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466

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Preparing for the Appraiser’s Exam

? Locate all items in advance of the appraiser’s arrival and make them accessible.

? Share pertinent records about when and where items were purchased, including their receipts. Receipts often have a painting?s title, which may or may not appear on the back of the frame or on an attached plaque. Art works without a title may be determined if the artist is still living. Unfortunately, some artist?s do not remember titles or record them…

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Preparing for the Appraiser’s Exam

? Locate all items in advance of the appraiser’s arrival and make them accessible.

? Share pertinent records about when and where items were purchased, including their receipts. Receipts often have a painting?s title, which may or may not appear on the back of the frame or on an attached plaque. Art works without a title may be determined if the artist is still living. Unfortunately, some artist?s do not remember titles or record them in a permanent ledger. Not all art bears the date or dates it was completed. The date of the receipt could assist in dating the artwork. The goal is to create as complete a record about the artwork as possible. Don’t slow the process down or create an opportunity for the document to be less complete by holding back information.

? Allocate enough time for the appraiser to carry out the inspection and the photography. Appraiser’s typically need about 15 minutes an item for both activities. While the appraiser often enjoys visiting with clients, he or she must focus on the task at hand in order to not take additional time or overlook pertinent information.

Discussing Value With a Prospective Appraiser

Identify what you need to have appraised by providing the following information:

? Artist’s first and last name
? Medium such as bronze, painting, or print
? Condition, especially if you are not sure if the item has enough value to warrant an appraisal.

State why you need the appraisal.

The same item can have a different value depending on the purpose of the valuation. Appraisers ask why you need an appraisal document because they want to investigate value for the appropriate market. Imagine that you are buying this item instead of having it appraised. Would you expect to pay the same price for the item at a flea market or at an estate sale as you would in a high-end antique shop or art gallery? Different purposes mandate different markets, which translates to correspondingly different value levels.

Identify the timeframe needed for the appraisal document’s completion.

Is this a rush job? If there are 200 items and your moving van will arrive in less than 60 days, this is a rush job. Also, the appraiser may have too many active assignments to meet your desired timeframe. If this is the case, the appraiser may redirect you to someone else who can fit your appraisal into his or her schedule.

Identify if there are special conditions for examining your artworks.

For example, does the appraiser need to bring a ladder? Will the appraiser need to wade into a pool to examine a sculpture? Will the appraiser need to wear washable clothing? While unforeseen events do happen at most appraisal inspections, pre-planning keeps them to a minimum.

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372

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Gallery One framing standards have long been recognized for excellence. Here is a summary of the procedures Gallery One follows for framing works of art on paper.

Keywords:
framing art, how to frame artwork, frame paper art

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Gallery One framing standards have long been recognized for excellence. Here is a summary of the procedures Gallery One follows for framing works of art on paper.

1. Art should be surrounded by white, 4-ply, 100% rag (mat) board or the equivalent.

Usually, fine art should be attached with special flanges that allow for the normal expansion and contraction of the artwork. (By using such flanges, the artwork can be easily restored to an ?unframed state.?)

2. Glass is necessary to protect paper artwork. The real purpose of matwork is to create a space so that the glass does not rest directly on the art. And the entire framing package (see illustration) must be larger than the artwork to allow for the expansion and contraction.

Experienced framers know that matwork should be much wider than the frame. Creating the appropriate balance in measurements and in coloration is essential if the artwork is to look its best.

We often recommend three mats used in conjunction with one another:

The top mat should be a pale, neutral-colored rag board. A second mat showing 1/4 inch in an accent tone can further enhance the image. A third mat showing 1/4? to 1/2? of white or off-white rag or a mat identical to the top mat is used directly touching the art.

If art is signed (and/or numbered) in the image, the matwork should fit just inside the image area. If it is signed (and/or numbered) in the margin, the framer should keep an unmatted border of 1/2? or more around the image.

3. Gallery One recommends specialty glass products that reduce glare, promote clarity and diminish the effects of ultra-violet light.

4. The frame must be selected with care. Metal frames should be reserved for posters and contemporary images. Most art looks best framed with wood-toned or silver leaf mouldings, one and one-half inches or more in width. Bright gold mouldings can be overpowering and should be used with care. Frames are best if they do not make an artistic statement of their own.

The collector need not memorize or even understand framing design and procedures. In the hands of a Certified Picture Framer, the collector can relax knowing that the finished product will be appropriately framed relative to design and conservation.

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483

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Being able to capture the likeness of a human being on canvas, using paint, is certainly a sought after accomplishment for many new painters. It can also be somewhat challenging. This article will cover some of the more basic portrait painting tips & techniques and help lessen some of the confusion many beginners face. With practice, you will soon be painting portraits like the masters.

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Being able to capture the likeness of a human being on canvas, using paint, is certainly a sought after accomplishment for many new painters. It can also be somewhat challenging. This article will cover some of the more basic portrait painting tips & techniques and help lessen some of the confusion many beginners face. With practice, you will soon be painting portraits like the masters.

If at all possible, I highly recommend you paint your portraits using a live model as opposed to a photograph. There is simply no substitution for painting from life.

Painting a successful portrait is all about how you observe the subject. You want to study the subject as a whole. Study the bone structure and try to see shapes and planes. Do not try and paint every little detail exactly as you see it.

For beginners, it is probably best to start out with a lighting effect where light and shadow are in high contrast. This will make for a much easier painting.

Focus on one section at a time. Finish each section before moving on to the next.

Keep the darks of your portrait at a thin consistency while your lights should be painted on thickly.

