Opinions Wanted Rule of thumb regarding mat colors

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As a complete newby and amateur, I would like to know how you experienced framers go about picking mat colors. I did not find much from searches of this forum. For instance, do you pick a color from the image being framed? Do you use a color that is not prominent in the image and accent with another color present in the image? I once read that some pick the fourth or fifth most common color as the main mat color. Would you use a complimentary color for an accent mat (inner edge)? In other words, do you have some basic rules to select main and accent mat colors? I am mostly thinking about photography framing such as nature images either animals, birds, or landscapes.

TIA!

Paul
 
Welcome to the Grumble. I start by asking the client about the place the art will hang. I look at the art work I ask the client what colors they want to see or highlight in the piece.
Then I usually start with the complimentary colors....using the basic color wheel as my guide
images

But the final decision is really is up to the client.

ps Will you fill out your profile so we can get to know you better?
 
There is no one set of rules for picking out colors. And worse yet, the rules you follow will change as the years pass. That being said, there are a few things that will alter the colors you choose.

1) The colors in the picture.
2) The colors implied. ( Ex: A black and white photo of a rose might look good with a red mat.)
3) The room in which the artwork will hang. (Although, artwork can move, so it is always wise to frame for the artwork and not the room.)
4) The mood of the customer.

Some people only like white mats on top. Some like bright colors. Some people like to use the main colors. Some people like to draw out the hidden colors.

A good way to practice is to take a picture and try different color choices and see how they change the look of the art.
 
I don't believe there are any firm rules. I frame very differently for my personal use than I would for some of my customers.

My main focus is that the mat should never distract from what I'm framing. Even if you use a color mat that is in the overall image, that doesn't mean that it is not distracting. Try a lot of combinations, the right one will reveal itself. ;) and might be different for each customer.
 
This is one of the worst misconceptions that people pick up. It's a green picture ergo it needs a green mat. :icon21: I have to bite my tongue when they ask for red accents in the mat to 'pick up' on a red in the image. Actually, if they wanted to amplify the reds the mat should have a green accent.

Try this demo: Cover up the RED word and look for a few seconds. Then uncover the red. The greens will look more intense.


That's why summer landscapes with poppies in them always sell. :smiley:

You have to decide what sort of image you are framing. Some things are purely decorative and you can go a bit OTT with the framing. Such things are more like furniture.
But when it comes to original art a bit of restraint is called for. The object is not to enhance a painting. It should speak for itself. It should be placed in a comfortable setting where it doesn't have to fight with the frame.
 
prospero said:
It should be placed in a comfortable setting where it doesn't have to fight with the frame.
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Exactly. You may think you find the perfect mat combination, then the customers wants to put a particular style or colour frame on. Then you may have to start over again.
It is just not mats, its artwork, mats and frame - there are the 3 components to consider.
Sometimes there is is a bit of shuffling, but as time goes by, and after your 10,000th consult, you can see the finished artwork.
I would say that 80% time that the first mats and frames i put down, the customer goes for. To make sure though, we try other combinations, never go for the first instinct even if we do come back to it. If you don't try that red mat, and they don't see how bad it worked they will always think it should have had a red mat.
And as Prospero pointed out, sometimes a colour will surprise you as you don't know what it will reveal in the artwork until you try it.
 
Paul,

Welcome to the Grumble... I'm a bit confused by several statements made so far in response to your question. With that in mind, I would suggest that you pick up the following book...

419SR4K0ESL._SX258_BO1,204,203,200_.jpg


Color and Design for the Picture Framer can be found at Barnes & Noble, Amazon.com, the PPFA Bookstore, or PFM Bookstore.

Nona is the most difinitive author on the subject within our trade. Unfortunately she is retired and no longer teaches seminars. (They were worth every penny!) Honestly after reading her book, you will have a much better understanding of the desing elements and how color plays a role.

Sincerely,

John
 
Here are the general rules of thumb in our shop:

1. Top mat should be slightly darker and slightly grayer than the predominant color of the art.
2. Second mat should be a color that is similar to a brighter color in the print. It should only have a 1/8" reveal and probably be a reverse bevel.
3. The inner mat should be a 1/4" reveal of either a lighter shade of the top mat, or a color that is throughout the print, although not predominant.

All these rules should be broken.
 
