FAQ – Frequently Asked Questions about Genesis Imaging and our Printing, Mounting and Framing Services.
Here are a few of the most frequently asked questions about Genesis Imaging and our services. If you have a question that is not covered here simply pick up the phone and ask us! Alternatively you can email us with your question. We are always ready to help!
Yes! With clients around the world, we’ve shipped our clients work Internationally and can advise and quote on delivery options to suit your requirements. Our bespoke crating is ideal for large items and international delivery – ensuring your work is packaged to perfection and protected until it reaches its destination.
We certainly do! Our specially trained team can take care of the installation of your artwork and vinyl in galleries, commercial and residential properties.
In addition to our installation services for the art and photography industries, we also are able to provide installation of vinyl and graphics using our in-house installation team who have years of experience on projects, both large and small.
We sure do! Genesis Imaging is proud to offer all students a 20% discount across all of our professional printing and finishing services. But that’s not all, once you graduate we provide a continued 20% discount across all of our professional photographic services for a year, with 10% discount for the year that follows.
We include time with our technicians to check your file and make minor tweaks or edits (either in-person or independently with instruction), and also test prints, while many other competitors don’t. Why do we? Because we think that working collaboratively and transparently gets our clients the best results.
Our pricing page shows a guide to the costs associated with many of our services. For a more comprehensive quote, or quotes for large orders or using our bespoke services, please contact one of our friendly team here.
As with all of our printing services, we aim to turn around print orders within 48 hours of your order being confirmed by a member of our Client Support Team. Turnaround times may be longer when a test print is required. Please speak to us to confirm turnaround times on large print orders or when working to tight deadlines.
We certainly can! Please let us know at the time of ordering if your preference is for ‘white-label’ (fulfilment without any branding) and we will send orders without Genesis Imaging branding on the inside or outside of the packaging. We can also omit any invoices for gift orders.
We only use the highest-grade archival materials to produce your print and carry stock of Fuji Crystal Archive papers in traditional Matte, Gloss, Super Gloss, Transparency film (commonly known as Duratrans or Fujitrans) and Fuji Pearl papers. Each paper offers the tactility of a traditional photograph but with all of the benefits of digital control.
For Giclée printing, we stock a wide selection of archival Hahnemühle and Canson papers – each provides a different tactility, texture and effect to the final piece. However, we can also print on other papers by request – please contact us for more information.
Of course, with the introduction of our Direct to Media Printing service in 2013, we have the ability to print direct to virtually any substrate – from perspex to concrete, and a whole host of materials in-between. Direct to Media printing is even capable of printing on water.
To produce close results from screen to print, we recommend calibrating your screen using a monitor calibration tool or with the help of a reference picture.
We have put together a guide on how to calibrate your screen. Please take a look at the guide here.
Soft proofing or on-screen previewing is a way to describe viewing how your image will look when printed on a specific photographic paper, using a specific process.
To soft-proof your work, please take a look at our instructions on the process here.
Sure! We offer matt and gloss sealing – or lamination – for the protection and preservation of your images and artwork. We recommend laminating or sealing to protect prints that are to be presented or exhibited without the protection of glazing – with either glass or Perspex.
Whether you choose a matte or gloss seal, or laminate, is down to your individual preference or requirements. Gloss offers prints a shiny, durable surface but images can still be still prone to slight scratching. We would recommend matt laminate to cover larger surfaces with optimum protection.
Framing or Face-mounting your work will offer the best protection for the surface of your photographs and artwork.
Our bespoke classic gallery photographic framing service produces frames exactly as you would see in many international galleries and major exhibitions worldwide. We stock a wide range of exhibition-quality mouldings in a broad range of colours and finishes and. Of course, framing isn’t all about aesthetics – our team are also highly skilled in producing bespoke gallery framing solutions to preserve and protect your photographs or artwork
Perspex Face Mounting offers a contemporary mounting solution and is a popular choice for those looking to present a finished piece without a frame. Because the print is sandwiched between the Perspex and the back using a permanently elastic 100% clear silicone glue, Perspex face mounting provides the additional benefit of no shadows between the photographs and the glazing of an ordinary frame.
Our specialist staff are able to consult with you to find your perfect finishing solution.
