Picture framing guide
Picture and print framing questions answered:
You have just found a page with much helpful advice on picture framing.
This is a long page designed to help you scan and cherry pick the info you want; so have fun!
If you have further questions of would like to order one of our frames, contact us by email, whatsapp, or phone + 44 (0)1865 52 2435 M: + 33 (0)6 10 66 19 26
1. Choosing a picture frame
- The artist and his frames
- Card mounting
- How to damage prints
- Handling your print
- “Print Gallery“
- ‘Get it right’
- No quibble money back guarantee
- Special feature: Caring For a Watercolour Painting by Lisa Bonet
Gordon Frickers prints ad frames are personally supervised by the artist.
Framing prints – If in doubt don’t hesitate to ‘contact us’.
You can purchase our excellent prints by credit card or PayPal from our page “Payment Page”.
You want to frame, to “get it right”?
Here is IMPORTANT INFORMATION about the Mounting and framing.
The frames I supply are hand assembled and or hand made to my special order.
I’ve been working with the same two framers for about 30 and 25 years respectively because they understand my work, do a great job for a very reasonable price and are reliable.
Varnishing is important too.
Varnish, proper job picture varnish that is, restores you painting to look newly painted, protects your painting from atmospheric pollution, boisterous party goers and other natural hazards.
The quality of our Heritage prints are remarkable, people have often touched the unframed prints and asked ‘is it an original?‘ !!!
Please note, we publish a separate text as a guide for Cotton Canvas Heritage quality prints.
Choosing a picture frame
You may prefer to choose your own frame, the advice below will be helpful, in turn we are quietly confident our frames are excellent value.
We have many satisfied customers and would like you to be another.
Gordon Frickers has selected a range of sophisticated frames that suit our artwork very well which can be economically delivered to your door saving you time and money.
Gordon Frickers recommends you consider the frame is sympathetic to the picture, the owner’s temperament and the room it should be hung in.
What does that mean?
- Unfortunately some picture framers are more interested in the frame than the picture.
This is a natural mistake watch out for this.
It will devalue your picture.
They use frames which over power the picture; not good.
- The latest fashions are for quite clean simple mouldings with the detail in the colour and texture of the moulding.
This suits almost all periods of room from ultra-modern to Georgian and older.
- The frame should help the impact of the picture, to look sophisticated, steer well clear of very narrow or highly original frames.
- Big ornate classic frames still have a place particularly in formal settings like offices were other pictures have been framed in that style or where special attention is desired for the picture.
Our swept frames are handmade to special order.
- Avoid frames that are narrow or very dark; they generally look and are miserly.
- 2.5″ ( 62mm) works well for pictures up to about 20″ x 32″ (508 x 810 mm) then add on about 1 ” (25mm) per foot (300mm).
- For a modern person and modern home, even a traditional picture (see “I Have Urgent Despatches“) will take a relatively clean uncluttered moulding and very pale mounting card.
Whereas the same picture in a Victorian or older style of setting would take a much more ornate frame quite comfortably.
Card mounting prints
If there is to be a card mount, it should echo the main theme colours of the picture and often but not always be white, near white or of a significantly softer tone and saturation.
- The latest fashions are for white or near white card mounts.
Never frame directly on glass. Consult with us or an experienced picture framer for advice before framing your print.
Ask for conservation quality framing, cheap frames devalue your print and your collection.
Be sure to have the picture framer explain their methods various conservation methods of framing which can assist in maintaining the life span of your print.
Prints should not be permanently secured to the mounting board.
We currently use Scotch Tape, pressure sensitive 2321 and after framing Tesa Tape to seal the backboard.
Only three methods of attaching the artwork to the mounting board are “museum” acceptable:
- The use of quality hinges attached to the print borders and mounting board.
- The use of Mylar or similar print pockets that are attached to the mounting board.
The print is then slipped into these pockets.
No adhesive of any kind touches the print and the paper is allowed to expand and contract without any adverse effects.
- A museum quality acid free masking tape along the top edge.
How to ruin prints
We have seen coffee spilt on one of our prints, not a good idea, irreversible and heart-breaking.
Improper mounting is a time bomb, responsible for much of the damage to art on paper.
Never touch or drag anything across the image area, if you leave a thumb- print or scratch the surface, you will leave a permanent mark that cannot be repaired.
If you hang or store prints over or next to a radiator, heater or fire or on a damp wall the combination of heat, soot, smoke and or damp can do extensive damage over a short period of time.
Check there is no dampness on any wall where you are hanging your print.