Love that last line, Ellen. :thumbsup:
 
I recommend usually a double-mat, as a rule of thumb. The top mat to capture the "neutral", which if it is a picture of the beach could be a sand color, or if it is a night-time picture the "neutral" could be a darker tone because the whole piece is dark. Or if it is a coastal picture with a sail boat up close, perhaps the color of the sail (soft cream) unless there is an overwhelming amount of blue, then a purer white. Whatever the overall tone of the picture, a mat which captures the softer element of that. I try to steer far away from a real color as a top mat.

Then a secondary mat which captures a deeper tone (unless the top mat is dark, then the second mat should be brighter). I usually try not to go too vibrant, even if there is a specific bright element in there. If the print is of a red vase on a dark wood table against a cream wall, I would choose a soft cream mat on top, and a second mat to tie in with the dark wood table (and I would not use a red mat to tie in with the vase, as that will allow the vase to keep it's "pop"). My standard second mat reveal size is 3/16" (between 1/8" and 1/4").

All extremes (lightness, vibrancy, darkess) should be in the artwork itself, and the matting should not exceed those extremes.

Also, I ask the customer what is going on in the room they are hanging it, as that may help direct what would also work in their homes.

...this is my rule of thumb.
 
I read many of the books, have gone to an unreal amount of seminars, and been instructed while framing. All of that is great but it all comes down to what your customer wants. I make suggestions to my customers but I always add that if they don't like the look change it. I have found that ideas and "standards" change from shop to shop & person to person. Some of it is even geographic and even ethnic background. Don't be afraid to make suggestions that look good to you but by all means do what the customer likes & feels most comfortable with. Explain to the customer the standards concerning colors, border widths, weighted tops or bottoms and so forth but make sure to tell them that it all comes down to what they like because they are the ones living with it. That's what I do with every one of my customers and I haven't had a complaint about it yet.

Just my $0.02 Joe B
 
I approach it the same way Joe, I do make suggestions and ask my customer what they think and tell them they will not hurt my feelings if they don't like it! ;)

Look at any framing competition, each framer has his or her own preference and it does not mean that I necessarily like how it was framed.
 
Joe B said:
.... All of that is great but it all comes down to what your customer wants. .....

Just my $0.02 Joe B
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Yes, we can make suggestions, but they are the ones that live with it. Our job it to make sure they enjoy it, and we want them to come back so we can frame even more.

Just finished with great customer on a small piece. I have kind of learned that what she says she wants, and what she really wants are not the same. She almost always says she wants a "white plain mat", and a "dark frame". Generally the white mat looks weak. But with working with her, we get to a better final solution. But she wants to see the final mat and frame together, before she is fully satisfied.

After review, she never changes her frame ideas, but she almost always changes her mat color ideas, so I have learned to have her come in and look before I put it together. {and for customers as this, I have learned to price "not to exceed xxx.xx", so I can cover the costs through to the final idea.}

And, no, a preview setup would not work; she carries the finished frame into different lights and holds it and turns it before she decides it is okay.

I almost feel like putting up a thread with a picture of each of the 4 options and see which the grumblers would like best. And understand, the customer would NOT have a problem with this. I have approval to use pictures of her works, including educational purposes.
 
My own (overstated) rule of thumb is that dead white can effect the work in question as much as fuchsia can.
 
05 said:
My own (overstated) rule of thumb is that dead white can effect the work in question as much as fuchsia can.
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BUMP.jpg
 
A speaker at the WCAF this year said, "Good matting is what a customer pays a lot of money for not to see."
 
blueeyes said:
A speaker at the WCAF this year said, "Good matting is what a customer pays a lot of money ... not to see."
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:thumbsup:

John
 
One other point with matting and framing generally:

The customer probably won't have have had as much experience in framing or as much exposure to different framing products as you have. Therefore, whatever he/she says along the lines of "I just want something plain......" or "I just want a price" should be regarded as an invitation to show your wares, not as a definitive statement of what is wanted.

If the customer has only ever seen chain-store frames she probably thinks all matts are white and 40mm wide and all frames are square and black. If she has been hanging around artists she probably thinks white matts and limewashed or raw pine frames are the way to go.

Asking for that drek in a custom framing shop is like going into a five-star restaurant and ordering a Big Mac and Fries.

Your job is to show her what is available in the way of colours and frames so that the finished product is personal and "her" design. Practise designing on whatever art you have on hand so that whatever comes in you can slap something appropriate down fairly quickly and earn her confidence that you know your stuff. Gently guide rather than push and be prepared to listen while avoidng anything too barbaric in the way of design.

Over time you will develop your own patter and it will become second nature.
 
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