We certainly do! We print portfolios for a wide range of individuals; from students, to commercial photographers. Portfolios can be printed using any of our print services, but Lambda C-type and Giclée Fine Art printing are the most popular choice. Which you choose comes down to personal preference, and our professional team will be happy to assist you in making this decision.
We can! We offer flatbed scanning up to A3 in size, or image-capture on-site in exceptionally high resolution – which is perfect for larger works. Both options produce digital files which can then be sent to you as is, edited, and then printed and finished if desired.
Yes, this is something we can do. Depending on the size of your artwork, we offer flatbed scanning up to A3 in size, or image-capture on-site in exceptionally high resolution – which is perfect for larger works. Both options produce digital files which we can then print using our professional photographic printing services. Giclée Fine Art prints are a popular choice for artists looking to make prints of their work due to the textural feel of the papers.
All prints should be stored away from direct sunlight and sources of heat or moisture to prevent irreversible degradation. We would always recommend protecting and preserving your work using our bespoke finishing services. Our Bespoke framing not only offers aesthetic benefits to the artwork but also helps protect artwork from environmental damage.
To preserve your work, we use anti-reflective Artglass as standard for our framing, which incorporates a 70% UV filter to protect your valuable artwork from fading, while also providing is the best option for reflective-free and neutral viewing.
See https://genesisimaging.co.uk/caring-for-finished-works/ for more information.
Print size varies depending on the service used and the chosen paper type (some Giclée papers are simply not available in full width). As a guide;
Lambda C-type prints can be produced in sizes up to 48 inches in width and up to the length of an entire roll – which is a massive 1,968 inches.
Giclée prints are available in sizes up to 60 inches wide, and just about any length you desire.
Using Direct to Media printing, the largest single sheet size we can print is 2 x 3m, or just over 78 x 118 inches. We do have the capacity to print larger than this, roll to roll (so using banner material or other flexible materials).
The largest size we can produce ChromaLuxe fine art prints is 70” x 40”.
We would recommend testing this on a test print, or a small area of the final print before you commit to a large area. We have worked with artists that have painted works or coated or covered areas of prints with paints, dyes or collage, however, the final outcome depends on your chosen materials and how these work together with the print we produce for you.
To order a test strip, please upload your image via our upload form and specify the size of your final print. This helps us to ensure that the image we take the test print from is at the correct size for the best representation of the final outcome. Test prints are produced as a full-size section of your image, not the whole thing – if you have a particular part of your image which you’d like to see on your test print, please let us know.
They can! We ship internationally, using a range of couriers, and can wrap and pack your test prints either rolled or flat depending on the size of your test and/or your preference. Once received, we can liaise with you over the phone for any amendments – to make sure your final print is exactly as you expect.
We believe the relationship between the artist and the team at the final stages of production is what makes outstanding images into memorable showpieces. For this reason, our premier printing services include one-to-one time with our expert printing team to view your files on colour-corrected monitors. Checks with our expert printing team include the following:
- Colour management
- Adding borders
- Cropping images
- Other minor edits
To ensure your work is exactly as you envision, we provide free test prints for our printing services. Please request these at your time of ordering. Turnaround times are subject to test approval.
A limited-edition print is a print that is only produced in a predefined amount. Many photographers and artists offer prints of their work on a limited basis as prints from finite editions retain exclusivity and tend to reach higher prices than open editions (prints with no limit to their production).
Because of its bespoke nature, this is costed on a bespoke basis considering the art-working needed to be done, the size of the wallpaper needed, your deadline, and whether you require installation too.
Lambda C-type Printing
Both Lambda and Giclée prints are brilliant photographic prints and both are produced by the digital process. Lambda c-type prints have the tactile look and feel of a traditional photograph while our Giclée prints can be produced on a diverse range of tactile coated or uncoated papers.
Our Durst Lambda printer uses lasers (RGB – Red, Green and Blue) to expose photographic material, whereas the Giclée process physically lays ink on paper or canvas. Both our Lambda and Giclée prints are produced on archival quality papers.
The real differences boil down to individual preferences; it’s all about the “look and feel” of the final print and whether it conveys the image as you want it. Unfortunately, the real differences cannot be shown on a website, but our team are happy to explain the process in more detail and show you examples – please contact us to arrange your visit.
