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Length cannot be less than zero. Parameter name: length Framing In Photography, Framing Effect, Natural Framing In Photography - Artezee
 
Framing
  • Framing In Photography, Framing Effect, Natural Framing In Photography

     



    There are few things more exciting than acquiring a great new piece of art. But whether it’s a newly discovered Kandinsky or an unexpected snapshot of the family, art isn’t finished until it’s framed and hung. Like the setting for a diamond, the frame around a work of art is the finishing touch, the element that completes and elevates a painting, presenting it to the viewer in its best possible light. Framing, however, is an art in and of itself, and just as a good frame choice can greatly enhance the appearance of a work, a poor frame choice can drastically diminish a work.

    Professional framing is invaluable, but it can also be very expensive. Even when using professional framers, it’s important to have a good idea of what you want – of what type of frame will work best for your piece of art.


    There are three important things to think about when framing any work of art:

    1. Does the frame match the style of the painting, and not detract from it?

    2. Will the frame look appropriate with the decor of the room it will be hanging in?

    3. Is it even necessary to use a traditional frame?

    There are no hard and fast rules, of course, but keeping these options, and your parameters, in mind, finding the right frame for your artwork is a cinch.

    What You’re Framing

    1. Subject and style. Modern art often works best with simple, clean frames (or no frame at all), while ornate frames complement more traditional works. A painting’s style should suggest the frame style. For example, a period painting or one of classical subject matter is well suited to a timeless, traditional, elegant gold-leafed frame or a handsome walnut or mahogany wood frame. Lighter, ethereal, or more abstract paintings may look best in sleek, less fussy frames. The opposite is sometimes true, though – the contrast between a traditional frame and modern art can be powerful. And for paintings that are in-between, there are transitional frames—those that blend elements of the traditional and the contemporary. Be aware that each frame has a specific profile, clearly seen when viewing the diagonal cut on a frame sample.

    2. Size. The frame should not overpower or underpower the work of art itself. Sometimes a large frame makes a fantastic statement coupled with a small piece of art, but sometimes keeping the frame and mat small is best. This comes down to intuition – though the mat and frame should not be the same width. That will create a “stripe” that doesn’t look quite right. Larger paintings usually look best with wider moldings and, therefore, larger frames.

    3. Color. There’s no need to perfectly match the color of the frame to the colors in the artwork, though they should complement one another and sometimes it’s fun to use unexpected frame colors. Choose a frame finish that doesn’t compete with the art in color or texture. For example, don’t choose a fussy frame with a mottled finish to go with a busy image.

    Where It Is Going

    1. Room décor. In some rooms, one style dominates, so any frame should fit into this style. Each work of art is its own universe. When the frame is selected to be of the greatest benefit to the art, the framed piece can be hung anywhere. A contemporary painting hanging in a traditional room doesn’t need to have a traditional frame; nor does a traditional painting in a contemporary room need a contemporary frame. Ornate frames in a modern room (or vice versa) can create a cool, eclectic feel. And don’t fall into the trap of choosing a frame to match others you already have; some of the most stunning groupings of paintings feature pieces in a wide variety of frame styles, sizes and finishes.

    2. The room itself. The best frame for a nursery is different than the best frame for a kitchen – even if the art itself is the same. Take the room’s use into account and work around that level of sophistication.

    3. The wall. What color is the wall? Are there architectural details? The frame needs to work not only with the art, but also with the wall surrounding it.

    4. Alone vs. Grouped. Groups of artwork look best when they’re framed totally consistently or with wild variety – pick one and commit to it. For lone works of art, the frame is especially important, as it will really be in the spotlight.

    Not every work of art needs to be framed. For contemporary gallery-wrapped paintings, framing is completely optional. The term gallery wrap or museum wrap refers to canvas wrapped around wooden stretcher bars and secured to the back rather than the sides of those bars. This mounting leaves the sides of the canvas smooth, neat and free of visible staples or tacks. When a painting/print on canvas is not gallery-wrapped, the stretchers are thinner and the staples are visible along the sides. The obvious intent of the artist is that the piece will be framed, and the frame needs to have sufficient depth to accommodate the thickness of the canvas and stretchers. Paintings on board or panel usually require the structure of framing for display, as do most paintings on paper.

 

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