When is a frame not a frame?

Bev Saunders — Fri, 18 Aug 2023 12:55:23 +0000

When is a frame not a frame? When it’s a view? When it’s a hood partially covering a face? When it’s a structure offering a glimpse, a foreground inviting you deeper into a garden? In truth, there are frames everywhere, all different, not all immediately evident, and not all are necessarily deliberate. What they all have in common is they draw your attention to something rather interesting.

They isolate and introduce detail and in doing so, guide the eye. Sometimes the very presence of a frame encourages exploration, and we have to peer through. Think about how this response benefits artwork. The frame can be attractive in its own right but have a relationship with what is being presented. Sometimes it’s a deliberate act that adds importance to a feature. The status is raised, and a presence is created.

The hole in the wall is a foil for a lush green view encouraging the viewer to look through.

Photographers “frame” a composition using the proportions of their viewfinders. They manoeuvre their position for maximum effect introducing knowledge of the golden ratio, experience, and their own artistry. Artists square their fingers or cut windows into board to deliberately concentrate their attention.

How often has your attention been caught when visiting a garden or a ruined building? The remains capture an element and “frame” part of a view you otherwise may not have noticed, and you stand a while to enjoy it.

Stone work partially frames steps that lead the eye up to a beautiful property.

A stone arch enticingly frames a view of a garden, assisted by walls either side in the foreground.

A derelict window concentrates the eye on a specific part of a view.

Artists square their fingers to deliberately concentrate their attention, assisting observation of a subject, cutting out surrounding confusion.

The aim of a picture framer is to present a piece of work, raise its status, and “grab” attention, drawing the viewer in for a closer look. It’s no coincidence that one of my textile tutors at college often referenced nature and advised us to do the same if we got stuck for design or colour inspiration.

A scarf softly frames the face drawing attention to the eyes.

Joinery detail creates drama adding importance to the doorway and anyone entering the room.

I take my colour inspiration from within the artwork and the frame style from its character. Colours in the painting that support the subject are considered when choosing mounts; consequently, they become an extension of the image rather than competing with it. The mount and/or frame is the window into the artwork and should encourage a more intimate experience of it. The frame becomes either the “full stop” for completeness or a rounding up of the image creating the opportunity to linger longer. Whatever the combination, neither the mount nor the frame should compete with the artwork for your attention. I often say to my clients, “If you notice the mount or the frame before you notice the artwork, I’ve failed” which is probably why those magical gems out in the field are so successful; they are part of their surroundings. They’re not a frame, but they present something to you in a revelationary kind of way.

Next time your attention is captured, hesitate for a moment, take a look, see if you can spot the frame.

The view across the valley is partially framed by a weathered rock outcrop.

The rising handrail of a staircase frames lower floors of the stairwell.

Distant walker framed by trees and the foreground.

Weathered stone creates a window of interest and curiosity that is part of the human psyche.

The post When is a frame not a frame? appeared first on Edge Framing.

What’s going on in the frame?

Bev Saunders — Fri, 09 Jun 2023 13:08:11 +0000

and why do harlequins often look so whimsical and sad? This poor little chap sure had reason to be.

He’s an original design for a stained glass window from the 1960s and I was asked to reframe him.

He arrived squashed in the original frame, much too small for his scale. The minute moulding was too small having no strength to adequately accommodate the weight of the painting, backing and glass. The corners were dangerously loose, at risk of falling apart. The design was directly in contact with the glass and there was no protective undermount. When I opened up the frame the result of his “mistreatment” was clear to see. He had suffered. Let’s look at what happened.

.OFF-GASSING

Here we can clearly see a ghost of the design on the surface of the glass. If you look closely you can even see his eyes. This is a result of “off-gassing” which occurs when materials degrade producing acidic gasses that are trapped inside the frame. Because the design was directly in contact with the glass the effect of the gasses has transferred the image onto the inside surface, reducing clarity. Using quality materials protects the artwork and a mount would have prevented this happening. The glass isn’t damaged and could be cleaned and reused.

.FOXING

“Foxing” has occurred which is likely due to the paper being in contact with the glass. Significant changes in temperature and humidity can cause condensation to form on the inside surface. If the artwork becomes wet fungal growth can form and contaminants in the paper making process can oxidise causing unsightly stains.

ACTIVATED ACIDS

If you look closely you will see a shadow of the harlequin on the left hand board (the original backing board). This has been caused by light penetrating the paper around the image activating acids in the backing board. The image has acted as a stencil, so the board is darker where there is no image, the darker areas and outlining of the design has blocked the light.

ACID DAMAGE

As a consequence, activated acids have started to attack the artwork, the reverse of which is shown on the right. The stained area surrounding a white negative image is evidence of this. The paper is being weakened and the artwork is being damaged. Simply using a quality undermount would have protected the work from acids which have now leached into it.

REFRAMED

Although there is nothing to compare it’s highly likely the colours of this piece of work have faded significantly, so we can only imagine what might have been. Working with what is left, I mounted using museum quality board in a soft “aged” colour. A conservation quality undermount protects the work from the backing board and will slow down any further acidic deterioration. Acids already present could possibly be flushed out by a professional paper conservator, but my client didn’t want to go that far.
Conservation Clear glass gives our little harlequin the best possible protection against the effects of UV light and is held above the image by the mount. Constant changes in humidity and temperature speeds up the process of deterioration, to protect against this the package is sealed ensuring a stable environment within the frame.

As this is the original design for a stained glass window a simple flat, matt black cushion moulding emulates the lead work.

Our little harlequin is now happy and safe in his new suit.

If reading this blog has raised other questions for you or you’ve noticed something you would like explained, call Bev on 01303 268618 or 07833 350815.