Print Help

Quality

We offer only museum quality prints. Our museum quality prints will last at least 60 years before there is any detectable change in the color of the print (and they may last much longer). The effective lifespan of a print is determined largely by the paper on which it is printed, the mounting and framing materials surrounding the print, and the environment (light and humidity, for example) in which the print is displayed. The photographic paper manufacturers we use claim a life expectancy of over 80 years for their prints (we conservatively claim 60+ years). Our Museum Quality matting materials ensure the print is not degraded due to matting material contamination for at least 100 years. Standard Quality matting materials may cause a print to begin to show signs of discoloration after some 10 to 20 years (or sooner in some extreme cases). The lifespan of a print can be maximized by mounting it behind UV-resistant glazing materials (provided when you select Museum Quality framing). If you expect your print to be displayed for many years in your home or office, then Standard Quality mounting and framing materials should suffice. If you expect your print to last for a lifetime, or over several generations, then Museum Quality mounting and framing materials are essential.

Print Quantity

Selecting the quantity specifies the number of prints of the specified size that we should produce. If you also indicate that we should mat and/or frame your prints, then we will produce a mat and/or frame, according to your specifications, for each print. If you desire that some prints should be matted or framed differently from others, then you should order the print separately for each unique image size, matting, and framing combination your require.

Print Size

Print size determines the finished size of the print. We produce all of our prints without borders, so the selected size will be the actual size of the printed area. Please note that many original images will not fit exactly onto a standard sized print. For example, a 35mm image does not fit exactly onto a 16x20 inch format because the film does not have a 4:5 width to length ratio. Therefore some cropping is often necessary when an image is printed. Seldom is this a problem, however, as this is the standard practice throughout the photographic industry. You should be aware, however, that some minor loss of image content may occur near the edges of your specified print. Please contact us if you wish to discuss how your selected image may be cropped when printed to your specified size.

Include Matting

If you select this check box we will mount your selected print according to your matting specification. If this box is checked then on subsequent pages you will be able to specify how you want the image matted (e.g. single, double or triple matting, off-center matting, what colors to utilize, etc.). If this box is not checked then you will order the print without any mounting or matting. Since we must mat an image before we can frame it, the Framing option box is disabled if you do not elect to have us mount your prints. Please refer to our discussion on Matting to review the types of matting and various color options available.

Include a Frame

This box is enabled when you elect to have us mat and mount your selected print. If this box is checked then on subsequent pages you will be able to specify the type of frame to be included with your mounted print. Please refer to our discussion on Frames to review the frame types and sizes we offer.

Cropping

Nearly all images must undergo some form of cropping when they are printed. This is due to the differing width and length ratios between common print papers and film sizes. Different film sizes (for example, 35mm, 6x6 - commonly called square format, 4x5, etc.) have different width to length ratios and necessitate different cropping actions as the image is printed. For example, the ratio of a 16"x20" print is 4:5. The ratio of 35mm film is roughly 4:6 (or more precisely 2:3). Therefore, some cropping (roughly 17%) will occur in the longest dimension when a 35mm image is made into a 16"x20" print. Cropping is the only way to fit a 4:6 ratio film image onto 4:5 ratio photographic paper. This cropping does not normally affect the quality of the resulting image (in many cases it improves the overall appearance of the image). There is usually no cropping in the shortest dimension. You should be aware that images will often undergo some cropping when they are printed. This is standard photographic practice and necessitated primarily due to differences in film and print paper size ratios.

Images that have a square format (and therefore a 1:1 ratio) can not be printed directly onto rectangular print paper without significant cropping. The question is, which part of the square image should be trimmed and which part should be preserved on the finished print. For such images we offer a Crop Selector tool that allows you to specify which portion of the image you want printed onto the rectangular print paper. Selecting a crop option and then pressing the View button will allow you to see an approximation of how the image will be cropped. There are 11 possible cropping options from which to select when viewing a square image. Any of the following cropping options may be chosen:

Vertical Cropping Options - These produce a print that is oriented vertically.

