We touched on framing in our blog post last year which discussed how to effectively light a painting. Now, we’d like to take a deeper dive into framing as we have also had many questions from our customers regarding framing, and we would like to further share our perspective. As with lighting, there is no correct way to frame a work of art.

We asked our friends at Alley Gallery, a frame shop in business in Evanston since 1985, to give us their top framing tips to share.

Most important, they say, is that the characteristics of the artwork itself should dictate the frame used. This includes aspects such as style, color, and texture. For example, a portrait painting from the 1800’s might look best in a traditional carved wood, gold-leaf frame, while an abstract piece of art might look better in a thin, smooth floater frame. Seems simple, right? But with thousands of frames to choose from it can sometimes be difficult to find the “right” one.

Related to this first point, Alley Gallery also believes that it is very important not to base your framing decisions on your interior décor, which is sure to change over time. By basing the frame decision on the artwork itself, the work will always look good and complement any décor.

Works on Canvas:

There are two types of frames for works on canvas – traditional and floater frames. Traditional frames cover a tiny bit of the surface of a painting, so that there is no gap between the frame and the art. Floater frames, on the other hand, are just the opposite. The painting sits within the frame, leaving a small gap between the painting and the frame. Traditional frames can be thick or thin, carved or plain, while floater frames are typically fairly thin and plain. They are used to give a more contemporary feeling to any type of painting.

Actually, it is not necessary to frame every piece of artwork that you purchase. For example, there are many pieces here at Vivid Art Gallery that do not need to be framed because the sides of the work have been painted, essentially continuing the work beyond the traditional canvas space. However, if the sides of the canvas are unfinished or have been stapled, a frame is necessary.

An unframed piece with its edges painted.

Works on Paper:

Of course, if you are framing a work on paper, there is more to choose than the frame. Works on paper might be “floated” on a backing board, so that the edges of the piece are visible. This method is often used when the paper has attractive deckled edges. Alternatively, works on paper the pieces might be matted. Matting functions as a means of securing the artwork and making sure it lies flat. It also is used to increase the focus on the art itself by choosing a complementary color (mats don’t have to be white!) While a single mat works, an accent mat tucked inside the primary mat can create a thin outline around the work that can be an effective way to accent the painting.

Glass vs. Acrylic

When framing works on paper, there is a choice of glass or acrylic to cover the piece. There are multiple types of both glass and acrylic, with varying levels of glare and UV protection. With regard to glass vs. acrylic, it’s up to you. Over a certain size, your framer will likely recommend acrylic due to the weight of the work. Acrylic is shatterproof, but it is more susceptible to scratching. Your framer will be happy to discuss the choices with you.

Budget:

Budget is certainly a consideration in choosing a frame. Typically, wood frames are more expensive than metal, but most framers carry a wide price range. Wood frames are available in both contemporary and traditional styles, while metal frames are typically contemporary. As we mentioned above, choosing glare and UV protective glass or acrylic will also add to the cost of framing.

Art Integrity:

Another objective of framing is ensuring that a work of art maintains its integrity over a long period of time. There are several conservation aspects to consider, which any reputable framing shop will take into consideration. These include:

First, any matting materials that are used should be acid-free. Most paper is made from wood pulp, which contains a naturally-occurring chemical compound called lignin that produces acid as it deteriorates, which can have a negative effect on the mat. Acid-free paper can either be made out of cloth or rags, which eliminates the chemical compound, or manufactured to limit the amount of lignin present in the paper.

Another consideration is protection from UV rays, which can damage artwork. Fading of paints and inks, and yellowing of paper can change the look and value of an artwork. The sun affects different mediums differently; for example, an oil or acrylic on canvas work is less affected by UV rays and can be placed in indirect sunlight. Works on paper are typically protected by UV glass or plexiglass, or have been treated with UV sprays.

Conclusion:

Effectively framing artwork can seem like a difficult task, but a good framer can make it actually quite simple. They will be happy to recommend a range of good frame choices, and will ask questions about where the work will be hung, how much light it will receive, your budget, etc. What is important to remember is that there is no “right” way to frame a work of art; successfully framing truly depends on the type of art, budget, and how much protection it needs to ensure the integrity of the work over time. Embrace the choices that you have to frame your artwork; such options are there to make your work look its best.. While this is just a brief discussion on framing, we hope that it has been informative and will inspire you to do further research as you go through the framing process.

Ask the Expert: Framing Art - Considerations As You Move Through the Process