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Taking commissions — 2 week turnaround

We framephotographs.

We build frames around the things you cannot replace. Bespoke framing, conservation mounting and museum glazing — measured, cut and finished by hand in Accra.

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01/AziBK in the community

A real UPSA SRC Annual Dinner moment, alongside clearly labelled concept examples of framing styles. We’re growing this gallery with finished AziBK commissions.

UPSA SRC Annual Dinner — beneficiaries of the AziBK project.

The brief

A group portrait from the UPSA SRC Annual Dinner featuring individuals identified as beneficiaries of the AziBK project. The photograph celebrates their contribution and connection to the project.

What we did

This supplied photograph is shown as a real project image, not as a claim that the people pictured commissioned a particular frame. If you would like a print like this framed for your home, office or organisation, send the image and dimensions with your enquiry.

Decisions that mattered

  • Actual event photograph supplied for the AziBK showcase.
  • Suitable for a framed group portrait, office display or event keepsake.
  • Frame, mount and glazing options can be discussed when requesting a quote.

Specification

event
UPSAevent
community
SRCcommunity
framing brand
AziBKframing brand

AziBK featured work · Request a quote

Concept mockup only — replace with a photograph of a real completed frame.
Illustrative mockup only.

The brief

An illustrative example showing how a photograph might be framed. It is not a record of a completed commission.

What we did

The pictured frame is a generated mockup. Share your print size, where it will hang, and the finish you like; AziBK can then recommend materials and provide an accurate quote.

Decisions that mattered

  • Museum glass is an optional upgrade for light-exposed photographs.
  • Cotton-rag mount board is an option for conservation-minded framing.
  • Final materials and pricing depend on the real piece and its dimensions.

Specification

example only
Conceptexample only
made to measure
Custommade to measure
based on your piece
Quotebased on your piece

Illustrative mockup — not a completed commission · Request a quote

Concept mockup only — replace with a photograph of a real completed frame.
The gap is set with archival risers, so air moves freely behind the canvas.

The brief

Illustrative example of a large canvas where the artist may want the painted edges to remain visible. This is not a completed AziBK commission.

What we did

The generated image demonstrates one possible floating-frame look. Actual framing, hanging hardware and dimensions would be specified from the real canvas and wall before quoting.

Decisions that mattered

  • French cleat hanging system — the whole 1.6m piece lifts off for transport.
  • Canvas set on archival risers with an even 8mm shadow gap all round.
  • Deliberately unglazed. Oils and acrylics need airflow; sealing them causes bloom.

Specification

longest edge
1.6mlongest edge
shadow gap
8mmshadow gap
by design
No glassby design

Illustrative mockup — not a completed commission · from GH₵ 2,100

Double mount reveal in two tones, sized so the seal sits clear of the edge.
The inner reveal is cut to the seal, so the framing never crops the document.

The brief

A certificate with an embossed seal near the margin, to be hung in a bright office corridor for decades. The seal had to remain fully visible and the document could not be trimmed.

What we did

We cut a double mount with a two-tone reveal: the outer board frames the whole sheet, the inner reveal aligns to the seal. The document is held with edge mounts rather than hinges, so nothing touches the printed surface. Aluminium section keeps the sight line thin and stays flat in an air-conditioned corridor.

Decisions that mattered

  • Edge-mounted, not hinged — nothing adheres to the document surface.
  • Alpha-cellulose board: purer than standard, far cheaper than cotton rag.
  • Aluminium section holds straight where a thin timber frame would bow.

Specification

frame size
A3frame size
mount layers
2mount layers
stays straight
Flatstays straight

Illustrative mockup — not a completed commission · from GH₵ 780

Lined interior in a deep subframe — the objects sit inside, not on a backing sheet.
Every fixing is concealed behind the object, and none of them are adhesive.

The brief

Medals, service ribbons and a portrait photograph, to be kept together in one piece that could be carried between houses. Nothing could be pinned through, glued, or polished in a way that risked the originals.

