Morsø
The standard machine used for mitering and the machine I use. This machine is foot-operated - by pressing down on a bar, the two knifes then cut through the moulding. A lever on the right hand side moves the knife block (horizontal) as you cut sections out. A longitudinal stop and measuring scale ensure accurate work. A second set of knifes is useful, for when you send the main set away for sharpening (needs to be done often).

The more expensive option is the Mitre Saw, which has two circular saws that cut through the moulding, starting at about twice the cost of the Morsø and increasing to ten times for the top of the range model.

Underpinner
These machines are used for fastening the moulding sections together to make the frame. Can be either foot or air operated and insert from underneath 'W' or 'V' shaped wedges (usually two or more - depending on the moulding size) that hold together two sections of molding. Repeated for all corners.

The foot-operated versions are more basic, usually having to hold (by hand) the moulding while pressing down with your leg to insert the wedge via a lever arrangement. The air-operated versions have advanced over the years and now hold the sections of moulding in place as the wedges are inserted, adjusting for height, width etc automatically.

Mountcutters
Today these come in many varieties, from the humble handheld models (for the hobby market) to the very sophisticated "all bells and whistles" electronic computer controlled versions. This equipment is used for two jobs - the first is to trim the board to the correct size and second to produce the 45º bevel sides for the window, again to the correct size and location. Other cutters are used for circles or ovals. I use a KeenCut cutter that is mounted into one end of a specially constructed bench that is larger than a full sheet of mountboard. The bench needs to be at the correct working height, plus this area is also used for decorating the mounts (lining etc). A good supply of blades is needed - I change after every five mounts cut and certainly after cutting backing board.

KeenCut produce a range aimed at the more advanced to professional framer with the 'Artist Plus' as the base model model. Other Mount or Matcutters are available from Fletcher, Alto's, Daler, Speed-Mat plus others.

Glass Cutters
At the top end of the market this piece of equipment usually stands nearly vertical against a wall and the cutter slides up and down a bar to score the glass. Lower down some form of hand held cutter, one with a tungsten carbide wheel - lubricated with oil (refillable) is the best option - used with a metal straight edge or in combination with your Mountcutter.

Needless to say, care is needed both in the cutting, snapping, moving (avoid banging two pieces of glass together - the corners will scratch and ruin the other piece), cleaning (if possible not where you cut your board - use a different table) etc of the glass, wear special gloves and take your time.

Point Guns
One gun is needed for straight points (framers points - long or glaziers points - short) and another gun for flexipoints. If the glass, mount & backing board fall within the depth of the moulding a straight point is used, if the glass etc come close to the edge, flexi points are inserted and bent to hold the glass etc in place.

The other equipment needed is more general. Things like stanley knifes, metal rulers, screwdrivers, cleaning products, brushes etc

Moulding
Select a moulding that suits the painting. This is never an easy task, with the wide variety to choose from. Although many of the larger companies only deal with the trade there are companies selling mouldings to the amateur framer. Most lengths of moulding are around 3 meters (9 foot) in length (beware: some companies will only sell packs of four lengths, as this is how they arrive from some factories). As mentioned before there is a wide range to colours, shapes, effects to choose from and this also applies to the cost per metre/foot ranging from quite small and goes upwards. The greatest cost involved in framing a picture (if DIY) is the frame or moulding.

Types of moulding
Wood - mouldings made out of wood are my preferred choice. Wood frames provide the largest choice of colours (color), shapes and sizes.
Aluminium - improved greatly in recent years, mouldings made out of metal are now very creative in colour, texture, and profile.
Plastic - improvements have been made in this area in recent years particularly in the finishing, however, the structural integrity of plastic mouldings is poor on middle to large pictures and many galleries do not accept works with a plastic frame.

Mount and Undermount
For the Windowmount one of the many ranges of Mount Board can be used. These boards come in a range of colours and the choice is either to pick out a colour within the painting or one that matches the location it's going to be hung (I always go with what best suits the painting).

Single or multiple boards can be used (using the same or different colour or they may have lines, grooves, v's or colour washes applied as decoration.

For original works of art I use Crescent RagMat Museum Grade Conservation board (at least 1200 microns thick) both for the Windowmount and the Undermount (at least 1200 microns thick) - the painting is then protected between these two boards. Using these boards does cost more - up to double - but the original will last longer. (The undermount is a barrier layer between the artwork and the back board and should be the same size as the windowmount and hinged to it along the top side using museum-quality tape).

