How To Frame an Oil Pastel Painting
Since oil pastel paintings don't really ever dry, they need some accommodations when it comes to framing. Namely, a deeper air space between the glass and the painting to prevent the transfer of the pastel. I do this primarily in 3 different ways.
1. Using matting
2. Using a wooden liner
3. Floating with a shadowbox
1. Using matting
2. Using a wooden liner
3. Floating with a shadowbox
Contents at a Glance
Greetings
My name is Mona Majorowicz and I have been in the art and framing industry for over 20 years. I am an animal artist, (meaning I paint critters) who works primarily in Oil Pastel or Water Soluble Pencil.Currently, I own and operate Wild Faces Gallery with my husband Mike in a small rural town in Iowa. There we sell my original artwork and prints as well as do quality custom framing and offer Giclee printing for other atists as well as for ourselves.
My Blog is Fur In The Paint
For more information about working with Oil Pastels, Water Soluble Pencils or Framing artwork. Please visit my blog.
Fetching RSS feed... please stand by1. Creating Depth With Matting
The following are two ways I usually get the depth I need through matting.
Multiple Mats
Since I tend to work oil pastels by laying in thick coloring, I may use a minimum of a three mats, but most often I go with four. The multiple mats stacked up create the depth needed. This is pretty straight forward, so I won't elaborate on it. However if anyone has any questions, please feel free to ask me.
Spacing Mats Apart
I achieve the depth I need by putting an (acid free) AF spacer in between the matting. This is not one of my paintings, nor is it an oil pastel. I am using the same technique for it, that I would for an oil pastel painting, because it adds a certain drama and interest when framing other items as well.
Note: This watercolor of a poppy was painted by a friend of mine, Arjes Youngblade. She has graciously allowed me to use her painting in this demonstration. It is a copyrighted image.
Multiple Mats
Since I tend to work oil pastels by laying in thick coloring, I may use a minimum of a three mats, but most often I go with four. The multiple mats stacked up create the depth needed. This is pretty straight forward, so I won't elaborate on it. However if anyone has any questions, please feel free to ask me.
Spacing Mats Apart
I achieve the depth I need by putting an (acid free) AF spacer in between the matting. This is not one of my paintings, nor is it an oil pastel. I am using the same technique for it, that I would for an oil pastel painting, because it adds a certain drama and interest when framing other items as well.
Note: This watercolor of a poppy was painted by a friend of mine, Arjes Youngblade. She has graciously allowed me to use her painting in this demonstration. It is a copyrighted image.
Bottom Mat
Here is the artwork with bottom mat only, which was cut at 4 3/8 inches.The photos are going in the order of what is closest to the artwork, on out.
Foamcore Spacer
Here the AF 3/16" foamcore spacer has been laid in place. It was cut at 3 inches. It needs to be well undercut from the topmost mat, so as not to be visible from any angle. In this instance, the spacer was cut 3/4 of an inch less than the top mat. Top Mat
Here the top most mat has been added. It was cut at 3 3/4 inches. Finished Framing Using Foamcore Spacing Between Mats
And now the frame and the glazing (glass) have been added. Because this project is an original, I am using Conservation Clear.Clear glass should always be used in any framing project that has some depth to it because Non-glare (also called reflection control) tends to get a foggy appearance with any more than a double mat. Of course there is also musum glass which has anti-reflective properpties while maintaining a clear view. Musum glass is the most spendy glazing option.
Cross Section of Layers
Here is a cross section view of all the layers, including the backing boards. In this instance I used a black foamcore spacer to help differentiate it from the surrounding boards.The layers from the top down are:
glazing (conservation clear)
top mat (C1607 Brite White)
AF 3/16" foamcore spacer
bottom mat (1607 Brite White)
Artwork
barrier board (2 ply 100% cotton rag board)
AF foamcore backing board
2. Using a Wooden Liner
This is my favored way to frame oil pastels. I like the simplicity, and it gives them the look of a oil painting. Also by framing in this way, it keeps my larger size paintings, from getting even larger (and heavier) because of the additional size and weight of the matting.I apply a barrier using a 4 ply rag barrier board, or occasionally 2 ply to the wooden liner. This prevents the artwork from coming into contact, and being damaged by the wood of the liner.
In this photo, the liner is face down on the counter to show how it gets lined. I attach the barrier board with 1/4%u2033 ATG, which is essentially a double sided framing tape. A glue would also work, just be sure to allow for proper dry time.
Also I recently discovered that a company makes a product just for this specific purpose. I haven't tried it yet but plan too and will post my opinion of the product.
Glazing Placement
The glass is cut to the frame size. It sits between the frame and the liner, well above the artwork. Finish with a barrier board behind the painting and fill with an acid free foamcore board. Finished Framing Using A Wooden Liner
A simple classic look. I apologize for the lousy photo. I took it late in the day, when there was tons of glare coming through my front room windows. But you get the idea. 3. Floating Artwork in a Shadowbox Frame
In this last segment on framing oil pastels, I will discuss creating the depth we need using by floating the painting in a shadowbox frame. A shadowbox is created by using spacers to hold the glass off the artwork. Choose a frame with some depth to it. How deep, will depend on what you are framing, or the look you want to achieve. My frame shown here is 1 1/4%u2033 deep.Creating A Shadowbox
First cut the glass and lay in frame. The tighter the glass fit the better. I then line the edges of the frame first with a strip of acid free foamcore. Then, I apply a 3/4%u2033 strip of the same color matboard as will be used as the backboard. (In this case Rust Suede) Which is then glued into place on the side of the frame. By lining all four sides, the glass is held in place.
In this photo the frame is lying face down on the counter. Note: that sufficient space has been left for the artwork and backing materials to fit into the frame.
Floating
As I said, I chose to float this piece because of the deckled edges. Though it is hard to tell from this photo, the artwork is actually mounted onto a 3/16%u2033 acid free foamcore board, which is itself, mounted onto the suede backboard. This will create more shadow, thus adding a little more visual interest.I mounted the painting by glueing it to the foamboard using an acid free glue. Minimizing the amount of adhesive is best for maintaining the artwork. But with the floating technique, some sort of adhesive will have to be applied.
That's it. Pop it together and your done.
Plastic Spacers for Shadowbox Framing
Plastic SpacersLets say you don't want any matboard, or just a single mat. (Note: A single mat will not provide enough air space to prevent transfer.) But you don't want to shadowbox either, or you just want to use a more shallow frame. Well thats where these guys come in.
These spacers come black or clear, and in a variety of sizes and depths. Several companies make them with subtle variations. I like these, because they are quick and easy, and have a peel away, sticky side for mounting. And yes, they are archival as well. They perform the same function, and are applied in the same manner, as the matboard spacers mentioned above.
Finished Framing Using Floats and Shadowbox
I had no intention of framing this small buffalo painting, done last year. But I have been selling quite a few originals lately (which is of course the goal.) Since most of the artfairs I do, are quality events, they require a substantial assortment of original work and most even make me point out the new work. So I pulled him out. I must say, now that I have him done, I quite like him. It's amazing how a nice frame can add so much. Reader Feedback
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by WildFacesGallery
My name is Mona Majorowicz. I am a professional artist who has been making my living selling my work for some time now. I have been in the art and fra... (more)
