Framing/Matting Choices on Watercolors

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kolinsky

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Hi,

JUst wondering what the going thing has been for framing watercolors. Am framing up a backlog of work, and had taken some in to the local shops (as a test) and their recommendations were quite different from my preferences. Used to use whites or grays all the time, but am leaning now to a light top mat with narrow metal frames to coordinate in color with the inner mat which I choose from a darker color in the painting. The top mat is usually just a lighter version of the inner mat (a lot lighter). Had a few done by the shops (as a test), and was frankly dissappointed. I will be making my own selections exclusively from now on, but I was wondering what some opinions on light versus dark top mats were. My work is generally airy, light and delicate -- scenery florals, wildlife. Just thought it strange for heavy wooden frames with dark mats to be recommended on light watercolors.'
Actually went with a couple of recommendations unfortunately, (thinking the experts must know better)-- was wanting to get a frame shop that would choose in my line of thinking so I could concentrate on painting, but guess it's not to be in my rural area. Here's an example: What would
you recommend to frame a picture described as this: A Moose in shades of Umber and Sepia standing in a pond which is reflecting delicate warm pinks and cerulean blue from a sunset in the back. Forest trees are in the distance in dark teals, with a foreground (as if you were pearing through the reeds) of Wild Irises and swamp grass ( shades of lavendar, purple and tealish green. Overall effect is in light to medium values.
It was framed in medium periwinkle blue (top) with liner mat of dark teal, and a 1 1/2 inch dark mahogany wood frame with the tiny wood beading all around it. It just overwhelms the painting to me. Give me your suggestions, itwould be interesting to me.

Thanks,
Kolinsky
 
You're the artist, right? And you think a picture framer -- any framer -- could be more of an "expert" at choosing mat colors for your own artwork? Please think further about that.

Customers often say things like "What do you think? You're the expert." I do not understand this phenomenon. Sure, we design frames every day, but that does not make us color experts. Many of us have been making the same mistakes for years...My usual response is "I'm the world's foremost authority on my own opinion -- but not yours. What do *you* like?"

After the chuckle subsides, we get down to the meat of the matter...

There are two resons to frame a picture: (1) To present it; and (2) to preserve it. The second-most-important purpose of matting is to focus attention to the art. When we view framed art (or anything else, for that matter), our eyes are attracted first to the stronger or brighter colors. If those are the mat colors, then that's where our eyes go first. Eventually we find the art, but it becomes secondary to the framework that way. That's OK with some framers, who believe the frame is more important than the art, anyway.

I always suggest customers consider top-mat colors that are more diminutive than the colors in the art -- never mind matching the sofa's hot pink pinstripes. Accent colors for under-mats may be more colorful, so long as they remain accents and do not become focal points.

Don't trust anyone who says they know more about your preferences than you do. Listen to others' opinions, and then decide on your own.

By the way, in case you're wondering, the first-most-important purpose of matting is to separate the glass from the art.


------------------
James Miller,PPFA-CPF; PPFA Certification Board Member; FACTS/GAFP Committee Member
 
Hi Kolinsky

All things being equal . . .

. . . opinions about the aesthetics of framed art are like belly buttons. Everyone has one, but, indeed, they are all different!

What I may think looks wonderful, you may think is terrible. Conversely, what you may think is perfect for your art, I may think is inappropriate. Neither one of us is right or wrong, because we are merely seeing things from a different perspective.

If you, the artist, have a solid notion of how the "whole" art ought to be presented, (that is to say, its mood, its flavour, its smell, its persona even) then presenting it in framing of your choice, to accurately reflect your notion, is the "correct" way of doing so - from your perspective. However, I may not share your perspective.

This discussion really is not just about framing: this is about what makes art what it is. Perhaps you might want to scan through some of the other threads in this forum to savour different flavours . . .

Now why didn't you ask something easy, like . . . let's see . . . like . . . um-m-m . . . "What brand of masking tape is best for hinging 300# cold-press?" or something technical, like "Using only accepted c/p technique, how do I get chickadee poop off of my painting?" or "Is Windex With Ammonia-D o.k. for cleaning picture glass?" (Oh dear, what have I done?)

. . . gone for a few days, see you all when I get back.

Orton

[This message has been edited by Orton (edited 03-07-2000).]
 
First of all, I am assuming the moose is the focal point. From your discriptions I would tend to use the light tan and sepia and possibly a third mat bringing in a hint of the other colors. Definitely colors that match something in the watercolor. A moose is large and round and woodsy. Thus my choice would be a wood frame that would enhance rather than stand out and with a wide mat. Framers are often asked "since you are the expert what would you do"? I respond that I'm not the one living with it. Then you would see several choices.
If we could see a picture that would make a big difference.

Pure watercolors are some of my favorite things..by pure I mean those who leave the white and do not use chinees whites.

