We try to keep the practical side of working with us straightforward. These terms explain what you can expect from us, what we ask from you, and what happens if something doesn't go to plan.

We require a 50% deposit before beginning work.

Your deposit allows us to order the materials required for your job and schedule the work into our workshop.

For larger, unusual or specially commissioned projects, we may agree to a different payment schedule with you before work begins.

Our typical turnaround time is 4–6 weeks, give or take. Larger, highly bespoke or unusually complex projects may take longer, and we'll discuss timing with you when the job is confirmed.

If we can get your framing finished sooner, we will. Occasionally there are supplier delays or something unexpected holds a job up; if that happens, we'll be in touch.

If you have a particular deadline, please let us know when placing your order and we'll tell you whether we can reasonably meet it.

Quotes are based on the materials and work discussed with you and are valid for the period stated in the quote.

If the scope of a project changes, or we discover something about the work that could not reasonably have been identified beforehand, we will discuss any additional cost with you before proceeding.

We are always happy to discuss a change of mind.

Once materials have been ordered or work has begun, however, there may be costs associated with changing or cancelling a job. We'll talk these through with you before proceeding with any additional work.

Framing often involves working with unique, old or irreplaceable objects. Occasionally something unexpected only becomes apparent once a piece is opened, removed from an existing frame or examined more closely.

If it changes the work we've discussed with you, we'll contact you before proceeding.

We'll contact you when your framing is complete.

The remaining balance is due on or before collection, and completed work can't leave our premises until payment has been made in full. If you'd like to pay online before collecting, let us know.

We ask that completed work is collected within a reasonable period. If something prevents you from collecting promptly, let us know.

Very large pieces and unusually long-term storage may need to be arranged separately.

Different mounting methods come with different benefits, limitations and levels of reversibility.

Works on paper and textiles naturally respond to their environment. When a work is float or plinth mounted, some movement, rippling or curling may remain visible or develop over time. With thin or translucent papers, hinges may also be visible through the work. These are characteristics of the material and mounting method and aren't necessarily defects in the framing.

Conservation mounting involves balancing security with reversibility. We generally avoid aggressive adhesives or permanent attachment methods simply to guarantee that a work cannot move. Some materials are particularly difficult to mount securely without compromising that principle, and a hinge or attachment may occasionally release over time. This doesn't necessarily indicate a failure of workmanship; in some circumstances, it reflects a deliberate choice to avoid placing the work itself at greater risk.

For readily replaceable works, we may discuss mounting directly to a backing board. This can produce a flatter result, but it is permanent and isn't a conservation mounting method. Direct mounting also carries a risk of creasing, bubbling or other imperfections, which we'll discuss with you before proceeding.

For works where preservation and reversibility are important, we'll recommend a mounting method appropriate to the work and explain any relevant trade-offs.

We're happy to reuse or adapt existing frames and other customer-supplied materials where appropriate.

Older frames can have wear, previous repairs, weakened joints or other issues that aren't always apparent before work begins. Many mass-produced frames are made from lightweight or composite materials that may not be suitable for alterations, heavier glass or new hanging hardware.

We'll let you know if we have concerns about something you've brought in. Sometimes we may recommend against a particular alteration or decline the work if we don't think it can be done safely.

If you ask us to proceed using an existing frame, glass, matboard or other customer-supplied component, we'll take reasonable care, but we can't guarantee its condition, strength or suitability. We'll explain any risks we can reasonably identify before proceeding, but customer-supplied components remain subject to their existing condition and limitations.

Some of our frames are made from timber we've had specially milled, which can be left raw or finished in our workshop with stains, paints and other finishes. Variation is part of the character of working with timber in this way.

Colour, grain and texture can vary from one length of timber to another. Freshly milled timber may also be noticeably lighter than an older sample and will naturally change in colour as it ages.

Stained and finished timbers can vary too. Differences in grain and density affect the way timber absorbs a stain or finish, so a new frame may not be an exact match for an earlier frame or for the sample you viewed when making your selection.

We'll take reasonable care when selecting and matching materials, particularly where we're making a group of frames intended to sit together. Where an exact match is important, please let us know. Some natural variation, however, is unavoidable and should be expected when working with timber.

Most framing projects pass through several stages in our workshop and involve a combination of materials and processes. From time to time, something may not turn out as it should.

If you notice a problem with your framing or believe we've made a mistake, please let us know as soon as possible so we can take a look and find an appropriate solution.

Some issues—such as a chip, mark, finish defect or visible problem with the construction—will usually be apparent when the work is collected or shortly afterwards. We encourage you to bring these to our attention as soon as you notice them. Once a frame has been transported, handled, displayed or stored for some time, it can become more difficult to establish when or how this kind of damage occurred.

Other problems may only become apparent over time. If you believe a joint, mounting or other aspect of our workmanship has failed, please get in touch, even if some time has passed. We'll inspect the work and consider the nature of the problem, the framing method used and what has happened to the piece since it left the workshop.

A little care goes a long way.

Frames should be lifted and carried from underneath or from both sides, rather than by the top rail. Larger and heavier works may require two people to move them safely.

We recommend hanging framed works securely and in appropriate conditions. Direct sunlight, excessive heat, moisture and large changes in humidity can damage both artworks and framing materials over time.

UV-filtering glazing can significantly reduce exposure to damaging ultraviolet light, but it cannot prevent all light-related fading or deterioration. Even works framed with conservation or museum-grade glazing should be positioned thoughtfully.

If you're unsure about handling, hanging or caring for something we've framed, please ask us.

We stand behind the workmanship of the frames we make.

If a problem arises because a frame has been poorly constructed or a work has been incorrectly mounted by us, we want to know about it. Where the problem is the result of our workmanship, we'll take responsibility for putting it right.

Frames, artworks and the materials within them can nevertheless be affected by handling, repeated transport, impact, storage conditions, moisture, heat, sunlight and other conditions outside our control. Where a significant amount of time has passed, it may be more difficult to establish what has caused a problem. If the causeisn't clear, we'll inspect the work and talk it through with you before deciding on the appropriate next step.

Nothing in these terms limits any rights or remedies you may have under the Consumer Guarantees Act 1993 or other applicable New Zealand law.

These terms are here so that everyone knows what to expect, not to make working with us complicated.

If you're unsure about anything relating to payment, timing, collection, care or a particular project, please talk to us.