Getting Framed

Jan/Feb 2019 edition
Issue #3 AutoMobilia Resource Magazine
Steve Austin

It occurred to me this might be a good time to talk about framing pieces of art, the cost and the rewards, or in some cases the lack of reward. 

As an example, my exhibits are of various and multiple pieces; therefore it is very important not to emphasize one piece over another through the framing.

A good mantra to follow is, “It’s the art, dummy, not the frame.” It is quite amazing how many times I see wonderful pieces of art overshadowed by a too big or too ornate surrounding. Chances are, that if someone says to you “nice painting, I love the frame”, you may very well have overdone the frame.

So how does one go about choosing a nice frame for any particular piece? Some of it is reasonably simple. Car art has a wonderful wide range of emotions, and the question you always need to ask yourself is…. Where are you going to hang it?

Most car art is going to find a home in a study, games room, family room or garage. Each location will demand some adjustments – the study, a more toned down, dark rich wood. The family and games room is where you can have great fun, and anything goes, within reason. Remember, your wall decoration also states who you are. 

Be brave with your choices, but don’t look like a ‘wild and crazy guy’ unless you are one! Similarly, don’t be too low key, as you might be mistaken for the kind of person who thinks ‘War and Peace’ is light reading.

Once you have purchased your piece of art, go and introduce yourself to your local framer. A photograph of where you are likely to be hanging you art is always helpful. Make sure your framer is reasonably proficient. As in all walks of life, there are tremendous differences in people doing exactly the same job! There are most likely up to twenty or thirty variances in styles, color, cost, and ultimately, satisfaction. Don’t be shy in telling them what you want, and if you don’t know, it’s important to say that also.

Space doesn’t allow me to give too many examples, but I have chosen one painting, “A Ride in Paris” by Marco Fabiano. I selected this one because I don’t sell or represent the artist, and therefore, shouldn’t be accused of using this forum as a selling tool. This is very basic and inexpensive framing. Even at this level, it is clear how framing makes a massive difference.  

Canvas has become very popular, and the first two examples show how it can be used to great appeal. The floating version places the canvas inside the sides of the frame. In the second, the canvas is wrapped around the wooden stretcher. Both these styles show well in a relaxed environment. The last two show prints in wood frames.

I personally like the light wood as it picks up the misty atmosphere of an early Paris morning. The darker espresso color will do well where you want to make sure the piece is noticeable. All four examples are very basic framing, inexpensive, and quite acceptable.

This is how you may likely start your framing journey.  Most probably, it will not end there. Were I to blow the budget, I could turn that painting into a piece worthy of a Rembrandt, but there is no need, “It’s the art, dummy, not the frame!”

 “A Ride in Paris” can be found online at GreatBigCanvas.com

Steve Austin

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