It's your work and sticking entirely to the old standbys would be easy but break the mold a bit. I'm rambling, I couldn't paint a thing but I can please most of my customers, granted not many artist in the bunch. When going to a framer to check them out it should be more for the quality of job they do but you should make the final choice and possibly they can guide you to more and maybe other solutions.

Now have you really opened your mind to accept other ideas. Hey I'm trying to help not critize. I think exposer is a key element to enjoying art. Exposer to enhanced displaying, eg. framing is probably another area we all could improve.

My taste have certainly changed over the years, thank God I'm not still in that Early American era of the 60's. I still do like the abstract.

Good luck. Give us some profile. Just maybe you are in my rural area.


[This message has been edited by JPete (edited 03-07-2000).]

[This message has been edited by JPete (edited 03-07-2000).]
 
Hard to add much to the above good advice, but that never stopped any of us. My two-cents worth would be to educate yourself just by looking at other artwork by artists similar to yourself. Then expand and look at all kinds of things. One of the catch phrases we use around here a LOT is: "You say you don't know anything about what looks good in framing, but I'll bet you know what you DON'T like, and that's a big first step." We also tell them we won't let them do anything really wrong--unless we're paid handsomely for the bribe. Other than that, it's that old saw about what you like vs. what I like.

Part of my vacation fun is visiting galleries, frame shops, design studios, etal. Keeps you up on what's trendy, what's selling, and what's ugly. After a while, you'll see it all: bet your instincts are better than what you think. Good luck!
 
I took a course in sales by an older, experienced sales person that I respected. One point he made was that a you are guiding a customer in making a choice. Don't give the customer the choice of buying or not buying. Assume the customer is going to buy and give them a choice of buying item A or item B. From this point of view I would suggest that an artist or gallery should have a selection of framing to suit many customer's taste. It's not what you like that counts, it's what the person spending the money likes. I do realize that it's your art and you have emotion tied up in it but if you are going to sell it you must let go. You might not even like the room it gets hung in - wrong color walls?
In an attempt to read customer's attitudes on color I have just bought 20 copies of an art print and am about to frame it 20 different ways and put them on display. It's the smaller version of an open edition print and I will have customers vote on their favorite. Then I will have a draw and present the winner with a big version of the print framed the same as their vote. Should be interesting.
 
Kolinsky,

A trick one of the design and color guru's of the industry suggests is to first turn the artwork around on your table, so the top is at the bottom, etc. By avoiding the distraction of the image, you can see the colors better. Pick the second and third most dominant colors for use with your mats. You can, of course, "push" the colors lighter or darker, and add whites or blacks depending, but you will find this to be a good starting place. Usually, using the most dominant color makes a rather boring design. Almost all rules are made to be broken, but this does get you started.

Depending on the customer (artist selling, homeowner with family portrait), I do ask about the room in which the piece will hang. (I know, I know...your artwork should not match your sofa). This seems to open up the discussion easier than more general questions about personal taste.

Hope this helps.....


Scarfinger,

Great idea. May I ask which limited edition print you are using? Just curious.

[This message has been edited by Mel (edited 03-08-2000).]
 
To All;
After working eating sleeping an breathing Art with a capital A for thirty years I have found that;
1. Artists are too close to their work to frame it in a sensible aesthetic way. It is like cutting our own hair. Some can, most shouldn't. I think it is because when we look into a mirror we don't always see what is there. We usually see what we would like to see.
2. Artists should seek out a framer at a level that can meet their needs; (barber, beautican, stylist, realitive who cuts hair in their basement).
3. After an artist finds a framer at the needed level, a bond or trust must be developed (All of you know how hard it is to find someone who can cut your hair just the way you want it, especially if you are limited to a geographal area. )

When that bond or trust is developed the two should work as a team to provide the best possible framing package for the work, both aestheticly and protective.
 
I am not an artist (yet) but am taking a painting class. I completed a painting that I liked and wanted to frame it. After looking at every frame sample in my shop, nothing seemed right to me. I became my own worst customer. I can pick out something for someone else quickly and confidently, but for myself its almost impossible!

By the way, I still haven't framed the painting.
 
Cookie, you are right on there.

Mel, never thought about the upside down part but that is where I am when I pick out the colors the customer usually goes with. And here I thought it was Me.!!!!

SF...great idea.
 
Cookie, that describes a lot of us. I used to do a lot of painting but always had someone else pick out a frame for it. (Didn't always agree, but it was usually better than my selection.) Great idea on framing one print multiple ways.
 
My first post! I like this topic.. . I frame watercolors for an entire school of artists. Yes, many are little old ladies, but I work with the instructors too. Most of these people prefer light or white colored mats as the outer mat. If there is a lot of white in the background of the watercolor, they use an accent color. If the image is almost or totally filled in with paint, many prefer a double mat of the same neutral color, using a wider inner mat when doubling the same color. I have found that this makes the overall effect less cluttered, and gives the customer more freedom in choosing a frame. (for me, mostly gold, but I frame many more flowers than mooses!)
 
