Built this week, in a working frame shop.

A shape tool for mount openings that are not rectangles: ovals, arches, free shapes and a sports jersey. Every measurement is typed in, and the drawing updates as you type.

The jersey comes in two forms: sleeves out, and sleeves folded in, which is how most hockey jerseys are framed. Width, hem, length, neck, shoulder and armhole are taken from the jersey in hand, so one template fits every size — and you choose whether the front or the back shows.

Shapes are saved as templates. An order line can carry one, and the shape is checked against the line’s cut size: a shape that does not fit the board is refused, not cut.

Rounded edges leave as true curves instead of hundreds of short straight cuts, so a neck or a shoulder radius is cut as one smooth line.

“Sent” used to mean only that a message had been handed to the email service. Delivery receipts are now read back and shown on the order — delivered, partly delivered, failed or skipped, and why.

Every customer message belongs to one order and one event, with its own id, so a retry after a dropped connection can no longer become a second message.

“Artwork received” is recorded when the counter takes the intake photo or presses the button — either one is enough.

Consent to text messages about the order, and “no thanks” to a review request, are asked at the counter in plain words and withdrawn just as easily.

The new customer notifications are built and switched off. Nothing new goes to a customer until the wording has been read and approved.

The numbers behind a price — hourly rate, waste per board, the smallest glass area charged, the backing board’s share, rounding — moved from the code into the shop’s settings, with today’s values as defaults so that no price moved.

Before a change is saved, the settings page shows what it does: a set of typical jobs and the open orders, before and after. A change that moves a typical job by more than 15 percent has to be confirmed. Locked orders are never touched.

Every change is logged and can be undone.

Catalogue items are deactivated instead of deleted, so an old order keeps what it was made of.

Labour is shared the way the work is: a step done once per artwork is counted once, and time with the customer is spread across the lines instead of charged on every line.

Moulding waste is charged at purchase price, and the system tells a usable offcut from scrap.

Replacing the glass in a customer’s own frame is its own kind of line, with its own time.

A full review of the code found that two people saving at the same moment could get the same order number. An order number is now handed out once, however busy the counter is.

The same review found nine ways the print queue could lose an image or get stuck. All nine are fixed.

The counter gives a customer a six-character code. The customer uploads images from home, and they arrive in an inbox at the shop, ready to be linked to the order.

Customer details can be corrected from the customer page.

A print job becomes an order the moment it is sent to the printer, so nothing is printed without an order behind it.

Quotes and orders can be sent for approval by text message or email. The customer’s yes turns a quote into an order and moves it on as far as the checks allow.

“I want to change something” becomes a message to the shop, and the order stays where it is.

Artists can add several images per work; the shop approves them before the web shop gets them.

A new order starts empty instead of inside the previous one.

Each line can carry several mount layers, each given as how much of it shows. Geometry, price, work order and purchasing follow every layer.

The preview gets depth: a shadow on the wall, the moulding’s profile, the bevel around every window, float mounting with its lift, and a faint reflection in the glass.

The intake photo is straightened by dragging its four corners on a phone, so the preview shows the real artwork square.

The customer screen can be a device of its own, paired with a six-digit code.

At the counter: a price for an artwork in any size, with the artist’s share, and one click from there to an order.

The quote is emailed with a link that needs no login and shows only that quote. Every line has a picture of the artwork in the chosen frame — never the intake photo.

A copy of a quote keeps everything its price is calculated from.

The order confirmation shows an estimated ready date, the shop it is collected from, and whether it is paid, part-paid or paid on collection.

One price per line, with the waste inside the line. Private customers see prices including VAT.

The amount to pay is in whole kronor, and the rounding is shown.

Notes written for the workshop stay in the workshop.

A second screen over the counter shows the frame being tried, large, with the moulding’s name and the size. Nothing on it is clickable. It receives the picture, not an address, so it cannot reach orders, the catalogue or prices.

Artists log in and submit their works with their own price per size and paper, and the shop reviews them before anything is published to the web shop.

Acrylic is its own material, with its own tolerance in the rebate.

Offcut suggestions now include stretcher bars and braces.

A print module: upload an image, choose a format and see the roll and the price. The format list only offers what the file can carry.

The print queue on screen: what is waiting per roll, and what is stuck.

The same image in two resolutions is recognised as a duplicate.

The shop’s own motifs and its artists are catalogued, and three thousand motifs were gone through in bulk.

Moving an order to “ready” no longer messages the customer by itself. A finished frame can be on the shelf at half past six in the evening without anyone wanting a message to go out then.

Someone presses “Notify customer” when it suits, and until then the order shows as ready but not notified — on the list and on the overview.

With that settled, signing off the final check moves the order all the way to ready for collection.

Purchasing now offers the offcuts already on the shelf before ordering new full lengths — longest sides first, and it says which sides a piece covers.

An offcut on the shelf is a suggestion, not a promise: it is checked at the rack — length re-measured, straightness, ends, colour against the new moulding — and a rejection is recorded with its reason.

An approved piece is reserved for that order line, removed from what has to be bought, and printed on the frame bench card as "cut from offcut R-0012 in drawer 4".

Signing off the cutting marks the piece used, and what is left over is offered back as a new, shorter offcut.

Float mounting: the artwork sits raised on a hidden riser, and the mount opening is cut larger than the sheet so the whole sheet stays visible. Two separate labour steps.

Each order line now carries a mounting type — standard, stretcher bars, dry mounting, stretched textile or float mounting — and the rules for what each one requires, forbids and needs in clearance live in one table instead of in people’s heads.

Labour times follow the mounting type and the size of the job, with starting values the shop can adjust.

Offcuts are registered on the shop floor: a moulding is recognised from its measurements and colour, the piece is put in a drawer and a printed wrap goes around it — printed from a phone through the computer that has the printer.

Navigation now follows where you stand: counter, registers, workshop, management.

Two faults the browser tests found before a customer did: a station screen that crashed in production, and the workshop being refused its own queue.

Every push now runs the backend tests, type checks, unit tests and a browser walkthrough of the whole chain.

The ready-made frame picker states what the artwork actually fits, instead of leaving the arithmetic to whoever is standing at the counter.

Storage places for offcuts, and moving a whole drawer at once when the workshop is rearranged.