Category: Design News

By Valerie Becker, MCPF

 

In January, I spent a week in Las Vegas for the annual Professional Picture Framing Convention. It was a great success! My first year on the Competition Board has passed quickly! It is fulfilling to be a part of the team with my colleagues Robin Gentry (Bowling Green, KY), Alan Abeyta (Phoenix, AZ), and Elizabeth Hellsten (San Antonio, TX). Here are some highlights from the convention, held at the Paris Hotel.

The first day was spent unpacking the competition pieces that were sent in for judging. On day two, the judges came in at 8 am and worked late into the night. There were a lot of pieces to judge!

PPFA competitions offer two categories. The PRINT category is a specific artwork chosen by the competition board each year. The challenge is to frame the designated print using proper PPFA established techniques and appropriate design. The OPEN category is a fun group in which the framer chooses his or her artwork or object to design and frame. Since I am on the Competition Board, I cannot compete for the length of my term, however, I am greatly enjoying the educational benefits of being on “this side” of the game!

On the third day, before the tradeshow opened, we hung all of the competition pieces for display. The winners of the competition were announced at the annual PPFA President’s Dinner. The display was huge, inspirational, and demonstrated beautiful craftsmanship.

 

 

Congratulations to this year’s
PRINT 
and OPEN winners!

First Place, and First Time High Point Entry: Karen Fox, Art Heads Custom Picture Framing, Lake Oswego, OR.

Janine Buechner, MCPF, Artists Guild LLC, Sturgeon Bay, WI

After our initial competition duties, it was time for education. The Competition Board taught two classes: Understanding Competition and a Judge Update class. One of the priorities for the Competition Board is to train and recruit judges for the competition.

 

 

 

 

 

I was also able to take a few classes for myself, in order to keep my Master Framing designation up to date. My MCPF recertification is required every four years. There was a little time to catch up with my frame vendors, and to hunt for next year’s competition PRINT. The final day was spent carefully repacking the competition pieces for shipment to their owners. It was wonderful to be in the midst of so many fantastic colleagues!

I have two more years serving on the Competition Board for PPFA and I’m looking forward to an exciting year of industry competition, inspiration, and education.

One of the most common questions we receive from customers during the design process is “Should I have a mat?” followed by, “How much mat will show?”

The answers depend on several factors, including the type and size of the artwork, archival and mounting requirements, current trends, and of course, customer preference. Our design team, led by Master Certified Picture Framer Valerie Becker, is experienced in crafting the perfect mat design for each custom project.

Some artwork requires matting so that it may be properly mounted for museum quality preservation within a frame (yes, we do that). Delicate artworks with holes, torn edges, or unsightly borders may look incomplete without matting. Art prints with wide paper borders may be improved with a single or double mat. Sometimes a mat is unnecessary, even being a detriment to design. This sweet needlework for example was completed with a border that served the framing composition perfectly without a mat.

According to industry expert Chris Paschke of Designs Ink, professional framers and designers typically follow proportion and ratio guidelines such as maintaining mat margins that are wider than the width of a frame, avoiding “stripes” by using wider mat margins and by varying widths of extra mats and art borders, and ensuring “breathing room” for matted artwork (2001). Paschke suggests that contemporary designs demonstrate wider mat dimensions

The first image below represents a “gallery style,” with a wide and thick white mat—plenty of breathing room for the little fox. To make more sense of this concept, consider the wide mat as a wall in a room with the fox image hung on the wall. Would you look first at the plain wall, or the fox? A little Photoshop magic shows the fox again with a thin mat. Although the image is larger, the thin mat and frame start to look “stripe-y” which can be distracting to the eye and add a subtle confusion.

 

One alternative to the “wider mat” guideline is when a piece of artwork is float mounted. This type of design is characterized by an artwork that sits on top of, rather than under, a mat. In these designs, it is standard practice to maintain a small mat margin as seen to the left in this pastel by a customer’s little granddaughter.

Extra mats and specialized fabric mats use color and texture to enhance the framing design. The print below by Andy Warhol is matted with bright base color that accentuates the artwork’s “Pink Lips.” The dramatic blue suede mat atop the ship draws the eye to the artwork by gently contrasting the art’s highlights.

The most important rule of matting, however, is that there are no hard and fast rules. The overall goal of framing is to enhance the artwork, and to draw the eye to the artwork or object(s) being framed. Much discretion on how that is done is left to the eye of the designer(s). As Paschke notes, “Some framers have a natural eye for identifying a design that fits, and this is often why some designs appear much more successful than others” (2001). Experience, training, and a discerning eye for aesthetics is a large part of the formula for “right” matting. (We’ve got those covered.)

We are happy and excited to compose your project with you, and we guarantee our designs. Stop in or call to schedule an appointment to work with MCPF Valerie and her team!

References

Paschke, C. A. (2001, June). The essence of design: Proportion. Retrieved April 30, 2017, from DIP Online website: http://www.designsinkart.com/library/D-EssenceofDesignProportion200106.htm

 

In the framing world, a fillet (typically pronounced “fill-it”) is a super small frame with a reverse lip that fits inside a traditional frame or under a mat. Fillets can provide extra flair or dramatic enhancement to a frame, or incorporate an additional level of showcasing to a piece of art.

You may notice that the ornate fillet around pastel madonna adds a touch of elegance to the rustic style frame. Our 1st place chapter winner featured a blue frame fillet matching the bold blue in the needlepoint. Finally, the beautiful Belle is displayed with a bold mat rimmed in a delicate fillet, giving her design the right amount of sass to match her personality, per the owner.

 

Fillets exponentially grow the creative possibilities of framing design, and as we always say, the more creative options the more fun to be had!

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