Photo by Len Villano.ĪS: What is the most common framing mistake you’ve seen? If you have a painting that’s mostly off-white, you don’t want to put a bright white frame on it because it’s going to make the artwork look dirty.Ĭhildren’s artwork allows more creativity and rule-breaking with framing, as Buechner demonstrates with this snowman creation. JB: You don’t want the frame to be lighter in color than the lightest light in the artwork. The same goes for an oil painting on a board (masonite panel) or on canvas.ĪS: Any colors to stay away from with a frame? JB: Acrylic paint on board or stretched canvas doesn’t need glass because it’s already a hard surface that can be cleaned. That’s not really the best way to go because all the viewer is going to be looking at is that red mat.ĪS: Are there exceptions to needing glass or a mat? A lot of times people think, there’s so much of this red in this piece, I want a red mat. JB: A good approach would be to go with a neutral top mat because you want to have something that’s not going to take the attention away from the artwork. Anything on paper needs to have a mat on it.ĪS: What is a good starting point for choosing a mat? If the glass is right up against the artwork, the condensation goes right against the artwork and then there’s water damage that happens, there’s mildew that occurs, paper gets warped, so the mat board offers a little gap between the artwork and the glass. You never want to have glass right on top of any kind of artwork because with the changes in humidity levels, condensation can get in there. JB: The mat board’s first job is to protect the art and to protect it mostly from the glass that you choose. At the Artists Guild, Buechner showcases this shadow box she created using her late grandmother’s purse and cosmetics. When it comes to framing, the possibilities are endless. She was generous enough to share them with us. With a dizzying array of colors, styles and sizes of frames available in her corner of the Artists Guild, Buechner relies on a few guidelines to sort it all out. In short, a frame is meant to protect and enhance art. Similarly as rare as working with an original Rembrandt piece is Buechner’s certification as a Master Certified Picture Framer, a title fewer than 100 people in the world have earned from the Professional Picture Framers Association, noting her museum-level framing prowess.īuechner admits framing is a delicate art, one that involves a fair bit of math and a balance of proportions, material and customer preference. As the art supply store’s custom framer, it comes with the territory. Janine Buechner has worked with many unique and random items in her 12 years with the Artists Guild in Sturgeon Bay: original paintings by Rembrandt and Pablo Picasso, parts of old ships, and an entire collection of Twinkie memorabilia. Artists Guild framer Janine Buechner demonstrates a properly framed piece, one where mat colors, frame colors and proportions complement the artwork.
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