Keep Left Side - The left vertical column of the image is printed. Anything to the right that doesn't fit onto the print paper is omitted.
Keep Vertical Center - The center vertical column of the image is printed. Anything to the left and right of center that doesn't fit onto the printed paper is omitted.
Keep Right Side - The right vertical column of the image is printed. Anything to the left that doesn't fit onto the print paper is omitted.
Keep Left of Center - This crop is halfway between Keep Left Side and Keep Vertical Center. Some cropping will occur on the left side of the image and a larger percentage of cropping will occur on the right side.
Keep Right of Center - This crop is halfway between Keep Right Side and Keep Vertical Center. Some cropping will occur on the right side of the image and a larger percentage of cropping will occur on the left side.

Horizontal Cropping Options - These produce a print that is oriented horizontally.

Keep Top - The topmost horizontal portion of the image is printed. Anything near the bottom that doesn't fit onto the print paper is omitted.
Keep Horizontal Center - The center horizontal portion of the image is printed. Anything above and below this section is omitted.
Keep Bottom - The bottom horizontal portion of the image is printed. Anything above the bottom that doesn't fit onto the print paper is omitted.
Keep Above Center - This crop is halfway between Keep Top and Keep Horizontal Center. Some cropping will occur near the top of the image and a larger percentage of cropping will occur on the bottom.
Keep Below Center - This crop is halfway between Keep Bottom and Keep Vertical Center. Some cropping will occur on the bottom of the image and a larger percentage of cropping will occur on the top.

No Cropping Option - Do not crop the image

None- Leave it Square - This final cropping option allows you to specify that the image should be printed in square format and should not be cropped. If this option is chosen then the print will be made using non-standard square paper. This might be important in some images where substantial detail will be lost or the overall look of the image is substantially impacted by cropping. If you have selected this option and have indicated that we should mat and/or frame your image, then we will provide square matting and frames to accommodate your square image. The print and any mats or frames will be sized along the longest edge appropriate for the print size you have selected. For example, if you selected a 16"x20" print, then the standard frame size for this print is 24"x28". The longest measurement of the print and frames will be increased to the longest side. So, the print will be 20"x20" (instead of 16"x20") and the frame size will be 28"x28" (instead of 24"x28"). We charge an additional fee for square prints and square framing and matting materials since the costs for these items are significantly higher.

Matting Layers

We can provide one, two or three layers of matting for your print. Each layer of matting moves the print further away from the front glazing (especially important for larger prints which can bow and touch the front glazing material) and adds an attractive stacked window effect. You may elect any of the following:

Single Matting - A single mat is cut so that the print shows through a window in the mat. The mat extends to all corners and edges of the frame, providing an attractive flat border between the print and the frame. Single matting works well on smaller prints that can now bow sufficiently to make contact with the front glazing materials.

Double Matting - A window is cut in two different mats. The window in the front mat is somewhat larger than the window in the back mat. The print is then placed behind the back mat and the back mat is placed behind the front mat. The appearance, when seen from the front, is of the print, surrounded by a narrow border comprised of the back mat, and a wider border that extends to all corners and edges of the frame comprised of the front mat. Double matting provides more space between the glazing and the print and helps prevent print damage on moderate sized prints.

Triple Matting - This is an extension of Double Matting where a third mat, the middle mat, is added to the matting package. The front, middle and back mats are then stacked in front of the print. The wide border of the front mat extends inward toward the narrow border of the middle mat. The middle mat border then extends inward toward the back mat. Finally, the thin border of the back mat extends inward until it encounters the print. Triple matting is the preferred matting for large prints that have a tendency to expand and bow with changes in temperature and humidity. The triple matting helps ensure large prints do not not make contact with the front glazing materials.

Matting Options

The following options are available for your matted print.

Matting Quality - By default, we set the matting quality to be the same as the quality level you selected when viewing the large print. You may select an alternate matting quality if you desire. Standard matting does not ensure an acid-free environment for your print for more than a few years, but it is cheaper and offers a broader array of mat colors. Museum matting offers a limited range of colors (mostly shades of white) and is more costly, but will not become acidic (assuming nothing else acidic is in contact with it) for decades, if ever. Acid in the matting materials can eventually migrate to the print paper and cause discoloration or other damage to the print. The choice between these matting options is really one of print life. If you expect to have the print around for ten to twenty years, then you are probably safe with standard matting. If you expect to hand the print down as an heirloom, then you will require museum quality matting.

