". . . a brush with nature"

As I created new paintings during this time of being "sheltered" at home, I have been reusing many frames and mats from older paintings that didn't sell. Actually, it has been extremely fun shopping in our basement. So many possibilities, new visions and life for beautiful, perfectly functional frames that deserve better than languishing in a dark storeroom. The frame, matching fillet and suede mat I had previously used on an old pastel work (detail pictured above) would be perfect on a new western piece I had in mind, so I removed it and had it sitting in my studio as I worked on the new painting.

Each day as I worked I looked at that old piece. One day I saw something new in it. I thought to myself, "Hey, I LOVE snow globes!" (I really do love them, but that's a whole different story best saved for another day.) Anyway, I envisioned a radical change for that old painting . . .from large to small, one subject to another and even summer to winter! After completing the original painting to my satisfaction and framing it with much success, I moved on to this off the wall reinvention.

The first step was deciding on an approximate size to fit my vision of the new piece. At this time, in keeping with my plan to reuse the frames I have on hand, I selected a few that I thought might work out. After evaluating the sizes and the moldings I narrowed my selection down to two possibilities. Finally, I selected a beautiful 5 1/2" square frame that met both the dimensions and color I wanted for my new small painting.

After cutting the old painting down, I started my loose sketch (shown in the photo above). I then used a small piece of chamois cloth to wipe away some of the outside area - mainly the mane (lower left and right). I didn't worry too much about the blue because that would still be sky, or about the dark areas in what would eventually become the base of my snow globe. I saved the parts of the sky I had cut away to experiment with the new colors of pastel I would be adding before actually using them on my painting. This was an important step and offered valuable insight as I worked.

In the photo above you can see that I have started to add the effects of snow swirling around the outside of the globe. I also worked to change the original summer reflection in the hame ball to a winter scene that might be found in a beautiful snow globe. It was great fun imagining the snowy cabin with a wintery forest behind. The addition of trees in the foreground added some depth.

"A Chance of Flurries" pastel  5 1/2" x 5 1/2"

In the end, I finished the base to complement the molding of the frame I selected. Then I added more swirling snow and snowflakes (both inside the globe and out). What started out to be a repurposing of one frame turned out to be a reutilization of two . . . AND a fun reworking/reinvention of a painting that I never saw coming!

I am sure you have seen the completed works of many artists, but have you ever wondered what goes on behind the scenes? Where (or how) does the artist paint that painting? What tools does she (or he) use? What else is involved beyond the completion of the finished piece? Well, here we go with a look into my own personal working studio. In many ways it may be like the studios of other artists, but in just as many ways I am quite sure it is unique. Even with that being said, this will give you a glimpse behind the scenes – into the world of making art.

The Studio

Since I am an artist that works in multiple mediums my studio is set up to accommodate all the types of work I like to create. I have a wonderful antique drafting table where I work on my pastel paintings, as well as several easels for my acrylic pieces. The smaller of these easels also serves as the set-up my husband uses when photographing my completed paintings for cataloging, submitting to shows, updating my website, etc. In addition, I have two tool boxes where I house my supplies. Acrylics in one and pastels in the other. In the back there is a flat table used for framing, boxing, shipping and the like.

The Tools 

I prefer at least the “feel” of organization in my studio. My pastels and pencils are all in one toolbox next to the drafting table. Sanded pastel paper in different sizes is also within easy reach. My paints, brushes, canvases etc. are next to my easels. All framing, boxing and shipping tools and equipment are stored in the back of the studio near the framing table or on a shelf underneath it. It is a straightforward system, but one that works for me. When photographing completed paintings, the smaller easel is simply moved to the middle of the room. Everything can be handled easily and quickly in one great space!

Before and After 

Much preparation work goes on beyond the actual creating of a piece of art. In some instances, surfaces need to be primed, canvas needs to be stretched, under-painting needs to be done, cradled edges need to be stained . . . Well, you get the picture. I am always anxious to get into the real “meat” of the project, but you have to start out with a good foundation, so the beginnings are important.

Just as important are the final touches. For example, deciding which molding works with a painting to compliment it rather than overpower the piece. Should I matt this pastel or simply frame it using a spacer? There are numerous decisions I make as an artist before ever presenting my work in a show or gallery setting.

I hope you have enjoyed this brief look into my own studio and the makings of art as I do it. It is a passion and a business for me.

I am so fortunate to be able to pursue this dream!

Although framing your work is the last step toward the completion of your masterpiece, it is by no means less important than quality materials or an inspired theme. The choice of the right frame (and matting, if your piece is created on paper) can make or break your finished painting. Matting and framing, when chosen successfully, should perfectly compliment your art and work in concert with it - never against it. It should never over power the piece or draw the viewer's attention away from the art itself.

The framing and art should work together "as one." This being said, it is important to select a moulding that "fits" the theme of the painting you have created. It should not be too rustic nor too ornate depending on the subject of the painting itself. Let your style and your work be your guide.

Develop a good relationship with your local framer. Matting and framing should not only be done in a professional manner to better present your work, but by using proper archival materials the piece will be better able to stand the test of time. Trust the framer's professional advice as they offer a few suggestions, then take the time to actually try out different mouldings (and mats if working in watercolor or pastels) to see how each looks with your specific painting. You'll be amazed at what a difference a frame makes.

Making good choices on the final presentation of your art may lead to success with future gallery representation, in juried shows or the potential sale of your work. A professional "finish" in framing is well worth the extra time and investment in the long run.

Here is a link to another interesting blog on framing -

 http://www.reddotblog.com/wordpress/index.php/framing-art/

The frame on "Woodland Picnic" completes the woodsy feel of the piece . . . working with it in a positive way.