The mount I use is supplied by Crescent. Other main companies include: Arqadia, Bainbridge by Nielsen, Studland by Daler-Rowney.

The secret to getting good quality windowmount is accuracy. A good one fits the painting to the required size, the corners must not show overcuts, this is when the blade cuts into the mount beyond the corner and the cutting must be smooth and straight. This can be helped by ensuring that the blade is sharp, if not it will produce a mount that is ragged (remember to move scrap board underneath so blade cuts through into fresh material), distorted (bowed - blade/head moving) and probably does not fit the artwork (not square).

Check your mountcutter regularly for accuracy, calibrate it regularly, making sure that the depth of cut is correct, and that the stops do not produce overcut. Regular maintenance will produce quality mounts and it will give you years of good service.

A time saving option is to ask your local framer how much he/she would charge to cut each mount (giving them the sizes) if you supply the board or check the Internet for companies that now supply mounts cut to any size.

Glass
Glass serves as a barrier between the painting and outside elements such as dust, moisture and viewers. The glass should not interfere with but enhance the viewing of the painting. Glass comes in a variety of surface finishes that work well within a variety of lighting and viewing environments: clear, non-glare (reflection) and anti-reflective (AR). These finishes can then have Ultra Violet protection added to meet conservation or museum standards.

Ultraviolet light can actually cause paintings permanent harm and it must be blocked to protect from embrittlement, colour (color) deterioration, loss of brightness and other damage. Conservation glass blocks more than 97% of the most damaging UV-light rays, those in the 300-380 nanometer range. Regular clear picture glass blocks only about 47% of these rays. Conservation glass is coated with a microscopic, silica based layer of UV-blocking agents which are cured onto the surface of the glass. The coating and the glass it is applied to will remain clear and protect artwork from ultraviolet rays indefinitely. This make conservation glass ideal for framing original watercolour paintings, high value limited edition prints etc. The glass must be cut to allow sufficient clearance inside the rebate of the frame.

Normal picture glass (float glass 2mm or 3mm with sheet size from 920x1220 (48x36) to 1840x1220 (72x48)) and a non-reflective glass (diffused glass 2mm).

Moving up the scale in quality and price are a number of companies, for example Tru Vue, who supply a range of picture glass products. They (and others) do a number of surfaces from Clear, Water White, Non-Glare, Low-Reflection and Anti-Reflective. These surfaces are all repeated in the Conservation range by the addition of UV protection.

Ask your local supplier or framer about costs of all the above glass as the price keeps changing.

Some glass cleaning materials are needed (before the glass enters the frame) and if money is available compressed air aids removing those tiny specks of dust. Final cleaning fluid should contain only de ionized water and/or perhaps industrial methylated spirit.

Back Board
Back or backing board needs to be strong, rigid and flat, eg Greyboard with Neutral pH (1mm to 3mm thick), Art Cor, which has a low pH level, or Conservatek Board. Some framers add a 500 micron barrier board or Melinex sheet between the under mount and back board.

Hinge Tape
I use Filmplast 'P90' tape for making the hinges that hold the painting and the two boards (either side of the painting) in place. For conservation I seal the glass, two boards and backing board with this tape before placing into the frame.
When fixing artwork into mounting never use self-adhesive tapes (i.e. masking tape) these nearly always contain chemicals and acids, which will damage the paper.
Archival tape is now readily available and should always be used to attach artwork of any significant value.

Framers Points
These secure the glass, mount and back board to the frame, depending on moulding/ frame and thickness of glass, mount, backing board either straight or flexi points need to be used.

Gummed Brown Paper Tape
Used to cover the framers points or flexipoints plus acts as a secure seal and protects the surface of the wall on which the frame is hung. A sponge and small plastic tray (containing water) is needed to dampen the gumstrip, this must be carefully applied.

Hooks, D rings, Cord etc
Used to attach the wire or cord to the back of the picture. Picture hooks or screw eyes can be screwed into the vertical edges of a frame (about one third of the way from the top) to carry the picture wire or cord. I prefer to use 'Single D rings' instead of screw eyes - they are closer to the moulding/frame (less damage to frame or screw eye if knocked) and better screws can be used (stronger). There are different sizes of both screw eyes and D rings and they are available in small packs or in a boxes ranging up to 1000.
Wire is available in different gauges or thicknesses and should be selected according to the weight of the picture to be hung. Low stretch cord is suitable for smaller and therefore lighter pictures.

