Visit any framing Singapore shop to enquire about framing your artwork, and you will encounter a lengthy discussion about your artwork. This is because your artwork and its environment strongly dictates the frame required. In this article, we take a look at some of the common variables that framing professionals use when assessing your artwork.
Is it better with or without a framework?
I ask this question just because with lots of canvasses, or works created on thick board, the painting bases on its own without a frame.
Undoubtedly, canvasses which are wrapped around and connected to a deep wooden supporting framework, perhaps 1″ or 25mm, or even more thick, are preferred since they motivate the artist to continue the painting around the edges and top and lower sides of the picture, which a framework would hide.
Plainly, in this case, you probably would not desire the invasion of a frame to spoil the impact.
Standard or Modern?
This probably again depends upon the subject yet area can also have a bearing on the frame.
A heavy gilt frame might not look the component in a minimal, ultra-modern glass and steel office for instance.
Modern frameworks suggest clean lines, tidiness and maybe fit a picture in a modern style, whereas more conventional frames offer an air of long life, classiness and timelessness.
It’s a generalisation, I recognize, but you do need to have some regard to the style and topic of your picture, along with area when adding the frame.
Watercolours, Pastels, Coloured Pencil, Graphite, Charcoal, Pen & Ink
Commonly, watercolours and pastels sit behind a mat or mount card with an aperture to reveal the picture, with the entire lot then established behind image glass. The same usually applies to other ‘dry’ media as well.
This is for good useful reasons in addition to looks. As a result of the relatively fragile nature of watercolour or sketching paper, it requires to be shielded behind a mount, if only to prevent having to tape it directly to the framework. The glass after that gives more protection to the picture itself.
With a pastel or charcoal, the glass certainly secures the picture just like a watercolour, but the mount is necessary to maintain the pastel or charcoal from contacting the glass, smearing the picture and destroying it.
Mount in the sun or in the shade?
For delicate mediums like watercolors or fabrics, UV protection on the glass won’t suffice; these pieces must virtually stay completely in a well-shaded spot. Dangle watercolors in a dim hallway or a dark bedroom to ensure that their great colors will not get worn out by sunlight.
When to float ’em
For certain jobs, a float matting method can rise the work into seriously special area. Instead of putting the art work behind the mat, this technique makes the art work appear to float a little over the mat. The mat is positioned on the base, after that a smaller sized piece of foam mat is mounted to the mat, and then the art work sits on top of the foam mat, possibly 3/16 of an inch above the ornamental mat.