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Design 101

Mikki Kavich MCPF

Mikki Kavich MCPF

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Loc
Crossville, TN
Company
Mikki's Frame Shop
I had a friend ask me to give them advise on design for framing.
How do you know what to pick out mats and frames to show a client when they come in.

We would love it if everyone would join in and share their Design 101 tidbit.

Please keep this going as you think of more tips in your framing day.
I think this will be helpful to the newbies and the old guard!

Thanks!
 
- Identify the type of artwork
- Identify the customer, old young, modern, traditional
- Is it going to be a present
- Where is it going to hang, office, hallway, sunroom, bedroom
- Identify the colors in the picture. What are the dominant colors, the not so dominant colors and the hidden colors.
- I prefer to have a light mat on top and a inner mat consisting of a not so dominant color.
- Frame can be plain or ornate depending upon the taste of the customer and has to blend in with the matboards and artwork. An ornate gold frame can stand out, but even then, there can be different colors mixed in with the gold to make the frame more subtle and less competing with the artwork.
- If the customer insists, they can have a wide or narrow mat, or more showing of the inner mat, or a dark mat on top and light mat as inner. I can give advice, but if they have preferences, then so be it.
- I first decide with the customer upon the matting combination, then the frame. Not the other way around.
 
As to design:

When I have non-framing friends watching the shop for me, I tell them the go to is white mat and either black or maple frame to start. Boring but safe.

I like to stay neutral when I can in matting: white, but not whiter than the white in the image. Sometimes black, gray, creams, etc. I've been in a gray mat mood lately.

I do use color too. If you squint at the image, see what color is most noticed. Then use that color, or it's opposite! When there is a hint of a color that the costumer likes in an image, I actually show them that by matting with the opposite color, or not using that color at all actually accentuates the image and what they love.

The biggest issue is to convince customers to go larger in mat width than they think. I rarely cut mats smaller than 2 1/2". 3" is my go to width, love 3 1/2" -4" mats.

As for frames: I usually show three different frames I think go with the image. Choosing the width is more technical, and learned by experience. But the frame is also determined by what the image is being framed for: sale, gallery, home, gift...etc.
 
We have a series of questions that allows the customer to "introduce" us to the art. Ask for the story about how they got the art and as they are telling the story look at the piece and determine what the medium and subject matter is. What about the owner can guide you, young, old, biker, mother with kids. Then just ask if they have a visual or idea of how they would like to frame it. Some custos know what they want. We have a lot of samples that we can point to as we describe what might look good.
 
I agree Mike. A lot of it is in the story.

I also start out by asking, "what did you have in mind?"

I have to say, though, a lot of my returning customers come back because they like my style. Many times, after the initial introduction and questions, I start with, "well, if it was mine, this is what I would do." And then we blend the design into the customer's style.

Kai, sometimes, small works are framed gorgeously with a small mat, say 1 1/2" and a very wide frame. It has the feel of a painting with a strainer on it. Then again, using a strainer instead of matting on a piece on paper or an object frame can look amazing too!

Each piece has it's own style.

And yes, when a customer wants something I don't completely agree with design wise, I will say something to the effect of, this wasn't what I was envisioning, but it isn't going into my home.
 
Agreed Sarah. A small artwork can look important when surrounded by a wide mat.
I tend to not ask the customer what the furniture or wallpaper of the interior of the room looks like, as this will make things too complicated to come to a decision. It will exclude many frames, that would have looked nice around the picture. When I place a certain sample on the counter next to the work and then the customer says. No, this does not match my decor. Then fine, we like for a better option.

I know, that the decor of the room is important and can be a decisive factor in the choice of frame.
 
When someone tells me they don't know what they like I look at their clothes and say something like, "from the way you dress it looks like you like a tailored, (Boho,)( easy) style so let's start in that direction and you let me know if you like it.

After so long doing this I tend to immediately have a mental vision of how I want to frame it and then I listen to what they tell me and try to make us both happy. Sometimes a customer will blow me away with a request and we have to figure it out. Most of the time they will come back to what I first thought of. This will not help you much if you are starting out.