Giclée Fine Art Printing
Derived from the French word, ‘gicler’ which literally translates as to ‘squirt’ or ‘spray’ (inspired by the way that the printer nozzle applies the ink pigments to the paper), the term ‘Giclée’ was coined to describe inkjet printing in the early nineties and has remained a description for inkjet printing ever since.
Both ‘pigment print’ and ‘Giclée print’ terms denote a print made from a digital file directly to paper using an inkjet printer as an output device. Whilst the term is broad, it has come to be associated with prints produced to fine art papers. Read more about Giclée & pigment prints.
The critical difference between dye-based and pigment inks is how the colour is suspended within a liquid. The dye-based inks completely dissolve to form a solute (like salt does in water) to create the colour. With pigment inks, microscopic pigments are only suspended in the liquid and don’t fully dissolve (like very tiny grains of sand in water).
Pigment inks are professional artists’ and photographers’ preferred choice due primarily to their archival purposes. Pigmented inks are much more resistant to UV light, which is vital for the longevity of printed images. To give you a rough idea, you can expect dye-based inks to fade after about 50 years, whereas most pigment inks (if used on their intended paper and kept in a suitable archive condition) can boast to last 200+ years. Read our full article here.
Direct to Media Printing
The ultra-fine droplets of ink are deposited directly onto the printing media which is then almost instantly cured, or dried by UV (ultraviolet) light. The specially developed ink droplets are bonded to the surface of your chosen media – giving you a smooth, stable, abrasion-resistant and long-lasting image. For outdoor applications, Direct to Media printing is weather-resistant for up to five years. Find out more about Direct to Media Printing.
Our Direct to Media printer can print on virtually any flat substrate. Just some of the substrates that we’ve printed on include wood, rubber, concrete, perspex, Aluminium, Dibond, Foamex, PVC, glass, mirror…
If we haven’t printed on something before, that doesn’t mean that we wouldn’t be happy to try – please contact us for more information.
The UV inks that we use for our direct to media printing are archival for over 70 years. The overall archival stability of each piece is also determined by the substrate chosen to print to, and like any process, how you store your finished piece.
For outdoor use, Direct to Media UV printing is also weather-resistant for up to 5 years.
Because there is a hugely diverse range of substrates you can print to and almost limitless possibilities, please contact us for more information on specific substrates – one of our team would be very happy to talk you through your options.
Yes, it is! With our Direct to Media UV printing service, certain areas can be chosen for the material beneath to show through. If you print to Aluminium or another sheet metal, this will be metallic in sections.
We aim to turnaround orders for our finishing services within 8 – 10 days.
Large orders are often subject to slightly longer turnaround times, please speak to us to confirm turnaround times prior to placing your order.
Once your print has been produced on canvas we then either professionally stretch over a 30mm or 40mm thick wooden frame (creating a 3 dimensional, block-mounting effect), ready to hang, or frame the print to your exact specifications using our bespoke framing services. The choice is yours!
Dibond, an aluminium composite, is comprised of two ultra-thin 0.3mm aluminium panels sandwiched around a polyethylene core. The aluminium we use is 2mm thick, which is considerably thinner.
Mounting on Dibond gives you all the advantages of aluminium but with a significant weight saving – making it ideal for mounting larger photographic prints without any bowing.
Both Perspex and Glass face mounting services provide exceptional finishing for photographs or artwork and use much the same process – the only real difference is the substrate chosen as the top layer of the finished piece.
Glass is less prone to scratching than Perspex although Perspex is a much more lightweight substrate and is available in a greater choice of sizes.
No, they are the same mounting process. Perspex Mounting is sometimes referred to as Reverse Perspex Face Mounting due to the process involving the print being put behind the perspex glass (or on the reverse of it).
We’ve prepared handy guides to help with the preservation and display of your artwork once it’s framed using our team’s specialist knowledge. Whether your finished work is framed or mounted, going into residential or commercial properties, this information should help keep it safe, secure and perfectly displayed. Click here to read more.
They don’t! The c-type print is sandwiched in between the Perspex and a Dibond backing which offers protection for the print – just as the glazing on a traditional frame would. These prints are finished with a subframe for ease of hanging – a contemporary solution to present your photos.
Both Foamex and Foamboard are exceptionally lightweight and ideal cost-effective mounting solutions. Foamex generally has a better strength to weight ratio than Foamboard – so it will not be as easily damaged, we generally recommend Foamex where mounted photographs or artwork will be exhibited multiple times.
