| Author | Message | ||
  Jan |
I find hinging the mat to the foamboard first allows me to position the print and attach it to the foamboard easily. I am trying to find the best way to present an unmatted print inserted in a clearbag with the foamboard (cut to the framing size) so that the print does not just float around, as taping pulls the paper when removed. | ||
Suzy |
I mat everything in Cresent B45 which is an off white mat...both my fine art and my commercial lines. This way, when I hang for a show, the entire booth has continutity to it. I frame everything in my commercial line in Gold metal#15. All my fine art is framed in Gold Wood #C2254 profile. I really like consistancy and it makes swapping out frames easy. If some some want a different mat, they can re-mat and I will sell anything unframed by request. | ||
marie |
Jimmy: after the discussions here, I stopped by my local framer and asked her advice about what quality mat board I should be using. She says that I should always use acid-free alpha cellulose or, preferably, 100% rag mat board, even for temporary use. She cited three reasons. First, mat burn, where the area of your work that touches a non-archival mat begins to darken, begins to occur quickly -- sometimes within a matter of months. Second, the core of the non-archival mats will darken and/or fade, and you may wind up spending more money replacing mats as they deteriorate. Third, a surprising number of customers will not allow a professional framer to replace the original mat, claiming that the original mat was "what the artist wanted." Another thing I learned is that cheap mats are often referred to as "acid neutral" or "acid free", even though they are not archival. From now on I plan to buy only 100% rag mats. I will tack another $5 onto the price of my work to cover my costs. | ||
Jimmy |
I've had a really difficult time determining what is good quality matboard and what is not. Is "museum quality" board the only board one should use when matting original work? And, is there any economical way to get museum board? I've been all over the internet trying to get a decent answer to this question... It seems that everyone has a different notion of what is acceptable. | ||
Eric |
I think a colored mat can look very nice and enhance the artwork. Here's a general rule of thumb that was pointed out to me and seems to work visually: If the main shape of your painting is white, then a white, or off-white mat looks best. If the main shape is dark, go with a darker colored mat. | ||
jandrle |
I use slightly off white double mats with a quarter inch differential. I use flat topped gold wood frames. If I have to frame something that is industrial or more modern (which is rare) I will use gold metal frames. I order my frames, mats, foamcor and plexi from www.floridaframes.com. I have compared costs and they beat everyone around. I generally order more frames than I need, usually my current favorite shapes. It is easy then, just like a kit almost. For prints I order mats from www.documounts.com. When I see paintings in colored mats I wonder what the artist was thinking. Because they bother me I guess. Framers love all that stuff though, and I suspect it is their own ideas of creativity that have people using so many colors and fancy frames etc. I also use only one color of frame so that when my work is hung together it doesn't compete with itself. Even if the subject matter varies. For what it is worth... Jane | ||
Robert |
I would like to know a cost effective way of framing and matting ten to twenty paintings at a whack. I tried ordering the metal frames and Jerry's single white mats (I have the acrylic "glass" custom cut at a local plastics supplier for very little money). This was very economical but looked overly minimalistic, just too plain Jane. Does anyone have any suggestions of what and where I should order precut good looking mats and also what kind of frames other than metal really look presentable. I have never gotten the hang of cutting my own mats or nailing together my own frames. Those who have had to frame dozens of paintings at a time, what has worked best for you in terms of eye appeal while staying in budget? | ||
Robert |
Is there any place one can get quantities of double mats pre-made at reasonale prices. I know Jerry's has lots of ten single mats in white and off-white for cheap, but the better mats i have not seen in a similar offering. | ||
Sid |
We all would likt to believe that customers buy our artwork for its superior spiritual, emotional, and technical excellence. But, let's face it, some customers buy paintings with an eye as to whether it will fit with the decor of their livingrooms. If that is true (of course it's true!) then white, pale gray, or buff mats will be go with most any room/ furniture color whereas a painting with a colored mat might clash. I know, that's a crassly commercial reason for choosing mats, but personally, I don't want to lose any possible sale. That aside, I prefer double or triple white mats and sometimes white with an appropriately colored 1/4" insert. I am now looking into matting with heavy linen mat board with a wood filet around the inside margin instead of a colored mat insert. Anyone trying this? | ||
