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.

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.

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.

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.

Spring is coming, traditionally a good time to clean through and freshen up the house. These days we don’t need to do the full Downton Abbey shuffle, but there are still items in our home that benefits from regular inspection. With a little help from your picture framer you should be in possession of easy to follow but critical care advice.

This should include:

• How to lift and carry your work. (Believe me there is a wrong way to do this).
• How and where to hang it.
• Basic care advice.
• Description of “Normal” conditions.

The Fine Art Trade Guild (FATG) defines “normal” conditions as:

1. Out of direct sunlight.
2. Within a temperature range of 10-25 degrees centigrade.
3. Within a relative humidity range of 40%-60%.

Based on these conditions, “conservation framing” (FATG Level 2) will protect and display your work for 20+ years and “museum framing” (FATG Level 1) for 35+ years.

To prolong the life of valuable exhibits, museums limit the temperature range to between 16-19 degrees centigrade, clearly this is too limiting for the domestic situation.

My leaflet, provided to all of my new customers includes a paragraph headed “A Quick Check”. The last sentence reads, “Check the mitred corners of the frame and the tape, sealing the package, if there is evidence of damage seek advice. We are here to help.”

The following images show evidence of two problems due to neglect. Admittedly it’s an old print, but a perfect example of how if left unchecked, things can go badly wrong for artwork. The first image shows insect damage on the right, where the little blighters have found lunch and munched into the surface of the paper, removing areas of the artwork. The same image shows the culprits, silverfish, which look as if they’ve suffered indigestion and perished between the glass and the print. Left in the framing package the dead insects will go on to do further damage to the print.

The second image highlights water damage and staining.

Both problems could have been avoided and the reason for the damage is clear to see in image three. The mitre of the frame is broken and an open invitation to insects, exaggerated temperature and moisture fluctuations and airborne pollutants like smoke.

The top left corner of the frame has been damaged, become loose and is opening up. It is no longer able to protect the artwork.

This is a dramatic example, highlighting the need for vigilance and action as soon as there is evidence of problems. Other things to look for:

• Loosening fittings.
• Wearing/fraying hanging cord/wire.
• Corrosion to metal fittings.
• Cracked glass.
• Breaks in or lifting sealing tape.
• Mitres opening and loosening due to expansion of acrylic glazing.
• Finally, don’t forget to check the picture hook/s in the wall that your work is hanging on. I’ve lost count of the number of pieces I’ve reframed because they’ve fallen off the wall, simply because the picture hooks failed.

If you find any of these problems act quickly, seek advice from your local reputable picture framer and discuss a plan of action.

A simple 5 minute check every 1-5 years could be the saving of your precious artwork.

Contact Bev on 01303 268618 or 07833 350815 if you have any concerns about your artwork.

Spending your hard earned cash on an artwork however it’s created, is a real financial investment, but what makes it priceless is your emotional investment. The fact that you have found it, fallen in love with it and must have it in your space is a value that only you can determine. So you will want to take the best care of it you can. To enjoy it long into the future here are a few simple tips on caring for and handling your framed artwork.

TAKE GREAT CARE

When collecting and transporting artwork, hold the frame firmly on both sides. Never pick up a picture by the top of the frame, this is likely to flex unseating the glass from behind the lip of the frame, the weight of the entire package could even break the top rail jeopardising the artwork. If necessary, “phone a friend” and carry the work upright between the two of you. When storing pictures, make sure they’re stacked vertically, the right way up avoiding adverse cross stress on the hinging securing the artwork in the mount package. Stand them glass-to-glass, back-to-back to avoid fixings damaging the frames.

DISPLAY AT EYE-LEVEL

In the ideal world artwork is best viewed at eye-level. So if you’re a tall person and your partner is short, there will be a compromise, but anywhere between 1525-1675mm should be fine for you both. Another consideration might also be how you use the space, for example would you generally be viewing the work from a relaxed seated position. Groups of pictures needn’t be hung in a regimented fashion, but they should follow some kind of overall design. When hanging a group of different sized pictures consider aligning the top or the bottom edges; but even a “random” display will benefit from a little planning. Lay them out on the floor and move them around until you’re happy with the arrangement. The centre of the arrangement should be roughly at eye-level.

For the best experience of your art, display it at roughly eye level. It’s no coincidence that galleries have a large amount of wall space above smaller pieces of work. There is no strict rule about how to display a collection, but plan it before committing to picture hooks in the wall.

HANG SECURELY

Ensuring your picture is hung securely is a must. It’s better to be safe not sorry. Make sure the fixing you use suits the type of wall on which you intend displaying your work. Different wall constructions need different fixings and support different weights. Light weight wall construction such as stud walling can be tricky. For larger pieces of work added security is provided by using more than one wall fixing, if one should fail the second should save disaster. Check that the cord/wire or hanger used is capable of supporting the weight of your picture. If safety is a concern say in a child’s room or public spaces consider shatterproof glazing and security fixings.

