Framing design for dummies?

[Natalya Murphy]

Hi all -

In years past I've been happily working in the "back office" of our framing business and haven't had to work much with framing design. Due to a shift in our schedules I'm suddenly faced with the somwhat daunting prospect of actually *gasp* helping customers design frames.

What would you recommend as the best starting point for a computer programmer with seemingly minimal natural artistic talent? My brain is wired more for logic and numbers than for art, so ideally I'd like to find a book with some basic "formulas" or rules-of-thumb to follow for design.

Looking through PPFA's offerings, it seems like Nona Powers' Color & Design for the Picture Framer might be the best bet, but I was wondering if there may be other resources out there, or even online sites offering information.

[EllenAtHowards]

Most Basic Rules of Frame Design:

1. Choose at least a double mat at least 2" wide
2. Choose a top color that is about the same color as the predominant color of the art, but a little darker. (remember Nona's Admonition? "Light Advances, Dark Recedes")
3. Choose an undermat with about 1/4" reveal that is an accent color in the artwork. You can also use the top mat a second time, but this is a little more advanced. (thus disqualifying it for the term 'basic')
4. Choose a frame that is at least 1" wide. Make sure that the finish on it is a little darker than the darkest part of the artwork.
5. Don't gasp when you tell the customer the price.

These rules will work for about 80% of the the stuff you design. Inspired? Heck no. But the design will be adequate. Meanwhile, look at framing books & magazines. Visit other shops, just looking at their display pieces. Play around with designs when a customer isn't around.

[Ron Eggers]

I understand your dilemma. I spent 28 years trying to quantify design. That's probably why I love and recommend Kaye Evans' color wheel system that she developed for Bainbridge matboard.

Framing is like playing the piano.

Keep it simple and "gentle" while you develop your design skills and you probably won't offend anyone.

If you start pounding away on the keyboard from day one, they'll probably ask you to stop.

BTW, nobody ever learned to play the piano from a book, but Nona's book that you mentioned is a good, hands-on workbook and should be part of every framer's library - regardless of experience level.

If you are a geek, you'll want to get your hands on one of the frame previsualization software programs. You can play and sharpen your design skills at the same time and develop a sense of what works and what doesn't.

And remember, you can be a technically accomplished pianist with no soul. At some point, you start to bend the "rules" and insert some personality to make it your own.

[Richard Darling]

Don't pretend to be what you're not. I'm not particularly artistic either. But basic framing design is complementing what is already in the art, not creating something of your own. I can match colors. I can find moulding elements that reflect the style of the art. I don't try to tell customers what will look good. I tell them that trying lots of options is the free part where we get to find out what looks good. From there I start pulling out mats and moulding and comment on what each one reflects in the art.

You can do it. Don't be afraid to jump in. :thumbsup:

[Val]

Remember, ask the questions first....room coloring, where will it hang....all that. And then listen to their answers. And what we like isn't always the same as what they want.Listen to your customer and watch their body language as you start with a couple of choices, going by the above suggestions:

A long silence probably means keep going, try something else.

"Oh no! I hate green (blue/beige,etc), Ick!" means don't go there again. Or....calmly explain why it might be the right way to go afterall. Sometimes a simple explanation will change that reaction, if they can see how it works with the art.

The color of the sofa cushions, especially if there is none of that color in the art, shouldn't be a reason to mat it with that color. Explain that if (when) they change their sofa cushions, then it won't go with anything.

"Hmmmmm...I don't hate it, but I'm not in love with it" with them standing up a little taller and moving in for a closer look means you might be getting closer to"it".

"Ooooh-aaaah!" or "Oh yeah!" with a little hand clap means you've found what they like! Usually okay to stop there rather than overwhelm them looking for something better. Keep it simple. No reason to have 100 frame/mat corners all over the counter. (another suggestion, put each one aside, out of sight, when it's rejected)

"Ooooh-aaaah" and excited body language may change with the $$quote, but if you deliver it with confidence and a positive tone in your voice, rather than "That will be...(gulp)...uh....oh dear....let's see....$350". it will make a difference. You'll get used to it. Took me awhile.

Good luck, and remember..Framing (designing) is FUN!!!

[Dave]

Also, some general rules of thumb...

If you notice the frame first the odds are it was a poor choice of framing. The frame should draw you into the art.

Varying widths of moulding, matting, and other frame elements create interest. Generally a mat should be wider than the frame. Seldom does a narrower mat or one equal to the frame width look appealing to my eye.

Dark top mats can make the art much more dramatic looking..

