The frame creates transition from the volume world surrounding us to the two-dimensional imagined world of a picture. Besides, introducing decorative effect, it connects the image with surrounding space.
General rule
use a light baguette to light pictures, and dark – to dark. Though, sometimes from rules there are successful exceptions. Graceful, thin and dark frames can perfectly suit light images as not too make heavier them.
and thanks to a set of shades approach practically all works.
Size
The rule very simple - a wide baguette on pictures, big by the size, narrow on small.
Good balance between width of a baguette and the size of a picture.
The wide frame adds to a picture of validity, solidity and the importance to work
Color
The general rule – use a light baguette to light pictures, and dark – to dark. Though, sometimes from rules there are successful exceptions. Graceful, thin and dark frames can perfectly suit light images as not too make heavier them.
Gold frames - are universal and thanks to a set of shades, approach practically any picture.
It is necessary to watch that the frame at the same time approached both a picture and an interior.
At a frame choice, the general, prevailing tone of a picture, is much more important than single local colors. Images, mainly in warm colors (red, orange, yellow, brown), will look the nut or mahogany, and also in not brilliant antiquarian gold better in frames from a tree of color.
The frame from a nut is well combined with warm tone of a water color.
Pictures where a cold color (blue, green, violet prevails, gray) well look in an unpainted light tree, silver, or in a brilliant gold baguette.
The silver baguette approaches cold blue color.
Style
To an abstract picture or a poster we apply a baguette, modern on style, and to a traditional landscape or a still life – classical.
5. BASIC RULES OF THE FRAME
1. Ram needs to select to the picture, but not to an interior or color of walls.
2. The frame and the picture (a photoframe and the photo) shouldn't compete among themselves, and have to make a certain unity, mutually supplement each other.
3. For the works executed on paper it is necessary to use a passe-partout and glass.
The passe-partout can be the most different shades. Dark passe-partouts increase intensity of paints in a picture, depending on their shade, allocate warm or, on the contrary, cold tone in its scale.
Glass. Danger is constituted not only dust and dirt, but also light. Under the influence of an ultraviolet paper turns yellow, and paints fade. It is necessary to use special protective glass - it neutralizes 97% of harmful beams. Paper shouldn't adjoin to glass. The new generation of glasses with a special covering doesn't give patches of light, and also doesn't muffle "sounding" of paints.
Painting
Traditionally painting can't be cleaned under glass. The dried paint layer has the rich, saturated invoice underlining identity of a hand of the artist. Glass "greases" all charm of a live surface of a picture.
HOW TO PICK UP THE BAGUETTE.
The frame creates transition from the volume world surrounding us to the two-dimensional imagined world of a picture. Besides, introducing decorative effect, it connects the image with surrounding space.
General rule
use a light baguette to light pictures, and dark – to dark. Though, sometimes from rules there are successful exceptions. Graceful, thin and dark frames can perfectly suit light images as not too make heavier them.
Gold frames - are universal [Expand]
Size
The rule very simple - a wide baguette on pictures, big by the size, narrow on small.
Good balance between width of a baguette and the size of a picture.
The wide frame adds to a picture of validity, solidity and the importance to work
Color
The general rule – use a light baguette to light pictures, and dark – to dark. Though, sometimes from rules there are successful exceptions. Graceful, thin and dark frames can perfectly suit light images as not too make heavier them.
Gold frames - are universal and thanks to a set of shades, approach practically any picture.
It is necessary to watch that the frame at the same time approached both a picture and an interior.
At a frame choice, the general, prevailing tone of a picture, is much more important than single local colors. Images, mainly in warm colors (red, orange, yellow, brown), will look the nut or mahogany, and also in not brilliant antiquarian gold better in frames from a tree of color.
The frame from a nut is well combined with warm tone of a water color.
Pictures where a cold color (blue, green, violet prevails, gray) well look in an unpainted light tree, silver, or in a brilliant gold baguette.
The silver baguette approaches cold blue color.
Style
To an abstract picture or a poster we apply a baguette, modern on style, and to a traditional landscape or a still life – classical.
5. BASIC RULES OF THE FRAME
1. Ram needs to select to the picture, but not to an interior or color of walls.
2. The frame and the picture (a photoframe and the photo) shouldn't compete among themselves, and have to make a certain unity, mutually supplement each other.
3. For the works executed on paper it is necessary to use a passe-partout and glass.
The passe-partout can be the most different shades. Dark passe-partouts increase intensity of paints in a picture, depending on their shade, allocate warm or, on the contrary, cold tone in its scale.
Glass. Danger is constituted not only dust and dirt, but also light. Under the influence of an ultraviolet paper turns yellow, and paints fade. It is necessary to use special protective glass - it neutralizes 97% of harmful beams. Paper shouldn't adjoin to glass. The new generation of glasses with a special covering doesn't give patches of light, and also doesn't muffle "sounding" of paints.
Painting
Traditionally painting can't be cleaned under glass. The dried paint layer has the rich, saturated invoice underlining identity of a hand of the artist. Glass "greases" all charm of a live surface of a picture.
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