I
have it from the mouth of a professional framer: Michael’s frame jobs are
overpriced. Smaller shops like his don’t exactly run cheap, either. So, can
artists with limited budgets really do quality framing on their own? My reply:
Full
disclosure: a year ago, I didn’t even know what a “mat” was, nor did I
have any concept of framing as an art unto itself. To me, a frame was a
utilitarian object with which one could attach artwork to the wall more efficiently
than with putty or nails. I have since been reformed, thanks in large part to
being lovingly nagged into doing a solo art show.
Since
I’m not able to make frames from scratch, I rely on second-hand ones from
Goodwill and other thrifty sources. On average, they cost about $6. I prefer
wood or wood composite for look and overall ease of use. (Have you ever tried
screwing something into a metal frame?) My experience is limited, but here are
some things I’ve learned:
What
You’ll Need
Pliers
and hammer—many uses in removing old contents of frames and putting in the new
Lemon
oil furniture polish—improves appearance of wood frames
Mat—that
cardboard-y frame thing that goes between the art and the glass
Backing
(my name)—that cardboard-y sheet that goes behind the artwork to protect and
hold it in the frame
IMPORTANT
NOTE: Canvas artworks like oils and acrylics generally don’t need glass, mats, or
backing, but more fragile ones like watercolors, pastels, and pencils do.
Offset
screws—a delightful invention that can be flipped around to attach an artwork
that sticks out of the frame or sinks down into it
Electric
drill—for the screws…unless you have fingers of iron
Dust
cover (my name)—the sheet of brown (or whatever) color paper that covers the entire back
of the frame and artwork
Elmer’s
glue or double-sided tape—for attaching dust cover
X-acto
knife and/or scissors—for cutting paper
Vent
hole (my name)—a small hole in the dust cover (only necessary for canvas
artworks like oils and maybe acrylics) that lets the canvas breathe
Eyelet
screws (my name)—screws with looped heads that hold wire
D-rings—screws
with rings attached, more “high-class” than eyelet screws
Picture-hanging
wire—multi-strand wire, more durable than baling wire or string
How
to Pick the Right Frame
Bring
a tape measure. If framing a canvas, measure the back inside edge of the frame.
If working with a piece that needs glass and mat, measure the inside edge of
the mat. Mats are particularly difficult to find in the right size. If you have
the ability to cut your own, I applaud you. Mine usually turn out looking like
chainsaw art. Sometimes I buy a frame just to get the mat inside.
Test
the solidness of the frame by tugging the sides to see if the corners are loose.
Ask
yourself some questions:
Does
the color and design of the frame and mat match or compliment the color and
design of the artwork? Wood can be stained a new shade, and mats can be painted
a new color, but it’s nice to be able to work with the original.
Does
the size/color/decoration of the frame and mat overwhelm the artwork?
 |
| (Not my art) Too much frame and mat |
 |
| (My art) Better balanced |
 |
| (My art) Too little frame--and no mat |
Assembly
Because
there are plenty of helpful instructions on the Internet and elsewhere for how
to frame things yourself, I won’t do a step-by-step. I’ll just mention a few handy
tips you might not learn on the Internet.
Scratches
in a frame can be corrected with markers or a dab of acrylic paint.
Make
sure the frame is thick enough so the screws don’t poke through to the other side,
and wide enough so nothing hangs over the edge.
Drill
carefully; some wood might crack.
Double-sided
tape is the cleanest way to apply the paper dust cover, but sometimes it doesn’t
adhere properly, so test a little piece before you lay it all the way around.
If
the dust cover is curling crazily and you can’t get it to stick, try pressing
it against a flat surface like a table or door, and rubbing it down with a wet
cloth to smooth it out. This will also help it dry tight. A friend of mine
recommended completely soaking the paper in water, but I haven’t gone that
extreme yet.
I was
told to use an x-acto knife to trim the edges of the dust cover, but that ended
up looking messy most of the time. I find it easier to just use scissors. The
main goal is to make sure none of the dust cover shows over the edge of the
frame. An x-acto knife is good for making the vent hole—just don’t cut too
deep!
D-rings
are the “official” hanging apparatus, and art shows and galleries are likely to
require them. However, eyelet screws are much more economical. They can be a
little hard to put in. My method is to pound a small nail into the spot (maybe 1/4
inch deep), pry that up, then twist the screw in with my fingers and the rest
of the way with pliers.
I
think there might be some disagreement in the art-framing world as to whether vent-holes
are necessary, but I figure they can’t hurt. The professional framer I referenced
earlier didn’t think dust covers were even necessary for canvases. I take
objection; I’ve had to clean them.
There’s
a basic concept that applies to all framing jobs: the frame is there to enhance
the artwork. The frame can command attention, but only so it can draw the eye
inward toward the picture. If the frame retains attention, then it has failed
its purpose. It might seem unfair after all the work—and sometimes physical
pain—it took to put that frame together. But the truth is that a frame is most
beautiful when it is barely noticed, except as a seamless piece of the greater
work of art.
“He must increase, but I must decrease.” –John the Baptist, speaking
of Jesus (John 3:30)
…That they may adorn the doctrine of God our
Savior in all things. –St. Paul, in a word to servants (Titus 2:10)