The design process is what I most enjoy and tend to approach design with a customer by trying many different "looks" to determine what the customer's tastes are. I start usually with the matting and then select a moulding, however often the reverse approach works too. When the choice is narrowed down to one and time permits, I'll still bring out several other mouldings. This more often than not serves to either confirm the first choice or provide an opportunity to upscale the job. If it confirms the first choice, the customer feels very confident in their choice and appreciates the usually slight additional time spent "exploring further".

Think fillets...When you've chosen a moulding, mat, etc...bring out a fillet that absolutely ties the whole thing together. Customers are often astounded at what a fillet will add.

I generally never figure a price until the entire design process is complete. Focus on design instead of price unless the customer specifically states their budget up front. If the cost of the first choice is well over what they initially thought they wanted to spend a beautiful design will often convince them to invest more in the artwork and its presentation than they originally planned. They see the cost benefit ratio.

In design, there are no hardfast rules. Great design often breaks all design guidelines. It is the total look that is important and recognizing that look is often easier than creating it.

Be sure what you design is "do-able" from an engineering aspect. In engineering, there are hardfast rules.

Always keep in mind how the art will be preserved using conservation methods.

Always approach design with confidence.

Dave Makielski

[Mitch]

Read Parker's Perspective.

Look for color, texture and pattern clues in the customers clothing.
They will give you clues as to what they prefer even if they tell you differently.

I will often give them several choices, then leave for a minute to "check the lights, availability, mat cutter"or enter info into the computer. When I return they often have narrowed the choices to one or two or even made their final choice.

Mitch

[MnSue]

I always trained "there are 10 basic rules - with 5000 variations!' It's not the rules that are confusing - it's the variations!!!!!

to learn mat (suedes, textures, cores, etc) choices/suggestions and which will look best with different types of art; start with one group of mats untill you feel familiar with the colors and unique visuals those particular mats bring with various art pieces;

then once you feel you have basic knowledge of a group/style of mats; move on to another group as your starting point with mats. This helps not only to learn, but also to not feel overwhelmed with "all the choices".

Jump in! Have fun - and it is ok to admit that you're a rookie. Honesty helps when you're unsure. Good luck

[jaybee]

One method I use when using neutral top mats:

Outside (top) mat-same color or a little darker than the lightest in the picture

Inside-a cool color in the picture

Frame-Pick up a warm color in the picture.

I'm not a huge fan of warm colors as inside (skinny part) mats, as they tend to draw too much attention to themselves.

This method keeps the frame and the inside mat from fighting each other.

I have found that medium-toned (blues, greens, etc.-Think Crescent Biscay Blue) outside mats are out of style in my area. Everyone wants neutrals (white thru beige/tan) or dark blacks, greens, etc.

[Kittyfaces]

I use 6"x6" scraps of foamboard, glass and matboard at the design counter to be sure the depth of the chosen moulding is deep enough to accomodate the design. In the early years, I'd create a design that called for glass, 2 mats, a fillet and sometimes a bump-up and the substrate only to realize in the final assembly that the rabbet of the moulding is only 5/8"!! Very common newbie-designer mistake.

If you haven't already, you'll also need to study up on preservation. For example, items that are composed of animal proteins as well as very old silver photographs cannot come into direct contact buffered matboards, which are the majority of quality boards... and that's just one of possibly hundreds of situations where preservation is going to have a big influence on the design.

The 2" matting rule is a great rule of thumb. Basically speaking, more often than not, anything less is going to make the image look choked... not to mention, if valuable artwork gets any closer than that to the rabbet, the rabbet will need to be sealed with aluminum tape. Another basic rule is that the mat width should never be the same width as the moulding.

[Harry FKA Harry]

You need to price a frame.
You know what to do.
A frame you will price.
Without hesitation you make do.

Design with a mat that's nice.
Colors that are cool.
Colors cool like ice.
and a frame tha makes 'em drool twice.

Never think of your wallet.
Just give the price as it should be.
It is up to the customer to swallow it.
Whether they be a he or a she.

If they are in your shop, gallery, or store,
confidence you must exude.
They have money like you, but even more.
Confidence will make the sale D U D E.

Advice that is best for you
is that you should at least pretend
to know what you do.
You are the professional in the end.

[Harry FKA Harry]

I just finished reading "Hop on Pop" to my kids and was feeling inspired

[5th corner]

I used to go purple when I started.
Practice when the clients are not around.
Practice when the boss is not looking over your sholder.
Anybody can draw but it takes practice to draw better. Remember all children scribble when they draw but with practice and observation they start to make mummy and dady masterpieces. That is what mummy and dady think anyway.
Don't be scared. You are the expert (at least that is the way the client sees it)