So now the question should be how do I choose a good framer - what should I look out for?
What differentiates a good framer from a mediocre one? Judge by the neatness of the final result. Look at paintings hanging up at the framers, particularly as how carefully the mount has been cut, the range of mount and framing options available (there should be an array of sample corners for both mounts and frames), whether the framer uses acid-free, archival-quality materials, whether they try to impose their taste on you, and how long they take to frame. Below are the steps involved in choosing a frame for a painting.
Framing Step 1: Deciding on a Composition
When you've commissioned a panting on a canvas or board, the shape of the canvas is the shape of the frame. If you have commissioned a portrait in pencil and coloured pencil with more than one pet on it on Fabriano paper, you may have 'excess' that you wish trimmed off. The framer will take some mounting board and discuss with you where to crop the portrait. Once you've decided, the framer will make some light pencil marks to show the four corners where the frame will go.
A good framer will have a sense for composition, so first see what they suggest, then decide if you like it. If not, say so, then move the mount and see what it looks like. Remember, it's your portrait and it's ultimately your decision (this applies to everything with regards to framing).
Framing Step 2: Deciding on a Mount
Mounts are pieces of coloured card that are placed around the paintings (Note: in the USA this is known as a 'mat' and the backing board is called a 'mount'). An oil painting doesn't have to have a mount; the frame can touch the edge of the painting. But a mount can really 'finish off' a pencil or a coloured pencil portrait and brighten the colours in it. A portrait can also have more than one mount, often with only a sliver of the one closest to the painting showing.
The framer will have a range of sample mount corners in an array of colours. They should also have a display board on which they clip your painting, and the mount colours being considered. You should be able to step away from the display board so can see what the painting/mount/frame will look like from a distance as well as close up.
Framing Step 3: Deciding on a Frame
Again, the framer will have a range of sample corners for frames. This will be clipped to your painting (along with the mount board if you have a pencil or coloured pencil portrait), so you can see what the final result will be. It can be difficult to see from one corner, what the frame and mount are going to look like when it goes all the way around a painting; use your hands to block out the bulk of the painting so you see only the corner with the proposed framing to help you focus.
Framing Step 4: Decide Whether You Want Glass or Not
Glass in a frame is essential for pencils and coloured pencils but not necessary for Oils. You should be given the option between 'ordinary' reflective glass and non reflective (matt) glass, which is is actually my preferred choice. If you're not sure, ask the framer to show you some samples so you can see what the difference is.
Framing Step 5: Getting a Quote
The framer may work out the quote on the spot, or give you a call later. The cost will depend on the size of the painting, the number of mounts used, the frame chosen, and whether or not the frame has glass in it. If you're not happy with the quote, go elsewhere.
Framing Step 6: Collecting Your Framed Painting and Paying for It
Before you pay for the framing, check the result carefully. Has the mount board been cut neatly, is it correctly placed, is the mount flat, is the frame neatly cut and jointed? If you're unhappy with something, get it sorted out before you pay for it. If it's been well framed, take the time to compliment the framer; we all like to have our work appreciated!