Placing artwork on glass or plastic is as bad as not protecting the artwork.
This invites permanent damage from condensation and mold.
Deterioration and discoloration is often chemical time bombs from careless handling, fingers marks, spills and the use of common mat board.
Insist on acid free 100% museum quality art board to be safe, including for the backboard.
The smallest amount of contamination, unprocessed inferior mounting board or adhesive will contain acid that “bums” paper and could cause it to turn brown.
Artwork may eventually become brittle and even disintegrate when it is removed from the frame.
If in doubt and you think we can help you in way don’t hesitate Contact Us.
Handling your print:
IMPORTANT INFORMATION about the Mounting and framing:
Always have clean hands and use two hands to lift the paper so no traces of skin oil touch your print to breed stains.
Ensure there is no risk of creasing and the edges do not get crimped.
Never use ordinary pressure sensitive tapes on the paper.
Our heritage prints should have a have a 70 + year life.
Light fades all works of art, all inks and paints; even ours that are produced from start to finish with best quality materials.
When framed, your new print should be hung in an area away from direct sunlight or fluorescent lighting.
Over time sunlight or fluorescent light will adversely affect your print.
Fading is not reversible.
It is irreversible damage.
How much light is the optimum?
The measurement in terms of lighting is called foot-candles, and according to the Museum of Fine Arts in Boston, the optimum is five foot-candles, which is roughly the equivalent of a 150-watt bulb, approximately four-to-five feet away from the piece that is being lit.
Genuine picture glass, ultra violet protective Plexiglas, Conservation Clear or a similar conservation glass will reduce the possibility of light damage but any strong direct light source should be avoided.
Store prints, ensure they have been separated by acid-free tissue, without over mounts directly one on top of the other.
Never store or leave prints flat on a floor – elevate them so that air can circulate underneath and around them.
Humidity is a major enemy to paper and prints.
The chief danger is mold.
Mold grows in excess of 70% relative to humidity.
According to museum curators, 50% humidity is ideally suited for keeping fine works of art on paper.
Always maintain proper humidity levels wherever prints are being stored or hung.
If there are signs of mold consult a reputable picture framer.
Superior paintings and prints produce a special ambiance making a statement, providing a special ‘Zen’, important for a balanced Feng Shui.
The best photographs and other forms of interior decoration can enhance, they can’t substitute for fine paintings and signed prints.
To maximize your investment we recommend always frame discreetly.
Have you seen our “Print Galley” page http://www.frickers.co.uk/art/marine-print-gallery/ ?
We have a glorious selection of collector’s quality prints many of which make sets.
The pictures can be fully framed and delivered, see “Print Gallery“.
You can order easily, safely on line using your credit card, PayPal or contact us to pay bank to bank.
Money back guarantee:
You will have the best no quibble money back guarantee on the Internet, see our terms.
A full money and postage back guarantee; provided only that your purchase is returned promptly and in ‘mint’ condition.
Gordon Frickers career
This artist went in 1966 at Maidstone College of Art.
On the unconventional CV / Résumé you can discover more about Gordon Frickers. (http://www.frickers.co.uk/art/gordon-frickers-cvresume/)
Gordon Frickers is one of the few artists invited to exhibit at the European Parliament (by the chairman of the committee for Transport and Tourism).
Gordon Frickers’ work has been chosen by many famous companies and distinguished individuals, he is a member of the British Marine Federation.
A “formidable list of clients” ~ quote from Audrey Hinks of Gallerie Marine.
Over the past 20 years ‘The Art of Gordon Frickers’ has on average increased in value by 200%.
Any prints you order from us carry an impressive guarantee, for details do visit our “Print Gallery“.
Paintings and prints broadcast a special ambiance, a statement; we hope this guide and our expertise will help you ‘get it right’.
Reproduction of the above is allowed for personal use otherwise only with our written permission: Gordon Frickers Fine Art.
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Picture Framing we hope to help you care for your new and existing art work to maximize its value and your enjoyment.
If you are in doubt, we can supply finished prints and paintings to most destinations usually for very reasonable prices.
Carriage costs do vary even with in the British Isles and some people like to organize their own framing so here is a guide.
Few things make a home or offices look more stylish than very good paintings.
The rooms are given uplift for people without their even looking at the paintings.
They convey authority and integrity to the rooms in a way which no other furnishings can, challenging the imagination of all who see them.
Fine paintings will arouse conversations and give pleasure and value every time you see them.
With quality art consistently outperforming the stock market, some people order 2 copies, one to show, the other as an investment to keep in store.
