The Fine Art of Framing Fine Art

The first thing to know about framing is that it should make the art look good.

Good presentation enhances the art; bad presentation can kill it. Choices of presentation should provide a background that draws the observer’s eye to the art, but should not overpower or compete with the art.
The second thing you should know is that framing is supposed to take care of the art.

Preservation is important, because most damage to photographs is caused by improper framing. Presentation mistakes can always be corrected, but mistakes in preservation are usually permanent, leading to complete destruction of the photograph in some cases.

Mats

A Mat Separates glass from the art surface

This is important because moisture will condense where there is no air gap, inviting mildew and mould.

A Mat Provides a Visual Background
For this purpose, the wider the mat, the better. If the mat overpowers the
art, then mat colour is wrong. Mat width affects the visual importance of the finished piece.

Colour Choice

Top mat should be neutral in colour, and of less colour intensity than the art. If the top mat dominates, it will distract from the art. Additional mats beneath the top mat can be used to provide accents for colour coordination with surroundings or to emphasize certain colours in the art.
(I always stick with a snow-white mat for my images)

Mat Width

Narrow mats are usually more distraction than enhancement.
Wide mats create focus toward the art. Standard sizes for ready-made and open frames usually correspond to standard photograph sizes.

Frames

Aluminum frames are safe, light-weight, relatively inexpensive, and come in all sizes and colours.
In terms of fine art photography a black frame is highly recommended.

Wood frames can attract insects, and they give off gases that are harmful to the photograph.

Glass

Clear picture framing glass is most common and least expensive for general purposes. Often called “regular” glass, but should not be confused with lower-quality window glass.

Non-glare glass is about twice the price of clear glass. Its etched surface blurs the image when viewed from side angles, especially when glass is properly separated from the art surface; more separation, more blur.

Ultraviolet-filtering glass is available clear or non-glare, and is recommended for all preservation projects. It is coated inside to filter out more than 95% of harmful UV light, which causes fading. UV rays are in all light, but very strong in sunlight and fluorescent light. Cost of UV-filtering glass is about the same as non-glare glass.



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