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Author Topic: matting and framing - an art  (Read 10898 times)

Melodi

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matting and framing - an art
« on: April 22, 2009, 09:24:19 am »

Matting and framing is just as much an art as photography.  There seems to be a difference between a presentation that says "look at me, admire me, I'm a photograph", and "come to me, be still, experience me".  

I've only just begun  to try to find the right presentation for a collection of photos.  It seems that one must learn  this aspect of the process, and this might take a little time, just as much as any other step in the process.  

Do any of you who are more advanced have any tips for learning this art?
Do you cut your own mattes?  

It seems that it could help a lot to be able to play around a little more easily, especially in the learning process, rather than pay a lot of money to framers for experimental mattes in order to learn what works.

Thanks for any feedback.

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framah

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« Reply #1 on: April 22, 2009, 10:32:27 am »

Check out going to a framing school and then you will have a good solid foundation for your experiments  as well as knowing the equipment you'll need to do it right.

How strange for me to hear someone who isn't a framer consider it an art. I've been at it for over 16 years and I still enjoy using my skills in color and composition to create something more than what came in.
Anyone can slap on a mat and frame and call it done. It does take a good eye to be able to "see" what is in the image and bring it to the viewers eye without them only seeing the frame and mat.  If the first thing someone says is:  Wow!! look at that great frame! then I've not done my job properly.

It needs to be the final composition to the work being presented.

Some things only require a simple white mat and black frame and  others need a color in the mat or frame to draw your eye into the piece. Where do you want the viewers eye to go? Part of the composition of the image itself is to draw you into the piece but if the mat or frame is wrong, it will  create a visual fight, so to speak. The color you choose in the matting or frame should help draw your eye to the same color in the image so you  are drawn in smoothly.  At the same time, your color choices shouldn't be so bold or strong as to overpower the color in the image.

With all that considered..
rule number #2 is to ignore rule#1 whenever needed.

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Justan

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« Reply #2 on: April 22, 2009, 11:33:35 am »

I'm a little ways into the process of learning how to mat & frame images. I bought most of the materials and small tools from a frame shop, bought the highest quality mat and media cutters I could find, and bought about 1,500 pieces of matting board for experimenting.

I bought 2 books and a video (the video was made by F-T, the makers of my mat cutter). Following that has been experimenting and practice. I don’t have the best sense of color, so I turned to someone who is good at that for guidance. I'm finding that a key trick is to select colors that serve to augment or enhance the image without overpowering it. The use of matting can be a subtle aid to creating a harmonic with key color(s) in the image.

I started paying close attention to matting and framing in recent months and found that mat and frame combinations which match a room’s surrounding décor miss the target of helping the image most of the time, but a frame and mat that serve to augment the image always fits the surroundings. The key here is to make the frame and mat complement the image and not the room.

The end product is 100% dependent on the quality of the tools and the skills that go into using them. I've seen the results of inexpensive mat cutters and sloppy technique. Both are to be avoided.

dalethorn

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matting and framing - an art
« Reply #3 on: April 22, 2009, 11:46:35 am »

I bought two framed and matted prints from a local artist last month. We discussed other frame options, and I said that my impressions of the two prints were formed not just from the prints, but by the presentation which included the matte and frame. And so that's how I purchased them. Which makes me believe that 'x' percent of your customers will feel the same way. Which BTW puts an additional burden on the seller, if you accept that premise.
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framah

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« Reply #4 on: April 22, 2009, 03:11:57 pm »

I agree Dale.
One of the biggest problems i have here is artists who use crappy frames and sloppily cut mats and either can't figure out why their stuff doesn't sell or when a piece does sell, the customer insists that must be how the artists wanted it to look so we have to leave the sloppy mat on it.

Over the years, i have learned how to convince most people that the artist is using what they did solely to get it up for sale knowing the customer would probably want it finished differently for their house. Once they realize that they are quite open to having me do it right.  Then there are the artists I love who have me do their stuff the right way in the first place and then bump the price enough to cover my work and a little something more for themselves.
An artist of mine sold his pastels for $2,000 and after I framed them properly was able to sell them for $3,000 and my cost was around $450.

