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.

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.

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.

What difference does it make which glass you use? A question frequently asked, but if you consider there are about 54 glazing options, then that suggests there must be some significant and subtle differences.

Glazing technology in the picture framing industry has massively improved over recent years and it can seem like a minefield. Certainly when I returned to picture framing it completely blew my mind. Could all of these options really by necessary and why?

You can start to narrow the field by deciding on your priorities and setting a budget. All good picture framers will want to do the best for the artwork, particularly if it’s unique, original or a limited edition print; but you may have other personal considerations to throw into the mix.

A good place to start is to consider the value of the piece to be framed, its financial, sentimental and even its historic value. If your artwork falls into any of these categories you may want to consider significant protection. Good old 2mm float picture framing glass was once the mainstay of the framing industry, a high quality and keenly priced product, still available today. Although it offers great protection against physical damage it provides little protection from Ultra Violet (UV) light and is highly reflective. Without going into the science, UV represents only 5% of the visual spectrum, but accounts for 90% of damage to artwork. So one of your glazing decisions will be how much UV protection to provide your work, 40%, 50%, 70% or the maximum 99%? This answers another question, we picture framers can’t protect your work 100% from fading, but we can slow it down.

Here you can clearly see damage caused by UV radiation.   
The border is the original colour of the paper.

Another really exciting development in picture framing glass is low reflectance coatings. A technology developed for the ophthalmic industry which has been harnessed for the art world. Specialist coatings reduce reflection from the surface of the glass from 8% to an incredible 1%, providing near invisible glazing, which means you see your image, before your own reflection. There are certain lighting conditions where this glass isn’t appropriate, but it’s great for high contrast, dark work, box frames, detailed work and black & white photography, but it isn’t cheap. Despite this, when clients see what it can do for their work, it’s pretty compelling, and increasing in popularity over traditional etched diffused glass.

Low-iron or water white glass is another option providing clarity and accurate colour. It absorbs less light than standard float glass; light transmission is significantly improved so you view a clearer image and enjoy more accurate colours.

Last but not least there is still the option of diffused glass. Great for reducing glare particularly in harsh lighting conditions. However because the surface of the glass has been etched there is a substantial loss of definition. The greater the distance between the glass and the work, the more “fuzzy” the image becomes.

Are you ever likely to display largescale artwork in public spaces like hospitals, hotels or a child’s room? If you are then you have health and safety considerations and you have two options. If for the sake of clarity the glazing must be glass then laminated safety glass is your product. The other option which has the added advantage of huge weight reduction is one of the “plastic” glazing products, styrene or the more expensive acrylic. The plastics present their own challenges, static and being easily scratched; having said that, even in plastics there are varying degrees of quality and technical advantage right through to museum quality.

So you can see we have one or two things to think about when deciding which glass to use on your work, but there’s more.

Combine one or all of the above, and whilst moving up the price scale, you really start to benefit from developments in glazing technology, enhanced protection and improved experience of your artwork.

But, there’s even more. Apply any of these qualities to Acrylic with the added option of antistatic treatment, and you have a light weight shatter proof glazing perfect for large work, or anything going into public areas or children’s rooms.

A simple demonstration of:
Standard float glass – Low-reflectance glass -Traditional diffused glass.

Yes there is a piece of glass in the middle!!!

The options are vast, and there is no single solution, which is why we framers really do need to see your work and have that chat with you.

Why not give me a call (07833 350815) to chat about your project. If you would like some advice on an appropriate solution, and even take a look at some glazing options for yourself I would be pleased to help.

Generally there are two options when considering framing a piece of work, bespoke or ready-made. The main difference between the two is that bespoke picture frames are designed and hand-made specifically to present your work at its best; ready-made frames are mass produced to standard sizes and of poorer quality materials. The decision of one over the other is down to personal preference, the value of your artwork, the required level of protection and design, and the depth of your pocket.

Bespoke Picture Frames
Bespoke picture framing is a hand-crafted process, therefore labour intensive. The complexity of the design, the nature of the item, hand finishing and availability of materials means that frames can take time to make.
Every aspect of a bespoke project is customised according to the needs of the artwork and your aspirations. Decisions begin with design elements, this is the fun part having the most impact on how the work will look when finished. Other less exciting but just as important decisions include techniques, quality of supporting materials, glazing and display hardware.

Board products are available in qualities from standard to pH neutral, providing various degrees of protection. Mountboard is available in dozens of colours, textures, sizes and thicknesses, offering limitless design possibilities. A bespoke project isn’t bound by limitations. Proportion and balance is an important part of the design to ensure that your work isn’t “squeezed” into its frame. A number of mounts may be used to spectacular effect, accommodated in a deep rebate moulding adding another dimension to the project. Developments in glazing offer an array of options, providing unprecedented clarity, anti-reflection and UV protection. All influence the “look” of the final product.

Ready-made Picture Frames
Readily available these frames are cheaper for a number of reasons. In the main cheaper materials and production methods are used. Production runs can be long resulting in lost precision and poor quality control. In a factory packaging and handling can be compromised resulting in damaged and inferior products. Service and design is lost and no technical advice is available to you, basically “what you see is what you get”. The success of the finished job is reliant on your ability and willingness to put the work together. This provides the artwork no protection. Manufacturers benefit from economies of scale limiting production to the fastest selling standard sizes, and reducing moulding, mount and glazing options. This is fine but if your artwork is non-standard and doesn’t fit the frame, the mount supplied is unlikely to enhance or protect your work.

If you find the perfect ready-made for your picture check that the hanging hardware is fitted securely and is strong enough to take the weight of your finished piece. Check the fixings holding the whole thing together; these can be inadequate and even missing. If the hanging hardware is secured to the backing board rather than the frame, your precious artwork could end up on the floor and not on the picture hook.

Bespoke or Ready-made?
You’ll be pleased to know there is a market for both. Much depends on the qualities of the piece to be framed, its economic and sentimental value. You would be wise to consult a reputable picture framer for three dimensional, non-standard, valuable, original, irreplaceable work. Ready-made frames are a great instant fix for standard sized, replaceable work like posters and mass produced prints that are susceptible to shifts in fashion. Encourage the kids by displaying their work in a ready-made frame. Swap it over and display their next great achievement. What is valuable? In most cases monetary value is obvious, but there will be occasions when only you can determine what is precious to you.

Ready-made frames are great for displaying the kid’s little master pieces and easily replaceable images.