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Under construction .
This page is currently under construction.
All of the frames shown on this page & in the sandbox are computer generated & therefore don't actually exist. Please don't expect your framer to match them exactly just because they look so fantastic here.
Sandbox .
A really easy way of playing around with colours is in our sandbox. This is a crude way of putting a few picture & frame combinations to quickly learn what will work, and what wont work
The sandbox is made up of a lot of picture files, so if you don't have very good internet, you will have troubles getting it to work well.
And if it all gets too much, wait another couple of months when we will release our 3rd version which should handle things a little more smoothly.
All the examples here are given with mats. This is because using an extra component such as a mat, will be more difficult to choose colours for than not using one.Once you have seen how this can be done, choosing colours for pictures without mats is a relatively easy job.
The colour schemas covered on this page are broad. We could have gone into the finer points of the difference between an eggshell, a chalk, a stucco & general antique & off whites, though these subtleties would not have come across accurately on a domestic computer monitor.
Listed below are some example pictures & several different ways of approaching each one. We have made what we believe are good colour decisions & deliberate bad ones so you can see what to avoid as well.
We wont be going into too much detail about any one combination. Rather we are attempting to provide a general understanding through a multitude of examples & brief explanations.
Now lets take a look at our first example. Our moustache clad friend here, needs to have framing chosen that works well, relative to his photo.
Albert's Portrait.
With black & white or grey scale images, it is often customary to keep within these colours. You can of course add others, yet if you do so, something of the fidelity of a B&W can be lost. We would ordinarily recommend you keep within these tones so that the picture is not overcome by extraneous distractions.
For this example we look at using these grey, silver, black & whites, with a fair few alternatives thrown in as well.
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This is as basic as you get. The black frame gives the frame a refined & simple look, while clearly delineating the visual space that the photo inhabits.
The white mat it purely providing space between the picture & the frame, without adding any other visual effect caused by colour. |
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A more formal look, The use of a silver frame & double mat give the picture some prestige, while still remaining in the tones of the photo.
The use of the double mat is good here because otherwise the mat can seem to end abruptly & not flow into the picture.
One of the most basic concepts when using double mats, is to match the colour closely to the frame. It should also match the tones of the picture & usually be darker than the mat on top of it. |
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Another example of using the double mat, This time we have opted for a gold frame & a charcoal top mat.
The addition of gold is often an acceptable compromise, as gold is seen as something of a generic & traditional choice that can be used on anything.
The charcoal mat is in this case preferable to the white, as the white could leave the picture looking underweight. |
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Very similar to the previous example, except with a dark green mat instead of the charcoal.
This is often used in institutions such as libraries & studies that want to maintain a constant look of appropriate dignity on something like a portrait wall of previous heads of faculty etc. Again the use of a deep green is seen as a traditional exception to the rules. |
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Getting away from metallics & black, Here are some examples of wood.
This guy has a double mat of Dark blue & Black with a dark wood frame. This timber tone works well because it is so dark it verges on black. Also timbers of this depth of colour will often have some parts of the grain that will appear to be black.
The Dark blue is also good because it ads a little vibrancy that something like a charcoal would lack, without the flamboyance of a dark red, or the passive nature of a green.
The black highlight is also good because it works with the picture & almost echoes the frame while being a nice compliment to the blue.
Other colours that would have worked for the double mat would be the same dark brown as the frame (although probably better with a sepia photo ) & charcoal ( Possibly better than the black). |
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Exactly the same as previous, except the timber is more of a cedar colour. In my mind, this doesn't work as well because the colour of the mat & the frame clash. |
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Did anyone say pool table?
While the 4th example given of the green & gold combination worked, this setup looks a little too colourful for such a monochromatic picture |
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While toned down from the green, this tobacco colour leaves the picture looking a little nauseous |
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Even though the grey in this example works with the picture, it tends to deaden it a bit.
The cedar frame works OK as it does in the previous 3 examples. Though you want better than OK when investing the time & money to get something framed. The grey & the brown really don't gel & the whole thing looks a little forced. |
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The Cream mat & cedar frame work quite nicely together. unfortunately they don't have much to do with the picture. This combination would be much better suited to a sepia photo rather than B&W. |
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When you really want to make that photo look important, you can add more gold.
You have to be very aware that when framing something like this, that the photo takes a distant 2nd place to the frame. In essence while the look of the combination does in fact work (although not for many) the picture ceases being a picture & becomes a mere component of a lovely looking frame hanging on the wall.
Its all about the decoration & nothing to do with the picture. |
Sigfried's portrait.
Like the previous B&W photo, this portrait also contains little colour. However it is stronger, crankier & can be interpreted as more modern, so it therefore has further possibilities & limitations when it comes time to frame it.
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Having all the previously discussed advantages mentioned of simple black & white framing, this picture does however not look as powerful as its all black contemporary. One thing that is especially important for dark pictures is to not choose something too light in the frame. What I notice when looking at this framing combination is a black rectangle, within a white one, within a black one. When I look at the black version I see all the individual parts of the picture & smaller detail. |
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Black on black on black can be hard to look at, though it has its advantages.