Many beginners struggle with mixing flesh tones. I know I did when I first started painting. Remember that skin comes in a variety of colors & textures, so there is no specific formula for mixing flesh tones in portrait painting. You will have to experiment and practice, until you find the right color mixtures for any particular subject. Never purchase any pre-mixed flesh colors. When mixing your colors be careful not to over mix, which can deaden a color.

Try and repeat the colors and values in your painting to create balance.

When painting hair, don’t try and paint every individual strand of hair. Look at the hair as one object and then paint the lights and darks. Paint the hair in the direction of the shape of the head.

The muzzle area of the face (the space between the nose and mouth) is generally the same color as the flesh but cooler.

When painting backgrounds, don’t make them too detailed or busy. If you do, you will draw focus away from your portrait.

Add bits of color where the shadow meets the light in your portraits.

Fleshier parts of the face are generally warm and bonier parts of the face, like the chin for instance, are generally cool in color.

The white in the eye is not white. To get an accurate color for the white in the eye you can take the subjects basic flesh color and then lighten it with a gray made from black and white.

I hope these portrait painting tips & techniques have helped. Portrait painting can be difficult, possibly even frustrating in the beginning. Never give up and keep practicing. You will get the hang of it.

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495

Summary:
Tips and tricks on how to find the right frame for your original painting, art print or photography image.

Keywords:
art, buy art, artwork, paintings, sculptures, oil painting, art gallery, buy art online, buy artwork,

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Purchasing framed art to many can even affect the decision they make in purchasing the artwork itself. However art is fairly simple to frame and is relatively inexpensive. Many of the art frames can be purchased to match your d?cor and/or other artwork adjacent. There are endless amounts of choices when it comes to finding the right frame online or offline.

My personal preference is to purchase my artwork of choice without the frame if given a choice. As beautiful as the painting might be, the artist and myself might have opposing tastes when it comes to framing. If you can find the artwork with a frame you enjoy then that is a bonus. If you are purchasing an unframed work directly from the artist it never hurts to ask if they have a connection to get you a good priced frame. Artists that sell a lot will not purchase frames at a premium price. They usually have a friend or a good business connection that deals with frames, so talk to him or her and see if you can get you a discount. It never hurts to ask.

If you prefer to look for yourself then I?m sure you will agree that there are several professional framers in your area. As with any service or profession some are good and some are not so good. Shop around for the best service, best price, and look for value as you would for any other product or service.

If you know your frames you will not hesitate to purchase an ugly painting as long as the frame is worth the asking price. This is more on the lines of bargain hunting. So for most of us we will not be buying a frame to resell it for a higher value, we are simply purchasing it to enjoy the painting.

Below are just a few tips to help you choose your frame.

Size ? Making any sized frame “work” with a piece one must ultimately control the proportions with matting. A wide frame requires more matting than a narrow frame.

Style ? by looking at your artwork you will see how the coloring, theme and medium will most often direct you toward an appropriate selection of frames. Generally the frame should go with the theme, medium and style of the artwork. If you are still having a hard time with choosing your frame you can also use the d?cor of your room in which the piece will hang as your guide.

Type of wood frames will look good on almost any piece of art. We use walnut, cherry, oak, ash, basswood, poplar, and pine – all domestic woods – in our frames. Stained wood can be plain, carved, simple or ornate. And, many wood frames are available in lacquer finishes, faux finishes, and gold or sliver leaf. Metal frames, which work well with certain d?cor, or with modern pieces and posters is often a good choice

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343

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The frame gives a more finished look to the oil painting and helps define the boundaries of the artwork. The marriage of a frame with an oil painting may be harmonious or discordant, enhancing or distracting – a poorly chosen frame can ruin the appearance of the oil painting, while an appropriate one can make it shine.

There are many different styles, colors and price ranges of frames with cheap ones made in moulded plastic and more expensive ones carved in wood. An oil pa…

Keywords:
Oil painting, art, framing

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The frame gives a more finished look to the oil painting and helps define the boundaries of the artwork. The marriage of a frame with an oil painting may be harmonious or discordant, enhancing or distracting – a poorly chosen frame can ruin the appearance of the oil painting, while an appropriate one can make it shine.

There are many different styles, colors and price ranges of frames with cheap ones made in moulded plastic and more expensive ones carved in wood. An oil painting may be seen in different frames either by the use of computer-generated montages on the internet, or by physically standing the oil painting in successive frames in a framer?s shop. The final choice of the frame depends on the owner’s personal taste, the proposed location of the oil painting, the harmony between oil painting and frame, and the relationship of the frame to the room where it will hang.

With modern art, you may choose to hang your oil painting without a frame. Providing that the stretcher is solid and reasonably thick, then the oil painting can be wired to hang without a frame. This unframed approach to exhibiting modern oil paintings means that the viewer focuses entirely on the artwork itself.

How to Hang an Oil Painting

Materials:

2 eye screws
Woven picture wire.

Procedure:

1) Mark 2 points on the inside of the two side stretcher bars about 25% down from the top of the canvas.

2) Screw the eyes into the stretcher being careful not to apply pressure to the stretched area of the canvas.

3) Measure a piece of wire the width of the canvas plus 6-8 inches.

4) Thread the wire through the first screw twice then neatly wrap the remaining wire around itself.

5) Pull the wire across the back of the painting so it is not quite taut then repeat the threading process on the second side.

6) To hang the oil painting, use an appropriately strong hook, i.e. one that can support double the weight of the painting. The painting should hang as flush to the wall as possible.