In this article, we get advice from framing Singapore experts on the various considerations for framing artwork. Given the high value of your art pieces, you naturally would want to devote much planning towards protecting their condition. Hear what our art framing experts have to say.
Consider the medium of your artwork
For Watercolours, Pastels, Coloured Pencil, Graphite, Charcoal, Pen & Ink
Traditionally, watercolours and pastels sit behind a mat or mount card with an aperture to disclose the painting, with the entire lot then established behind picture glass. The same normally is relevant to various other ‘dry’ media also.
This is for good practical reasons along with looks. As a result of the fairly fragile nature of watercolour or sketching paper, it requires to be secured behind a mount, if only to stay clear of having to tape it straight to the frame. The glass after that gives additional defense to the picture itself.
With a pastel or charcoal, the glass obviously shields the picture just like a watercolour, yet the mount is essential to maintain the pastel or charcoal from contacting the glass, smearing the image and spoiling it.
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For Oils & Acrylics
With oils and acrylics, the much more durable nature of the paint (once dried out) and the canvas or board surface areas, normally implies that the demand for a protective mount or glass is not as important.
OK, I recognize you can paint oils and acrylics on paper and there’s no reason why oils and acrylics shouldn’t be framed behind a mount and/or glass, but it has a tendency to be much more the deviation than the rule.
I know likewise that you’ll see numerous oil paints behind glass in art galleries, yet this is invariably a protective measure to avoid inquisitive, sticky fingers and so on, or pure criminal damage, harmful centuries-old works of art.
Typically, any kind of photo with a mount has a tendency to require a thinner frame, otherwise it begins to overpower the actual piece of art.
This is because the mount card currently acts as a ‘framework’ so the picture framework itself is including one more boundary.
Traditional or Modern Frame
This possibly once again depends upon the subject matter yet area can also have a bearing on the frame.
A heavy gilt frame might not look the component in a minimal, ultra-modern glass and steel office for example.
Modern frames recommend tidy lines, tidiness and possibly fit a picture in a contemporary design, whereas more typical frames hand out an air of longevity, classiness and eternity.
It’s a generalisation, I know, but you do require to have some respect to the style and topic of your picture, along with area when adding the framework.
Does the framework allow the picture to breathe?
This to me is a truly crucial question when examining if the framework enhances the picture.
By permitting the picture to ‘take a breath’ what musicians tend to mean is whether the frame really sets it off and virtually ‘steps back’ from the painting, providing a backcloth where the emphasis is only on the work.
Or, does it show up to actually wrap itself firmly around the edges of the picture like a boa-constrictor, since it’s, proportionally, too tiny for the picture itself.
I’ve lost count of the amount of times in regional programs, where the musician has displayed a very great oil or acrylic paint, only to spoil it by putting it into any old frame, most likely since it occurred to be vacant and it happened to be the appropriate dimension.
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