Size, Framing, Matte, and Finish
All paintings are offered as 11x 14 and 16x20. Other custom sizes are available for purchase but must be communicated prior to ordering. Please contact Gary via email with your custom request. Please make your request via the contact page with the painting name and specifics of custom order. In addition Gary will be offering photo prints on select works of art of various sizes at significantally reduced pricing throughout the year. Please feel free to make contact with your request from the contact page.
- Neutral-colored matboards are far more sophisticated and au courant than any of the many colors available.
- If you want to introduce color, consider doublematting. The colored mat should be placed beneath the neutral mat, and the windows of the two mats should be cut so only about ¼ inch of color is revealed (image E, right).
- A delicate wood fillet is an attractive alternative to a double mat. The fillet, which fits inside the opening of the mat board, between the board and the artwork, can match or complement the
color of the frame.
- The mat and frame should not be of equal widths. Preferably, the matting should be wider than the frame. If frame and mat are the same size (and this applies to the frame and linen liner of an oil painting as well), the eye tends to visualize stripes around the work.
- Generally, weighted matting is preferred. This means that the bottom of the mat is deeper than the sides and top. Weighting, even when it’s subtle, provides visual balance when the framed piece is hung on a wall.
I’ll let you in on a secret: Not every work of art needs to be framed. For contemporary gallery-wrapped paintings, framing is completely optional. The term gallery wrap refers to canvas wrapped around thick stretcher bars and secured to the back rather than the sides of those bars. This mounting leaves the sides of the canvas smooth, neat and free of visible staples or tacks. Artists using this type of canvas mount often continue the painting around the sides or simply paint the sides a complementary neutral (See No-Frame Options , below).
First and foremost, glass protects works on paper from dust and other pollutants, but it can also serve other important functions:
- Regular glass is the type most commonly used. It’s scratch-resistant but breaks easily in transportation and only filters out about half of the damaging ultraviolet (UV) light rays.
- Nonglare glass works well on pieces placed directly in front of a window. The drawback is that this glass tends to soften the image and give a slightly fuzzy appearance to the work. It also gives low UV protection.
- Conservation glazing is a coating applied to glass that offers 97 percent UV protection.
- Museum Glass is the ultimate—so clear and glare-free that you can’t see it at all when you stand in front of a painting. It also provides the best UV protection. This glass is expensive, but worth the price.
- Acrylic glazing, also known by the trade name Plexiglas, is much lighter than glass, which makes it a good alternative for large works of art. It’s virtually shatter proof, although it scratches easily. Available in regular and nonglare forms, acrylic provides about 60 percent UV protection. Regular glass cleaners may leave the surface looking foggy.