Title Window - A title window is a small window cut in the matting a little bit below the print. The title window is centered from left the right below the print. The title, location, or other pertinent information about the print is then printed (on acid-free paper) and placed so it is visible through the small title window cut into the front mat. Title windows can add distinction to an artwork and can enhance the overall appearance of a framed print. Due to the extra labor involved we charge an additional fee for preparing title windows. If the title window option is selected then the print will be mounted off center (see below) to make room for the title window.

Include Signature - For some prints we are able to get the original artist to sign the matting on which the print is mounted. The signature will then be visible through the front glazing. The artist will sign their name and date the signature using acid-free ink. There is no charge for this service, but it is offered only for artists who are in our general vicinity and who can readily sign artworks as they are produced. This option will not appear for prints in which it is not practical to obtain the artist's signature. This option also does not apply for Limited Edition Prints. All Limited Edition Prints are signed, dated, and numbered by the respective artist.

Mount Off Center - It is sometimes attractive when a print is mounted slightly off center so that there is more matting visible below the print than above it. This simply presents a different mounting option so that the print is not mounted dead-center in the frame. Off center mounting is often beneficial when a print will be mounted at eye level since it provides a more pleasing perspective to the eye.

Inside Cuts

Nearly all mounted prints are done with beveled inside edges. These edges are cut at a 45-degree angle so that the white inner core of a piece of mat board shows up as a thin white line around the inside edge of the mat window. When multiple mats are used (for example, triple matting), then a succession of such concentric lines are usually visible as the inside edge of each mat board leads to the next mat board and finally to the print. The white line in effect becomes a border at the boundary between two mats or between the final mat and the print. This is generally very attractive and lends a certain sense of elegance to a mounted print.

In some cases mat board has a core color that is different than white. It may be black and in some cases the mat color is the same throughout the entire thickness of the mat board. If these mat boards are cut with a bevel then a border line will be produced that is of a color other than white. This can often compliment a print, but in some cases it can be distracting. Please review our Matting options to obtain details about the center colors of our various mat boards. Unless otherwise stated the center mat board color is white.

An additional option is to have the mat board cut square at the inside edges so there is no border line between consecutive mat layers nor between the final mat layer and the print. This option is quite uncommon but could be beneficial if the combination of the selected print and desired matting colors would make border lines a severe distraction. When in doubt, use beveled inside cuts. Utilize square inside cuts only if you are quite sure of the flat looking appearance this will likely produce.

Mat Colors

You may select the same or a different mat color for each layer of matting. We utilize the following definitions to identify each individual mat board.

Front Mat - This is the mat that is closest to the glazing material (protective transparent material, glass or acrylic, used to protect the print from physical contact). It generally has the widest borders so it represents the dominant color in the matting package. Other matting layers generally represent accent colors or borders around the print. The Front Mat may be up to six times wider than other mats that are used for accent color or artistic embellishment.

Back Mat - This is the mat immediately in front of the print. The color of the back mat is often chosen to highlight and bring out a specific color contained in the print. In some cases a color complimentary to the dominant color in the print is selected. This mat is only available with double or triple matting.

Middle Mat - This mat is only available with triple matting. The middle mat rests between the Front Mat and the Back Mat. The color of this mat is often chosen to compliment some color in the print or to form a natural color transition between the color of the Front Mat and the desired color for the Back Mat.

It is not uncommon to utilize a different color for each mat layer. It is also not uncommon to have each mat layer be the same color (for example, all white). You can use our mat color viewer to experiment with different color combinations until you find one that best compliments your print. If you can't make up your mind or are unable to find anything you think is attractive, then you can seldom go wrong with all white mat boards. This is how most prints are mounted for art shows and art fairs since it is generally complimentary to most prints and most decors. In some cases all black matting can have a similar effect.

Frame

You may select from any of the frames provided in the drop down list. You may press the View button to obtain a picture of the currently selected frame. Your selected print, the print size, and the frame size are displayed to the left of your browser window.

Mat Viewer Limitations

The Mat Viewer is designed to give you a good idea of how your final matted print will look. While the mat viewer is a good simulator, there are limits to what it can present and, as a result, there may be differences between what you see in the viewer and what you receive in your final matted print. These differences are generally minor, but it is important that you understand them so you are not surprised when you receive your final print. Here are the known limitations of the mat viewer:

Photographer signatures, if requested, are simulated in the viewer. There will be differences between the simulated signature and the artist's real signature.

