Polyurethane molding: framing for pictures and mirrors

An empty wall in the living room resembles a canvas awaiting an artist. A painting, mirror, or photograph transforms the plane into a visual center, but without proper framing they get lost, dissolving against the background of wallpaper, plaster, or paint.Polyurethane molding stuccocreates a boundary separating art from everyday space, elevating the image above the level of routine, turning the wall into a gallery. Molding is not just a frame around a picture (that's a utilitarian function—to hold glass, canvas, mat), but an element of interior architecture, connecting the image with the surroundings through color, profile, material, and scale. Polyurethane molding revolutionizes framing: four to five times lighter than wood (a frame for a 100x70 cm picture weighs 500 grams, a similar wooden one 2-2.5 kg), two to three times cheaper (linear meter of polyurethane molding 150-600 rubles, wooden 300-1800), completely moisture-resistant (a mirror frame in the bathroom won't swell or deform from condensation), paintable with any paints (acrylic, oil, effects like gilding, patina, crackle reproduced identically to wooden counterparts).

What is a picture frame molding in the context of decor? A profiled strip two to three meters long, two to twenty centimeters wide, decorated on the front side with relief (from the simplest bevel—a slanted edge—to complex ornaments with acanthus scrolls, geometric patterns, floral garlands), flat on the back side or with a groove for inserting glass, canvas, or a backing. The molding is mounted directly on the wall (framing an area, creating a decorative panel), or assembled into a frame (four pieces cut at a forty-five-degree angle, glued at the corners—a classic frame for a painting, mirror, or poster).

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The evolution of picture frame molding: from wood to polymers

Picture frame molding as a framing element has existed for centuries—wooden frames adorned the paintings of Renaissance masters, mirrors in Baroque palaces, and icons in medieval churches. Wood was the only material that allowed for carving complex reliefs, painting, gilding, and patination. There were no alternatives until the twentieth century, when synthetic polymers appeared.

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Wooden picture frame molding: tradition and limitations

Wood remains a premium material—oak, ash, and walnut are used for frames of museum paintings and antique mirrors, where authenticity, natural texture, and tactile warmth are important. Advantages of wood: natural beauty (the texture of annual rings, color ranging from light yellow to dark brown—each frame is unique), structural strength (a wooden frame supports the weight of a heavy mirror or large canvas without deformation), repairability (scratches and chips can be sanded, repainted, and the frame can be restored for decades).

Disadvantages of wood. Weight is critical (a frame measuring one hundred by one hundred fifty centimeters made of oak molding weighs three to four kilograms—requires sturdy fasteners, the wall must bear the load, drywall partitions without reinforcement are unsuitable). Price is high (a linear meter of oak molding costs four hundred to one thousand eight hundred rubles, exotic species like wenge or mahogany cost one thousand five hundred to three thousand rubles). Moisture sensitivity (wood absorbs moisture, swells, deforms—a frame for a mirror in a bathroom develops cracks, warps, and loses its geometry in two to three years). Labor-intensive processing (carving complex ornaments is done manually or with CNC machines—increases cost and production time).

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Polyurethane picture frame molding: a synthesis of aesthetics and technology

Polyurethane for picture frame molding began to be used in the 1990s, when casting technology achieved sufficient precision to reproduce wooden profiles with photographic detail. The advantages are radical: minimal weight (a frame measuring one hundred by one hundred fifty centimeters made of polyurethane molding weighs six hundred to nine hundred grams—three to five times lighter than wood, can be mounted on a wall with adhesive without dowels or screws), affordable price (a linear meter of molding costs one hundred fifty to six hundred rubles—two to four times cheaper than wooden molding of similar width and complexity), absolute moisture resistance (polyurethane does not absorb water, a frame can hang in a bathroom or sauna for decades without deformation), production speed (molding is cast in molds—one thousand meters per shift by one worker, while wood is milled and sanded—one hundred meters per shift by a team).

