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Mounting Matters: Choosing the Right Display for Gallery-Level Quality
When it comes to showcasing art or visual displays, mounting is more than a technical detail—it’s the foundation of presentation. Whether you're curating an exhibition, designing for a retail rollout, or installing visuals for a corporate client, the choice of mounting material directly impacts the look, feel, and longevity of your display.In this guide, we’ll break down the most common mounting materials used in galleries and commercial environments—Sintra, DiBond, Gatorfoam, and Plexiglas—along with the pros and cons of each. We’ll also cover when to opt for mounting only versus full framing, and how to make your visuals last in high-traffic spaces. Top Mounting Materials for Professional Displays Sintra (PVC Board) Best for: Durable, cost-effective displays with a smooth finishSintra is a rigid PVC board often used in gallery and retail settings for its lightweight, smooth surface and durability. It’s moisture-resistant and ideal for both temporary exhibitions and long-term installations. Pros Cons Aesthetic Lightweight, affordable, easy to cut. Slightly flexible, can warp in extreme heat. Smooth, matte finish with minimal edge profile. DiBond (Aluminum Composite) Best for: Sleek, modern presentation with top-tier durabilityDiBond consists of two thin aluminum sheets with a solid polyethylene core. It’s highly stable, making it ideal for high-end gallery shows and corporate displays where longevity and rigidity matter. Pros Cons Aesthetic Extremely durable, professional look, doesn’t warp. More expensive, heavier than Sintra. Clean, high-end finish with rigid edges. Gatorfoam Boards Best for: Lightweight mounting for temporary or transportable showsGatorfoam Boards is a foam board reinforced with a resin-coated surface. It’s often used for exhibitions requiring frequent transport or fast turnaround due to its light weight. Pros Cons Aesthetic Very lightweight, easy to handle. Susceptible to dents and damage. Clean and smooth, but best suited for temporary use. Plexiglas (Acrylic Face Mounting) Best for: High-gloss, photographic presentations with maximum visual impactPlexi-mounted prints are face-mounted to clear acrylic for a gallery-worthy, frameless display. This method is ideal for photography or modern artwork that benefits from a sleek, glass-like finish. Pros Cons Aesthetic High-end look, enhances color vibrancy. Expensive, prone to scratching if mishandled. Glossy, luxurious, ultra-modern. Framing vs. Mounting Only: What’s Right for You? While traditional framing offers depth and texture, many modern exhibitions and visual displays benefit from clean, frameless mounting. Here's how to decide: Choose framing when: The piece is delicate, you want a classic presentation, or it needs extra protection. See Examples Choose mounting only when: You need a contemporary look, lightweight handling, or wall-to-wall visuals with minimal distraction. See Examples Durability in High-Traffic Spaces For commercial environments like retail stores or corporate installations, durability is key. DiBond and Sintra are strong contenders here. DiBond’s resistance to warping and weathering makes it especially valuable in environments with changing temperatures or constant handling.Plexiglas, while visually stunning, should be considered where staff or protective measures prevent surface damage. Gatorfoam, on the other hand, is best for short-term installs or behind-glass protection. Need Help Choosing? Tell us about your project. Let's Talk
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Print, Display & Roll Out – Elevate Your Retail Store with Custom Printing Solutions & Displays
In the competitive world of retail, a striking visual presentation is key to directly impact customer experience, engagement and sales. Skyframe, the premier framer in NYC specialize in high-quality retail printing solutions to bring New York City's top retail stores to the next level.
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Artist of the Month
She finds compelling subjects and locations by crisscrossing the city and taking numerous photographs. Once in the studio, Grossman, like William Kentridge, begins to draw and then obsessively shifts her narrative world away from her sources. She re-positions buildings and vehicles while adding and subtracting characters to achieve the final cut. The physicality of her process is crucial to achieve the “just happened” feel of her work.
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