About Framing

"I think a painter is happy because he is in harmony with nature as soon as he can express what he sees."
Vincent van Gogh (1853-1890)

Presentation of artwork is important. The way it is framed can enhance or take away from the piece. It is the exclamation point on the art! You can make a mediocre art piece look great with the right framing and you can make a perfectly beautifully executed artwork look bad with the wrong framing. It should complement the artwork and not distract from it.

There are certain rules to be followed in framing depending upon the painting medium. Remember, the framing should carry through to the final statement of the art.
The color, texture and style of the frame is important also. The color should tie in with the subject matter and not compete with the colors in the artwork. Usually a gold or silver, natural woods and soft "quiet" colors are best used. For example, the frame is best when not lighter than the lightest light in the artwork or darker than the darkest dark.

The major reason for framing is the protection of the art work. On my pastels (and watercolours), I use 100% acid free Archival matting. The art is also mounted on acid free mounting board. You do not want to use cardboard as a backing board because it is highly acidic. When attaching the artwork, do not use masking tape or scotch tape which is also acidic. Preservation is a must. Do use quality products so the art does not deteriorate.
A mat and spacer helps protect the artwork by separating it from the glass and allows breathing room. It allows air to flow between the glass and pastel piece. A mat can also add depth to the framing and color. It can emphasize a particular color in the artwork. Preferably, I like to use a neutral color mat. A snowy white mat tends to dazzle the viewer's eye and take away from the painting. Colored mats are not recommended on art works, especially bright color mats.
If I do use a colored mat to enhance a color in a painting, it will be used as the inside bottom mat of only a quarter inch or so in size showing. This is perfectly acceptable. Also, keep in mind, that the mat and the frame should not be of equal size. One should be larger than the other, preferably the matting. In some cases, you may want to consider "weighting" the mat. This makes the bottom of the mat wider than the top and sides which gives the impression of support for an artwork that may need that appearance.

Usually I use a fillet. A fillet is a mini-frame strip that fits along the inside edge of a mat and then is taped on the backside. These fillets come in various designs and finishes to match the frames. They add a nice protective, more decorative barrier between the art and the glass; and also add dimension and enhancement to the art being showcased. The following two paintings are examples of a close-up view of the fillet along the edge of the mat that surrounds the whole painting.

If I don't use a fillet, the matting is cut in a reverse bevel which prevents pastel dust from showing on the beveled edges. I then put a spacer on the back side of the matting which creates a space or gap that allows pastel flecks to fall behind the matting. Any work of art should not directly touch the glass. Condensation, dirt, dust and tiny particles can build up inside the glass. Spacers are used to keep the art away from the glass. (A mat also works as a type of spacer). Before placing the pastel painting into the mat, I will tap the back side of the painting to get rid of excess pastel particles and dust. This is a necessary procedure before it is framed. Some artists will spray a fixative onto the painting, but I do not because it will darken and change the colours. With today's wonderful pastel papers, using a fixative is not necessary unless one desires to change the colours of the painting.
Remember, glass should not touch any work of art. Do not use plexiglas or acrylic sheeting on pastels as static electricity will pull pastel dust to the glass. UV glass is best because it protects all art from UV rays or glare. Regular glass is fine to use and is a heavier sheet of glass, but will not protect the work from UV rays or glare. However, your art is not outside in the bright sun. Non-glare glass is not necessary. If you have too much all day glare on your artwork then it is hanging where it is most likely getting too much sun anyway. In that case, it should be hung in another area or buy UV glass. Even using UV glass, no artwork should be hanging in direct sunlight. The UV glass will not even completely protect the art when hanging in day in, day out direct sunlight.
Please do not hang any kind of art work in high humidity places such as bathrooms or basements.

When the glass needs cleaning, dampen a lint free cloth with a mild glass cleaning solution and carefully wipe the glass. Do not spray directly onto the glass. The liquid could run down inside the frame and cause damage to the mat and artwork.

I would be remiss to not mention that pastels may be framed without use of matting. The pastel almost takes on the look of an oil painting. It is a matter of taste. When framing pastels this way, plastic spacers are used and attached directly to the glass separating the artwork from the glass. The pastel cannot go against the glass.

Finally, backing board that is secured in place with framer's points using a Fletcher Point Driver and placed all around the back side. Then a dust cover using brown or black kraft paper is placed over the complete back of the framing to help seal out dust and insects.

BELOW IS A DRAWING OF HOW A PAINTING IS ATTACHED TO A BACKING BOARD:
The top mat is called a window mat which enables you to view the art and protects the art from touching the glass.

At this time, I must say that "The Frame Game" in Newtown and Yardley, PA is the place that I have been doing business with for many years. I do not have time to cut my own mats. Although I do the rest of the framing myself with the help of my husband, Rick. As most artists, I would rather be working on a painting then framing.

This enables me to choose from a huge selection of frame mouldings including browns, bronzes, patinas, mahogany's, cherry woods, rustic woods, as well as the golds, champagnes, and silver finishes.

For shipping Pastels, one should use an Airfloat Strongbox which is made especially for shipping paintings. These boxes provide foam padding inside the box. Glasskin is another product from Airfloat which helps assure that if there is damage to the glass, it will not shatter and cut the paper further damaging painting.
www.artfloat.com , www.artbusiness.com , and www.pastelinternational.com .
For further information on framing, please see the site of pastel artist www.deborahsecor.com