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Designs Ink
Publishing Article Archive and Reference Library
Articles
by Chris A. Paschke, CPF GCF CMG
"The Essence of
Design: Introduction"
February 2000
There is a very
distinct difference between art and design, and yet the two seem nearly
interchangeable. Art is original work that arouses an aesthetic
response in the viewer. Design is
usually thought of in term of objects, like a picture frame, this could also be
known as functional design. The
earliest decorations and embellishments were done on tools and weapons, items
used for survival and day to day living. Hence design seemed to have a
practical purpose. Yet any effective design also has an aesthetic side to it
and could well be the whole purpose of the design, this then is called visual design.
VISUAL DESIGN
When an artist
creates a heavily textured, brightly colored painting he expects the viewer to
react to the lines, colors and texture. A chair can also embody line, color and
texture, but it too has a function. A badly designed chair will not hold us
when we sit, but a bad painting may be seen as that only in the eyes of one
viewer. The interrelationship between art and design is subtle. It can be a
piece of needleart framed on the wall or a chair with a needleart cushion used
to sit on every afternoon.
The relationship
between art and design is an intimate one, for the same principles govern both
a wall hanging or a framed limited edition. The elements of line, color, texture,
shape, intensity and space are
the building blocks that create both
art and design. The factors of proportion, balance, emphasis, rhythm and
ultimately unity are the mortar that
hold the blocks together in an aesthetic way. Visual design is the organization of materials and forms in such a
way as to fulfill a specific and aesthetic purpose. For framers, this purpose
is to enhance and protect the art.
Determining a good
design from a bad design when it comes to framing is actually quite simple. If
the framing works well and enhances the art with smooth transitions from outer
frame to inner artwork it is a good and unified
design. If however the viewing is
jarred, the eye is caught up in an area of decorative embellishment or color,
then perhaps the design needs improvement.
THE DESIGN PROCESS
The creation of a
design is a matter of problem solving, consisting of five stages:definition, creativity, analysis, production and clarification. No surprise I keep saying that framers are problem
solvers. Although most framing designs
are intuitive, the formal progression is both conscious and unconscious.
DEFINITION
All designs begin
with a concept or definition of what
is required. When a photograph is
brought in to be framed we begin to pull mats and mouldings to work with the
image. But first we need to determine what type of photo (color RC, B/W
fiber-based, Ilfochrome Classic) only then have we truly defined what the
project is. This helps determine what supplies are required, but still more
evaluation is needed.
CREATIVITY
The creativity stage immediate follows
defining the project and is when framer imagination kicks in. Will the framed
presentation be traditional as an accent, or will it be the full focal point of
the room? Is it to be understated or outspoken? What are the colors of the room,
the styling, the period? This is the point when designing goes all the way,
selling up, to the extreme. Remember if a triple mat is the desired end then at
least a quadruple needs be shown to the customer. Consider deep bevels,
fillets, wrapped mats, embossing, or stacked mouldings.
ANALYSIS
During analysis the limitations or rules are
determined. This stage goes hand in hand with creativity and definition and
should actually be actively and consciously considered during them. This is
when time limitations, corporate budgets, or conservation requirements are
brought into view. Is this photo a color RC that requires unbuffered materials;
what is the required depth for a christening dress or bridal bouquet; or how is
a pistol to be suspended in a shadowbox.
PRODUCTION
The actual production process is just that, execution
of the designed project. The first three stages take place with the customer
and front desk frame designer, the last two take place primarily in the back
room. Sometimes the frame designer and
production framer are the same person, sometimes not. If a project is well
designed, the production stage is easy, if not this is when potential problems
begin to show up.
CLARIFICATION
During clarification the framing project is complete
and ready to be reviewed. It could be appraised or critiqued as many as three
times. First in the back work room at the completion of the project. This is
when the piece is checked for glass smudges, fuzz or hairs in the frame...is it
perfect? Second it is reviewed by the frame designer at the design counter who
may verify the choice of colors or spacing used in his design. Third but no
less important is when the framed design is finally presented to the customer
for approval.
These five stages
are rarely noted as individual stages, and are most often unconscious decisions.
If during clarification in the front room the colors of the selected mat appear
less than perfect or the moulding is slightly shallow for the number of mats
perhaps additional design education is needed for the designer. In turn if the
completed project consistently has fuzz or rough cut window openings perhaps
the production framer could use a mat cutting brush up course.
PRINCIPLES OF DESIGN
The principles or
fundamentals of design are the sum of both the elements and factors. And it
must be stressed that although all of them will be identified and discussed
individually, no element or factor ever works alone. In order for
there to be a truly unified design they must all meld into one cohesive well
planned and perfectly executed presentation.