Visual identity. Polyurethane picture frame molding after painting, patination, or gilding is visually indistinguishable from wood (from a distance, from one to two meters away—the typical viewing distance for a frame on a wall). It is distinguishable by touch (polyurethane feels colder than wood, and the sound when tapped is duller), but frames are rarely touched by hand—they hang on the wall and are perceived visually.

Picture frame molding profiles: geometry shapes style

Choosing a profile is the key to harmonizing the frame and the image. The profile determines the width of the frame, the angle of the plane, the presence of ornamentation, and the complexity of the relief.

Flat picture frame molding with a bevel: minimalism and graphics

The simplest profile: a rectangular cross-section with one beveled edge (a bevel at a forty-five-degree angle, bevel width one to three centimeters). Molding width four to eight centimeters, thickness one and a half to two centimeters. Visual impression—a laconic frame that does not distract from the image, emphasizing the boundary without competing for attention.

Application. Graphics (engravings, lithographs, etchings—black-and-white or monochrome images where line purity is important, and the frame should not overwhelm), photography (black-and-white, documentary, contemporary—a minimalist frame supports an aesthetic of rigor), contemporary painting (abstraction, geometric compositions, monochromes—a simple frame continues the philosophy of minimalism). Modern interiors (Scandinavian style, loft, minimalism—flat molding harmonizes with simple furniture forms and the absence of excessive decor).

Colors and finishes. White (universal, suits any walls and images), black (contrasting, clearly separates the image from the background, suitable for graphics), gray (neutral, softens the contrast between white and black), natural wood (stained to resemble oak, walnut, ash—imitates a wooden frame, adds warmth to minimalism).

Convex picture frame molding: classic and volume

Convex (reverse) profile: the front surface is curved outward, creating a three-dimensional frame. Width five to twelve centimeters, thickness two to four centimeters. The relief varies from smooth rounded (imitating turned wood) to ornamented (geometric patterns, floral motifs, acanthus scrolls carved into the convex surface).

Application. Classical painting (portraits, landscapes, still lifes—genres where the framing tradition requires a voluminous frame that creates visual mass and weightiness), large mirrors (a convex frame visually enlarges the mirror, creating the effect of a window or portal to another space), Baroque interiors (a style where an abundance of decor and opulent forms require corresponding framing—a simple frame would clash, a convex one harmonizes).

Colors and finishes. Gilding (imitation gold leaf, gold paint—a classic finish characteristic of Baroque and Empire frames), white enamel (French classicism, shabby chic—a white frame with light patina creating an aged effect), dark wood (brown or black stain with imitation texture—suits heavy classical interiors).

Concave picture frame molding: depth and perspective

Concave (reverse ogee) profile: the front surface is curved inward, creating a recess. Width six to fifteen centimeters, depth of the recess one to three centimeters. The image visually recedes into the frame, creating the effect of a niche or window through which one looks into the painting's space.

Application. Landscapes (images with deep perspective—a concave frame enhances the spatial effect, visually pushing back the horizon), architectural photography (interior or building shots—a concave frame adds a dimension of depth), mirrors in narrow spaces (a concave frame on a mirror in an entryway or hallway visually expands the space—the mirror appears deeper than it is).

Colors and finishes. Metallics (silver, bronze, copper—cool tones emphasize the geometry of the concavity), contrasting (outer edge dark, concave part light—a gradient enhances the perception of depth), matte (matte paint emphasizes the form, glossy paint distracts with reflections).

Complex multi-tiered profiles: museum framing

Combined profile: multiple tiers (flat, convex, concave in sequence), multi-layered ornamentation (outer tier with geometric pattern, middle with floral, inner with a smooth transition to the image). Width ten to twenty-five centimeters, thickness three to six centimeters. The frame is massive, dominant—it attracts attention and competes with the image for perceptual primacy.