Making the Frame

1. Establish the frame dimensions. As an example: a painting of 9" x 13, you need to add the dimension for the mount/mat surround, 3" for each side & top and 3½" at the bottom (this is an example only, the size can be larger or smaller), giving a final mat size of 15½" x 19".
2. These measurements need to be transferred to the main scale on the Morsø. I place a small pencil line at the 19" and 15½" marks on the main scale. The width of the moulding is measured and a pencil mark is placed on the stop bar sliding scale. It is then easy to line these pencil marks up (great if doing a number of frames to the same size).
3. Insert a length of moulding and adjust the rebate support bars to the correct height - this stops the lip being forced down or splitting as the knife cuts through.
4. At the end just inserted, cut the first mitre (this need to be done to fit the stop bar on the sliding scale) and then move the moulding along until it hits the stop bar (for this example 19" - for the top length). Check fit, then cut first length and place on a flat surface. For each length of moulding I work clockwise around a frame. The first for the top, next is the right-hand side, followed by bottom and finally left-hand side. This ensures that the corners match when joined.
5. Adjust stop bar scale pencil mark to 15½" (side length measurement) on the main scale. Push moulding to stop, check and cut. Place length to right-hand side of first length on the table.
6. Adjust stop bar scale pencil mark to 19" (bottom length measurement) on the main scale. Push moulding to stop, check and cut. Place length bottom on the table.
7. Adjust stop bar scale pencil mark to 15½" (side length measurement) on the main scale. Push moulding to stop, check and cut. Place length to left-hand side of first length on the table.
8. Select two lengths of moulding - top and right-hand side - remember which ends join and place some wood glue on these ends. Place in underpinner and if using an old machine hold the sections so joint is lined up correctly and insert one 'V' (having checked that it's in the correct position). Return the jointed section to the table. I only insert one 'V' at this stage as it allows some movement if required.
9. Repeat number 8 for the other two lengths - left-hand side and bottom.
10. Next join the two 'L' shaped sections together, by inserting one 'V' at each of the opposite corners.
11. Adjust the underpinner for the second 'V' is to be inserted and then working in an opposite corner manner insert the second 'V' until the four corners are done.
12. Place the frame on a flat surface and leave for a few hours so the glue can dry.
    

Making the Mount

1. The first decision to make is what width the windowmount surround will be. For a 9"x13" painting I use 3" with 3½" for the bottom and for a 13"x20" painting 4" with 4½" for the bottom but the choice is yours.
2. To save adjusting the mountcutter when cutting the window I add the ½" (added to the bottom) to the other three side giving a board size of 16"x20". You can get four sheets (four paintings) from a full sheet at this size.
3. Set the mountcutter to 20" and using the vertical cutter trim the board.
4. Set the mountcutter to 16" and using the vertical cutter trim the board. You now have a board 16"x20".
5. Adjust the stops to 3½" (Note: not 3") and if necessary change the head to the bevel cutter. Test on a scrap piece that there is no overcut and the center of the aperature comes out cleanly.
6. Turn the board face down (so you are cutting it from the back face) and place a scrap piece underneath for the blade to cut into.
7. Cut the four sides of the window and remove the board, the center of the window should fall out freely, if not adjust the stops or cut carefully (try not to damage the bevel edge) with a sharp blade.
8. The last part is to trim the ½" added from three side to give the final board size. Set the mountcutter/matcutter to 15½" and using the vertical cutter trim the top of the board, then set measurement to 19 ½" and trim one side the board and finally, set measurement to 19" and trim the other side.

You should have a 15½"x19" board, with a 9"x13" window, 3" mount/mat surround on three sides and 3½" for the bottom.

Lines and embossing
If you are going to apply any form of decoration to the windowmount it should be done now. A Washline Corner Guage should be used to mark (lightly) out the corner points of the lines. You can use a pen for the lines (Pilot Gold and Silver Pens - extra fine, fine or medium) but I've had much better looking results with a ruling (mapping) pen and Daler-Rowney Pearlescent Inks. I use a sable brush to apply the ink to the ruling pen but only sufficient to complete one line, also make sure there are no bubbles in the mixture and that no ink has got onto the edge that runs along the ruler. Complete the first line (between two of the marks you made) then rotate the mount/mat 180° and do that line, then connect the two lines with the last two. Always work from the outside, so your ruler never comes into contact with the ink (the ruler I use has a rubber strip underneath which stops movement but also lifts the front edge (this is vital) above the board surface. The ruling pen needs cleaning with warm water after doing eight or so mounts in a row before the ink dries. As with all things, some practice is needed on a scrap piece (the same board you will use), especially the starting and stopping at a mark, getting the ruler the correct distance from the marks and holding the ruling pen at the same angle along the line or you will end up with curved lines. These decoration lines can be single, double, or used in combination with grooves, colour washes etc. Pearlescent is a unique range of 21 water based acrylic colours producing a shimmering pearl effect which changes as the light strikes from different angles. Although water soluble these acrylic based inks become water resistant when dry and also extremely lightfast. The undermount (that I use), glass and backing board can now be cut to 15½"x19".

