and Picture Framer.
Framing Individual works, exhibition pieces, Photographs, Prints and whatever you think might be able to be framed. Artists welcome.
Now the serious bit…
I have a philosophy about art and how it should be presented. Simple is best. Particularly for contemporary works. A classic, simple frame that can really make the work stand out is best. When you have been into the big art galleries and view the work. The frame is rarely taking the attention, its the work that is important. It should be the same at home.
I do not charge a fortune. I have been through decades of exhibiting and getting work up on walls and I know the expense of picture framing can be over the top. Sure the materials can be expensive but you probably do not need or really even want expensive gilt frames with several mat colours that supposedly bring out the colour of the eyes of the person in the picture. Its not always true. The work should stand on its own or its not worth framing. Imagine a wall of pictures all with different mats and mouldings, it is very difficult to arrange and a bit difficult keep a theme. Now imagine the same pictures all simply framed with similar mats and mouldings. It definitely becomes easier to manage. I’ll show you what can be done with your pictures, simply and without a great expense.
I invest in classic mouldings, classic mat colours and quality materials only.
I started Alstonville Picture Framing in 2014, after several decades of working as an Artist and Photographer exhibiting regularly. The costs associated with setting up an exhibition were always expensive and were always underestimated. Which drove me to finally get the framing workshop running. I have framed thousands of works over the years both for myself and others and I love the idea of making something look fantastic. Everyone has art that they always meant to get up on the wall, and didn’t because it is rather expensive, the choices are so great and it will probably take ages.
I am going to fix that problem by firstly making the cost part much lighter and the choice part simpler. I have a philosophy – The work should not be ruled by the frame, it should speak out on its own merit and the frame only supports it. If you have a beautiful painting, photo, drawing etc. A simple frame can make all the difference. I know that classical oil paintings and prints by the masters require a special frame, maybe even Italian Gilt with gold insets and many layers of matting to show that it is really important. I don’t do that!. Well, I can if you need it. I do Classic simple, Modern and clean.
I have a great space to work in and hope to ease the pain for many Artists, Photographers and people who want to frame up their work professionally for a reasonable cost.
Here are a few examples of the style of Framing.
Simple Elegant and Clean is the motto here, to show the work off to its best.
White on White mat- very popular. Really shows off colour prints and muted BW.
Black on Black mat- Powerful. Perfect for graphic BW and confident Line work
Black on White mat – Classic, simple and timeless – good for almost any work
Plain Timber – Earthy and modern – great for more classical work, watercolours – coloured etchings etc
There is a selection of simple moulding to choose from, here are the most popular and what I keep on hand.
Black or White 20 x 20mm- Black or White 40mm deep x 20mm- Black or White 20mm deep x 40mm wide – Gold 40mm (curved face)
With a few good tools, some quality materials and a bit of time you can have your work up on the wall before you know it.
Moulding – the actual outer frame, I use sustainable timber mouldings ( I have never actually set foot in a sustainable timber plantation that makes moulding so there may still be a question about how sustainable)
Mat – the bit in between the picture and the glass. It gives a bit of breathing room for the picture – both visually to the frame edge and to separate the picture from the glass.
Foamcore – the backing board, a foam filled sandwich laminated both sides with a stiff Paper cover. It is strong and light and Acid free.
Acid Free – if you have seen and old photo poorly mounted and framed and it has brown stains, yellowing at the edges or worse. That is acid eating the picture. It happens with cheap cardboard or crap mat board coming into contact with the relatively acid free image. It truly is awful and quite difficult to restore.
Mats these days are a lot better, even the less expensive boards have some longevity. A moist atmosphere is the worst culprit in destroying art. The better mats, yes they last well. I’ve had paintings from 30 years ago, they still look good and they’ve been in all sorts of climates. It generally comes down to cost. The Acid free mats are more expensive of course but if you can afford the extra, its not that much more – maybe 20$ or so…it can add up if you’re doing a few.
Glass – I use regular, normal glass. 2mm. It has been used for so long, it is good. All you have to do is wipe it occasionally. There is some very fancy glass out there. Expensive, but good. Reflection free – UV 99% ( I think) and if you were framing something that really needed that, expect to feel the pain of expense. I can always order it in.
The choices you have to make when deciding on a frame:
Have a look for frames wherever you visit, especially the big galleries, check out the magazines and you will see that there is a general simplicity to the framing of pictures and it looks good. Sure, there are plenty of ornate gold and heavily carved frames that look fantastic over the traditional Victorian fireplace or in the Regal Red Room of a Polo club but most of us are not anywhere near those places. You can go with a theme, pick a bit of dominate colour in the picture and match the mat and frame to it. If the image is a work on paper – an etching, watercolour, print, drawing etc, I’d recommend keeping it clean with a no distraction mat and frame. Of course you can always go with two mats to be fancy, it works well sometimes, particularly with smaller works. Or even more mats. Check out the big art galleries whenever you can and you’ll see what looks best for different types of work (I’m talking about contemporary work – photographs, posters, works on paper …)
If you’re framing a canvas, the slim moulding that only covers the very sides, tidies up the look of the folds and gives the painting a crisp outline. Looks great on any wall, plus they are very light to get up on the wall.
No mat framing.. if you have a gloss photo and it touches the glass it could stick to the glass, after it rains for 4 days straight and there is a lot of moisture in the room. It can happen, doesn’t always. If you keep pictures out of any sunshine and your house is dry, it’ll be fine, generally. If you have a large work on paper – watercolour, print, etching etc they won’t stick to the glass. Matt photographs – semi gloss should, generally, be no problem (the shinier it gets, the riskier it can be) Sometimes it is necessary to go without a mat. Have no fear. That being said, if it is important to you, use a mat or get a spacer between the glass and the art.
The frame… if you have a fine drawing with detail, a slender frame would suit. A heavy charcoal or thick line drawing or print – a heavier wider frame would suit. Photographs suit an all white mat, and either white frame or black. Although a full black mat and frame can work too.
There are plenty of interesting articles about framing online. You can check out the online ordering too. I’m local, cheaper and faster, if there is ever any problem I’m right here.
To contact me call -mobile:- 0407 740 737
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