One way to frame an expressive, textured oil painting is to contrast it with something clean, calm and simple. When we framed three epic oils by artist Tim Benson VPROI for his exhibition at the Mall Galleries, London, we knew they would look great in a frame that is weighty yet subdued and unobtrusive.
Tim's signature style of framing for his oils is a square, wide-faced float frame, painted in a flat, neutral hue. The simple shape and neutral colour provide a solid, calm border that recedes, allowing the painting to be the rightful focus of attention, while the heaviness of the wide section gives the frame enough weight to be able to contain the expressiveness of the brush strokes.
For these frames we gessoed the moulding to bring an extra level of simplicity with a beautiful, smooth finish and invisible joins on the corners. The paint we used is made by The Little Greene Paint Company, the colour being one of Tim's preferred colours.
Floating is a way of framing that allows the viewer to see the entirety of the painting. It is the ideal way to frame a painting that has an impasto paint application providing a respectful distance between the frame and the artwork edge.
You can see the paintings we framed for Tim Benson exhibited in the Threadneedle Space at the Mall Galleries.
Tim Benson VPROI / Lachlan Goudie ROI - New Paintings
Mall Galleries, The Mall, London SW1
23rd – 28th March 2015
Open daily from 23rd March 10am-5pm, 23rd & 24th March 10am -9pm
Presenting the new Copper frame collection at Fine Artisan Conservation Framers, they are ab-so-lute-ly the Cat's Pajamas!
The Copper collection are created with 100% FSC Ayous frame mouldings, finished with Copper foils on a trafila base from Italy in Art Deco style profiles.
The warmth and exuberance of these mouldings compliments the rich sepia tones of old family photographs which we have been framing for our new copper inspired window display.
You can create pleasing formations with groups of photographs like the flower formation below which takes advantage of their various sizes and dimensions. Photos can be mounted using multi-aperture window mounts or float mounted to display the photos in their entirety. When framing traditionally printed photography it is important to use the highest quality mount board.
The various types of photographic processes need to be considered to properly conserve photography. Alternatively you can have copies of your old photographs made which opens up the framing possibilities and allows for a greater choice of mount board colours.
The old family carte de visite photographic portraits we have been framing date from the early 20th Century. The Art Deco style of the copper frames enhances these photographs beautifully, delivering a sympathetic traditional style with a contemporary feel.
We have been framing some exotic flamingo illustrations by Shelley Revill which also work splendidly with our copper collection. The depth of the copper colour emphasises the confident hot colours in the illustrations while the solid simple form is ideal for modern simple shapes.
When framing Limited Edition Prints such as these, we advise to frame to at least Conservation Framing standard.
Here's a little more Copper inspiration for you with this dreamy romantic video - Dulux 2015 Colour of the Year 'Copper Blush' video with Sophie Ellis-Bextor
Visit our Client Space at Fine Artisan Conservation Framers to view the Copper collection.
We hope you find our copper frames most agreeable as they are the Bee's Knees!
One thing about picture frames we love at Fine Artisan Conservation Framers is how every aspect of the frame matters. It is remarkable how the slightest alteration of a frame's design can make a big difference on the effect it has on a picture.
The type of wood of a frame moulding can alter a finish, also the different pattern and contrast of the grain can be more or less visible.
Each aspect of a frame's design works to make the frame what it is. By simply widening the frame slightly, one might think the effect would be negligible, but just a few millimetres can make a frame look and feel much weightier.
Shape is also an important feature. By using the same colours and same finish on two differently shaped frames, the results are two very different looking frames. The shape has a big effect on how the colour behaves: how the light catches on it, how the finish sits amongst the crevasses (or lack of them).
The combinations are endless which makes creating frame samples a lot of work. Creating new samples is something which requires experimentation as well as some careful consideration. Colours and finishes need to be tested; the successful ones need to be applied to the right frame.
We would like to draw your attention to the following newly created samples in the Fine Artisan Conservation Framers workshop which are now available and on our display boards. The profile used for these samples is an elegant reverse section moulding with a frieze.
Both of these samples are the same profile, both have a paint and wash hand finish, and both are painted using Farrow and Ball colours called Pigeon and String.
The only difference between these two samples is the colour of the wash used to finish them. Despite these samples having more in common than differences, the result is two quite different effects. While the bottom one has a subdued greyness to the hues, the top one is brighter and paler.
Although the differences might seem small, the effect they are have on an artwork can be quite visible. It can be the difference between a frame working well and a frame working exceptionally well. This is why it is important to try out as many combinations of frames and finishes as possible. You never know which combinations will be the winners. We will be continually expanding our range of hand finishes and work with our clients to explore new possibilities.
Visit our client space to view our carefully selected collection of framing samples including our hand finished and gilded range.
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