The Title Window, if requested, will usually contain the location of the image or , where this is not relevant (for example, you've chosen a print of a bowl of fruit), other title information related to the print. The Title Box in the mat viewer is a general simulation of the placement for this window. The actual size and textual content of this window will vary depending upon the image selected, it's location and/or it's title.

We do our best to ensure the colors presented in this simulation window accurately reflect the true colors of the mat boards we offer. However, due to variations in hardware and computer monitor displays there may be some variance between the mat colors displayed in this window and those that are included with your matted print. You will likely find these colors are very close, but in some cases, depending upon your hardware and system settings, there may be differences.

If you have selected beveled inside mat edges then the core of the mat board will show where the center image window has been cut in the mat board. This beveled edge creates a thin (1/8" or so) white or colored (depending on the makeup of the mat board core) line along the inside edge of the mat board. This crisp line forms an attractive border between two different mat colors and between the print and its adjacent mat board. The line created by the core of the mat board is not shown in the simulation window. You can see this thin line (white in this case) between the 907-Wine mat board and the print in the sample framed image on the mat color selection page. It is also visible between the 3297-Artic-White mat board and the 907-Wine mat board in the same sample (though it is less distinctive since it is white and is against a white mat board).

It is not uncommon for images to undergo some cropping along the longest dimension of the print due to ratio differences between film sizes and print sizes. Different film sizes (for example, 35mm, 6x6, 4x5, etc.) have different width to length ratios and necessitate different cropping actions as the image is printed. For example, the ratio of a 16"x20" print is 4:5. The ratio of 35mm film is roughly 4:6. Therefore, some cropping (roughly 17%) will occur in the longest dimension when a 35mm image is made into a 16"x20" print. This cropping does not normally affect the quality of the resulting image (in many cases it improves the overall appearance of the image). There is usually no cropping in the shortest dimension. We will use our best judgment when printing your image to ensure cropping is minimized and that the overall effect of the image is unchanged or enhanced by any necessary cropping. However, you should be aware that images will often undergo some cropping when they are printed. This is standard photographic practice and necessitated primarily due to differences in film and print paper size ratios.

Despite our disclaimers and warnings about the mat viewer we believe you will find it gives you a good general impression about how your finished image will appear after it has been matted. Please keep the above limitations in mind as you review the various matting options for your print.

Matting Suggestions

Here are some ideas and general suggestions you may wish to consider when selecting your matting. There are no fixed and hard rules regarding matting options, but these suggestions may help when you are having difficulty deciding between one or more options.

As a general rule, consider selecting colors that match and compliment the print, not the other colors in the room where the print will be placed. The concept is that if the print will look good in the room, then the same print with complimentary matting will also look good in the room. If matting is selected primarily to compliment existing colors in a room, then the framed print may no longer fit well if the room is subsequently redecorated or painted. Even worse, the framed print may not fit well in any room because the matting doesn't really compliment the print. It is best to ensure that the matting and print form a single complimentary package. Your decor colors should not be completely ignored in selection of mat colors, but strive to ensure the selected colors truly compliment the print - no just your decor.

If your selected print consists largely of darker colors then you might consider using lighter colored matting materials to border the print. This helps to draw attention into the print and avoids a dark and brooding feel to the finished piece. Conversely, if the print is predominantly comprised of lighter colors then a darker mat will provide sufficient contrast so that the image does not become washed out against a light mat. If your print is half dark colors and half light colors, then select your mat colors based upon the predominant colors around the outside edges of the print. If the print is of a child in the snow, then darker colors might be selected to contrast with the snow around the perimeter of the print. If you have selected double or triple matting then a nice effect can often be achieved by using some light an some dark layers. For example, a print of a dark green forest might look nice if the front and middle mats are of lighter colors and the back mat (the one nearest the print) is dark or black in color. Experiment with these color combinations to see what looks good with your selected print, after all, that is the primary purpose for the mat viewer.

Single matting is generally best suited for smaller prints (usually smaller than 16"x20"). While a single mat helps to keep the print away from contact with the front glazing, in larger prints there may still be contact since the print may bow into the glazing materials as temperature and humidity changes cause the print to expand and contract or as static charges build on the glazing material and attract the print to the glazing. If the print remains in contact with the glazing material a natural chemical reaction can occur during which the print and the glazing material bond to one another. If this is allowed to occur, subsequently removing the print from the glazing material almost always results in some damage to the print. For these reasons it is best to utilize double or triple matting for larger prints. Prints larger than 20" in the longest dimension should be matted using triple matting.

