The Glazing
With the exception of some original work on canvas, to protect the artwork, it should be under glass. Cheaper frames often use acrylic (basically perspex). I exclusively use glass in my framing work. I find that acrylic attracts dust which can make the task of excluding dust in the framing process difficult. Cleaning acrylic is problematic too - the more you wipe it with a cloth, the more static it builds up and the more dust it attracts, a vicious circle. Acrylic is also of course more prone to scratching. Finally (and perhaps surprisingly) acrylic tends to have a higher gloss than glass and so can lead to more reflections interfering with the viewing of the artwork.
What to look out for:

• Has glass or acrylic been used?
• Are there any scratches visible?

The only time I would use acrylic is when artwork is to be hung in a children's room for purely safety reasons

Finishing touches
The completed frame should be sealed with tape. This was once done with pre-gummed brown tape but self adhesive tapes are now more popular. This final seal allows the contents of the frame to be protected from the outside atmosphere (dampness in the air, chemical traces from carpets etc) and also stops those annoying little harvest bugs from getting in there.
The frame should be fitted with a hanging arrangement suitable for the size of frame. Cord or wire may be used but this must be capable of carrying the weight of the complete frame.
What to look out for:

• Has the frame been sealed with tape?
• Has backing board been used?

A holiday momento
A customer brought a set of three beautiful needlework art cards by Durness artist, Sarah Fuller into the gallery for framing. Together we choose a suitable frame which wouldn't 'over-power' the artwork. A colour for the frame was chosen which complimented some of the materials used. This ensures that the viewer can appreciate the artwork without being distracted by the frame. Finally (although it's difficult to illustrate here) the work is mounted such that it appears to be 'floating' and most importantly, without the glass touching it.

The economics of it all
What does all this cost? Well, the cost of materials often isn't huge, the choice of frame (moulding) will have the greatest influence on cost. However, picture framing is hugely time consuming, particularly if something bespoke (like floating frames, Football shirts etc) is involved. As a guideline, it will usually take me two hours (excluding drying time) to mount and frame artwork in a simple frame. 

A typical A3+ double mounted, framed print in the Cairn House Gallery typically costs £80. This is approximately what it would cost for the framing alone in your local city framing shop.

Original artwork, displayed in a bespoke frame which will protect it for a lifetime, I can't help think that's good value?

Interested in learning more?
If you live in Sutherland or Caithness and have something which you might like framing, no matter how unusual, please get in touch. If you are a local artist or craftsperson, I would be happy to discuss wholesale pricing for multiple orders. 

Following seemingly weeks of weather more suited to November than June or July, a forecast of still and bright days is enough to tempt me once again off the beaten track. The exertion of getting up high and experiencing some of the most unusual landscape in the UK is like a drug.

During my time registering a community interest in land at Cape Wrath, a comment was made online that there are no areas of true wilderness in the UK. I beg to differ. I planned a short-ish walk to visit Creag Riabhach on the edge of the 'Pharph' and taking in Meall na Mòine on my return. Having negotiated miles of the obligatory bog and peat hags, the sheer expanse of lonely wild land opened up before me. Apart from distant radio towers, there was no sign of human activity as far as the eye could see. 

These journeys are to explore prospects for new work, seeking out interesting views of familiar landmarks, or often compositions with their own merit. The above panorama (a combination of a dozen portrait shots) shows Fashven in the far distance and the coast towards Sandwood Bay. You could explore this area for days on end without encountering another soul. If this is not wilderness then what is?

On these trips I tend to travel light with my EOS 100D and a single lens which limits the possibilities somewhat but gives me an idea of what might be possible.

Foinaven shrouded in cloud. This small lochan provided some foreground interest. A possible return visit?

Some interesting outcrops of rock along the summit ridge of Creag Riabhach added a little relief from the dampness underfoot! Views of Sandwood Bay in the distance.

A client on one of my recent 'Learning in the Landscape' courses commented that some of the features we had visited within a couple of miles of the car would have been the highlight of a long days walking in the Lake District or somewhere similar. Whilst I love the Lake District, I can't disagree with that sentiment.