Application. Museum display (copies of classical paintings, reproductions of Rembrandt, Rubens, Caravaggio—where originals were framed in massive carved gilded frames, reproductions require the same), large-format works (canvases over a meter in size—a small frame gets lost, a wide massive one balances the scale), palace interiors (apartments in Baroque, Rococo, Empire styles—where every element is maximally decorated).

Colors and finishes. Multi-layered gilding (different shades of gold—yellow, red, white—on different tiers of the profile, creating depth and shimmer), deep patina (base color dark—brown, green, with gold or silver patina on protruding parts—the effect of an antique frame that has survived centuries), crackle (artificial varnish cracks creating an antique impression).

Polyurethane moldingin picture framing

A painting without a frame is a canvas nailed to a wall. A frame transforms an image into a work of art, establishes a boundary between art and everyday life, and focuses the viewer's attention.

Choosing Frame Width: Proportions and Scale

The size of the artwork dictates the frame width. The golden rule (historically established, tested over centuries): the frame width is five to ten percent of the artwork's shorter side. A painting measuring thirty by forty centimeters (shorter side thirty): frame width one and a half to three centimeters (narrow, concise). A painting eighty by one hundred twenty centimeters (shorter side eighty): frame width four to eight centimeters (medium, balanced). A painting one hundred fifty by two hundred centimeters (shorter side one hundred fifty): frame width seven to fifteen centimeters (wide, massive).

Exceptions to the rule. Minimalist aesthetics (modern graphics, photos, abstraction) require a narrower frame (three to five percent of the side — an eighty-centimeter painting, frame two and a half to four centimeters). Baroque aesthetics (classical copies, portraits, landscapes in a historical style) require a wider frame (ten to fifteen percent — an eighty-centimeter painting, frame eight to twelve centimeters).

Coordinating Frame Color with the Image and Interior

The frame connects the painting to its surroundings through color. Three strategies: harmony (the frame color repeats the dominant color of the image — a painting with a predominance of blue, a blue or light blue frame — the image and frame merge visually), contrast (the frame color is opposite the dominant color — a warm golden painting, a cool silver frame — the frame sharply separates the image from the wall), neutrality (the frame color is white, black, gray, gold — universal colors suitable for any images, not competing for attention).

Coordination with the interior. The frame repeats the color of furniture, textiles, finishes (a walnut frame, walnut furniture — a visual connection), the frame contrasts with the wall (a dark wall, a light frame — the painting stands out, attracts attention), the frame echoes architectural elements (gilded cornices, moldings in the interior, gilded frames — unity of decorative language).

Mat or No Mat: When Distance is Needed

A mat — a cardboard or paper backing with a cut-out window, placed between the image and the frame glass. Functions: protection (the image does not touch the glass — condensation does not damage it), visual distance (the mat creates a field around the image — accentuates, highlights), decorativeness (the color, texture of the mat complements the image).

When a mat is necessary. Graphics (engravings, lithographs, drawings on paper — thin, require protection from contact with glass, the mat creates an air gap). Photography (especially vintage, documentary — a mat lends seriousness, a museum-like quality). Small images (a painting twenty by thirty centimeters on a wall looks lost — a mat five to ten centimeters wide increases the visual size to thirty by forty centimeters, the image is perceived as larger).

When a mat is excessive. Oil painting (canvas stretched on a stretcher, three-dimensional, does not require glass protection — a frame without glass, without a mat). Modern graphics, posters (where the aesthetic is of tight contact between the image and the frame — minimalist presentation, without distance). Large-format works (a painting one meter by one and a half — a mat ten centimeters wide adds twenty centimeters to each side, final size one hundred twenty by one hundred seventy — excessive, overloads).

Creating Gallery Walls: Composition as an Art

A gallery wall — a composition of several paintings, photographs, mirrors, united into a single visual array on one wall.Polyurethane picture framesunify heterogeneous images, creating visual unity.

