How to Frame a Watercolor Painting

I was just framing a painting for my mom and decided to take photos of the process in case some of you are interested in doing this for yourselves. I'm assuming you know absolutely nothing, so please bear with me if you already know the basics. For some ideas about where to get the materials mentioned in this post, see Watercolor Resources.

Materials

Watercolor "paper" is actually made from 100 percent cotton rag. Unlike canvas or linen used for oil paintings, watercolor paper isn't given a water-resistant coating. While some artists spray a protective finish on their work, most do not because it changes the way the painting looks, and not everyone likes the result. So most of the time you'll be framing work that isn't waterproofed.

To protect the painting you can use glass or acrylic. Acrylic is much harder to break than glass, which is good if you're shipping your framed painting or putting it in a show that requires acrylic. Otherwise glass is fine. Non-reflective glass or acrylic is nice, although more expensive than the regular stuff.

In addition to glass, you need to protect the painting with a mat and backing (usually foam core), which should be acid free and archival, unless you don't mind your painting turning yellow over time. I always use a double mat because it looks better. You also need some acid-free cloth tape to attach the painting to the mat. The mat keeps the painting from touching the glass, which is very important. If you opt not to use a mat, then you need to put a spacer between the glass and the painting so they don't touch.

Finally, you need a frame. In general, the larger the painting, the wider the frame molding can be, but it's all a matter of taste. Do, however, consider how the end result will look when you're selecting molding. You don't want to either overwhelm or underwhelm the artwork.

Sizing

You have three options for acquiring mats and frames. The cheapest way is to buy a pre-cut mat and pre-made frame. Alternatively, you can purchase the equipment to cut your own mats, and even buy parts to assemble your own frames. Eventually you can save money by cutting your own mats, if you do enough of them, although I've found the mat material to be expensive unless bought in bulk. Finally, you can simply order what you need from a framer.

It you're the painter, you have some options for saving money because you can paint in sizes that fit standard-size mats and frames, which are mass-produced and far less expensive than custom mats and frames. Here are a few examples:

Watercolor paper: 11" X 15" (1/4 sheet of 22" X 30" paper)
Mat inside dimensions: 10" X 14"
Mat outside dimensions: 16" X 20"
Frame inside dimensions: 16" X 20"
This is my go-to size because the mats and frames are readily available.


Watercolor paper: 12" X 15"
Mat inside dimensions: 11" X 14"
Mat outside dimensions: 16" X 20"
Frame inside dimensions: 16" X 20"


Watercolor paper: 6" X 8"
Mat inside dimensions: 5" X 7"
Frame inside dimensions: Various - just make sure the outside dimensions of the mat and and the inside dimensions of the frame are the same.

You can explore what's available online and in your area to decide what works best for you. Here are recommendations from West Charlton Frame Company for the correct size mats and frames to use for different size paintings. I highly recommend using this company for your custom framing needs.

Assembly

Here's the fun part. While framing the painting for my mom this morning, I took some hurried photos to show you the process.

I made this painting of a Great Blue Heron for my mom on Arches 140 lb cold-pressed watercolor paper.

To flatten the painting prior to framing it, I lightly misted the back with water, sandwiched it between two boards, and left it overnight under a pile of books.

This morning I laid the mat face down and then laid the painting face down on top of it, attempting to center the painting over the opening in the mat, which of course I couldn't see because it was upside down. To check, I held the mat and painting together with my fingers and lifted them up to take a peek. Deciding it looked OK, I attached the painting to the mat using two pieces of acid-free cloth tape at the top of the painting, like hinges. This will allow the painting to hang freely inside of the frame and expand and contract without buckling as the humidity changes.

Then I set the mat and painting down inside the frame. I finished it off by setting the acid-free foam core on top of that, and securing it all with the metal tabs that come with the frame.

Voila. Here's a crooked photo of the result. The frame fortunately is not crooked.

Backyard Ideas from the 2013 Northwest Flower and Garden Show

On February 23, Bill and I went over to the Northwest Flower and Garden Show with our cameras to see what kind of ideas we could find for a new backyard sitting area. Some gave us food for thought, while others were more entertaining than practical.

A column/fountain. Lovely.

I adore the idea of an areal retreat in the garden.

A pretty setting, but probably a bit fancier than we want.

I love this organic-looking metal fence.

Here's a closeup.

Ahhh, with this hammock our garden could become a place to relax, rather than simply a place to feed the crows, chickadees, and squirrels.

This patio is set into a bit of a side-hill, like the one in our backyard. Bill wants to use this as a model for our patio.

