About the art of framing…

You've finished renovating, chosen furniture and unpacking, but you feel like something's missing and you realize it's the naked walls. You have a whole collection of family photos, pictures and memories of shapes, colors and with different themes that you don't know how to organize. How can you transform a visual chaos into a coherent composition? We offer some advice on the exposure and arrangement of the branches.

The first step is the selection of the objects you will expose. If you have too many photos, be demanding in choosing the best. There is no need to expose dozens of photos from the wedding or dozens of photos with the youngest, but only those that best represent your family. Choose the ones that have both a significant sentimental value and an aesthetic value.

The way you choose to expose them must be dictated by the decorative style of your home. For example, if the house is decorated in a traditional style, you can choose any type of frame, as long as there is a common element that creates cohesion at the level of the viewfinder (the shape of the frame, the color, etc.). For a house with contemporary influences, keep a symmetrical arrangement, align the frames and choose photos of sizes or even similar colors. If the style of the house is an eclectic one, opt for a mixture of pictures, prints and artwork. As for the style and color of the branches, they can be different, but try to maintain a balance of the tides.



To avoid a neat and crowded look you are considering the following tips:

• Transform all photos in black and white format and you can put together old and new photos.
• If you have photos in different formats and sizes, choose frames with the same shape and from the same material.
• If you have old frames that don't match each other, paint them all in the same color.
• If you want to expose many colorful and complex pictures, divide them with passepartout for the gaze to focus on the image.

Here are some basic elements of the framing, as well as advice –both practical and aesthetic –to guide the acquisition of a suitable frame. In the realization of the branches are used a multitude of woody essences: Most often ash, lime, cherry, sycamore, oak, poplar or walnut. Prices depend on the manufacturer, supplier, but also varies depending on how wood is processed: manual or automated, sculpted, (. Painted) gilded with gold or silver… Of course, Rama also has the role of protecting the work. The one who realizes the anquadrant should be able to tell you how solid the frame must be to sustain and protect the artwork.

Passepartout (Paspartu)
Paspartuul is used for paper works, such as paintings in watercolor, stamps and drawings. The paspartures are mounted around the edges of the artwork and are available in different materials and colors. Sometimes the double Paspartuul is used to accentuate the colors present in the artwork; Thus one can be neutral, while the other has a tint found in the paper.
In the case of the parts exposed under the glass is desirable an additional passpartu to provide more distance between painting and glass. The paper is deformed under high humidity conditions, and if it touches the glass, it can be glued to the permanent deterioration of the painting.
The paspartures are three types. The least expensive are decorative, made from wood pulp, with neutral pH, which means that with the passage of time should not release acidic substances that can damage the opera, at least not for many years. More popular are the paspartures made from wood pulp with neutral pH and without Lignina, more expensive, but more durable than those previously mantioned.

Museums and art collectors who want their pieces to live for ever prefer the cotton fibre paspartures. Known as a museum option, textile fibre paspartures are generally two to three times more expensive than wood pulp, but are naturally neutral in terms of acidity. The only downside is that they tend to "come only in neutral and dimmed colors," says Annajean Habel, a specialist in Inramari and art for the Northeast Document Conservation Center in Andover, Massachusetts. "You can get Paspartuuri from wood paste in very cool colors," she says.

Paper support works require glass or Plexiglas cover (also called acrylic) to protect them against dirt and dust. By contrast, the canvas is inherently more resilient than paper and usually its cleansing is less risky. Certain glass types also provide protection against ultraviolet rays of the sun, which lead to blurring of the colors.
Beside the glass protection is still an essential quality: it is almost invisible, leaving the image of the artwork clear.

The main types of glass used in the inramare, from the cheapest to the most expensive, are: clear glass, which does not filter ultraviolet rays; Conservation glass, with a layer that filters 99% of UV rays; The bottle of museum use, which eliminates 99% of UV rays and reduces reflection by 85%. Plexiglas products are generally twice as expensive as their glass equipment.

Although many do not accept it, Plexiglas has the advantage of being more resistant to shocks than glass, which could be interesting for art owners living in seismic risk zones. It is also one third lighter, which can count for very large paintings. However, unlike Glass, the acricle can be scratched. The bottle is always preferable when covering works of art created in charcoal, graphite or pastels. Reason: Static electricity accumulates on the surface of Plexiglas and draws particles off the paper. The fixative substances sprayed on the artwork may prevent this effect, and some acrylic glass manufacturers claim to have removed the static effect from their products. But using the bottle eliminates any risk.

Back protection
Behind the stalks and paper works should be protected to keep dirt, dust and insects away. (in the old days it was recommended to make small holes in the protection layer on the back of the work, to allow the artwork to breathe, the procedure that did nothing but to leave the dirt, dust and insects to come into contact with the object.)
There may be up to triple layer of protection for paper work. These consist of: a cardboard sheet made from the textile mass (cotton) that comes into direct contact with the back of the work; It is followed by a thick layer of corrugated plastic (polycarbonate) and, finally, a dust cap. Less expensive, and more popular than corrugated plastic is a foamcore support, (polystyrene foam, between two sheets of paper with neutral PH; simple polystyrene can fracture in time and release gases that damage the artwork, so you need Packed in paper layers).

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