Composition strategies: symmetry, chaos, modularity

Symmetrical grid. Images of the same size (for example, nine square photographs thirty by thirty centimeters) are hung in three rows of three, with equal distance between frames (five to ten centimeters horizontally and vertically). Result: a strict, ordered composition, characteristic of offices, galleries, modern interiors where geometry and rhythm are valued.

Organic chaos. Images of different sizes (from ten by fifteen centimeters to sixty by eighty) are hung without a rigid grid (distances vary, edges are not aligned), but with a balance of masses (large images are evenly distributed, not concentrated in one corner). Result: a lively, dynamic composition, characteristic of living interiors, eclectic spaces where individuality and ease are valued.

Modular composition. One large image is divided into parts (for example, a landscape one hundred fifty by one hundred centimeters is cut into six modules fifty by thirty-three centimeters), each part in a separate frame, hung with gaps of two to five centimeters. Result: the image is perceived as unified but segmented, the gaps add rhythm and dynamism.

Frame unification: material, color, profile

A gallery wall of heterogeneous images (photographs, posters, reproductions, mirrors) is unified through frames. Three approaches: full unification (all frames are identical — same profile, color, width — images are different, frames are uniform, creating a visual grid), partial unification (frames of the same color but different widths — a balance of unity and diversity), controlled diversity (frames of different colors, profiles, but made from one material — polyurethane, all painted, creates eclecticism with control).

Polyurethane as a material for unification.Picture framingmade from polyurethane is available in dozens of profiles (from narrow flat to wide carved), can be painted in any colors (acrylic paint, aerosols — white, black, gold, silver, any RAL shades), cost is low (a frame thirty by forty centimeters costs three hundred to six hundred rubles — you can create a gallery of twenty paintings without breaking the budget). Wooden frames are expensive (a frame thirty by forty made of oak costs one thousand to one and a half thousand rubles — a gallery of twenty costs twenty to thirty thousand), heavy (the wall is loaded with thirty to forty kilograms — requires sturdy fasteners).

Planning the Hanging: Template on the Floor

Before drilling the wall, the composition is planned on the floor. Images in frames are laid out on the floor in the intended configuration (symmetrical grid, organic chaos, modular composition), photographed from above. The photo is transferred to a graphics editor, scaled to the wall size, and printed. Frame templates (paper rectangles the size of the frames) are taped to the wall with painter's tape (does not damage paint, easily removed), positions are adjusted (shifted, rotated until the composition is satisfactory). After approval, a hole for the fastener is drilled through the center of each template, templates are removed, and frames are hung.

Picture Frames for Mirrors: Function and Decorativeness

A mirror without a frame is a utilitarian object (hangs in the bathroom, hallway, serves the function of reflection, nothing more). A mirror in a frame is a decorative object (decorates the interior, creates a visual center, works as art).

Mirrors in the Interior: Placement and Scale

Hallway. A functional mirror (to look at oneself before leaving — check clothing, hairstyle), size forty by one hundred to one hundred twenty centimeters (visible from waist to head — sufficient). Frame simple (flat molding four to six centimeters wide), color coordinated with hallway furniture (console, coat rack walnut — walnut frame).

Living room. A decorative mirror (reflects light, visually expands space, creates the illusion of a window), size sixty by one hundred fifty or more (large, dominant). Frame massive (convex molding eight to fifteen centimeters wide, ornamented), color contrasts with the wall (dark wall — gold frame, light wall — dark frame).

Bedroom. Mirror is functional-decorative (dressing table with mirror, wardrobe with mirrored doors), size varies (from thirty by forty for a table to the size of wardrobe doors). Frame is elegant (concave molding five to ten centimeters wide, delicate coloring — white, cream, pink).

Bathroom. Mirror is utilitarian (above the sink — for shaving, makeup, hygiene), size fifty by seventy to eighty centimeters. Frame is moisture-resistant (polyurethane is ideal — does not swell from condensation, painted with moisture-resistant paint), color coordinated with tiles, plumbing (white tiles — white frame, metal plumbing — silver frame).