We do! Using our CNC Router we can precision cut your mounted prints or printed substrates to almost any shape your desire. The biggest advantage of CNC cutting in comparison to other profiling machines is in the level of accuracy achievable. CNC routers allow the cutting depth to be fully controlled – so accurately so that we can cut Perspex sheeting but leave the protective film intact. The precision of CNC routing means that little or no finishing is required after the material has been cut or engraved. See below for info on what a CNC router is.
A CNC machine is a precision profiling machine that uses three axes (X, Y and Z) to accurately cut, drill, and engrave. The “CNC’ of CNC Router stands for “computer numerical control’, it is a computer-controlled cutting machine capable of cutting various sheet materials, such as wood, composite materials, metals such as aluminium and steel, plastics and foams, amongst others.
Certainly! We do have an extensive range of framing solutions, in a wide range of finishes and we know that the process of choosing the perfect frame can be quite daunting.
We are very happy to talk you through the framing process and to help you choose the right solution for your photographs or artwork. Book your appointment with our team here.
The glass in frames can be gently cleaned using glass polish and a lint free cloth, we recommend spraying glass cleaner on to a cloth rather than directly on to the glass to avoid contact with the frame.
As a general rule, our range of mouldings can be cleaned with a mildly damp, lint free cloth. We recommend that as little water as possible is left on the wood as this can lead to warping.
There is also information on how to display your framed works here.
Our team are happy to talk you through how to care for your individual framed work. Book your appointment with our team here.
We use anti-reflective Artglass as standard for our framed works, which is the best option for reflective-free and neutral viewing. This incorporates a 70% UV filter to protect your valuable artwork from fading. In addition to traditional glazing, we also offer durable and lightweight Perspex – perfect for larger frames.
Yes. We care about the environment, which is why the wooden mouldings we use for our framing are from sustainable sources that are managed to meet environmental, social and economic needs for the present and future, as certified by the FSC (Forest Stewardship Council) scheme.
A passé partout, or window mount is a mount produced using archival grade mount board with a cutout, which is placed over your print and under the glass in a picture frame.
This not only offers aesthetic benefits but also adds protection for photographs or artwork (by providing separation between the artwork and glass to prevent damage from any condensation).
When in comes to Passé-Partout’s, or Window Mounts, we only use the finest 8-ply acid-free and neutral PH museum conservation-quality board, which is certified by The Fine Art Trade Guild and offers exceptional preservation qualities that conform to the highest conservation standards.
Both our fabric and standard glazed lightboxes come mains powered, simply plug them in and go!
We can! If you would prefer to add your artwork later on, or if you can’t send your artwork to us because of its fragility or insurance purposes, we can supply frames with flexible pins – so you can place your work inside yourself. We recommend finishing with framing tape.
Complimentary Services FAQ
Vinyl Printing and Installation
Yes, we do. We have a team that are highly skilled in installing vinyl in galleries and commercial premises and pride ourselves on personable and efficient installation services. Please contact us to discuss your project and we can offer an accurate quote based on your requirements.
This depends on many factors such as the permanence of the vinyl chosen (we offer temporary and permanent vinyl solutions), the condition of where the vinyl is being applied (whether it is sealed with a suitable coating).
Damage is likely to occur if a wall already has some damage to it – e.g. blown plaster. If the wall has been painted recently and well, no damage should occur.
Of course. We find that often the best way to ensure your retouching is to your exact specifications is to come and talk to one of our team and we often have our clients visit us while work is prepared. Arrange your visit here.
This term is sometimes used to describe materials that may have acidic content but have been buffered to increase their PH value. A neutral or alkaline PH value will provide a more stable environment for your print to be mounted to, and is linked with longer life expectancy. All our papers, window mounts and boards are acid free to protect and conserve your artwork.
The term archival refers to a material being permanent, durable or chemically stable. As such, the term is non-technical and unenforced. It is typically used for photographic printing papers and Giclée inks to signify the long-life of the materials. ‘Archival’ prints will generally last a very long time without fading or discolouring.
A backboard is attached to the back of the frame. The material used must be chemically inert or acid free so as not to damage or degrade the print over time.
The term ‘Internal backboard’ describes the board used to protect or help display artwork. Internal backboard is usually visible (although not always) and must be chemically inert or acid free so as not to damage or degrade the print over time.
