Opinions Wanted White core mat, aged pen & ink

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redwolfbuddy

redwolfbuddy

True Grumbler
Joined
Dec 10, 2008
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75
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Talladega, AL
I'm framing a pair of pen & inks done in the 50's for the tourist market. The paper has aged (darkened) quite a bit, most likely due to the original frame package which had fibre-board immediately behind the pieces with no barrier.

The customer has selected a mat with a little visual texture to compliment the subject matter.

My concern is that this mat has a bright white core. Now, my general rule is that when paper is aged, I avoid using any bright whites at all - the aged white of the paper should be the new white (highest tone) visible. (Is this a dumb rule of thumb? - It's worked for me so far...) I would have preferred a black core mat because of my hangups about the white issue, but I'm trying to find a way to use the mat with the white core.

ANYWAY - I'm considering using a reverse bevel and black spacer behind that so that the mat floats above the piece. This should hide the white, and I think the floating mat would create a nice "feature" so that the presentation doesn't come across as plain. I've never done anything like that, so I thought I'd ask you guys first.:shrug:

Does this sound like an attractive design? Have you ever done anything like this?
 
I'd reverse bevel it for sure. Whether you put a riser in or not is purely a design element.
 
If the customer insists on this mat...then I like the idea of a RB....I do that alot when the white is too contrasting. Lifting the mat is a design I like to do as well.
 
One other thing I forgot to mention is that I would have preferred to do a double mat - but can't figure out how to pull off a double mat with a reverse bevel - that's why I was thinking about floating the mat.

Thanks to all for your replies so far - but keep them thoughts coming - the more the merrier!
 
redwolfbuddy said:
...but can't figure out how to pull off a double mat with a reverse bevel ...
Click to expand...

Not sure where the problem lies with this... I do it all the time.
 
I guess what I meant by unsure of double matting with RB is that I feel like it doubles the plain edge... I like lifting the top mat though. I'll play with it and see what I come up with. Thanks again!
 
You could cut standard bevels and paint them too....

We frame lots of antique paper - it's either reverse bevels or painted bevels - the bright white looks terrible next to antique paper....
 
You could also go to a good Independent art supply Store and get some light soft pastels and rub it into the bevel of the mat so it will match better.
If you rub it in it will not dust up on you.
 
What's the big deal about doing a reverse bevel with double mat - it's no different than doing a forward/front bevel - I do it all the time, just don't like the look of that bright white bevel on a lot of projects. :shrug:
 
redwolfbuddy said:
The customer has selected a mat with a little visual texture to compliment the subject matter.

My concern is that this mat has a bright white core. Now, my general rule is that when paper is aged, I avoid using any bright whites at all - the aged white of the paper should be the new white (highest tone) visible. (Is this a dumb rule of thumb? - It's worked for me so far...) I would have preferred a black core mat because of my hangups about the white issue, but I'm trying to find a way to use the mat with the white core.
Click to expand...

Did you make your concerns known to the customer?
We run in to this frequently with trying to match to photo paper. I let all of my customers know the photographer's preference is white core/white mat/black frame and my preference is any colour core/any colour mat/ and any frame as it varies by content of image.
Then I do the framing as they decided since it is their piece not mine. On many occassions they make choices I would not necessarily want to hang in my own house.
 
If you don't do a reverse bevel, you can always go with a solid core mats such as Crescent Solid Core Cotton Museum Mats. The core will be the same color as the mat.

I often use solid core for v-grooves, because the v-groove is very subtle, and you don't get the bright white core.

They also work well when you are doing double or triple mats, of different colors; the bevels are not as noticeable.
 
Colored pencils also serve as an easy method to soften or darken the edges of bright bevels - and would have a much more era-appropriate look than a reverse bevel, IMHO.
 
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