Fine Rachel,
but what was the link? Also, Michael's questions remain "What's your criteria, then? Print size? Do you mount behind glass? Always? Sometimes? Never? Do you get fancy, keep it smple, gallery style only? Any tips or tricks?"
Michael,
I have not started cutting my own mats. I did get a demonstration by the Ansel Adams student
Kolbrenner . He cuts his own but I cannot remember the mat cutter he uses. Cutting the frames requires a saw and the correct angle frame and filler and color stain to hide minor errors or chips. There are courses in local evening schools. The prices of learning is a wasted board and lengths of frame, so learn on the lowest cost framing material.
I send my pictures to a professional framer and do it though a designer so we get her bulk discount. It's still expensive but the volume at present is not high enough to devote space to framing.
I always mount behind glass except with oils and acrylics which of course can withstand the air and contaminants better than "Archival" inks. Also I use museum quality glass on anything I'm serious about. I always try to use the frame to provide a neutral space in which the picture is separated from the room and is not imprisoned. So we avoid strong colors in the mat and complete white as well as a series of complex mats or over decorated frames.
The latter anyway, IMHO, should be used with careful thought as they might merely add glitz to prints and seem to cheapen them as if one is trying to show off. However, if the print is magnificent, for example, a huge life-size figure studies or full color scene of Venice's Grand Canal, the more decorated complex gilt frames might work very well. For our more modest (less than 16x20) inkjet prints with such frames, a textured mat with a light hue can "protect" and separate the authority and dominance of the complex decorated frame.
Asher
