Frame Design Made Simple


Every frame presentation is different (that is one of the reasons we love what we do) so there isn’t a formula for the perfect design. There are, however, many elements to consider when creating an inspired and personal framing presentation. We’ll try to keep things simple for you.

Color Made Simple. Color is an important attribute of our world. It influences our attention, our mood and our actions. To some extent everybody is an artist, or designer, making choices of color frequently.  For that reason, frame design almost always begins with choosing a mat color. This selection is important because it provides the visual space, or nest that your art will be displayed in. We will want to look to your art first to pick the colors that will best suit as the nest. The tints and hues of the mat should coordinate with your art or else they will compete for attention. Ideally, the intensity of the mat color should be similar to the dominant colors of the art.  In other words, dark pictures need dark mats, and lighter pictures need lighter mats. Of course, there are always exceptions. Certain art pieces are best served by neutral colored mats or deliberately contrasting colors. That’s where the imagination and creativity come in.

Scale Made Simple. One of the biggest design mistakes that people make is allowing the framing to take the visual interest away from their art. Good framing design adds to the overall presentation of your art, but it shouldn’t be allowed to steal the show. Artwork varies from images with lots of delicate detail to images that have a single strong visual element. Some pieces are tiny and some are huge. The scale of the frame and the width of the mat must be matched to the visual strength and the scale of the art. Strong pieces need strong frames and wider mats so the frame does not look spindly and the art isn’t crowded in the frame. Special care must be taken with delicate pieces since they can be overwhelmed by frames that are too dark or too large. Size isn’t the only measure of an image’s strength. If you had a postcard from Harry S. Truman, it’s historical interest may dictate stronger framing than the souvenir postcard you got from your uncle in Florida. Conversely, your oversized modern art poster may call for a very simple frame.

Style Made Simple. As much as you would like your modern geometric abstract to fit into your room filled with antique  portraits, framing it in a gold Victorian frame is not going to do justice to your abstract. Similarly, a frilly feminine figure study will not look good in a shiny angular metal frame. The historic period, overall feel, and style of your art often give hints to the type of frame that will be appropriate. Some pieces lend themselves to different treatments such as a Rembrandt poster that could be framed simply as a show poster or rather ornately to reflect the style of frames used on Rembrandt’s originals. Sometimes mixing styles can be very interesting as long as you’re following our cardinal rule about not letting the framing take over the artwork.

Texture Made Simple. You don’t have to be a great connoisseur of wood to realize that the different grains and textures of a moulding have a huge influence on its overall appearance. For example, the rough grain of an oak frame is often best suited for casual, outdoorsy pictures. The texture of a maple frame, by contrast, has a completely different feel, perhaps something more formal or modern than oak. The same goes for the mats. Differently textured mats can make either a more dramatic or subtle transition between the art and frame. Today there are a wide variety of interesting textured mats and frames. Sometimes patterns in the art can be tastefully mirrored in the frame design to great effect. If there is a strong architectural element in a building, for example, sometimes using a frame and/or fillet with a similar pattern can bring unity to the whole package. Strongly patterned frames can be very dramatic, so they must be used with care. Sometimes our when our customers fall in love with strongly patterned frames that are clearly inappropriate for the artwork they came in to frame, we suggest using those frames on mirrors. There is no frame on our wall that would not make a great mirror somewhere.

Preservation Made Simple. Good frame design does not end with pure aesthetic considerations. Structure and preservation have to balance your other design choices. We’re sorry, but it doesn’t matter how much you like the soft half-inch wood frame on your huge poster, we’re not going to let you walk out with a frame that will fall apart before you get to your car. We also need to consider which framing methods are most appropriate for the long-term preservation of your artwork. Even though glass doesn’t improve the appearance of your watercolor painting, it will protect it so that you can enjoy it many years from now.