Cohesive framing?

[Lacey Lewis]

You have no idea how helpful that pic is!

If I may ask you another question: What did you do about canvases the deeper, heavy duty stretcher bars, if you used them?

Part of my problem is that the only thing I am finding online for them are the floater frames, and I'd like it if I could find a frame that covers that 1.5" on the side. I would rather have each one in its own regular frame instead, say, of 5 in floater frames and 5 in assorted other frames.

[Linda Nelson]

Although I prefer to use the thinnest stretcher bar reasonable for a given size so that I can leave my framing options open, I find it really doesn't make a bit of difference if the painting is deeper than the frame (up to !/2 or so). Otherwise I have also been known to literally re-stretch a finished painting on thinner stretchers, if I felt the construction of the painting needed to be on the heaviest duty stretchers, but the frame selected is too delicate to handle the deep stretchers.

Limit how much you sacrifice your frame choices by something as technically drab (from a client's perspective) as to how thick the stretchers are. You'll have to live with this experience at the back end of a project anyway when doing a commission, so get to know your options so that you can make the conclusion of a project an enjoyable one for both you and the client.

[Chris Saper]

I have a somewhat different viewpoint, I guess. I look at an exhibit wall just as I look at a painting- it needs to hold together cohesively.

For me that means frames of a similar - not necessarily the same- look. When you are buying frames for exhibit, I think it makes sense to have something simple and flattering, so that if you need to change out paintings for the next exhibit, you can do so.

You'll need to be presenting first impressions to clients in a frame, so I think that simple and flattering makes sense. If you get into strongly designed or stylized frames it might be harder for someone to envision the painting in his home.

There are definitely two schools of thought on the issue, so you'll need to decide what is best for you.

For thick stretchers, you'll need to look at frames styles that incorporate a "back- up" or "extra depth." I think this is generally a good idea regardless of the stretcher, because otherwise the painting can't sit flat against the wall when it's hung.

[Jen Reinstadler]

Chris, just out of curiosity, what basic style have you chosen to use?

Do you think one's style of painting dictates that basic frame or is it mostly personal taste?

[Chris Saper]

For my oil work, I use one of two types of wooden painted frames: a soft gold color, and a warm silver color; but have the same profiles. I use one or the other depending upon the dominant temperature of the painting. Most are very simple with a similar width of the frame - about 3 1/2 inches. Some have no decoration at all, some have a bit in the corners. But they are all compatible in appearance, and have a unified look when hung. (I group the golds and silvers separately - I don't like two-tone jewelry either ).

Below are some of my favorites from Abend Art. They are reasonably priced. I like the black liner for some pieces, it has a deco feel and makes a painting look formal.

For my western paintings, all have a weathered barnwood look - same frame width, some have a linen liner, some don't. Still they all look like part of a series when hung.

For my pastels, I framed them all the same. Same mat, same width of the mat, proportional to the frame, same gold satin finish metal frame. That's not to say I don't occasionally add a Baroque style in with the gold wood, or make other choices. But mainly I want a cohesive look in standard sizes so that I can change out paintings easily.

[Chris Saper]

PS Sorry Jen, I didn't answer your question completely.

Mainly I don't impose my taste on either presentation frames for commissions or for inventory for sale pieces (which are really rare for me anyway). I leave it to clients to impose their own taste on the frame that they ultimately buy, since I don't get into frame decisions with people.

As to style, I can't really say. In general a simpler paintng can support a more decorative frame and vice-versa.

That being said I know that there are many artists who make framing decisions for the client based on what the artist thinks is right for the painting. There's no right or wrong answer, just what works for you..

[Linda Nelson]

As Chris said, it's whatever the artist thinks is the right mix for their work and business. Personally, I am at the other end of the spectrum from Chris - I not only frame every display portrait to what I think is the most flattering for each peice, I also offer my wholesale framing account to my clients, and either bring a selected frame corner sample to their house when I show them the finished painting, or invite them to meet me at the frame shop and we can pick something together.

This way I can know that the the the most flattering frame is going on the painting (since it's wholesale there's no guilt to go for whatever is right), my client is happy cuz I'm following the project to it's end by being helpful, saving them $, and taking the time to provide my "artistic opinion" which many seem to appreciate. In fact, EVERY client I have had in the last 4 years have chosen this option at the end.