Modern Sepia Photo.

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clifpa

CGF II, Certified Grumble Framer Level 2
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Sep 18, 2002
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Huntington Beach, CA
What would be your (favorite) design in framing a Modern Sepia Photo, i.e., mat(s), colors, frame, etc.? I just don't like anything that I've done and want this to be special.

The one that I'm working with is a 5"x7" with two 8 year olds standing while holding (black) suit cases, wearing bright white shirts and artist black hats.

Thanking you in advance, Cliff P
(does my inexperience show through? wink)
 
Cliff,

I can't be specific because so much is going to depend on what kind of paper it's printed on and how it was toned. You're probably going to find one or two mats that actually work with this particular print and there's no guarantee that they will work with the next sepia print. Find a mat that works with the shadows - probably yellow-orange shade, if you're using Kay Evans color wheel system to sort your mats, and another to match the paper-base (yellow-orange tint, maybe?)

If you double mat it with these two colors, try to find a frame that works with the darker one or go for the gold.

Was that vague enough?
 
Not that we should have the time(right Kathy)... but,

It would be fun to post a print in the design area, and have anyone that can, present frame and corner choices.

Can you pick a pick and post it?
Or, pick a print and I'll post it!
 
The key to framing "Black and White" photos is to really look at the colors. Seldom are they actually "Black and White". The "whites" vary from white/offwhite to cream or orange or tan and the "blacks" are usually brown. Even when the "blacks" are a real neutral density they are often dark Gray not actually black. And in many modern versions of "black and white" pictures produced on color photo paper all the tones have a greenish tint. The next element of importance is the contrast - the lightest "white" in the picture should usually be the lightest element of the design - no mat or even mat edge should be lighter. This is often a time for black core mats or reverse bevels to get rid of a bright white edge. The darker mat of the design is usually better if it's not darker than the "blacks" in the picture - don't use a real black when the darkest part of the picture is gray - use a matching gray mat. And the cut of the mat works well in time with the vintage of the photo - victorian corners - art deco design - lightning bolt - ?
 
Actually, in some of these modern sepia tone prints, I've used a black w/ black core bottom mat, showing less than a 1/4", just slightly less, then Crescent's French Buff top mat, with a narrow black frame. They've looked pretty spiffy, and the customers have been pretty happy with them.
 
Ron, do you have any information on this Kay Evans Color Wheel System? How does it work? I can find it mentioned in the archives but no explanation.
 
I've found alot of the "modern" sepia prints, which are, by the way, done on a computer, to tend toward a purplish brown tone and are usually printed using color printers. The older sepia processes, which were done in the dark room with extremely smelly chemicals (rotten eggs, anyone?) were more of a yellowish brown and hand printed on fiber base paper. Depends on which process the photographer used. I don't miss the days when Gary used to tone his own prints! :eek: I would go for brownish tone mats, probably something with a mottled texture, that pick out the color tones. The point about not having even a bevel whiter than the whitest part is good advise. reverse bevels or a fillet would look nice.
 
Iceref, Kay Evans' color wheel system is utilized by Bainbridge. If you buy new samples, the references will already on the samples. If you want to label old Bainbridge samples, call or email them and they'll send you a reference list. If you want to label non-Bainbridge samples (I did,) you're going to do a lot of work. I have a list of my own color references for Crescent, Miller/Tru Vue and Artique samples if you want it.

Everything is referenced against a standard color wheel (Red, Red-Orange, Orange, Yellow-Orange, etc) and everything is either a tint (white added,) a tone (grey added) or a shade (black added.) There are no pure colors in mats and there are no browns, tans, creams, etc.

Once you have everything sorted, it makes it very easy (with a little practice) to find particular colors and to find tints, tones and shades that work together.

Ironcially, I was trying to develop something like this when I stumbled across Kay's system. (I had received some new Bainbridge samples.) You wouldn't believe what I was going through trying to make objective decisions about where certain mats fell on the color wheel. I'm glad somebody else did most of the work.
 
Is the "modern sepia" on fiber based paper with matte surface, or is it done on resin coated paper. Is it actually a done with a print making process....ie..platinum/paladium print, or photogravure?
The surface texture of the print is important in design. Glossy implies modernity. Glossy photographs are a contemporary thang. So I would design with a little more hipness.

But USUALLY, whether old or new,
Sepia toned prints provoke in the viewer age and nostalgia. There is a certain timeless quality to sepia toned prints that (I Think) commands a timeless and classic frame.