What we did

A deep shadow box with a lined subframe, so the objects sit within real depth rather than against a flat sheet. Each medal is held by a formed acrylic cradle concealed behind it, and the ribbons are laid over an inert board. Acrylic glazing because it is light and shatter-resistant, since the piece was built to be moved.

Decisions that mattered

  • Concealed acrylic cradles — every object is held without adhesive or pin holes.
  • Acrylic rather than glass: the case was designed to be transported and rehung.
  • Subframe interior lined to the customer’s colour, matched against the photo.

Specification

interior depth
60mminterior depth
objects mounted
9objects mounted
adhesive fixes
0adhesive fixes

Illustrative mockup — not a completed commission · from GH₵ 1,650

Held flat by tension alone — no stitches, no pins, no adhesive.
A stitched edge channel carries the tension, hidden behind the frame lip.

The brief

A full-length kente cloth with real weight and open weave, to be displayed flat. It had to remain intact — meaning no stitching through the fabric, no adhesive, and no holes where the weave could later tear.

What we did

We built a tension mount: the cloth is held by a stitched edge channel that wraps the back of a rigid board under even tension, taking the load across the full length rather than at a few points. It sits clear of the mount board so air moves behind the weave, behind UV glass in a deep frame. Every stitch is in the channel and reversible.

Decisions that mattered

  • Hand-stitched edge channel carries the load evenly — no focal points to tear.
  • Cloth held clear of the board, allowing airflow through an open weave.
  • Fully reversible: the cloth can be removed with nothing but the stitches undone.

Specification

cloth length
2.4mcloth length
glass type
UVglass type
pins used
0pins used

Illustrative mockup — not a completed commission · from GH₵ 1,900

02/Materials & craft

What we frame with, and why it costs what it costs. Anything listed as House is what we use as standard — we would rather tell you the honest tiers than pretend everything is the top one.

HousePremiumSelect

Mouldings & Frames

6 options

The visible structure, and the one that has to stay straight.

  • Solid timber section, joined with mitred corners, pinned and filled. Available in oak, mahogany and local hardwood.

  • Traditional gesso build-up, bole underlay and gold leaf, burnished by hand for depth.

  • Anodised aluminium profiles — the slimmest sight line we offer, and the most stable in humid rooms.

  • Built for objects with real depth: medals, garments, textiles, cast sculptures. Interior lining to your colour.

  • The artwork sits visibly clear of the mount on archival risers — for canvas, board and paper alike.

  • Matched or replicated profiles for existing frames, so a new piece can sit beside an old one without a seam.

Glazing

6 options

What stands between your work and the light.

  • Abrasion-resistant, non-reflective coating on both faces and 99% UV filtering. The choice for anything on paper you intend to keep.

  • Roughly 99% UV block with full clarity — the sensible middle ground for sunlight-facing walls.

  • Clean float glass. Correct for posters and pieces that will be re-framed later.

  • Lightweight, shatter-resistant and safer to ship. Recommended above A1 size or for children’s rooms.

  • Reduces reflections for pieces hung in bright galleries where the artwork must be seen, not the room.

  • For oils, acrylics on canvas and textiles — these surfaces need to breathe and should never be sealed behind glass.

Mounts & Backing

6 options

The invisible layer that actually protects the work.

  • Cotton-rag, lignin-free board with a pH-neutral face. It will not yellow, and it will not bleed into your artwork.

  • Purer than standard board and cheaper than cotton rag — the sweet spot for most commissions.

  • Colour-fast mount board, appropriate for everyday framing where the paper is not archival.

  • A sealed foil layer behind the artwork so damp moves around the frame rather than through it.

  • Hinged with Japanese paper and starch paste, or stainless pins through existing holes — never pressure-sensitive tape.

  • Dimensional backing for rigid mounting of photographs and open-edition prints on board.

Finishing & Fitting

6 options

Everything you only notice when it is missing.

  • Corners cut on a calibrated mitre saw, glued, pinned and filled — no gaps that open with the seasons.

