Choosing a frame should always be a collaboration between Framer and customer.  Ideally choosing a compliment for any artwork should be dictated by the individual piece of work, but quite often décor of the customer’s home can be taken into consideration. It is the obligation of the framer to advise the customer of external influences that can damage their piece of work and suggest to them techniques and procedures to ensure longevity to their art. For example conservation materials to UV glass. Basically this means that if you’re going to be placing your art in an area that received regular sunlight, then you should take steps to protect the art.

There are a few main things to consider for your options, some of which are personal taste and some are about complementing the art.

 

Size of the frame

The size of the frame in relation to the art is a key aspect. The width of the frame should be in proportion to the artwork and shouldn’t detract from it. However, in some cases a large frame with a small viewing area can emphasize the art.

 

Type of frame

The frame can range in shape and complexity from a simple rectangular white frame to a ornate gilded golden frames. The selection depends on your personal taste and the décor of your home, while achieving a balance with artwork itself. Sometimes this can be the most daunting step… just look at all of that selection! But if you don’t know where to start, then that’s where our many years of experience helps.

 

Matting

Matting is an area of mystery to most people. There are endless posibilities and options here. Single, double or triple mat. Colours, black or white or any combination of those. There’s a trick that we use at Visual Effects and that is to place matting samples on the art, then isolate matting with the art colours to see how they work in tandem. It really helps to visualize the colours together. 

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A Great Example

Here’s a great example that showcases all of the different aspects that we have discussed above. For this moose hair tufting, we’ve selected the colours to match the dominant colours in the tufting. Using the orange for the matting draws the eye into art. The double matting, cut into an oval emphasizes this attention even further. The black backing of felt, really allows the tufting to pop out of the frame. The frame’s colour relates to the stems (made from porcupine quills), again pulling attention into the art subtly. The structure of the frame is simple and not overly adorned.