Congratulations! You've gotten your feet wet and purchased a real piece of fine art. It cost a significant amount of your hard earned money. To display and protect the art it has to be framed. There's a frame shop in the mall close to your house. Why not go there? It'll be convenient.
Wait. It's not quite that simple (of course).
Wait. It's not quite that simple (of course).
Framing Art
Just as you have taken great care in the choosing of your art, you should also take great care in choosing your framer. Perhaps someday you'd like to leave the art to your children or maybe you hope to sell it. It any case, it must be preserved in pristine condition if it is to maintain or increase in value. Besides, as the art's custodian, you owe it to the art to take good care of it.
Anyone can open a frame shop and display frame samples, perhaps even present you with some good ideas. What your first concern should be, however, is that the framer knows how to correctly handle the work, especially works on paper.
A word of caution—just because a frame shop exists in a sophisticated urban area is no guarantee the framer knows how to properly frame art. I had a friend who had a beautiful antique engraving destroyed by a "big city" framer who glued it to the backing. Works on paper should always be held in place with linen hinges and backed by acid-free paper or board. Taped or glued corners can irreparably damage the art. And it's not unheard of for an inexperienced framer to trim the edges of a piece of art to fit it into a particular frame. Art should never be trimmed, ever!
Once you have determined that a framer employs "archival" framing methods and standards then consider the framer's aesthetics. Does the framer have an eye for what style and type of frame will enhance the piece? A good framer is an artist in his or her own way—it takes a special talent to excel at the craft.
Speaking of artists, it has been my experience that artists are not necessarily adept when it comes to framing their own art. Most successful artists will seek out the services of an experienced framer to appropriately frame their work and thus present it in the best possible light.
A good way to find the right framer for you is to take note of frames when you are browsing in the galleries. When you see framing that you feel enhances the work and suits your personal style, you may ask gallery staff who does their framing for them.
Frame shops usually have art on display to give you an idea of their capabilities. Referrals are best, however. Other collectors, artists, dealers, and museum personnel can also recommend qualified framers to you. It's a good idea to stay away from interior decorators when seeking framing advice. There's a good chance they're more interested in the frame as decoration, and thus, overdo it.
Art galleries usually display art already framed or offer framing services on works represented by their gallery. If you live in an area devoid of quality framers you just might let the gallery handle framing for you if you like what they have to offer. You may pay more than if you'd had it done yourself but the gallery is providing you with convenience and expertise. The downside is, shipping a framed vs. unframed piece will cost you more.
Don't be afraid to ask the potential framer questions. You might ask, do you do archival framing? Use the material in this section to help you devise specific questions to determine how knowledgeable the framer is. A good framer will do the following when framing works on paper:
1. Use only acid-free paper or board for mounting and matting because acid produces "foxing" or spots on works on paper over time;
2. Use linen hinges to hold down edges because Scotch tape or other commercial tape contain acid that will seep into the picture;
3. Completely seal the work in its frame because changes in humidity and temperature are damaging to works on paper;
4. Use Plexiglas instead of glass to help screen out harmful ultraviolet light because works on paper are subject to fading; also, "plex" is not as fragile as glass, and thus better for shipping; it is also lighter in weight making it easier to hang the finished piece;
5. Will not use Plexiglas for pastels or charcoal drawings because Plexiglas generates static electricity which can lift the pastel or charcoal particles off the paper;
6. Use "spacers" between the glass and the art so the surface of the art and glass do not touch.
7. Understand this is an important decision for you and will be helpful, patient, and give you plenty of time to make up your mind.
The oil in the oil painting medium preserves the color and so oils on canvas do not usually require a glass or Plexiglas covering. Fragile Old Master works such as the Mona Lisa are preserved under glass, mostly to protect them from demented people who deface paintings or to keep viewers who can't resist from touching the surface of the canvas.
All this attention to the preservation of your art is not meant to minimize the importance of the way the frame looks. The right frame can make or break a work of art. If you have already toured art galleries, you've probably seen art on the walls that screams, "Hey, look at my frame!" The frame is so overpowering you barely notice the art. The purpose of this "over framing" is to declare that the art is important and therefore, the price justified. The frame's function is to provide a "framework" for the art, not to be noticed for its own sake.
What the frame style should do is simply show the art to its best advantage. The framing should be based on the nature of the art. A heavily carved baroque frame would overpower a delicate watercolor, but just might work on a strongly colored oil painting.
While there are no hard and fast rules, here are a few suggestions:
1. You might consider using a "liner" to help set off an oil painting or work on paper. Liners can be flat or slightly curved (called a "scoop"). These liners are covered in fabrics such as linen or silk and separate the painting from the frame molding. White, off-white or ivory work best; colors tend to be overpowering and distracting.
2. A thin strip of molding (about 1/4" wide) between the liner and the painting, or frame and the painting, is called a "fillet" and can add a subtle sparkle to the work. Fillets come in many colors but gold is the most effective.
3. The width of the mat should not be the same as the width of the frame itself. Wide mats look good with narrower frames and narrower mats look better with wider moldings.
4. The width of the molding you will need depends a lot on the size of the piece. You may like the look of a very narrow molding with your piece, but the narrow frame may be too weak to support it.
5. Gold is often called "the great organizer" and goes with almost everything.
Be prepared for sticker shock—framing is an expensive proposition. However, this is no time to scrimp on quality. If you can't afford quality framing, it might be a good idea to wait until you can. A cheap (not to be confused with simple) frame on a work of fine art (we're not talking posters here) will, well . . . still look cheap.