I go with a 3-4 inch rag matt (cream colored).
The large matt will invoke a sense of intimacy for the viewer with the photo. It Draws them in and isolates the image.
Double the matt or bevel one matt. You can even raise the matt from the image ( just the width of a piece of foam core) to create a shadow box effect. Or use a black matt under a cream matte.
All these decorative tactics accentuate the image's visual appeal.

And and elegant dark brown to black frame 1 -2 inches wide. This will accentuate the darker tones in the image.
Black is classic and goes with just about any style,If it is a matte surface/ non glossy.

IF this is a special piece, dont cop out with a metal frame. Go the distance archivally with this one.

That's what I would do....
Peavy
 
Thanks all!

I'm in progress, smile, designing using your suggestions.

Thanks again, Cliff P. (because there is another Cliff)
 
I like using a neutral mat- on sepia photos I have used Rising's Zinc or Fawn, I think the Bainbridge equivalent is known as Almond. I would wince if I saw a white bevel on these- I would try to find a solid core.
I do not like black frames on sepia photos- I think it is too harsh. I lovelovelovelove Picture Woods' ebonized walnut profiles. This is what I call an "off-black" it is actually a purplebrownblack and the profiles are very simple and crisp. The ebonized walnut is very modern looking but somehow seems to blend well with classics because of it's mellow grain and tone.
I like profile #'s 404 and 309.
 
Thanks Framing Goddess!!!

I'll take a look at the mat samples with the photo tomorrow.

I'm really interested in checking out the profile's 404 and 309. Who makes them?

best Cliff P.
 
Sepia is making a comeback here, but I'm with Anne when she says the smell is less than desirable (I'm shuddering at the thought of it).

I too like a big neutral mat, if it is a proper fibre based photo go with one of the rag boards and float it in a shadow box design. There is also the light browny suede from TV that looks pretty awesome with some sepias. Then a nice box (flat topped) moulding with a bit of depth to it no more than 3/4" wide (old fashioned measurements for those behind the times) that will compliment the sofa.
 
When I read the description of this print to my photographer husband, he said it sounds like an image that is available as a poster through some of the photographic art places. Is this an actual photographic print created for the client or is a decorative image printed as a poster? How you handle it will differ based on what it is.
 
Hi AnneL,

It is a 5x7 photo that was taken about 3 years ago.

It's just a great shot of a friends two son's that I really want to add something special. (I'm even wondering if a couple of French lines might be better then a double mat?)

best Cliff P.
 
French lines sound great, maybe with a color washed panel in between. Add a second ma of the same color to give it depth, maybe a warm toned silver frame (goldish silver?, silverish, gold? what would you call that?) There are so many cool things you could do with this, it boggles the mind! :eek:
 
Just for everyone's information... it is Nona Powers (not Kaye Evans) who is the Color Wheel Queen. She is the one who arranged that actual color infomation is on the back of Bainbridge mats. Color, after all, IS her life.... ;)
 
Have you tried a fillet, chenille mat and expensive LJ frame in the sepia tones. I did some of the more recent nastagia photo's taken of kids lately. Processing was not the same on all of the photo's therefore different shades of the mats and frames worked wonders in keeping them alike but working with the poor color tones. Customer delighted.
 
Originally posted by Framing Goddess:
I like using a neutral mat- on sepia photos I have used Rising's Zinc or Fawn, I think the Bainbridge equivalent is known as Almond...ebonized walnut profiles. This is what I call an "off-black" it is actually a purplebrownblack
Click to expand...
Now you know why Janet says I'm color-blind! I CAN tell red from blue, and can occasionally tell navy blue from black.
 
Originally posted by EllenAtHowards:
Just for everyone's information... it is Nona Powers (not Kaye Evans) who is the Color Wheel Queen.
Click to expand...
Nona, is this true???

This is no time to be modest. I was quite sure that Bainbridge told me that this particular system was developed by Kay Evans. I know I asked you about it before Atlanta.

I've been touting it on The Grumble for about a year now, and I'd love to give credit where it's due.

Email me privately if you're shy. (Yeh, right.)
 
Originally posted by EllenAtHowards:
Just for everyone's information... it is Nona Powers (not Kaye Evans) who is the Color Wheel Queen. She is the one who arranged that actual color infomation is on the back of Bainbridge mats. Color, after all, IS her life.... ;)
Click to expand...
Nona's classes and books on the use of color in frame design are the best I've seen in this business. She can teach ANYONE to make better use of color. But the Bainbridge color wheel system for sorting (and finding) mat colors was developed by Kaye Evans. Nona just confirmed that for me.

What these two women teach are, in my opinion, complimentary color tools for framers. We're lucky to have them both.
 
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