Perception is everything.
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situgrrl

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« Reply #5 on: April 22, 2009, 04:37:08 pm »

I learnt that for me, it's cheaper to pay someone who is good than shell out for the equipment and mistakes!  It's a skill that I personally have little passion for - but equally quite agree that substandard matting and frames ruin what I am drawing attention to.

Steven Draper

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« Reply #6 on: April 23, 2009, 08:27:27 am »

I decided to produce my own matts and frames. Per frame it is cheaper, although the cost in equipment and materials is substantial.

My choice was driven by three factors. Firstly I want the complete print / frame to be my own work. Secodly I live in a rural location and work is often short notice and there just is not the time to be using third party framers. Finally much of my work ends up at non standard sizes / crops.

I actually really enjoy framing. After hours on the computer or fiddling with the printer, not to mention taking all the pictures I find it very satisfying to complete the picture myself. I guess if working bulk it takes about 45 min of my time to carry out all the tasks per mid sized (upto 20x30) image, I'm sure there are those who go much faster! Small 10 x 8 are a little quicker - less glazing to get dust off!

I agree with the earlier posts that the frame has to work with its content. And then I see it as a matter of balance both in colour and in composition of the matt. One of the biggest tips I was given was to have slightly more matt showing underneat the picture than above it - how much depends on the image! And it is important to avois a stripy effect, say having the matt width about the same as the frame! It is also vital that framing looks well done. Rough or poor framing WILL result in work that will not sell. For my work that is framed I also offer a customised re-framing if required.

If your work is destined for an exhibition then check out the gallery, they may have ideas like black frames and double white matts only. If hanging a collectiong of work it certinly helps if the matts / frames are consistant across the body of work.

Technically there are some good points - archival matting is about standard so it would be a good idea to understand it - and make sure it is before saying so! I T hinge all my work.

Having good tools is an expensive investment, for example my little tool that fires in the little triangles to keep the work in place was $150, but after having a couple of mishaps pushing in glazing points with a screwdriver I can assure you well worth it! To cut matts I also use single edge finecut blades. Yes fairly expensive when compared to regular craft blades, but you only need to see the results and save a few matt boards by keeping the blades fresh to get your money back!

You may find a good start is to cut your matts, but have a framer produce the frames. Also there may well be a local artist who makes a few extra frames who can either help out or do them for you a little less than the high street stores.

Materials - If you can buy in bulk you will save signifigantly, try and find a frame suppllier who will provide you with discounts. Having to buy individual components will probably push the price close to their fully framed cost. Again if at a photo club see if there is the possiblitilty of placing a group order.

Failing that their are some internet suppliers who can suppy frame kits at reasonable prices.



Have fun!
Steven
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bill t.

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« Reply #7 on: May 11, 2009, 08:06:41 pm »

BTW framing is an art in its own right that has seen far more glorious days compared to its current commodity state.

Here's a neat little book that describes some basic framing techniques from a somewhat classic point of view.  Frankly not the best summation for today's mamby-pamby framing paradigm, but the heck with that.  Even better, it also offers quite a bit of information about the art of making frames, or possibly the making of art frames.  You can pick it up for 2 or 3 bucks on Amazon, well worth it.  Very practical hands on information for a lot of esoteric stuff.  Wood workers would like it, probably also Leonardo da Vinci.  Personally, I would use only Gold gilded Sully frames for all my work, would cost only $2k to $3k per large frame off the shelf, but I could do it myself for only a few hundred...hours each.

