Another non-white mount...

[Jayvee]

Each to their own I suppose - I love this frame! Just had the samples in myself can't wait to use them! But then again I love the Dennis Mathewson frames from across the pond - I think this is the closest we have got for the time being!

[Glimpse]

The mount etc looks fine but I really dislike this sort of frame, What is it supposd to be/represent?. looks plastic a lifeless.

I suppose this is the problem with framing being such an old fashioned and stuffy art... In the flesh, it looks rich, vibrant and adds another dimension to the artwork. Personally, I tend to seek out frames like this, rather than sticking with black and white, or mahogany-with-a-gold-sight edge.

It isn't supposed to "be" or "represent" anything, in the same way that ornate moulded frames used for the past couple of millenia aren't supposed to "be" or "represent" anything.

[Roboframer]

Sometimes you can break every 'rule' in the book and it'll look great - some people that have rules - like off whites suit most things - have my sympathy - it's like dancing in a room with a low ceiling.

[prospero]

With this sort of design you are getting away from the 'traditional' wide mount/narrow frame. The mount in this case relates more to the frame than the image. Almost as if it were an oil painting frame with the pale border of the print serving as a liner.
The image is quite busy and strong, so if can compete with a showy frame. The key is the print border. If it didn't have one then engineering one into the mount would be desirable.

Just by fourpenneth.

[IFGL]

You are spot on Prospero, nothing clashes and it does look good, a bit heavy for my taste but it does work, I did do one similar last week which was a very gothic picture lots of black, skulls and blood, did a black frame black mount with black core with a single deboss line, it did look like a extention of the frame and quite good.

I think roboframer mentioned that burgundy would have been his choice rather than red, I agree with that, I find red usually draws my eye, I probably would have used a solid core board or coloured the bevel, reverse bevel.

Darren

[Geoff]

It isn't supposed to "be" or "represent" anything, in the same way that ornate moulded frames used for the past couple of millenia aren't supposed to "be" or "represent" anything.

Glimse: I just wanted to say that, I find your above comment ridiculous! On what grounds are you basing this judgement? I couldn't disagree more with it..When you refer to the frame you mention adding another dimension what on earth do you mean? Doesn't that in itself imply what you yourself disagree with? Rich and vibrant!....I don't think so. Like the picture though!

[prospero]

One factor that we have no influence on when designing is where the thing is going to end up. The OP frame, while there is nothing fundamentally wrong with it would fit in better in some environments than others. In some homes you would need a quite OTT frame to compete with all the other OTT furnishings people have. I can see that frame fitting in very nicely in the right setting. No so much in a more minimalist decor. So it's not always wise to try and talk folks out of a frame they are set on just because it wouldn't 'go' in your own house.

This is harking onto 'design rules', but I once had a frame in that needed a bit of hanging engineering done so that it could be hung on a sloped wall. (I won't go into that....). This was quite delicate and detailed acrylic, but had the look of a trad watercolour. About 14x18" or thereabouts.
OK, it had a wrapped deep bevel mount about 5" wide, with full monty washlines. The frame was a huge ornate gold jobby about 5" wide. Big swirly corners -the whole nine yards.

Despite all that it looked fine. Apparently, as I was told at the time, that is how things are done in France.

Diff'rent Strokes.

[IFGL]

again Prospero I could not agree more, in fact I said something similar on another thread, knowing when to break the rules is the skill, I keep a base ball bat under my counter but I don't use it on every customer

The first question we ask is where is it going, and what decor have you got? 90% are some kind of off white wall, and about 50% of that are magnolia, we then set the wall colour on our software, this does impact on the final outcome.
Often the customer is not concerned about where it is going, so we set the background as very light grey. In some cases I will visit the premises, but this is factored into the costing and usually on projects rather than single jobs.

I have even printed out the visual at full size for the customer to check on site, this is charged of course.

[Glimpse]

Glimse: I just wanted to say that, I find your above comment ridiculous! On what grounds are you basing this judgement? I couldn't disagree more with it..When you refer to the frame you mention adding another dimension what on earth do you mean?