Mirror frame painting techniques

Gilding. Frame is primed (white acrylic primer, creates a base layer), after drying painted with leaf adhesive (special sticky composition, sets in an hour), leaf (imitation of gold leaf — thin sheets of golden metal) is applied to the sticky adhesive, pressed with a soft brush, excess is removed with a brush. Result: mirror in a gilded frame, characteristic of Baroque, palace interiors.

Patination. Frame is painted with a base color (white, beige, gray), after drying patina (bitumen varnish, diluted brown paint) is applied generously with a brush, filling the recesses of the relief, after five to ten minutes excess is removed with a rag (patina remains in the recesses, removed from the protrusions — creates an aging effect, darkened over time recesses, protrusions polished by touch). Result: aged frame, characteristic of shabby chic, Provence, vintage interiors.

Metallics. Frame is painted with metallic paint (silver, bronze, copper, gold — paints with metallic pigments, creating a shiny surface). Applied with aerosol (even layer, without streaks) or brush (more textured, brushstrokes visible — texture effect). Result: shiny frame, reflecting light, suitable for modern interiors, Art Deco, glamour.

DIY molding installation: from strip to frame

Creating a frame frompolyurethane molding framesis accessible to a home craftsman with minimal tools.

Tools and materials

Tools. Miter box (device for miter cutting — plastic or metal, fixes the strip, guides the saw at forty-five degrees), fine-toothed hacksaw for metal (cuts polyurethane cleanly, without chips), tape measure, pencil, square, clamps (clamp parts during gluing), sandpaper grit one hundred twenty to one hundred eighty (sanding cuts).

Materials. Polyurethane molding (strip length two to three meters — enough for a frame up to one hundred twenty centimeters on the longer side), polyurethane glue (acrylic mounting or two-component polyurethane — glues frame corners), acrylic putty (fills micro-gaps at corner joints), paint (acrylic matte or glossy — final painting), brushes, primer (if the molding is not factory-primed).

Calculating segment lengths

Frame for a picture sized fifty by seventy centimeters (internal frame size — the window where the image fits). Molding width six centimeters. Length of short frame sides (vertical): internal length fifty centimeters plus two molding widths (six multiplied by two equals twelve) equals sixty-two centimeters from outer corner to outer corner along the short side. But the forty-five-degree miter adds length: calculation is based on the inner edge of the molding (fifty centimeters) plus two molding thicknesses at the corners (depends on the profile — typically one and a half to two centimeters thick, at a forty-five-degree angle the thickness becomes an additional length of zero point seven of the thickness). Precise calculation: measure the internal frame size, add double the molding width, add an angle correction (one to two centimeters for allowance — better to cut with allowance, then adjust).

Miter cutting: forty-five-degree precision

Molding is placed in the miter box (fixed so it doesn't shift during sawing), the saw is guided through the miter box slot at forty-five degrees (slowly, without pressure — polyurethane is softer than wood, cuts easily, but crumbles if rushed). The cut is checked with a square (place two segments with cuts — should form a right angle of ninety degrees, if the angle is larger or smaller, the miter is inaccurate, correction required). Inaccurate miter is compensated by sanding (sandpaper on a block — sand the cut to an exact angle).

Gluing corners: fixation until curing

Glue is applied to both cuts of the corner (thin layer, evenly), cuts are pressed together (angle checked — should be ninety degrees), fixed with a clamp (clamps the corner, holds until glue cures — usually one to two hours for acrylic, ten to fifteen minutes for two-component polyurethane). Excess glue squeezed from the joint is removed immediately with a damp cloth (harder to remove after curing).

Alternative to clamps. Painter's tape (wide, seven to ten centimeters) is applied across the corner (holds parts while glue sets). Temporary small nails (thin finishing nails driven from the back of the frame through the corner — hold parts, removed after glue cures, holes filled with putty).