As I'm not a painter, I can't comment on framing my own work, but I sure do have trouble designing for things I have bought for myself. I take so long, then put it aside to decide later, later I take so long, and on and on. If I were my customer, I'd kick myself out of my shop.

But what I posted on to say is that I just finished a few watercolors (flowery types) and found that a contemporary flat-top gold, which could have black sides, looks very nice and not too fussy, e.g., Studio Mouldings style. Max, too, has lots of these.

And Jaybee, welcome. Very good ideas for matting watercolors.

Mitch, where do you live? I finally found that stylist. It took 17 years.
 
Hi all,

First let me thank each of you for your helpful replies.

James-- Yes, I've realized that my instincts are good, and I need to go with them. Your reasons for framing pics is my philosophy exactly -- I want my ART to stand out not the frame or mat. Helpful, and thanks.

Orton, I knew when I posted this that opinions being so variant it would be difficult if not impossible for any concrete answers. I thought I might get some butterfly thoughts sent into the air, though, that I could observe with the end of helping to inspire some choices. Appreciate your comments.

JPete, -- Thanks for the opinions/tips.
You know, I think that is what bothered me about the moose. The framer suggested woodsy, wildlife related framing. My feeling for the picture was more romantic than strictly animal descriptive. I was painting the feeling not a moose -- that feeling incorporated wild irises and soft sunsets, and it's the feeling I know I wanted accented not the moose. He was the focal point, but he is strong enough on his own without drawing more attention to him, so putting the dark wood frame on screamed "moose, wildlife" instead of "spiritual experience in nature".

(I know that sounds involved, and probably overly romantic, but it's the only way I can describe it.) ;)

Unfortunately, I live in the Far North -- Alaska, so my framer choices are limited.

Mommerp-- Guess I need to take a gallery/frame viewing trip! It's limited up here.

Scarfinger-yes, I do get emotionally involved with the paintings. They are like my babies, and once they are born I want them dressed nicely before I present them to the world. Guess that's why my involvement extends to the framing.

Mel -- Fantastic tips on mat choosing. Very grateful.

Mitch -- That's exactly what I was trying to do -- find someone I could trust and work with to let go of that facet. I might need to do the choosing myself and let the mechanics me attended to by a competent framer.

Jaybee-- Your matting choices have been staples of mine, and what I've leant to, but I was trying to open up to something a bit more exciting -- just a tad. Whites/creams are safe choices -- uncluttered choices.

Well, thanks to all who commented, and I hope that a little insight into an artist's thought might help the framer's too. This was very helpful.

Thanks,
Kolinsky
 
Hi all,

First let me thank each of you for your helpful replies.

James-- Yes, I've realized that my instincts are good, and I need to go with them. Your reasons for framing pics is my philosophy exactly -- I want my ART to stand out not the frame or mat. Helpful, and thanks.

Orton, I knew when I posted this that opinions being so variant it would be difficult if not impossible for any concrete answers. I thought I might get some butterfly thoughts sent into the air, though, that I could observe with the end of helping to inspire some choices. Appreciate your comments.

JPete, -- Thanks for the opinions/tips.
You know, I think that is what bothered me about the moose. The framer suggested woodsy, wildlife related framing. My feeling for the picture was more romantic than strictly animal descriptive. I was painting the feeling not a moose -- that feeling incorporated wild irises and soft sunsets, and it's the feeling I know I wanted accented not the moose. He was the focal point, but he is strong enough on his own without drawing more attention to him, so putting the dark wood frame on screamed "moose, wildlife" instead of "spiritual experience in nature".

(I know that sounds involved, and probably overly romantic, but it's the only way I can describe it.) ;)

Unfortunately, I live in the Far North -- Alaska, so my framer choices are limited.

Mommerp-- Guess I need to take a gallery/frame viewing trip! It's limited up here.

Scarfinger-yes, I do get emotionally involved with the paintings. They are like my babies, and once they are born I want them dressed nicely before I present them to the world. Guess that's why my involvement extends to the framing.

Mel -- Fantastic tips on mat choosing. Very grateful.

Mitch -- That's exactly what I was trying to do -- find someone I could trust and work with to let go of that facet. I might need to do the choosing myself and let the mechanics me attended to by a competent framer.

Jaybee-- Your matting choices have been staples of mine, and what I've leant to, but I was trying to open up to something a bit more exciting -- just a tad. Whites/creams are safe choices -- uncluttered choices.

Well, thanks to all who commented, and I hope that a little insight into an artist's thought might help the framer's too. This was very helpful.

Thanks,
Kolinsky
 
Hi everyone,

In my short experience I have made it my opinion that most artist's not all should never frame their own work. The reason is that an artist will try to use the framing as another brush stroke to their artwork. Perhaps you should let the framer know what feelings you are trying to express when you go to them..
 
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