I'll not waste my time explaining what a good dictionary will explain. Maybe come back when you've brushed up on your vocabulary.

[Geoff]

Glimse: I thought my request might have found you searching for answers. I suggest, when you have time you read up on such matters and you will realise just how silly your initial comment was. I can suggest some good literature to broaden your knowledge of fine art framing if you wish.

[IFGL]

Actually Geoff, could you post or PM me your suggestions?

[Glimpse]

Geoff, if you have trouble spelling the word "Glimpse", even though it's spelled correctly in the top left-hand corner of all my posts, I'm thinking perhaps you're not the best person to turn to for literary advice.

[Geoff]

Have a nice day :

[Geoff]

To anyone seriously interested in broadening their knowledge of framing I would recommend a publication called: Framing In The Golden Age. It will give readers an insight into materials used, frame construction methods, profile selection and their use to represent certain art as well as, an abundance of other framing detail and historical information. This is where, many years ago, my background in framing began having worked for the company that provided lots of detail and information making this publication possible. Please note: there is nothing in the book that deals with the low end of the framing market ie; underpinned, ready made finished mouldings. Nevertheless, a superb book regardless.

[easypopsgcf]

Having not read the book (but I might well do), is it not just another person/persons view on how things should be done? ie their opinion?
I've seen so many framing styles over the years, many which I like and equally or more that I don't.
Surely it's about happy customers, regardless of the "rules"?

Either way, sorry to butt in, you can both get back to point scoring now

[cuthbert]

That one I have somewhere - Framing in a Golden Age... - but you'll be hard pressed to find a copy these days. Mine is a hardback and it was not cheap. But, no, it's not all about happy customers as far as I am concerned - the forum I understand is for picture framers and picture framing issues, so surely not limited to retail sales goals? I for one would most probably be described as still framing from a Golden Age – I would not use a CMC if provided with one FOC and the idea of framing something like a football shirt… However, most certainly agree about some of the books that have been on the market and in my opinion the more recent they are the more of inferior they are – ‘recent’ being around 1990 onwards. Basically all the same old stuff padded up with different words and pictures.

[Glimpse]

Surely it's about happy customers, regardless of the "rules"?

Couldn't agree more... Picture framing might be an art, but in the vast majority of cases, framers are simply the conduit through which their customers express themselves. Fair enough, if you only frame your own work for your own needs, fill yer boots and do whatever the hell you like, but for the vast majority of people, framing is a commercial venture, and the most important thing is to keep the customer satisfied, not impose your views/tastes on them.

Sadly, most of the world's problems are caused because some idiot read a book and decided that nobody else's book has any relevance.

(Can I have a point for that?)

[cuthbert]

You can have 10 if you like but could it be instead a case that someone read a book of which contents grew ever more definitive as each subsequent book he/she read on the subject became increasingly second rate vis a vis the first book? But anyway… back to the frame in question and I have to say I am one of the (few?) who don’t much dig that moulding. At all. In 30 odd years of framing I have never used factory produced moulding but did once order a selection of ‘Gallery’ profiles that in the catalogue did kind of look sort of impressive enough but on receipt were just far too shiny, plastically and cheapo looking. Super addition to kindling pile on the other hand.

[Geoff]

The most important thing is to keep the customer satisfied and not impose your views/tastes on them.

That is so wrong!!! Are you really a picture framer?... My customers as a rule expect and in fact ask me for advice and I am able to "suggest" lots of ways to frame their art whatever it is. That's what experience enables you to do and not once have I encountered problems. They always have the final choice and I would never impose my views as a "you must have this" choice.

I agree completely with Cuthbert, at last another "real framer" on the forum that doesn't use factory produced ready finished nonsense. The moulding that prompted this debate would have mismatched corners unless accompanying ribbons/finials, doctoring, etc were used to hide the mismatch. It looks what it is....cheap, plastic looking and part of something else. Just my opinion.

As for the worlds problems book issue....such an immature statement.

[IFGL]

I have managed to find a copy of that book at a somewhat reasonable price, still over £250 but I think I will order it.