Puttying joints: invisible seams

After glue cures, joints are inspected (there may be micro-gaps — imperfect fit of cuts, glue shrinkage). Acrylic putty is applied with a rubber spatula (fills gaps flush), excess is removed, after drying (two to four hours) sanded with sandpaper grit one hundred eighty to two hundred twenty (seam becomes invisible, smooth).

Popular questions about polyurethane molding

Can polyurethane molding be used for heavy mirrors?

Yes, but with proper mounting. Polyurethane frame is light (frame one hundred by one hundred fifty centimeters weighs eight hundred grams), mirror is heavy (glass four millimeters thick, size one hundred by one hundred fifty centimeters weighs nine kilograms — ten times heavier than the frame). Frame is glued to the mirror (silicone adhesive, liquid nails — applied to the back of the frame, frame pressed to the mirror, fixed with painter's tape for a day, adhesive cures). Mirror is hung on the wall not by the frame (polyurethane is not strong enough to hold the mirror's weight), but with special mounts (D-shaped hangers attached to the wall, mirror rests on hangers with its lower edge, top edge fixed with clips). Frame is decorative, non-load-bearing.

How to visually distinguish polyurethane molding from wooden?

After painting, the difference is minimal. Polyurethane is uniform (no annual ring texture characteristic of wood), but painting can imitate texture (stain, glaze, patina reproduce wood grain). Tactilely, polyurethane is colder than wood (higher thermal conductivity — hand feels cold), lighter (frame of same size — polyurethane weighs three to five times less than wood), sound when tapped is duller (wood resonates, polyurethane dampens sound). Visually indistinguishable from a distance of one to two meters.

Does painted polyurethane molding fade in the sun?

Depends on the paint. Interior acrylic paint without UV filters fades (frame on a south-facing window, under direct sunlight yellows, fades in two to three years). Acrylic paint with UV stabilizers (exterior, automotive) does not fade (preserves color for decades). Gilding with leaf does not fade (metal is inert to ultraviolet), but will tarnish from dust, touch (protected with varnish). Recommendation: frames near windows should be painted with exterior paints, coated with varnish with UV filters.

How much does it cost to make a custom frame from polyurethane molding?

DIY is cheaper. Polyurethane molding eight centimeters wide costs three to four hundred rubles per meter (frame fifty by seventy centimeters — perimeter two and a half meters, molding cost seven hundred fifty to one thousand rubles). Glue, putty, paint one to two hundred rubles. Total one thousand to one thousand two hundred rubles for materials plus time (two to three hours of work). At a framing workshop more expensive: cost of materials plus labor (mitering, gluing, painting) one to one and a half thousand rubles. Total two to two and a half thousand. Advantage of workshop: precision (professional equipment — miter saw, perfect angle), speed (frame ready in a day), experience (complex profiles, gilding, patina performed with higher quality).

What is the best glue for bonding the corners of polyurethane molding?

Acrylic construction adhesive (liquid nails) — universal (sets in an hour, full cure in 24 hours, strength sufficient for lightweight frames), accessible (sold in any hardware store, costs three to five hundred rubles per tube), convenient (applied with a caulking gun, easy to dose). Polyurethane two-component adhesive — stronger (sets in ten minutes, full cure in twelve hours, maximum strength — for heavy frames with mirrors), more complex (requires precise mixing of components, sets quickly — you need to work fast), more expensive (five hundred to eight hundred rubles per kit). Recommendation: for lightweight picture frames use acrylic, for heavy mirror frames use polyurethane.

Conclusion: trimmer as a finishing touch

Polyurethane molding stuccotransforms the utilitarian function of framing (holding glass, canvas, protecting edges) into a decorating tool that connects the image with the interior, creates visual accents, and forms gallery compositions. Polyurethane as a material synthesizes the aesthetics of wooden molding (complexity of profiles, ornament detail, possibility of painting, patina, gilding) with the practicality of a polymer (weight four to five times less than wood, absolute moisture resistance, price two to three times lower, installation accessible to a DIYer without professional tools).