I also like wide mats for the most part and tend to design with wider mats but I can meet lots of resistance with that, they move the frame corner 1/2" away form the image and I move it back and they move it in...when that happens I use someone's line, sorry I forget who, and say "generous mat" not wide mat if I feel they are afraid of it.

I also like to design following the texture of the piece. I like the mat or frame to jive with the image and not repeat or mimic the exact texture but flow with it, enhance it.
 
I use a lot of the same techniques already mentioned. I find out about the piece, where it is to hang, what colors are in the floor, wall, and other decor and then see what I see in the picture. If the customer has some thing in mind I will try that and if it does not look quite right I will suggest we look at somethng that will better complement the piece. And of course you get those pieces that are just not going to pull the colors the client wants so we go neutral!

There are some good design books out there. If you are a PPFA member check with the chapter library and see what they have for you to check out and read. The ones I am thinking of are by Nona Powers if memory serves.

Robin
 
Hi Mikki,

Great topic because each framer approaches design a bit differently. Your framing has won in PPFA competitions so I know you have great design ideas!

I do say "generous mat" or more substantial frame. It sounds much better than WIDER and I think it was Vivian who first pointed that out. I also say "We can find a more affordable solution" instead of using the word "cheap". Another thing that I often hear framers say is "i used scrap" mat or moulding. Now that always bothers me because it sounds as if your material has been devalued. THE SCRAP HEAP. Who wants to pay for scraps? I say "my limited inventory" or "vintage selection which is exclusive and limited " ... doesn't that sound special and more valuable than your scraps.

On frame design I used to begin with mats, but now I begin with the mouldings. We have so many frames with color and texture that building a custom frame is quite rewarding. Stacked frames create a truly custom presentation. Selling three, four, or five mouldings on one painting that completely support the art is fabulous for your reputation as a true custom framer as well as satisfying your client's need for a unique finish on their artwork. Your client won't find it duplicated when you have customized their framing.

Each framed job has it's own story and personality. Listening to the client and the story always helps lead the design. But isn't it fun when you have built that relationship to the point when your client sez ... "You know what you are doing, just call me when it is ready."
 
Like others, I ask first for the story.

Then, I normally start with the mats; a lighter inner mat, and a slightly darker outer mat. (solid rag if possible / appropriate), and grab a couple of frame corner samples at the same time, so we can do the mats and frames at the same time.

Then I determine what mat accent color is appropriate, and make it as a middle mat. Generally this accent is only 1/8 to 1/16 of an inch. If it is not a solid rag, I may go with a double, but I add this accent as a painted bevel, either on the top, bottom, or both. {this hides the ugly white mat bevels}

If it is solid rag, I often suggest a " decorative middle mat", in place of the accent middle mat. This middle mat may be as simple as a 4 ply painted bevel/mat, that extends in approximately 1/16th of an inch, or, an 8-ply painted bevel strips that are added in pin-wheel fashion. Or sometimes it may be a wrapped bevel (bevel extension) over 3/16 FC for more depth.

I probably have more than 30 samples of decorative paper / painted paper mats for wrapped bevels, and another 30 plus samples of 4-ply painted bevels mats. So it is easier to show the customer, but I stress that the final color will NOT be exactly like any of the samples, because I will make it unique for that particular piece of art.

I recently had one customer that only wanted a small 5x7 watercolor matted with 3 mats, but not framed (it was a present). She didn't think she wanted painted bevels,(because of the extra price) but did want solid rag mats. And the middle mat was the accent piece in a kind of brown color (that I had as an offcut in stock).

So I put the package together, but I did not attach the top and middle mat. I had an extra piece I cut for the middle and painted a wonderful bevel of a variegated brown that matched the artwork. When she came in I showed her the original 3 mats as we had designed, and then I switched the middle brown for the variegated painted bevels. No way did she want the plain brown we initially discussed - It had to be the painted bevel. So, I finished attaching the mat package, and weighted it for a few minutes, while I figured out the additional price.
 
