Framing Advice and Tips [download pdf]We are happy for you to consult our Visionary Art framing specialist regarding your intentions for displaying a painting or print. Our input may contribute to a more meaningful presentation of the piece. Avoid framing that overwhelms the artwork. Remember: the art work is the
star - the mounting & framing are supporting players. Before taking the art to your framer, a little background on proper framing
materials and procedures are useful. Using the correct materials will help keep your print or drawing safe and guard its value, now and for years to come. The purpose of a Frame [top] The first thing to know about framing is that it should make the art look good.
Good presentation enhances the art; bad presentation can kill it. Choices of
presentation should provide a background that draws the observer's eye to
the art, but should not overpower or compete with the art. The second thing you should know is that framing is supposed to take care of
the art. Preservation is important, because most damage to art on paper is
caused by improper framing. Presentation mistakes can always be corrected,
but mistakes in preservation are usually permanent, leading to complete
destruction of the art in some cases. How to choose a Frame [top] Choose a frame which enhances the picture and matches the style of the
image. Choose a modern contemporary frame to suit a contemporary painting
or print. Modern styles are simple, plain, flat frames. Traditional styles are
more decorative, ornate or elaborate. Black and White photographs or drawings suit black, silver or pewter frames.
Light coloured pictures suit light natural wood or stained frames. Silver frames
are suitable for pictures which are predominantly blue, lilac, white and other
cold colours although bright red can match too. There are many shades of gold frames available from antique gold to more
modern subtle shades. Traditionally, paintings were framed in gold frames
and many dark traditional paintings are still framed in this way. Gold frames
are suitable for warmer pictures, with predominantly yellow, orange and
red colours. Dark brown wooden frames are either ornate traditional frames, sometimes
with beading or gold on the inside of the frame or modern stylish flat frames
for the contemporary interior. Framing Original Oils, Acrylics and Giclée on Canvas [top] Paintings or prints on canvas should be stretched on stretcher bars. If a
canvas is framed it should be framed without glass - oil paintings breathe and can create condensation. Framing works on canvas require a frame which tends to be wide and fairly deep to hide the stretcher bars and strong enough for the additional support. Thinner frames or slips can be placed on the inside of the frame for additional depth and decorative effect. Framing Prints and Originals on Paper [top] The whole array of art works on paper; drawings, watercolours, gouaches,
pastels, etchings, engravings, woodblocks, lithographs, silkscreen’s and
photographs are mostly placed behind a glazed surface for preservation.
However, the work should NEVER be placed directly against the glazed
surface. The mount provides a rigid support for the work of art, to prevent bending and
folding and other damage that might occur to paper when being handled and
touched. It separates the work of art from the glazed surface, creating a
"breathing space." In addition, mounts are used for their aesthetic properties,
often strengthening features already present in the piece of art. Framing Charcoal and Pastel Paintings and Drawings [top] Due to dust, pastels and charcoal drawings are framed behind glass. Perspex
should not be used because it has a static charge and draws dust particles to
the surface. Although mounts can be used, dust can fall onto the mounts.
A better option is to frame with a spacer between the artwork and the glass.
This could be thin strips of wood in the rebate (lip); the glass sits between
them which allow the dust particles to fall without creating visible deposits. Mounts [top] All drawings and paintings on paper should have either mounts or spacers to
separate the glass from the art surface. This is important because moisture
will condense where there is no air gap, inviting mildew and mould. Mounts come in many colours. For definition, an inner mount colour can be
chosen which compliments the dominant colours and tones of the picture. The
difference a double mount can make is fantastic. Well worth the extra (well,
double actually) cost to enhance the look of any picture. Added benefits are
that once framed the picture is further from the glass, and the mounting can
give an effect of depth. Fillets can also be used on the inside of the mount. A Fillet is a very thin frame
which sits under the mount and is visible on the inside of the aperture. Mount Width [top] Narrow mounts are usually more distraction than enhancement. Wide mounts create focus toward the art. Standard sizes for ready made and open frames usually correspond to standard photograph sizes. Acid Free Mount [top] There are many types of mounts available, from standard quality mounts,
which will fade and yellow and affect the colours of the print or original, to acid
free and archival mounts. Conservation mounts are manufactured from 100
percent rag or a high alpha cellulose content. For works on paper the board
may be buffered or pH neutral. Buffered boards should be avoided for
mounting photographs. Drymounting (Bonding) [top] Dry mounting is recommended for photos and other non-porous paper