You only need one or two art works in your collection to become sought after to pay for all and much, much more, be a winner: enjoy and good luck!
Come to Gordon Frickers Fine Art, welcome, you will be in safe, experienced hands.
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Caring For a Watercolour Painting
Lisa Bonet wrote to me asking “Will you post my article on your site?”
Lisa has covered nicely all the main points.
Caring For a Water colour Painting
When you own a beautiful piece of artwork, it falls to you to become its custodian.
As the years go by a drawing or painting will nearly always gain value – sentimental value, if not monetary.
When you purchase an original work of art, you’re buying a skilfully crafted vision – sometimes one that has been exorcised from the very depths of an artist’s mind. Buying art is perhaps akin to buying part of another human’s soul.
As such, it must be looked after and cared for if it’s to be enjoyed for its aesthetic value long term.
Whether or not your piece is by the acclaimed hand and mind of Gordon Frickers, below is some advice on how best to preserve your watercolour paintings.
The painting must always be framed.
Unlike more hardy oil on canvas works, water colour paintings are more fragile. Consequently they must be kept in a glass fronted picture frame, with approximately 1/8th of an inch between the painting and the surface of the glass.
If you’re taking the picture out of its frame for any reason (such as re-framing it) then be particularly vigilant with how you handle it.
Oils from your skin can permanently mark the paper, as well as potentially disturb the paint.
Keep your painting out of direct sunlight.
You should always keep a water colour painting out of direct sunlight to avoid the paint fading over time.
Display it somewhere in a room that receives indirect sunlight.
This will not only protect the longevity of the piece, but also reduce any glare if it’s behind glass.
Use discretion when hanging your picture under a display lamp.
As with sunlight, direct artificial light can also fade your water colour painting over time. The heat from some display lamps (the types commonly used to illuminate artwork), can also damage the painting.
Water colours are best enjoyed in indirect natural light, so be conscious of where you hang your piece.
Do not display your painting anywhere where dampness or condensation may occur.
Most water colour paintings are not varnished; therefore they have no protection against moisture. Keeping your painting in either a bathroom, basement or anywhere that is prone to dampness can wash out the colour and should be avoided.
Store your painting somewhere with a consistent room temperature.
As with light and damp, temperature can also have a detrimental effect on your water colours over long periods of time.
Basements and attics generally fluctuate in temperature, so it’s advised that you do not keep your water colour paintings in those areas of the home.
Stick to rooms with a consistent temperature, such as bedrooms and living areas.
If you’re hanging your work on a wall that is prone to temperature change (such as exposed brick or stone) then place a sheet of corrugated cardboard behind the frame, so the work isn’t subjected to fluctuating temperatures.
Protecting Your Collection
When someone buys their first painting it’s usually never the last piece of artwork they buy.
Many are ‘bitten by the bug’ and go onto become art collectors, either casual or serious, for much of their lives.
Amassing a collection of beautiful, unique and valuable artwork is both a prideful pleasure and something of a responsibility, especially if your work is by a renowned artist.
Whether or not it is however, the value tied up in such a collection is usually as sentimental as much as it is monetary – one doesn’t just buy a piece because it’s a good investment.
Like anything of value, it makes wonderful sense to protect it with home contents insurance.
Artwork depending, a policy can cover either your collection on its own, or include it alongside the rest of your possessions.
Whilst no policy can ever return a painting that has been destroyed or stolen, it can certainly compensate you financially; meaning you can buy another piece of work that brings you equal joy, when you eventually cross paths with it.
Why Are Watercolours special?
Painting with watercolour, or aquarelle as it’s known in French, is a method that has been around since the ancient times.
Arguably a much more difficult medium to master than either oil or acrylic, water colour was the favored medium of William Blake, Albrecht Durer (who was something of an innovator when it came to using them), and contemporary artists including Gordon Frickers.
Care of your print and framing, all our prints are personally supervised by the artist and available via page “Print gallery“.
For the latest developmentsyou are cordially invited to follow The Art of Gordon Frickers on www.facebook.com/gordonfrickers
You can acquire or commission a painting, enjoy it for life, be it’s custodian
You can purchase via our ‘Payments‘ page using Paypal or bank to bank
By arrangement payments can be in instalments. How much in my currency? Try our free XE Currency converter.
T: + 44 (0)1865 52 2435 or Skype ‘gordonfrickers’
Gordon Frickers © 26.06.05, updated 26.08.13, updated 03.07.15, updated 03.07.15, 07.02.2017