Framing may yet have a return to its glory days, thanks to a somewhat twisted return to classicism by some younger artists.  If you ever get a chance to go to a Mark Ryden show, do it.  OK, way off topic but for crying out loud you can never get too much perspective on these things.

http://www.amazon.com/Encyclopedia-Picture...5798&sr=8-1
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LukeH

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« Reply #8 on: May 12, 2009, 08:58:18 pm »

The place I go to locally used to have about 6 guys working there, but due to the financial dramas now there's only two, and so to learn the processes and techniques I work down there for free a few hours. Helps me learn and leads me to cheaper prints and frames.
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Thomas Krüger

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« Reply #9 on: May 13, 2009, 01:51:32 am »

Here in Italy at february there is a big trade fair every year especially for framing, the http://www.quadrumsaca.com at Bologna. Spending a whole day in the various boots you get a good idea how to start.

We got a manual quality mat cutter, the Astra from http://www.valiani.com/manual_detail.php?ID=7 and decided to frame with small aluminium mouldings. Framing only a small amount the cutting is done with a manual mitersaw, the NOBEX Proman 110 from Plano with a sawblade for aluminium: http://www.plano.se/GB/engelska.html
For the mouldings we use a no name brand, similar to the system from Nielsen from the spanish company Luz Negra:
http://www.luznegra.net/pag/catalogo.php?i...;opcio=producte

All the accessories occupy a minimum of space, the next step for a larger production would be to buy an electrical Makita 10" Compound Miter Saw like this one:
http://www.cpomakita.com/saws/all_saws/ls1040.html

Instead going for wooden frames the french company Cassese offers foot operated underpinners:
http://www.cassese.com/encrdang/assemblang/assembang.htm

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Steven Draper

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matting and framing - an art
« Reply #10 on: May 30, 2009, 12:19:51 am »



All the accessories occupy a minimum of space, the next step for a larger production would be to buy an electrical Makita 10" Compound Miter Saw like this one:
http://www.cpomakita.com/saws/all_saws/ls1040.html

I have this mitre saw for chopping my mouldings. I purchased a special blade which cost morethan the saw!
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bill t.

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« Reply #11 on: May 30, 2009, 12:54:23 pm »

Quote from: Steven Draper
I have this mitre saw for chopping my mouldings. I purchased a special blade which cost more than the saw!
If you're using a worksite chopsaw to cut your mouldings, it is probably better to use a 80 to 100 tooth cutoff or mitre blade designed specifically for chop saws.  The professional blades framers use are designed for machines where the blade runs continuously, these tend to vibrate from the sudden accelerations and crummy bearings of chopsaws.  Makita makes a very nice 80 tooth miter blade with an ATAF blade pattern, and Freud makes some excellent 80 and 96 tooth crosscut blades such as the LU85R "Ultimate Cutoff"  series.  I have also used low cost cutoff and crosscut saws from Lowes, these are OK for a few cuts but in the end are very costly because they have to be changed and sharpened so often.

The only time a pro blade might be in order is if you are cutting a lot of polystyrene moulding where normal blades cause melting.  Then you should use something like an Ultramitre blade designed for styrene.  You can theoretically cut polystyrene with any saw by making heart-stopping, slam-dunk, karate-chop stabs, but that still only works with a super-sharp blade.  The styrene blades give you a little more time.

Of course the real secret is keeping the blade sharp, and if your best local blade sharpener is not so good you've got a problem.

But those little chopsaws can do a nice job if you know how to handle them.  A lot of framers use them professionally, usually hooked up to a Clearmount or Phaedra measuring guides which are worth the price if only to get the lengths exactly right with the minimum hassle.  If you cut more than 2 frames a month you would soon discover you couldn't live without one.

http://www.clearmountcorp.com/miter.htm

Of course what you really want is a Morso chopper with 2 or 3 sets of blades (if 3" is you biggest moulding size).  Or a nice $6k+ dual mitre saw like a Pistorius, Brevetti, etc.
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framah

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« Reply #12 on: May 30, 2009, 05:46:03 pm »

If you make very many frames, a chop saw like you have really isn't the best for the job as you have to be always moving the saw from one side to the other to get the cuts. Everytime you do this, it puts a bit of a push on the angle top that keeps the angle where you want it. Over time, the 45 degree cut won't be a true 45 degree and that tiny amount off adds up the gap at the last corner join.  I started off with the chop saw like yours with the Phaedra measuring system. Got the Morso when I realized I wasn't getting tight enough corner joints.