A box frame uses a spacer or fillet between the glazing and the print. This framing solution is ideal for 3D artworks as the space be adjusted between the glazing and the artwork.
Buffered mount board uses an alkaline filler to raise the PH level from 7.0 (neutral) to 9.5 (high alkaline). This reduces the possibility of acids forming in the layers of the board and is linked with longer life expectancy.
A board is made from layers of compressed paper. Terms such as ‘8-ply’ refer to the layers of paper used – e/g. e.g. 8-ply board is made up from 8 layers of paper.
The C-41 process (often abbreviated to just C41) is a photographic processing system for developing colour negative film.
Chromaluxe is a trade name of Universal Woods inc, a manufacturer of dye-sublimation panels. The term ‘ChromaLuxe Fine Art printing’ is used to describe a process using ‘dye sublimation’ to fuse images on to metal. The term ‘sublimation’ describes the transition of a substance (in this case, the special inks) directly from the solid to the gas phase without becoming a liquid first. Chromaluxe prints can be known as HD metal prints, metal sublimation prints, dye sublimation prints.
A colour profile is a set of data that characterizes a colour input or output device. They are used to ensure consistent colour throughout the digital printing process.
Conservation level framing uses techniques and materials to help preserve and protect artwork, ensuring longevity for the future. The Fine Art Trade Guild is the UK trade association for the Fine Art Framing industry and has defined five professional levels of framing which are recognised around the globe. Conservation level is the 2nd highest level designed to visually enhance artwork and offer a high level of protection for approximately 20 years under normal conditions.
Both traditional glazing and acrylic can be coated with a layer of fine film, designed to reduce glare and increase the UV filtration and abrasion resistance.
Conservation boards are boards made from purified wood pulp, with the Lignin removed. They contain small amounts of buffering to protect the board from acid pollutants.
CMYK is short for Cyan, Magenta, Yellow, and Key (black) and describes the inks and the general process used by commercial lithographic printers to produce colour printed work on a printing press, like magazines and brochures. Photographic printing uses RGB instead of CMYK.
Deckled edges are rough and irregularly cut edges of a print. This should be float mounted as this allows the entire print including the edges to be on show.
A storage device used for digital files. This could be a camera card, CD, data DVD or external hard disk.
Dots per inch (DPI) is a measure of the amount of visual information that can be represented in one square inch. If you have a digital image that is A4 in size at 72dpi it is considered low resolution whilst a high resolution image will be 300 dpi or more.
The process of bonding an artwork to a mounting board using a dry tissue adhesive activated by heat, to keep the artwork permanently flat. The tissue is placed between the artwork and the board and then an iron or heat press will melt the tissue forming a bond between the board and the artwork.
Duratrans is short for Durable Transparency and is commonly known as a backlit display print. They can be found in many places from fast-food restaurant menus to corporate receptions and advertising hoardings.
The term ‘sublimation’ describes the transition of a substance (in the case of Chromaluxe Fine Art printing, the special inks) directly from the solid to the gas phase without becoming a liquid first.
The E-6 process (often abbreviated to just E6) is a photographic processing system for developing colour reversal or slide film.
Fillets are strips that can be made from wood or plastic, that run through the inner edge of the frame to create a separation between the artwork and the glazing of the frame. Fillets/spacers are used to help prevent mould growth and adhesion to the glass.
The term ‘Float Glass’ is used to describe the standard glass used in picture framing, it is transparent and colourless. The term Float refers to how the glass is made – by pouring molten glass on a bed of molten tin. The molten glass then floats onto the tin and form into the shape of the bed, creating a uniform thickness and flat surface.
FTP is an acronym for File Transfer Protocol and is simply a method of transferring digital files to or from your computer to a web server. It is as easy as copying a file from one folder to another.
Fujiclear – full name Fujiclear Display Material – is a material manufactured by Fujifilm which is laser-exposure optimised and has a clear-base for use in the production of transparent prints. These prints are also known as Duraclear (a trade name of Kodak) prints or Backlit transparencies. Backlit transparencies are ideal for display in lightboxes.
Fujitrans – full name Fujitrans Display Material – is a material manufactured by Fujifilm which is laser-exposure optimised and has a white base for use in the production of translucent prints. These prints are also known as Duratran (a trade name of Kodak) prints or Backlit transparencies. Backlit transparencies are ideal for display in lightboxes.