Molding profiles are diverse: from flat and laconic (minimalism, graphics, modern interiors) to convex and massive (classic, painting, baroque spaces), concave and perspective (landscapes, mirrors, depth effects), multi-tiered museum-style (copies of classics, palace interiors, maximum decorativeness). The choice of profile, width, color is determined by the image, interior, style, scale — there are no universal recipes, each project requires an individual approach.

Framing pictures with polyurethane moldings creates gallery walls — compositions of multiple images united by the uniformity of frames (color, profile, material). Composition strategies vary: symmetrical grids (order, geometry, modernity), organic chaos (liveliness, individuality, eclecticism), modular compositions (a single image divided into parts, dynamism through segmentation). Polyurethane unifies frames (availability of dozens of profiles, ability to paint any color, low cost allow creating galleries of twenty to thirty pictures without breaking the budget).

Molding frames for mirrors transform a utilitarian object (reflective surface in a hallway, bathroom) into a decorative object (decoration for a living room, bedroom, creating a visual center, expanding space, reflecting light). Polyurethane is ideal for mirrors in humid rooms (bathroom, kitchen — does not swell from condensation, painting with moisture-resistant paint protects for decades), for lightweight mirrors on weak substrates (drywall partitions — the frame is lightweight, does not critically load the wall).

DIY molding installation is accessible (tools are minimal — miter box, backsaw, clamps, materials are inexpensive — molding three to four hundred rubles per meter, glue three hundred rubles, time two to three hours per frame). The technology is simple: calculating the length of segments (inner size plus double the molding width plus angle adjustment), cutting at a forty-five degree angle (miter box guides the saw precisely), gluing corners (glue on the cuts, press, fix with a clamp until set), puttying joints (fill micro-gaps, sand — seams are invisible), painting (primer, base color, patina, varnish — finishing creates the style).

The company STAVROS offers European-quality polyurethane molding — over fifty profiles (from narrow flat two to three centimeters wide for minimalist frames to wide ornamented fifteen to twenty centimeters for museum framing), polyurethane density three hundred to three hundred fifty kilograms per cubic meter (maximum strength, detail, geometric stability), factory primer (white acrylic primer — ready for finishing paint without additional preparation), plank length two to three meters (convenient for transport, sufficient for frames up to one hundred twenty centimeters).

The catalog includes profiles of all styles: minimalist (flat molding with bevel, width three to six centimeters, price one hundred fifty to three hundred rubles per meter — for modern graphics, photography, posters), classic (convex molding with geometric ornament, width six to twelve centimeters, price three hundred to five hundred rubles — for painting, mirrors, traditional interiors), baroque (multi-tiered molding with acanthus scrolls, floral garlands, width ten to twenty centimeters, price five hundred to nine hundred rubles — for copies of classics, museum framing, palace spaces).

Professional service includes consultations (help in choosing a profile for a specific image, interior, style — managers are competent, know the assortment, understand framing nuances), material calculation (calculator on the website calculates the molding footage for a frame of a given size — minimizes waste, eliminates errors), delivery (by transport companies across Russia, by courier in Moscow, St. Petersburg — molding is long and fragile, packaged carefully, delivered without damage), warranty (molding does not deform, yellow, or crack for two years — material defect replacement is free).

Additional services: cutting molding to size (client specifies segment lengths, cutting angles — STAVROS cuts precisely, ships ready parts, at home you only need to glue), turnkey frame manufacturing (client provides picture/mirror dimensions, chooses profile, color — STAVROS manufactures the frame, paints it, ships it ready — client inserts the image, hangs it), gilding and patination (professional craftsmen apply gold leaf, patina, crackle — effects complex for home execution are performed with quality).