Examples...part 2

[RobM]

A few more..

Ashgabat - Are the mats too white? I'm really getting used to how we use choose light or dark mats based on the lightness of the pictures. Just thinking it needs more somewhere...if only I knew what...

ukiyo pics - I'm quite happy with these - similar pics with only in the inner mat differing to go with colours within the individual images. The dark wooden mouldings make them look old or classical. But what could be done differently?

twin peaks - the idea here was to use dark mounts to go with the dark spots in the pic and also to reflect the aesthetic of the show, and the moulding also reflected a colour within the image. Somethings really bothering me about it though. Is it too dark? Should more be made of the frame? Is AR glass essential when using so much darkness?

Casio Dave - actually happy with this one mainly in using colours within the image to complement it, but am I being cocky here?

Thanks for looking!

[Justintime]

Korean Comic. The cream mount looks fine, the green works on the bottom I'd try a different colour above. I prefer thinner more subtle slip of second mount colour like 4mm. The frame adds nothing Imo.
Ashgabat. This is an example of when the frame moulding totally over powers the piece. Close your eyes, open them and what's the first thing you see? It should be the artwork. If they insist on that moulding, the mounts need really careful thought to enable them to draw your eye in towards the work.
Ukiyo. These coloured undermount are far too wide and over powering, the top mounts too narrow and the mouldings feel dated, not in a good way. They're making no reference to the work's style or origins.
Twin Peaks. This looks great to me. The moulding colour is great. I'd probably just use a single black core onyx mount.
Casio Dave. This makes me queasy. I think you've tried too hard to work with the piece colours. I would have kept the mount and moulding neutral to draw your eye into the piece.
I can highly recommend Greg Perkins book the complete guide to frame design.

[RobM]

Very useful comments here, Justin, and it's interesting hearing that the one I was most worried about was not so problematic!

You nailed it re: Ashgabat. I think the frame looks nice on its own, but yes, it's too strong for the image contained therein. I guess you would favour a black/grey moulding if you were choosing the frame for this?

Otherwise, I think the theme might be that I've tried too hard to make a show of the frames without considering the impact on the art itself. I suspect this is a common error for newcomers.

I'm actually now just making my way through the Perkins book after your own prior recommendation. It is really handy, and I'm forming more ideas off of it.

Thanks!

Korean Comic. The cream mount looks fine, the green works on the bottom I'd try a different colour above. I prefer thinner more subtle slip of second mount colour like 4mm. The frame adds nothing Imo.
Ashgabat. This is an example of when the frame moulding totally over powers the piece. Close your eyes, open them and what's the first thing you see? It should be the artwork. If they insist on that moulding, the mounts need really careful thought to enable them to draw your eye in towards the work.
Ukiyo. These coloured undermount are far too wide and over powering, the top mounts too narrow and the mouldings feel dated, not in a good way. They're making no reference to the work's style or origins.
Twin Peaks. This looks great to me. The moulding colour is great. I'd probably just use a single black core onyx mount.
Casio Dave. This makes me queasy. I think you've tried too hard to work with the piece colours. I would have kept the mount and moulding neutral to draw your eye into the piece.
I can highly recommend Greg Perkins book the complete guide to frame design.

[Gesso&Bole]

They're looking good Rob!

I agree with Justin's comments above - keep the undermount to 4 or 5mm.

On something that has loads of colour, or 'extreme' colours think about a really understated presentation that allows the image to do its thing!

[Justintime]

@RobM the bottom line is that usually the customer doesn't know what they want until they see it. Whatever great design we as framers come up with, it has to be then tailored to fit the customer's aesthetic/interior decor etc.
Greg Perkins has done some great posts on some of the Facebook groups throwing tons of ideas out there. It's a great exercise in building your own design preferences. Within some flexible design rules there is no right and wrong, it's what differentiates us as designers. If you haven't already I'd suggest following some framers on insta and seeing what you do and don't like. Find the interesting ones, there are plenty out there.
With Ashgabat, it's not necessarily about the frame colour, but about being sympathetic to the period or perceived period or stye of the piece. In order for the framing to elevate a piece, making it feel much more than the sum of its parts, it all has to work together, to naturally and effortlessly draw your eye to the work.
If you haven't already, I'd suggest having a good look at some suppliers catalogues and seeing what you like and you can imagine working with the above pieces, thinking about what various customers might like. Have a look at Larson Juhl moulding choices. They have a great range of basic, contemporary, traditional and really high end ornate mouldings. Lions have a few nice ones too. Centrado too I'm sure. Neilsen do some nice contemporary styles.
I think you need to step out of your comfort zone a little bit.
When you hear your first "Wow" from a customer, you know you're making hay, as we say round here.

[Gesso&Bole]

To be fair Justin, I think Rob got a whole bundle of old mouldings from a retiring framer when he bought his equipment. As these are for practise, not for customers, I suspect these moulding choices are the best that can be done from what he has in stock

[Justintime]

Point taken.

[RobM]

I now see what both you and Justin are pointing out. Note: don't be overzealous with the undermounts.

They're looking good Rob!

I agree with Justin's comments above - keep the undermount to 4 or 5mm.

On something that has loads of colour, or 'extreme' colours think about a really understated presentation that allows the image to do its thing!

[RobM]

This is advice I won't be taking lightly.

I always expect there can be a clash between what the client wants and what might be best, and I need to get into a position where I can advise them with confidence. Admittedly, I am only just starting to delve into the various catalogues and have probably been a little conservative (and economical) with some of my moulding selections so far.

Totally agree that I need to more closely follow the work of framers I like, and keep up with Perkin's online posts; I'm already getting some good ideas from the book.

@RobM the bottom line is that usually the customer doesn't know what they want until they see it. Whatever great design we as framers come up with, it has to be then tailored to fit the customer's aesthetic/interior decor etc.
Greg Perkins has done some great posts on some of the Facebook groups throwing tons of ideas out there. It's a great exercise in building your own design preferences. Within some flexible design rules there is no right and wrong, it's what differentiates us as designers. If you haven't already I'd suggest following some framers on insta and seeing what you do and don't like. Find the interesting ones, there are plenty out there.
With Ashgabat, it's not necessarily about the frame colour, but about being sympathetic to the period or perceived period or stye of the piece. In order for the framing to elevate a piece, making it feel much more than the sum of its parts, it all has to work together, to naturally and effortlessly draw your eye to the work.
If you haven't already, I'd suggest having a good look at some suppliers catalogues and seeing what you like and you can imagine working with the above pieces, thinking about what various customers might like. Have a look at Larson Juhl moulding choices. They have a great range of basic, contemporary, traditional and really high end ornate mouldings. Lions have a few nice ones too. Centrado too I'm sure. Neilsen do some nice contemporary styles.
I think you need to step out of your comfort zone a little bit.
When you hear your first "Wow" from a customer, you know you're making hay, as we say round here.

[RobM]

This is true, but I have started ordering mouldings as well now, so these examples are mix of both old and new.

To be fair Justin, I think Rob got a whole bundle of old mouldings from a retiring framer when he bought his equipment. As these are for practise, not for customers, I suspect these moulding choices are the best that can be done from what he has in stock

[RobM]

I'll be utilising this section of the forum again soon. Tremendous information. You're a good bunch.