Ultra-high quality inkjet prints printed on special archival quality papers. Pronounced “gee-clay” the word derives from the French verb “to spray” and refers to the ink being sprayed onto the paper.
Hinges are used to secure an artwork to a backing board or to a mount board are placed on one edge of the artwork. This helps prevent the artwork from falling off, but in worst case scenario it does fall, the hinges will tear off rather than the artwork. Hinges act as extra barrier for the artwork.
Joining is a term used to describe how the edges of a frame are fixed together. There are different methods for this, for example: splicing, screw plug or underpinning. These methods used for joining can depend on the size or type of frame.
Kapa™ a trademarked name owned by 3A Composites GmbH. Foamboard is made up of three layers – an inner hard foam polyurethane core clad with a reinforced aluminium layer (adding protection for photographic images) and outer covering of card.
The term ‘keyline’ is a noun used to describe the outline on artwork or plans. In framing, keyline (in ‘keyline framing’) is used to describe a frame with as very slimline gap between the print (which is often face mounted) and the frame itself. No glass is used. This creates a thin outline, hence the name.
The Durst Lambda printer is a digital laser imager capable of producing large format images with the same quality, or even better, than conventional photo printing. Images can be combined with high quality graphics and text and printed onto a range of photographic materials.
A method of image compression used when saving files as a tiff in photoshop. Its use significantly reduces file size without any loss of image quality.
MDF stands for Medium Density Fibreboard. MDF is made from wood fibres, which are mixed together with resin and wax and heat pressed to form panels. Medium density refers to how many wood fibres have been broken down to form the MDF.
The term ‘Moulding’ refers to the shape of a wood profile used to make the outer part of a frame.
This is the space between the edge of your artwork and the edge of the mount, which can be increased or decreased to show more or less of the artwork through the aperture of the mount.
A window mount, or passe-partout, is a flat piece of board with an aperture in the middle so your artwork can be viewed through it. A mount is placed on top of an artwork (within a frame) to separate it from the glass and also to enhance the visual appeal of the artwork.
The term ‘Float Mount’ refers to displaying the entire artwork paper for view within the mount aperture. Float mounted prints are often presented with a deckled edge.
Museum level framing is archival grade framing used in museums and galleries worldwide to protect and preserve artwork for display. The fine art trade guild is the UK trade association for the fine art framing industry and has defined five professional levels of framing which are recognised around the globe. Museum is the ultimate level designed to visually enhanced artwork and offer the maximum level of protection for up to 35 years under normal conditions. Museum level framing uses reversible mounting methods to ensure the work framed is left undamaged when removed.
Non reflective glass is glass that has been acid etched on one or two sides to disperse reflective light.
‘Passé-partout’ (or passepartout) is a french term for a mat, paper or cardboard sheet placed over the print and under the glass in a picture frame. Passé-partouts are also known as window mounts, mats and liners.
Both terms are brand names used to describe Acrylic.
The term ‘print on demand’ refers to an order fulfilment method where prints are produced as orders are made. Files are kept on our server and prints are produced and sent as ordered by the client – without need to upload new files each time.
A raw image file contains minimally processed data from the image sensor of a digital camera or image scanner. Raw files are so named because they are not yet processed or ready to be printed. Precise adjustments can be made from raw files before conversion to a file format such as TIFF or JPEG for storage, printing, or further manipulation.
A preview of a digital file on your computer screen used to simulate how the final photographic print will look.
Split battens are a method of hanging artwork to the wall using corresponding strips of wood. One strip is fixed to the mount and the other is placed to fixed to your wall. The mount will simply ‘hook’ onto the attached batten on the wall.
A sub frame, or subframe is an inner frame that acts as a support system to secure the artwork inside the frame. This is placed behind the artwork and secured with screws. Sub-frames/strainers can also act as a hanging system. As support frames, subframes are particularly used on very large or extremely thin frames.
A traditional film format resulting from E6 processing. In their 35mm format, transparencies, trannies or trannys are commonly known as slides. They come in a variety of sizes up to 10×8″.
‘Tray frame’ is a term used to describe a glassless frame with space between the print and frame. The artwork is set back slightly from the edge of the frame to prevent damage and there is space left on all sides of the mounted print within the frame to achieve the ‘floating’ effect.