When choosing a frame listen to the advice of a quality framer and follow your own taste—remember, you are a team. Have confidence in your eye; it was you who chose the work of art in the first place. And, if you've found a good framer, stick with him or her. Good framers, like good car mechanics, are worth their weight in gold.
Just as you have taken great care in the choosing of your art, you should also take great care in choosing your framer. Perhaps someday you'd like to leave the art to your children or maybe you hope to sell it. It any case, it must be preserved in pristine condition if it is to maintain or increase in value. Besides, as the art's custodian, you owe it to the art to take good care of it.
Anyone can open a frame shop and display frame samples, perhaps even present you with some good ideas. What your first concern should be, however, is that the framer knows how to correctly handle the work, especially works on paper.
A word of caution—just because a frame shop exists in a sophisticated urban area is no guarantee the framer knows how to properly frame art. I had a friend who had a beautiful antique engraving destroyed by a "big city" framer who glued it to the backing. Works on paper should always be held in place with linen hinges and backed by acid-free paper or board. Taped or glued corners can irreparably damage the art. And it's not unheard of for an inexperienced framer to trim the edges of a piece of art to fit it into a particular frame. Art should never be trimmed, ever!
Once you have determined that a framer employs "archival" framing methods and standards then consider the framer's aesthetics. Does the framer have an eye for what style and type of frame will enhance the piece? A good framer is an artist in his or her own way—it takes a special talent to excel at the craft.
Speaking of artists, it has been my experience that artists are not necessarily adept when it comes to framing their own art. Most successful artists will seek out the services of an experienced framer to appropriately frame their work and thus present it in the best possible light.
A good way to find the right framer for you is to take note of frames when you are browsing in the galleries. When you see framing that you feel enhances the work and suits your personal style, you may ask gallery staff who does their framing for them.
Frame shops usually have art on display to give you an idea of their capabilities. Referrals are best, however. Other collectors, artists, dealers, and museum personnel can also recommend qualified framers to you. It's a good idea to stay away from interior decorators when seeking framing advice. There's a good chance they're more interested in the frame as decoration, and thus, overdo it.
Art galleries usually display art already framed or offer framing services on works represented by their gallery. If you live in an area devoid of quality framers you just might let the gallery handle framing for you if you like what they have to offer. You may pay more than if you'd had it done yourself but the gallery is providing you with convenience and expertise. The downside is, shipping a framed vs. unframed piece will cost you more.
Don't be afraid to ask the potential framer questions. You might ask, do you do archival framing? Use the material in this section to help you devise specific questions to determine how knowledgeable the framer is. A good framer will do the following when framing works on paper:
1. Use only acid-free paper or board for mounting and matting because acid produces "foxing" or spots on works on paper over time;
2. Use linen hinges to hold down edges because Scotch tape or other commercial tape contain acid that will seep into the picture;
3. Completely seal the work in its frame because changes in humidity and temperature are damaging to works on paper;
4. Use Plexiglas instead of glass to help screen out harmful ultraviolet light because works on paper are subject to fading; also, "plex" is not as fragile as glass, and thus better for shipping; it is also lighter in weight making it easier to hang the finished piece;
5. Will not use Plexiglas for pastels or charcoal drawings because Plexiglas generates static electricity which can lift the pastel or charcoal particles off the paper;
6. Use "spacers" between the glass and the art so the surface of the art and glass do not touch.
7. Understand this is an important decision for you and will be helpful, patient, and give you plenty of time to make up your mind.
The oil in the oil painting medium preserves the color and so oils on canvas do not usually require a glass or Plexiglas covering. Fragile Old Master works such as the Mona Lisa are preserved under glass, mostly to protect them from demented people who deface paintings or to keep viewers who can't resist from touching the surface of the canvas.
All this attention to the preservation of your art is not meant to minimize the importance of the way the frame looks. The right frame can make or break a work of art. If you have already toured art galleries, you've probably seen art on the walls that screams, "Hey, look at my frame!" The frame is so overpowering you barely notice the art. The purpose of this "over framing" is to declare that the art is important and therefore, the price justified. The frame's function is to provide a "framework" for the art, not to be noticed for its own sake.
What the frame style should do is simply show the art to its best advantage. The framing should be based on the nature of the art. A heavily carved baroque frame would overpower a delicate watercolor, but just might work on a strongly colored oil painting.
While there are no hard and fast rules, here are a few suggestions:
1. You might consider using a "liner" to help set off an oil painting or work on paper. Liners can be flat or slightly curved (called a "scoop"). These liners are covered in fabrics such as linen or silk and separate the painting from the frame molding. White, off-white or ivory work best; colors tend to be overpowering and distracting.
2. A thin strip of molding (about 1/4" wide) between the liner and the painting, or frame and the painting, is called a "fillet" and can add a subtle sparkle to the work. Fillets come in many colors but gold is the most effective.
3. The width of the mat should not be the same as the width of the frame itself. Wide mats look good with narrower frames and narrower mats look better with wider moldings.
4. The width of the molding you will need depends a lot on the size of the piece. You may like the look of a very narrow molding with your piece, but the narrow frame may be too weak to support it.
5. Gold is often called "the great organizer" and goes with almost everything.
Be prepared for sticker shock—framing is an expensive proposition. However, this is no time to scrimp on quality. If you can't afford quality framing, it might be a good idea to wait until you can. A cheap (not to be confused with simple) frame on a work of fine art (we're not talking posters here) will, well . . . still look cheap.
When choosing a frame listen to the advice of a quality framer and follow your own taste—remember, you are a team. Have confidence in your eye; it was you who chose the work of art in the first place. And, if you've found a good framer, stick with him or her. Good framers, like good car mechanics, are worth their weight in gold.
Part 2 to follow
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