OUT OF DIRECT SUNLIGHT

Try to avoid hanging pictures directly opposite windows and anywhere where strong sunlight falls. Be aware of the light at different times of the day and different times of the year. UV in light bounces from surface to surface and even in a north facing room will fade colours and damage paper and textiles. Specialist glazing can slow this down, but will not prevent it completely. There are countless glazing options so talk to your picture framer for advice, or see my blog for more information. You might even consider adding UV protection directly to your windows, contact Next Doors Ltd for advice.

ENVIRONMENT

Choose carefully where you hang your artwork, ideally in a stable environment with good air circulation. Pictures shouldn’t be hung above radiators or close to strong heat source, rapid changes in temperature cause paper and wood to warp, dry out, and adhesives to fail. Equally, avoid hanging framed work in humid conditions like kitchens and bathrooms. If you live in a period property or your house is of solid wall construction, be mindful of the condition of external walls, check they’re not wet. Damp causes paper to ripple which if it touches the glass can be hard to remove. Damp encourages mildew which will show as ugly, furry  deposits and brown stains.

A QUICK CHECK

Regular inspection and gentle cleaning will prolong the life of your framed artwork. However avoid using water or liquid detergents, dust frames with a soft cloth or a very soft bristled brush and don’t forget to dust the back of the framing package. Don’t use cleaning fluids or water on the varnished surface of paintings, dust carefully. If fluids have to be used on glass, spray into a soft cloth first, not directly on to the glass, and don’t let them touch the frame. Never use ammonia based cleaners on any technical glazing.

Annual “health” checks and simple maintenance gives you the best chance of enjoying your artwork well into the future, so check:

• The mitred corners of the frame to ensure the joints are still strong and securely holding the package together.
• The tape sealing the package, it should be unbroken and still adhered.
• The hanging fixings in the back of the frame to make sure they’re undamaged haven’t rusted and are still securely attached to the frame.
• The hanging fixings in the wall to make sure they’re undamaged, haven’t rusted and are still securely supporting the artwork on the wall.
• The hanging cord/wire to make sure there is no fraying or broken strands weakening its integrity.
• The glass for cracks or chips that will damage the artwork and allow the ingress of environmental nasties and insects.

If there is evidence of damage seek advice from your picture framer.

If you’re thinking of having a treasured image framed and don’t know where to start, we’re here to help. If reading this blog has raised other questions in your mind call Bev for a chat to put your mind at rest. If you would prefer her to conduct a “health” check on your artwork for you contact her on 01303 268618 or 07833 350815.

Framing your children’s creations sends a positive message of encouragement to your little Van Gogh.  It marks their work out as being particularly extraordinary and worthy of this special attention, but drawing and creating provides so many benefits in itself. Creativity is an important part of a child’s development. It’s a critical form of communication when they haven’t yet fully developed verbal skills. When drawing there are so many decisions to be made, which paints to use, or should it be crayons, how do I draw this and what colour should be, is it too big or too small. Already they’re starting to make decisions and solve problems. Hand/eye coordination and dexterity develop. Creating in school or nursery teaches sharing and consideration. Creativity allows your child’s imagination to run free and explore, developing an open mind and emotional intelligence.

Image: Vlada Karpovich: pexels

Framing their work demonstrates your pleasure which is so motivating for the child inspiring them to create again. Involve them in the framing process. Use a framer who will work at their level of understanding and will consider their preferences and opinions. Mastering creative skills and seeing projects through to completion, even at a young age develops self- belief, confidence and perseverance, building resilience for their futures.

Image: Larson Juhl

Kids love colour and interesting combinations of colour!!! There are some great coloured mouldings just crying out to be selected for kids work. One of my favourites is “Confetti” by Larson Juhl available in a huge range of brights, pastels and a few good old faithfuls.  But then we might all be surprised by a sophisticated decision made by your little artist.

One really important element of framing for children, particularly if the work is to be hung in their own space, is glazing; more particularly if they happen to be exuberant little individuals. Ask us about acrylic glazing; it’s light weight and shatterproof, hugely reassuring to know that if disaster happens the kids are reasonably safe.

If we can help you display and preserve that special piece of work just give Bev a call on 01303 268618 or 07833 350815.

You never know, you might have the next budding Tracey Emin in your family.

This entire room has been created around the artwork displayed in it, creating a characterful room.

Art evokes an emotional response in us all. Happy memories, feelings and moods wash over us in response to living with it, which is why it’s a wonderful tool for adding character and putting your own stamp on your home. It can be used to add drama, highlight properties or disguise a room’s problems achieving a balance for your space. But most of all you should love it; have a personal connection with it. Art doesn’t need to be expensive, elitist or high-end; it needn’t even be a painting. It could be anything in any medium, two or three dimensional; but what it should do is reflect your personality and characterise your home.

If you have any questions about living with or framing art we would love to help. Just give us a call.