We found this Hobbit house in the Washington Park Arboretum display garden, which also showcases the flora from New Zealand. Our climate in Seattle is similar to New Zealand's, so we can grow most of the plants from that region.

I never thought of putting a real painting in the garden like this, but I like it.

Roman fountains could lend a more organized look to the backyard.

I fell in love with the striped pillows as well as the mosaic on the garden wall. We have an ugly concrete retaining wall at the back of our yard that would do well with this kind of treatment.

I was liking this display garden right up until I saw the TV. 

Nope. Not seeing this in the yard.

But a popcorn popper could have its uses.

Nope. The last time there was a brown bear in the yard, it scared Rosie and me half to death. 

Yup.

Yup.

I need this fountain created from musical instruments and copper piping. 

I probably need these for something, too.

Art Studio on Wheels

Bill and I moved to a small urban home a couple of years ago with no extra room for all of my art stuff, I decided to rent studio space. Although I enjoyed being in the studio and working near other artists, I ended up feeling scattered. I like to work at home during the odd moment, and it always seemed that the very thing needed for a painting at home was at the studio, and vice versa.

I finally let go of the studio and moved my stuff back to the house, where it sat in a heap for several months while I tried to figure out what to do. How could I set up a working studio that wouldn't take up valuable space needed for other uses?

A December sale flyer gave me an inspiration: I'd build two wheeled carts and one small shelf out of Storables steel-post shelving components.

The solution: two 36" X 18" carts on wheels and one small shelf that sits on top of one of the carts, which I custom-made from industrial-post shelving components.

The two carts hold all of the stuff I need to have at hand when painting. They roll up against the wall in our basement multipurpose room (guest room, office, music room, and now art studio). The top of each cart is covered with a sheet of black melamine to create a work surface. Only 18" deep, the carts don't intrude much into the room, but to create a wider worktop, I simply roll them around so their long sides abut, making a 36" X 36" table. The extra small shelf sitting on top of the left-hand cart is easily removed as needed.

The cart consists of five 18" X 36" black steel shelves, four 34" posts, four wheeled casters, and an 18" X 36" piece of black melamine. I also bought heavy clear plastic sheets to cover the shelves so nothing falls through them. This cart holds a LOT of stuff! The small shelf is made of four 24" posts and two 10"X 24" shelves.

This cart consists of two 18" X 36" helves, four 34" posts, four wheeled casters, and an 18" X 36" piece of black melamine. The lower shelf is good for  holding paper and matts. Baskets hang from two connectors on the sides. I designed this cart so I can sit at it if I want. Otherwise, it holds still life setups. My drum-playing stool works perfectly with it.

And my portable easel (described in another post) works well with this setup. If we need to open the guest bed or have band practice in the room, I fold it and lean it up against the wall.

Happy New Year

How I Manage the Wildlife in Our Yard

You may know from previous posts that I feed the small birds in our yard as well as the crow family, Bertram, Corvina, and Ned. What you may not know is that I've learned a lot about wildlife management this way. Here's my story.

Front Yard Bird Feeders

1. To attract some feathered friends to our yard, I installed several feeders designed for small birds on a pole in front our house. 
2. As soon as it was up, a squirrel climbed the pole and emptied the feeders.
3. I added a squirrel baffle to the pole.  
4. The squirrel turned his attention to the backyard feeder (more on this later).
5. A family of northern flickers began hanging on the feeders and gobbling up the food, eventually breaking the feeders under their weight. 
6. I replaced the feeders, and to distract the northern flickers, installed a suet feeder, which attracted an enormous flock of starlings who drove away all of the small birds and finished off the suet as well as all of the food in the rest of the feeders.
7. I decided not to refill the suet and discovered that screeching loudly at the starlings drives them away, without perturbing the small birds in the least. 
8. My neighbors, however, now give me frightened looks and run indoors whenever they see me coming out of my house.
9. Another broken feeder inspired me to install a “Starling-Proof” suet feeder for the northern flickers. The starlings enjoy the suet very much. 
10. I began screeching again. The little birds cock their heads for a moment and then go back to eating. The starlings and my neighbors flee the area.
11. Some birds manage to get more seed onto the ground than into their beaks, which attracts the black-eyed juncos, who are ground feeders. Ground-feeding birds in turn attract the neighbor’s cat, which hides in our rain garden whilst waiting for a junco to stop by for lunch. 
12. Unlike with starlings, screeching at a cat is completely ineffective (see Bad Bad Bad Kitty).
13. I now keep a Super Soaker, full and handy for watering any cats that come into the yard. This doesn't endear me to cat-owning neighbors any more than does the screeching, or perhaps even less so. (Super Soaker:  $15.99 The look on the cat’s face: Priceless)
14. I put up a seed hoop to catch the seed that the sparrows shovel out of the feeders and keep the seed and the juncos above kitty’s reach. I’ll keep you posted about how the seed hoop works after I install it. Bill predicts that it will make a nice platform for the squirrel to use to reach the feeders. 