Attaching painting to the Undermount

The next part is to create the hinge between the windowmount and the undermount the painting is attached to.

Putting it all together

You should have all to the correct size: a frame, glass, windowmount with decoration completed attached to undermount/undermat and backing board.

1. If not already done, clean both sides of the glass.
2. Place clean glass over combined windowmount, painting and undermount/undermat.
3. Check, and check again for particles of dust, hair, insects etc. Remove all before proceeding, it is not easy to take the frame apart later to remove any of the above later. I find a strip of the backing film, from the P90 tape, very useful for sliding in and removing particles etc.
4. Next seal one edge with the P90 tape (some framers combine the backing board, others don't do this stage at all). Start by sticking about 2mm (1/8") onto the top surface of the glass - must be less that rebait (so it does not show) of the frame - then by pressing the glass, mount etc together with one hand, push the tape down over the edge and onto the back. I do the centre of each length first and work to each end.
5. Repeat for the opposite edge and then the two ends.
6. The sealed glass etc can now be placed in the frame and the backing board (unless sealed as one unit) placed over it.
7. Depending on moulding and/or depth of glass, mounts etc insert framers points or flexipoints. If using flexipoints remove glass etc from the frame rebait and using a piece of card (thickness about half the depth of rebait) as a guide for the point gun. Insert a number along each length and bend up vertically so glass, mount etc will slide in. If tight do not force or glass will break some space can be made by pushing the bent section with a screwdriver to make it flat.
8. With the frame face down the lengths of gummed brown tape needed can be easly worked out and the four lengths cut. I trim a 45 deg. section of two of the lengths (short length). Wet the gummed side of the tape and stick down the first two longer lengths, followed by the two short ones. Make sure all the edges are stuck down. Leave to dry.
9. Mark (1/3 from the top on upright section of frame) the position of the two 'D-rings'. I drill a small hole before inserting the screw, do not overtighten or the frame will split.
10. Thread a piece of wire or cord between the two 'd-rings' and tie at both ends. Make sure all is tight and secure. The loose end can be held alongside the main cord with a sleeve (small strip of gummed brown tape) wrapped around both. Hang on the wall with one or two (if heavy) picture hooks.

Light - sunlight is the number one enemy for watercolour paintings. Avoid hanging pictures directly opposite large windows or where sunlight reaches, as this fades colours and discolours the paper. Special UV-coated glass will help to slow this down, but at a cost (see section on glass).

Temperature - pictures should not be hung above radiators/fires etc. Changes in temperature (on and off of the heating) cause paper and wood to warp or dry out and adhesives to fail.

Damp - can cause pictures to ripple. If the ripples touch the glass, the picture might stick and be difficult to remove. Fungal growth is another problem - shows up as brown stains. Conservation framing can slow these effects, but it is always best to avoid hanging framed pictures in humid conditions (bathrooms, kitchens etc). Allow at least six months before hanging pictures on newly plastered walls.

Hang securely - use two hooks on the wall if a picture is large or heavy, each hook set about a quarter of the way in from either side of the picture. Check that the cord or wire you use is designed to support the weight of your painting. There are special security fittings available should you wish to protect your painting/s from theft etc.

Cleaning - dust frames rather than clean with water or fluids. If water or cleaning fluids have to be used on the glass, apply them to a duster first, rather than spraying on the glass directly. Take care not to let the fluid touch the frame or worse get behind the glass.

Transportation - when carrying or transporting a picture, grasp the frame firmly on both sides (NOT the top). If you need to store pictures, make sure they are stacked vertically and the right way up. When stacking pictures, stand them 'glass to glass' so that the hangers do not damage the frames and do not slide the painting, as this will remove any guilding or colour from the frame or damage (chip) the corners.