be.

87. Recto

Front (Face) of an artwork.

88. Reversible

All methods of artwork hinging should be fully reversible. That is to say, if they are removed the object should be able to be returned to its original state prior to application.

89. RGB

Red, Green and Blue. The three colours to which the human visual system, digital cameras and many other devices are sensitive; the colours used in displays and input devices. They represent the additive colour model, where 0% of each component yields black and 100% of each component yields white.

90. SCMC (Sodium Carboxy Methyl Cellulose)

We have replaced traditional Wheat/Potato starch paste with Sodium Carboxy Methyl Cellulose as the adhesive used when attaching hinges. Traditional starch paste takes longer to prepare before application and will grow mouldy very fast if not stored in a refrigerator. Methyl Cellulose has a much longer shelf life and does not require refrigeration. Close in appearance to wallpaper paste, once applied it dries very quickly and mould growth will not apply.

91. Self Adhesive

Self adhesive tapes or hinges should never be applied directly to artwork under any circumstances whether it is for hinging or repair purposes.

92. Sight size

This refers to the measurement telling how much of the object is visible once framed. When used this will differ to the image or paper size measurements. It is often more applicable for framed canvas’s or panels that are framed To Edge.

93. Split Baton

This is a corresponding length of wood used to marry a sub frame to the wall, providing a secure hanging system

94. Sub frame (strainer or support frame)

Internal frame construction devised to add durability to a frame, as well as to provide a secure hanging method, by using a Split Baton.

95. Substrate

Is the backing onto which an artwork is applied or created.

96. Temperature

In order to ensure its longevity artwork should be hung in a stable atmosphere where the temperature and humidity levels are not susceptible to rapid change. Temperature should ideally be within 65 & 75°F (18 & 24°C) with humidity ranging 45% - 55%

97. To Edge

Artwork Presentation Template. This implies framing straight to the edge of the paper/canvas, some of which can then be obscured under the frame rebate. What’s left to view is called the sight size.

98. TIFF

Tagged Image File Format. An uncompressed non loosy image format.

TIFF can handle colour depths ranging from one-bit (black and white) to 24-bit photographic images with equal ease. Once the resolution has been determined, either by scanning or by saving in an image-manipulation software package, it cannot be upgraded or increased to improve quality.

99. Transparency

Basically, slide film. A positive photographic image on film, viewed or projected by transmitted light (light shining through film).

100. Ultra-violet (UV) light

Ultraviolet light can be highly damaging to sensitive artwork. Even if your frame includes special UV-filtering glass, it should never be hung in direct or bright indirect sunlight. Ultraviolet rays are found in artificial light sources as well as in sunlight.

101. Unbuffered Boards

A category of Museum board that has no alkaline buffering added. Certain photographic processes react with alkaline-based materials, so it is important that un-buffered board is used for mounting certain types of papers or medium.

102. Verso

The back (reverse) of an artwork.

103. Washline

A decorative line drawn around a mount aperture, using a special ruling pen with watercolour paint or ink.

104. Water white glass

Water white glass has a low iron, high lead content that makes it virtually colourless in comparison to traditional Float Glass which has a green tint.

105. Window/Aperture size

The dimensions of the central aperture (window) created in a mount through which to view the artwork.

106. Window Mount

A mountboard cut to the rebate size of a frame with a central aperture (window) created through which to view the artwork image only.

107. Zeolites

Molecule traps. Mount boards and paper impregnated with this technology allow airborne pollutants into the very fibre of the material but will not release them, rendering them harmless in the process. Their addition also contributes to a slowdown in the degradation process of paper.