Elements and
factors are individualized and categorized only for identification and
analysis, in order to best understand them, their potential in framing, and
their interaction with each other for a complete design. These principles are
that same ones used by artists in the production of their artwork but they have
been modified to translate into the world of picture framing. As an artist uses
them to produce a masterpiece in pigment, so a framer will produce a
masterpiece of framing design.
ELEMENTS OF FRAMING DESIGN
There are a number
of individual elements that together
comprise the whole of a well organized and controlled framing design. The
elements are considered the psychological portion of a design. Those that an
artist, designer, or framer has total control over. They are interpretive and
the desire to use them in a particular way comes from within. This is often an
unconscious knowledge, such as ' just knowing' when a particular moulding and
mat combination 'looks right' or 'just works'.
This is why designs created for the same art image may vary drastically
when it comes to the layout and execution of framing. Individual framers all
have individual tastes, and what works for one may never work for another.
The individual
elements are line, color, texture, shape,
intensity and space. These are
the raw materials of any design equation which will be put together into a
finished presentation. In framing these six elements are present in the
appearance and visual feel of moulding, mat board, fabric, paint, pigment,
decorative paper, deep bevels, fillets, glazing and artwork.
FACTORS OF FRAMING DESIGN
If the elements of
design are the building blocks, I've already said the factors are the mortar
that holds them together. These are
integral to the use of the above elements. They are the physical organizers
that hold the design together. Even if
the perfect colors and textures have been selected to beautifully showcase a
piece of art, if the balance or proportion of the presentation is off the
design will not hold together, hence no unity.
As applied to
framing the principles begin to be established as the initial questions are
asked of the customer to help select the correct interpretive uses of the
elements. These include noting artwork size, period styling, room placement,
color, and decor. These facts all help establish the basic guidelines during
the analysis portion of the original design process with the customer.
The basic factors are proportion, balance, emphasis, and rhythm. Although unity
is considered a factor, when adapted
into framing it works best to say if all of the elements and factors are
implemented correctly for any given work of art or object, then unity will be
achieved. Additional factors of style, scale, and placement are sometimes
interchanged with the ones targeted here. They have not been dismissed but
rather reestablished, and recognized under a different title. Style will be addressed
as period when determining the correct direction to head during the
definition/creativity stage; scale is taken care of under proportion; and
placement is also known as emphasis.
DESIGN INTEGRITY (UNITY)
The quality of a
design that makes it a unique expression of its time, designer, or creator, is
called its integrity. It is a quality or state of being complete, a whole,
having unity. Understanding the
advantages and limitations of selected materials to be used contributes to its
integrity and effectiveness of design. In framing that includes knowing the
predictability of mounting technique, characteristics of buffered boards, and
what exactly the selected glazing may be expected to do.
Designer
integrity, as a framer, comes from years of successful dynamic framing, from
winning national competitions, or establishing a state-of-the-art facility that
clients respect. It also stems from your desire to keep abreast of modern
developments by knowing how best to enhance and protect artwork. Nonglare glass
on a deep shadowbox would not be the best glazing choice. Reading trade
publications, attending workshops, distributor open houses, and trade shows all
add to framer knowledge and integrity.
SUMMARY
In December I
wrote an editorial about the freedoms and limitations of framing design with
respect to the artist and his work. This month I embarked on a two year series
of bimonthly articles (every other month) on just that topic. As a successful
frame designer and artist I will be talking from both sides
of the fence. Knowing what the design
limitations are can be is every bit as vital to a successful design as knowing
how to cut a mat or miter a frame.
Never invading the
artist's space or extending their image beyond artist boundaries when
preservationally designing is vital.
Decorative framing is altogether another issue. As framers, we are
enlisted to create an environment to house a piece of artwork, photo, or object
collectible. As designers we must work to visually enhance, showcase, and work
in a unified manner with the art, but never detract or draw the eye away
from it.
END
For more articles
on design see the Design Series under Articles by Subject.
Additional
information on mounting basics is found in The Mounting and Laminating
Handbook, Second Edition, 2002, and The Mounting And
Laminating Handbook, Third Edition, 2008. Creative Mounting,
Wrapping, And Laminating, 2000 will teach you everything you need
to know about getting the most from your dry mount equipment and materials as
an innovative frame designer. All books are available from Designs Ink
Publishing through this website.
For live
consultations with Chris Paschke, CPF GCF call Designs Ink, 661.821.2188. A
flat fee of $25 will be charged for each new technical problem. Unlimited calls
or emails are allowed for each established mounting problem.
Chris A Paschke,
CPF GCF
Designs Ink
Designs Ink
Publishing
785 Tucker Road,
Suite G-183
Tehachapi,
CA 93561
661.821.2188
info@designsinkart.com