A How-To Guide on the Art of Framing Art with Adam at Jealous Gallery
Let's face it, framing art is an art in itself - and it can be a real hassle! To take some of the stress out of the process, we spoke to Adam at Jealous Gallery, whose knowledge and expertise in this area far exceeds our own...
Read on for some of his top tips on how to frame your beloved pieces effortlessly and effectively - as well some insight into how best to hang your art, and even how to package it!
Hi Adam! Thanks for chatting with us today. Could you tell us a little bit about Jealous Gallery and your role there?
Jealous is a gallery and print studio in Shoreditch, London. We also have a sister gallery (the original Jealous space) in Crouch End, London. We opened our doors in 2008 and work with artists, designers and creatives to create beautiful screen print and digital print editions. I am the studio manager at Jealous and oversee the making of works and running of the studio space.
Let’s start with the basics: how should one go about choosing a frame? How should you decide on things such as colour, mount, width and material?
All works should be treated individually. You should consider what supports the work. I am a great believer in using a frame to elevate and not compete with the work you are framing. Simplicity is the key. When choosing the moulding and type of frame look at the environment in which you are placing the work. How are the other works in the space framed and what are the colours in that space? You do not want to use a frame that will clash with the area you will be installing.
What should be used to hang pictures? Do you need to worry about the weight of the artwork?
Always make sure the work is secure and know the surface you are installing on to. I would say the minimum is wire or cord and then a screw into the wall. I would not use the Velcro strips, I have heard too many stories of work falling in time. A nice tip when using screws is use two and drill/install a small distance apart. This will make the work more stable on the wall and staying level easier. Always take into consideration the weight too. What surface are you drilling / screwing into? Do you need rawl plugs or is the wall basked with wood (meaning you can screw straight into it). If it is a heavy work do you need strap hangers / brackets / mirror plates?
Should works on paper be framed differently to, say, textiles and embroidery?
Not necessarily but I would imagine with textiles or an embroidery you might choose not to glaze? I suppose this is dependent on the stability of the work.
Can you explain a bit about the choices of mounts and glass?
We offer a range of mounts and glass choices. Touching on the first question I would use a mount that is simple and complements the work. Mounts come in a variety of colours and thicknesses. I would say however that 99% of our works are framed with white or black to embellish the work. For glass in our framers you have a choice of normal, anti-reflective, truvue or museum glass. They offer different levels of reflection and become more expensive the more efficient in reducing any glare on the surface of the glass.
How can one ensure that the frame will last as long as the artwork?
Find a framer you know and trust. All framing should be completed to the highest standard and using materials that are archival and keep the work safe. For any project I would suggest talking to your framer so that you are completely satisfied in the work they are going to complete for you.
How about packaging prints - anyone who has experienced posting an artwork will know it can be a particularly stress-inducing task! Do you have any tips on this?
Where possible I would pack and send flat. Wrap carefully in tissue or glassine before securing to the card packing. Make sure you use three/four bits of card/foamboard to add rigidity to the pack so the work cannot be bent and at least 3 or 4 cm around the work inside so if it gets dropped you do not end up with a dinked print on the sides or corners. If you are sending in a tube then again roll in tissue and glassine and use a tube that has a wide diameter, you do not want the work rolled too tightly.
Does Jealous have anything exciting coming up?
We are currently working on a number of new prints for launch at the Art Car Boot Spring and the virtual Original Print Fair. These include works by David Shrigley, Chris Levine, Eelus, Adam Bridgland, Stanley Donwood, Jess Wilson and Joe Webb to name but a few.
Where can people find out more about the Gallery?
You can head to our website here, and follow us on instagram: @jealous_london
Thank you, Adam!
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