artworks which have no significant value. Over time, dry mount tissue
may deteriorate and loosen the mount in spots. Glass and Perspex [top] Clear picture framing glass is most common and least expensive it is often called "regular" glass, but should not be confused with lower-quality window glass. Perspex is plastic; it is lightweight and does not shatter, but it scratches
very easily and is not as clear as glass. Non-glare glass or non reflective glass is slightly more expensive than clear glass. Its etched surface blurs the image when viewed from side angles, especially when glass is properly separated from the art surface; more
separation, more blur. It is mainly used in areas where the light is strong and affects the viewing of the artwork. Ultraviolet-filtering glass is available in clear or non-glare, and is recommended for all preservation projects. It is coated inside to filter out more than 95% of harmful UV light, which causes fading. UV rays are in all light, but very strong in sunlight and fluorescent light. Cost of UV-filtering glass is considerably more expensive, but important for archival framing. Hanging Hardware [top] Saw tooth hangers are OK for small frames, but are inadequate for frames larger than 8" x 10". Generally, wire or nylon cord is best for heavier frames. Single and double ‘D’ rings are screwed into the back of the frame, ⅓ down from the top of the frame. Picture hooks are the most popular choice for hanging pictures. For larger pictures two can be used for the additional strength and balance which they provide. For frames over 30lbs., use separate hangers on each side of the frame back, and no wire. If a wire is used on a heavy frame, the sides pull toward the centre, and corner joints are strained; also, top and bottom rails of the frame tend to bow. Strong ‘D’ rings or mirror plates are used for heavier frames. Provide a Visual Background [top] For this purpose, the wider the mount (mat), the better. If the mount overpowers the art, then the mount colour is wrong. Mount width affects the visual importance of the finished piece. The larger the print or painting, the more
generous the width of the mount. Top and sides should be equal in width, with
the bottom mount slightly deeper. Coordinate Colours [top] You can emphasize certain colours in the art and help it fit into the chosen
surroundings. Ideally, choose picture frames and mounts that will enhance the
work of art, so that if you move, redecorate, or decide to hang the piece
in another location, it will always look good. Colour Choice [top] Top mounts should be neutral in colour, and of less colour intensity than the
art. If the top mount dominates, it will distract from the art. Additional mounts
beneath the top mount can be used to provide accents for colour coordination
with surroundings or to emphasize certain colours in the art. Decoration [top] This is a matter of opinion; mount decoration can enhance or detract from
art. Common techniques include; ink lines, marbled paper, v-grooves,
watercolour, fabric panels. Be imaginative, but conservative with mount
decoration. Modern images are framed without extra decorative effects. Do’s and Don’ts [top] - NEVER hang paintings in direct or bright sunlight: It can fade or crack in months!(Hang a decorative, fine art poster there instead!)
- NEVER hang a valuable painting above a working fireplace. Both heat and
smoke dust will damage it. - AVOID touching the artwork with your bare hands. The oils in your skin can
damage it. - NEVER hang a painting on an exterior wall without adequate insulation or
vapour barrier. - NEVER store a painting in an attic or basement which is poorly temperature
regulated. - NEVER apply a commercial cleaner to a painting. If it is an oil or acrylic
painting you can give it a gentle dusting with a feather duster. (Do not use a
cloth, as it may leave lint, or cause pigment damage.) - LEAVE a small gap between wall and painting to allow air flow - this is
particularly important for canvas paintings which are exposed to the
atmosphere. - MAINTAIN a constant room temperature all year (preferably between about
55-72 degrees Fahrenheit). Use moist heat in winter and air conditioning in
summer.
Paintings on canvas should be taut on their stretcher bars, without ripples.
Have the painting re-keyed occasionally to take up slack as canvas naturally loosens over time. Drawings of ink, pencil, charcoal and pastels should be completely inside a frame, with glass in the front and back seams sealed with acid-free tape.
When framing ideally use perspex or plexi-glass for artwork created in
ink or pencil, but ONLY use glass for artwork in charcoal and pastel. Perspex-glass can build-up an electrostatic charge which will pull the pastel or charcoal dust out off of the paper. All mount boards and adhesives must be acid-free and archival in quality,
otherwise yellowing and perhaps even embrittlement will occur. Protect the back of your painting with acid-free cardboard or foam-core. Retain all information on materials and processes if you have the painting professionally cleaned and/or restored. Attach all information about point of purchase, artist, sitter or subject, dates, appraisals, etc., for future generations. Finally, this is a lot of information and we hope it will help you in deciding how best to frame your painting. Do not hesitate to contact us if you need further advice.
Tel: 020 8979 8444 email: info
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The Visionary-Art Team
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