The reason so many TVs & computer monitors are made in black is that they don't interfere with the image in the center. While this can be intimidating to have hanging in your lounge room, it can be the most dynamic way of framing things, that you can be sure will never go out of style. |
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Rich colours are usable on something like this, though only for the right person.
The end user (person who has it hanging on their wall) has to have a clear desire for it, as it requires a particular taste. Much in the same way as the all gold version of Albert's mustached photo. |
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Like the all black version, though with a silver frame.
This does work, though the mix of formality & modernity can clash. If you were to use a silver frame, use one more hard edged to give it a more current look. |
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More silver. This time with a triple mat graduating downward from light grey, through charcoal, to black. While these colours do match & make a smooth transition, I feel they overwhelm the picture's minimalist appeal.
I also feel my eye drifting out toward the frame, instead of being drawn into the picture. |
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With the same triple mat & its draw backs, this combination is more successful as the black frame shepherds the eye to the picture.
Even though the mat colours are identical to those in the silver frame, the black version seems to cause them meld together & makes the top light grey seem darker. |
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Needing an even more determined taste than the dark red matted work above, this strong blue mat can be carried by the picture where many others would be clobbered. |
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This cream mat does soften the image to an extent, though I feel it leaves the over all effect looking somehow unbalanced or unfinished. |
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It's going to be hard to see,though this picture has a white mat & a white frame ( give yourself a dollar if you guessed correctly). It does give the picture a very modern look, though & has much the same problem as the second example, in that I see a black rectangle, instead of a picture. |
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This is another variation on the same theme. It does work, though you'll need the right place to hang it. |
Elizabeth's rug .
With dirty reds, browns creams & greens, this piece needs something in a more low key tone. If you are afraid of gold, best to look away now.
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With a mahogany frame to pick up on the reds, this simple solution may leave the piece looking a little stark |
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That's easier to look at.
The creamier mat requires less visual attention when looking at the picture, & allows a smoother integration between the colours of the frame & the art work. |
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Using the same cream as before, though now with a highlight in the same mahogany colour as the frame. This ads a certain amount of formality to the picture, without adding any distracting elements. |
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Now using a deep walllnut in the same configuration, the picture appears less vibrant & more detailed. |
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Now leaving the timbers & entering the generic realm of the gold's, This combination utilizes a chocolate over mat. I believe that while the chocolate does work a well, a deep sepia would be better suited. |
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That's more like it.. |
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Deep blue colouring ads a level of dynamics to the work & works very well with the gold frame.
The large swatch of a near primary colour does make the picture look a little juvenile though.
With this mat we notice the effect it is having, as well as the cause of it. Namely the thick blue border. |
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Continuing the theme of strong over mats, this red is a more aggressive alternative to the blue. Taste would dictate one way or the other, though I feel the red is more true to the original style of the piece, & therefore more appropriate. |
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Sharpening up the use of the red, here we see the gold under mat & frame replaced by black. This is a little strong for the faded fabric, which could be served better by something not quite so dominating. |
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This example does exactly that, though you may be forgiven in thinking that there's a little too much red in this picture. |
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Using the same mahogany frame, we now see a cream mat over dark blue, over dark red.
The mahogany under mat & frame do the same thing as they did in the 3rd example, by highlighting the reds in the picture.
The cream mat serves to give a well toned space between the picture & the frame.
The difference is in the dark blue middle mat. This gives a little spark to the picture even though we may not necessarily notice its existence. What we see here, as apposed to the 7th example, is a much more subtle emphasizing of the blue.
The triple matting gives the work a formal appeal. |
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Taking a different tack, this mid brown frame has a hint of dirty green in it that emphasizes the higher & finer aspects of the fabric. The lighter tone of the mat gives it a more informal tone, which works in well with the wood. |
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Using gold & cream like this gives a light hearted formal look. |
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In this case, the dingy nature of the mat, is offset by the spark of the gold. |
Someone's certificate .
Depending on what type of certificate you have, the framing can be very simple or very OTT. While community collages give out A4 B&W mass produces bits of paper, some universities, collages & other institutions give large colourful parchments with gold lettering & heavy wax stamps. The certificate we have chosen to use is somewhere in the middle.
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Vincent's house.
Earless he may have been, vincent has sold a lot of prints since his death. One of the problems faced by framers with this kind of thing, is how to frame something as a poster, that was originally painted on canvas.
Half the problem comes from the print being quite colourful, necessitating bright framing. And half the problem comes from it being painted by an old master, requiring a little dignity & restraint.
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1280
We have a wider page available for larger monitors.
Match the space
make full consideration of the lighting and colour of the room where the picture will be hung. Don't choose something too dark that wont stand out, & don't choose something too bright that will overwhelm the space
Match the work
Make sure you don't concentrate all your energy on matching the mat to the brown velvet cushions. No matter where the frame is hung, it should still be first and foremost in keeping with the picture.
Learn the rules
Have a quick look at some colour theory before making your choice. Although there's no need to become a master. A little bit of homework can make your choice that much more effective.
Break the rules
Who ever said blue and green should never be seen? Be adventurous with your choices if you know what your doing. And the results can be unique and satisfying
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