  • Tape-sealed backing so insects and dust cannot reach the artwork from behind.

  • Felt on every bottom edge, so your walls and paintwork are never the casualty of moving it.

  • Load-rated rings and a wall fixing matched to your wall type, with instructions. Nothing leaves the studio unfixable.

  • A painted slip between mount and frame when a plain gap would feel unresolved.

  • Brushed metal or engraved plate with a title, name or date, fixed to the frame face.

Depth is measured by what has survived production, not by courses. Where an option is listed as House, it means it is what we fit as standard — not a downgrade we are hoping you will not project with it tomorrow.

03/How a commission runs

Four steps, and what you get at each one. Nothing goes on the bench until you have approved a written specification and a firm price.

  1. 01

    Measure the piece, and the wall

    We look at what is being framed — the paper, the pigment, the depth, the weight — and where it will actually hang. Light direction and humidity decide more of the specification than taste does.

    Deliverable

    A written specification and a firm quote.

  2. 02

    Choose materials against the risk

    Museum glass or UV clear. Cotton rag or alpha-cellulose. Glazed, or left to breathe. Each choice is a trade-off, so we explain what you are buying and what happens if you skip it.

    Deliverable

    Moulding, glazing and mount samples in hand.

  3. 03

    Cut, join and finish by hand

    The quiet ninety percent. Corners mitred, glued, pinned and filled. The mount cut with a hand-torn or bevelled edge. Everything dust-sealed before it leaves the bench.

    Deliverable

    The finished frame, fitted and checked.

  4. 04

    Hang it, then leave it alone

    We supply the right fixing for your wall and show you how it goes up. After that the frame should disappear — you should only ever notice the picture.

    Deliverable

    Load-rated hanging kit and fitting instructions.

04/About
Picture Framing StudioAZ
Studio
Accra, Ghana
Specialism
Conservation framing
Turnaround
2 weeks typical
Status
Taking commissions

A frame is not decoration around a picture. It is the structure that decides whether that picture survives the next fifty years — the mount that stops it sticking, the glass that filters the light, the joints that keep it square when the air changes. We treat every commission as a small piece of conservation work, because the cheapest part of framing is the frame, and the most expensive part is regret.

We care about the parts of a frame that are invisible when they are done properly: the mount that stops a print sticking, the backing that keeps insects out, the joint that stays closed when the air changes.

The best outcome on any commission is that the frame disappears. You should only ever notice the picture, never the thing holding it.

Pieces framed
120+Pieces framedsince opening the studio
Grade materials
40yrGrade materialsconservation & archival boards
UV filtered
99%UV filteredon museum glass options
Typical turnaround
2wkTypical turnaroundrush available on request

What we keep on the bench

  • Museum glass
  • Cotton-rag board
  • Japanese paper hinges
  • French cleats
  • Gold leaf
  • Hardwood mouldings
—/Who builds this

AziBK is run on a platform built and managed by Evantra De-Buckman Ventures.

Evantra De-Buckman Ventures builds technology ventures from Ghana for the world — engineering, AI and cybersecurity. They created and manage the AziBK framing platform, and they handle its online orders, hosting and support. AziBK is the framing brand you are dealing with; Evantra is the business behind it.

Looking for software, systems, AI or cybersecurity work? That is Evantra’s own business, and it lives on their site — this one is only for framing.

Evantra/Engineering, AI & cybersecurity
05/Order a frame

Tell us what you would like framed and we will come back with a specification and a firm price within 24 hours. No obligation, and no cost to ask.

1 · Your details

Optional — often the quickest way to sort out details.

2 · The piece

Optional — tell us if there is a date you are working towards.

A photo from your phone is often the most useful thing you can send.

Or email Kofiaziben@gmail.com

06/Visit or call

Comeandseetheworkinperson.

A frame is easier to choose with the mouldings in your hand. Come to the studio to see the materials and the finish, or call if a form is not your thing — we are happy to talk through what you have and what it needs.

Kofiaziben@gmail.com
Kofiaziben@gmail.com