As Bill said, you'd be better off with a Morso or Jyden chopper. They can be found used  if you look around. They are foot operated and can take a finger off without you even knowing you did it until you look down and see the blood.

I sold my Morso when I bought the Pistorius double miter chop saw with  140 tooth carbide blades. The blades are alone are $250 each! The saw was over $8,000 but worth it for the work I do in here. Probably overkill for you, tho.  
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bill t.

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« Reply #13 on: May 31, 2009, 02:12:03 pm »

Since we're talking about pretty expensive equipment here, so as not to mislead anybody it should be noted that there are some issues regarding choppers (like Morso etc) versus high end double mitre saws (like Pistorius etc).

Choppers have a hard time with mouldings that are more than about 3" wide.  And for reverse mouldings that are highest near the lip, that number will be smaller.

Choppers will almost almost always create chips on the sides of moulding if the sides are even slightly scooped out or curved.  Mouldings where the side is tall and curvy might not be possible to chop at all, since the moulding will roll when you try to cut it.

Sometimes decorative compo mouldings will fracture and crack, and if the blades have dulled somewhat they may cause chipping on smooth painted mouldings.  

Choppers can be a PITA on dense, thick hardwoods which also greatly reduce blade life.

Changing chopper blades is scary.  You should be super attentive and completely undistracted when using a chopper.  Sooner or later you may hurt yourself, those huge knife blades are razor sharp, just brushing against them can cut you.  If you are lucky your first cut will be minor and you will be forever warned...but there are less pleasant possibilities.   If you don't remove the two Plexiglas protection sheets choppers offer reasonable finger protection, but even so newbies are too easily tempted to get their fingers way too close to those blades, especially when pushing the moulding through or cleaning up debris or adjusting the rabbet supports.

Choppers create beautiful, accurate cuts in most mouldings.  They make very little noise, take up minimal space, and create virtually no airborne dust.

Those of us blessed with the Wisdom that comes with Age may find our chopping knees a little weary now and then.

Almost anybody can repair a chopper.

The cost of installing a chopper in your shop is very low.

Choppers are by far the best way to cut linen liners where the linen is pre-applied to the backing.  Many framers keep a chopper around only to cut liners and fillets.

Bottom line, for the type of moudings they can handle choppers are great.  When I only had a chopper I only used mouldings I knew it could cut well, and I was completely content.

OTOH...

Saws can cut almost any moulding, including very large mouldings and mouldings with scooped out areas on the side.  A 12" Pistorious maxes out at about 4.5".

The industrial saws offer pretty good bodily protection systems.

Dull saw blades will chip delicate mouldings on all surfaces.  But a pair of really good blades will last a really long time.

Saws make a lot of noise and create enormous plagues of dust...you need a very high quality dust control system if you want to have a saw anywhere near your framing area, and even then you will still have a minor dust problem.

A really good double mitre saw needs 220 volts 3-phase to run its two big motors (1-phase types don't have as much power).  Most types need shop air.  This along with dust removal puts the cost of installing a good double mitre saw in your shop as high as a few thousand dollars (beyond the cost of the saw).  You need to give it about 80 to 150 square feet of your space.  If you install a big saw, you had better have a business plan that includes its heavy use.

But in the end saws are very fast, it's ca-chung and you're done, you gotta love it.

Sorry to have drifted so far OT from the Makita thing.  Maybe what all the above is really saying is...if you can make that Makita work (as so many have) then go for it because the next step up is a big one.  Or maybe it's saying your local framer is a better idea than you first thought unless you're doing high volume framing.

Oh, there is one minor step up from the Makita (etc) chop saw, which is to have a manual framer's sander which can (usually) true-up or at least improve sloppy miter cuts out of the saw.
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