Off-Center mounting can be attractive for print hangings that are designed to be viewed at eye level. Prints viewed from a seated or elevated position in which the eye is not in direct alignment with the print generally do not benefit from off-center mounting.

Title windows can add a level of elegance and professionalism to some matted prints. For other prints these windows can seem like a distraction that destroys the clean lines and sophisticated calm of a field of blank matting. The difference really depends on the selected print, the room decor, your intentions for display of the print, and your sense of aesthetics. Consider selecting a title window and viewing it in the mat viewer window. Then, using the back button, unselect the title window, press the Add button, and then examine the image in the mat viewer again. Hopefully this will give you a sense of which option best meets with your intentions and your sense of style. If you truly can't decide which is better, then you might be best advised to avoid the title window in favor of simplicity.

The inside edge of a mat board refers to the edge along the interior of the mat board where it has been cut out to reveal the image and/or other layers of mat board. This inside edge can be cut square (at a 90" angle to the face of the mat board) or beveled (at a 45-degree angle). Beveled inside edge mounting is the most common matting option for prints. The vast majority of prints are mounted using this technique since the 45-degree cut exposes a distinctive border between to different mat colors or between the back mat and the print. This is usually a white border about 1/8" in width, but can be any other color depending on the type of mat board you have selected. Please review our section on matting to review the center core color for the matting you have selected. Square inside edge mounting is often used to hide the internal mat color. This is seldom necessary (or desirable), but can be useful if the interior core color of the mat board would be a major distraction to the mounted print. When in doubt, consider using beveled inside edges. If you know this would look unattractive, then you would probably wish to use square inside edges.

Glazing Materials

We offer two levels of glazing products. The first is standard glazing and is the default if you have selected standard matting. This provides all of the advantages discussed below but is not especially resistant to UV rays (though it is more resistant than standard clear glass). The second option is UV resistant acrylic and this is the default if you have selected museum quality matting. This material stops over 97% of UV rays and is utilized wherever long-term preservation of artwork is required. There is a substantial price differential between these two glazing options. This can often be a determining factor when selecting a glazing material. If you wish to display a print for many years with no noticeable degradation, then standard glazing will probably be satisfactory. But, if you want your prints to last for decades, even if you only hang them indoors, then UV glazing is essential.

Glazing is the transparent "glass" you look through to see your print. Glazing materials are typically either glass or acrylic. We exclusively offer acrylic because it has the following major advantages over glass:

Acrylic is much lighter in weight than glass. This saves you money in shipping fees and makes the completed artwork easier to hang. Its lighter weight also lessens the risk of serious injury to people and to the artwork while hanging the artwork or should the artwork ever fall from the wall.
Acrylic will not break and shatter as is common with glass. This helps ensure shipped packages arrive without damage. It is also an additional safety factor around the home or office.
Acrylic offers better resistance to UV light than that afforded by similar glass products. Therefore your prints will last longer and better resist fading.
Acrylic does not have a natural green color tent that is common to glass products. Acrylic is colorless and therefore does not distort the colors of your print.
UV resistant materials are much less expensive than equivalent glass products. Non-UV glass and acrylic products are quite similar in cost.

Acrylic does have a few disadvantages when compared to glass. These disadvantages are as follows:

Acrylic is generally easier to scratch than glass.
Acrylic can build up static electrical charges more quickly than glass.
Acrylic must be cleaned with acrylic cleaner (avoid using typical glass cleaning products on acrylic glazing as it will cause damage to the glazing - instead use a mild detergent in warm water and a soft cloth to clean acrylic, or use a special purpose acrylic cleaner available from plastic supply stores).

That's about it. To ensure our products have the ultimate in UV protection and that they are easy and inexpensive to ship and handle, we exclusively utilize acrylic for our glazing. We think you'll find its advantages far outweigh the disadvantages.

Print Total

The Print Total is the current price of the selected print size and quality, multiplied by the desired quantity. As you change the Quality, Size, and Quantity variables you will see the Print Total value change appropriately. This total does not include any discounts. Any applicable discounts will be applied during the checkout process.