FRAMING 101
Framing artwork, prints or even family photos is a fine and delicate craft – one that should, mostly, be left to the professionals. We got the lowdown on all things related to framing and hanging from a few key people in the industry
text & production KLARA VAN WYNGAARDEN photography MARIJKE WILLEMS/RED HOT OPS
T HE most important thing after buying an artwork is finding a good framer. He or she will then choose and suggest what they think best enhances your artwork.
They will choose the following with you: the frame (including type of frame and colour), the mount board and the glass. See opposite for an example in which framer Peter Roberts takes us through the process of framing a specific artwork, step by step. We asked Lunetta Bartz, of Maker Studio, about her bespoke framing service:
Why does Maker make custom-shaped frames?
We realised our framers could not always find solutions for more specialised artworks and objects. We started making handmade frames in 2009. Since then we have framed everything from a corporate collection of South African beadwork to a 4.9m-long backlit photograph and a large drawing, which we turned into a visual scroll.
What should people consider when framing an artwork?
Does the work need a frame? (Contemporary artworks on canvas often don’t.) If it does, how simple a frame can one get away with and does it emphasise the work, rather than the other way round? And finally, does the work require conservation framing (such as UV-protective glass and/or acid-free mount boards)?
What are your favourite framing methods?
Handmade solid timber frames in nonstandard shapes. Then the very simple black aluminium clip-together frames, which least detract from the artwork. Maker offers customdesigned and handmade frames in oak, ash or walnut, as well as aluminium frames in black or natural.
What about the mount board? We mostly use white, off-white or black mount board. These all come as acidfree boards, which is the only type of board we recommend you use. We have seen too many special works damaged by acidic paper.
Any specific glass one should use?
We mainly use plain glass. Plexiglas is used only when the work is very large and weight becomes a factor. There is also conservation UV-protective glass, but this is very expensive and used less frequently.