Suzy |
I mat all my prints in a barely off white (B45) cresent double mats with .5 inch setback. All of my originals are triple matted in museum cotton rag with 1 inch and .5 inch set backs respectivly. I think for prints the acid free backing mats are Ok but for originals I like the "good stuff" Its just so thick and pretty. | ||
Eugene |
I really am not in favor of colored mats because, as Eric says, they sometimes detract from the art. And besides, a good painting should stand on it's own, without any fancy matting. I don't mind a thin second colored under mat if double matting. Especially if there is a lot of white in the painting. Then it helps "frame" the subject. | ||
victoria |
Eric, I think that colored mats like most everything else can be an enhancement if done well and a distraction if not done well. I've always assumed that for shows and gallery showings one of the reasons for wanting non colored mats was to give some uniformity to the whole display. In that situation they are correct in that colored mats here and there would represent a distraction from the whole experience of viewing the works displayed. Victoria | ||
marie |
In an earlier post, Raleigh said: "Sometimes the mat was doubled and lifted high to add shadow." I have put double mats high above a floated piece, and it is beautifully effective without being distracting, especially if you are using nice paper with good deckles. What I like best is that it imparts a handmade quality to the work. The viewer knows immediately that it is not a giclee (not that there's anything wrong with giclees). | ||
marie |
I have read that you are supposed to hinge your art to the backing and not to the mat. Every time I try to hinge to the backing, I have terrible trouble getting everything aligned properly. Why are you supposed to hinge your art to the backing? Is there a problem with hinging the art to the mat? | ||
Raliegh |
When I worked in a gallery there were obvious paintings that were painted in the latest home design colors. Including the matting. The artist was obviously appealing to the decor value. I recently saw an exhibit where one artist used white mats exclusively. Sometimes the mat was doubled and lifted high to add shadow. I hope he's not upset that I steal that idea from him. His paintings stood on their own. He works in a frame shop here and I can't wait to go in and chat with him. | ||
marie |
You raise some good issues, Eugene. I don't always use acid- free mats, and, frankly, I feel a little guilty about it. I am very careful with making sure my pigments, grounds, and papers are archival because I figure that these elements are integral parts of the artwork. For example, a customer cannot remove alizarin crimson from a watercolor without destroying the art. It's reasonably easy, however, to switch to another mat. A few years ago someone gave me a matted drawing. When I took the drawing to a framer, the first thing she did was to throw out the mat and the backing. I am assuming that most people will want to mat and frame my pieces to their own taste, and the mat that I use for display will not be the mat that stays on the piece long term. I have thought about putting a small archivability chart -- for pigments, paper, matting, and backing -- on the foamcore backing for each piece. I think customers should know what they are getting. I am planning to move over to acid free foamcore and mats as soon as I use up my current stash. I just started matting and selling my work about 4 months ago, and I would rather learn/ practice on the cheaper materials. As for color mats, many of my pieces are closer to wash drawings than watercolors. I like to do double mats, with a white top mat and a thin colored bottom mat, for my drawings. The double mats help to define the space. | ||
Eric |
For colored mats, I've heard that they are a no-no because the mat would be a distraction from the artwork. (another "rule") Hmmm...I've always thought that if the mat is distracting the viewers attention, then maybe the artwork just isn't very good. | ||
Eugene |
We've had endless discussions on fugitive pigments. I think how you handle your finished work is of equal importance. Many of the cheaper mat boards are faced with acid free paper but have heavily acid core material that will turn brown and in time will damage the art work. Equally important is the backing material. One of the frame catalogs I receive even gives a choice of foam core or cardboard. Brown acid cardboard backing can damage work in a short time. Even foam core can be dangerous if it isn't acid free. What you work on is important too. I once saw a Motherwell exhibit that was done on brown wrapping paper-- which I thought was especially stupid. Also I'd like to hear opinions on colored mats. For most national shows they are a no no. I'd like to hear other opinions on mats, etc |