One of the first things I noticed when I started framing 28 years ago, people responded to colors, they are wearing, I always look at thier coat or shirt. General rule of course, its a tool to use on occasion.

Several visual elements I always look too, in the art, proportions in the design, curves, edges, lines, color of course and try to create framing elements that mimic the design. If that becomes too literal then I go for elements that are extensions of the art and seek harmony.
 
Everyone has good and relevant ideas in the how-to aspect of designing the right framing package.

The design principles & elements are values that I feel every framer and customer should, at least to some degree, understand.
I attatched a couple of easy to use overview that includes some small visual examples!

It seems that most everyone understands the general concepts of all of these, just by the discussion held up to this point. It does help in understanding why the concepts work to adequately enhance the artwork. Hope this helps!
 

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I agree with many of the ideas from the other posts. Observing the customer and their artwork, creating a dialog in regard to style and placement, listening and then my response to the customer is "Great, I have some ideas, let me show them to you"

One thing I look at in a frame design is how the color moves through out the piece. When choosing the bottom mat, looking for a color that is in 3 parts of the image - if the dots were connected it would make a triangle. Then the color will work with the piece on all sides and bring out the image. This has been very successful in my frame designs.
 
Jayanna Killingsworth said:
Everyone has good and relevant ideas in the how-to aspect of designing the right framing package.

The design principles & elements are values that I feel every framer and customer should, at least to some degree, understand.
I attatched a couple of easy to use overview that includes some small visual examples!

It seems that most everyone understands the general concepts of all of these, just by the discussion held up to this point. It does help in understanding why the concepts work to adequately enhance the artwork. Hope this helps!
Click to expand...

Hi Jayanna
I like those charts, what are they from?
 
Hi Randy!
:thumb: Thanks- I like my charts too!

Over the years I have collected various examples like that for multiple purposes- education, teaching, sharing- but not selling of course!
Most of the ones I have collected are from educational sites online (including these particular samples)
There are some out there that utilize specific popular artist as the examples too....

Google is a chart geeks best friend! :playful:
 
I would have to recommend Greg Perkin's Book - Guidelines for Great Frame Design - as it covers a broad cross section of concepts, demonstrated in a visual manner suitable for reference by either consumers or framers.

Personally - when it comes to frame design - for me it first starts with "the story" (behind the piece) and it all leads from there...

Cheers,

Jared
 
Jini Lumsden said:
...when your client sez ... "You know what you are doing, just call me when it is ready."
Click to expand...
Or ,"You're the expert, what do you recommend?" We framers get that a lot, don't we?

To that I often quip, "Yes, I'm the world's foremost expert on my own opinion. I can tell you what would look perfect in my home... but not yours". And then I explain that there are two aspects to framing design: appearance features and technical features.

Technical features are my domain and I will share what I know, dominating the discussion when it comes to features and benefits other than visual. All of us should control that aspect of the framing design conversation, since we darn well should know more about these matters than customers do.

But customers also assume that we know more about their visual preferences than they do, and that makes me nervous. For some frame designers that would be a well-earned compliment, but I see it as a challenge to guess what they like. So, rather than inflicting my visual opinion, I want to help them determine and express their own visual opinions. Appearance features are matters of personal opinion and I say with encouragement, "my visual opinion is not the one that matters here".

The conversation continues, "Yes, I design a lot of framing, and will help avoid obvious visual mistakes, but what matters most is for you to take home a frame that will please your eyes for a long time." And with that, we talk about what they like.

I envy framers who have absolute confidence in their ability to select exactly the right appearance choices in framing design, but that confidence can become a curse, as compliant customers tend to accept the framer's opinion, and realize later that "it just doesn't look right in my dining room." That sort of latent regret is an insidious form of buyer's remorse.

Perhaps the most honest expression of the consumer's opinion is "I don't know art, but I know what like".
 
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