More Stuff

Hummingbird Feeder

Note: This is a separate item, even though it hangs on the main feeder pole, because (1) hummingbirds do not behave like other birds, and (2) squirrels couldn't be less interested in hummingbird food.

1. I installed a multi-hole hummingbird feeder based on the package illustration, which shows three hummingbirds peacefully sipping together on it. 
2. Turns out a large Anna’s hummingbird owns the feeder. When another hummingbird approaches, she zooms in hot pursuit of the interloper, buzzing “ratatatata” like a machine gun. 
3. Realizing that only one hummingbird at a time can ever eat at the same feeder, and that approaching a guarded feeder can be life-threatening to the interloper, I have installed several additional feeders on different sides of the house, none in clear line of sight from any other.

Back Yard Bird Feeder

1. So that Bill and I can get away for the occasional day or two without my worrying that the little birds will starve to death, I put up a large, squirrel-proof feeder in the backyard that holds 20 lb of sunflower seed. (See it here: http://www.duncraft.com/All-Weather-Feeder-With-Wire-Cage.)
2. The squirrels can shake food out of the feeder by swinging on it. If they swing persistently enough it flies off the hanger entirely and lands on the ground, dumping most of the seed. 

Crow Feeding Stations

1. I decided to see whether a curious crow who hangs about the house watching me garden would eat some peanuts that I set out for him. (He would.) 
2. After a few days of getting peanuts from me, he brought over his mate. I named the two crows Bertram and Corvina.
3. Bertram and Corvina now land on the neighbor’s roof each morning, peer through our dining room window, and caw while I eat breakfast until I get up and put out their peanuts. 
4. And they bring their child, Ned, who occasionally brings his girlfriend along. 
5. The squirrels (plural now, as the original squirrel had babies) also show up at peanut time, so I give them a few, too. They've become good at corralling all of the peanuts, preventing the crows from having any.
6. To keep the peace, I experimented with a number of crow feeding stations and settled on the roof of the garden shed, in an attempt to foil the squirrels.
7. The squirrels leaped from the plum tree to the roof of the garden shed and gobbled up all of the peanuts. 
8. To distract the squirrels from the peanuts as well as the backyard bird feeder, I put out a squirrel corn cob feeder that holds two corn cobs. As of right now, less than 24 hours later, the squirrels have eaten all of the corn and are still getting most of the peanuts.

No squirrel on the seed hoop (yet), although a starling was sitting on it earlier, trying to pass for a goldfinch.

Well, that's what I've learned so far. I hope this has given you some good ideas about how to manage the wildlife in your own yard. 

You might also like:

Meet Bertram

Gardening for Wildlife

Trying Too Hard

If you're an artist, do you ever paint a scene, and then paint it over again to try and improve it? If so, does it work? I often find, much to my frustration, that the first attempt is better than the second one, and many of my artist friends report the same thing. This seems contrary to common sense because a painting should get better with practice, rather than worse. What's going on here?

I encountered this phenomenon yesterday, painting at Greenlake in Seattle with my watercolor meetup group. Below is attempt #1, depicting my friend, Christina, sitting on a dock painting.

First version. I liked it in general, but noticed that the three trees were similar in shape and size.

It came out well enough, but I thought the composition could be improved, so decided to give it another go to see if I couldn't do better with a second try.

Second version. The tree sizes were better, but nothing else. In fact, the painting didn't turn out as well overall as the first version (in my opinion, anyway). 

Oh dear. That didn't work! What happened?

Well, for one thing, my paint was starting to dry out in the fresh breeze that had been blowing all afternoon. So I should have added some fresh paint from the tubes to my palette. (For more about painting with gushy paint, see Overcoming Fear of Paint.)

But that's not all. Something happens to creativity when one stops being receptive and starts being analytical instead. Although very useful in certain situations, such as figuring out why my second painting came out poorly, being analytical requires a critical frame of mind. The artist must decide between bad and good, okay and good, good and better, and so forth. In the judging process, creativity flees, or at least hides behind a bush, because it has a very hard time coexisting with criticism. Brush strokes become more tentative, less confident and sure, as the artist wonders, "Oh, is this really the best place to put this stroke? Did I get the color right? Is there enough paint on my brush. Oh my!"

It seems that the time to be analytical comes after the act of creation, and not during it. For my next do-over, I'm going to try and remember this (without being too analytical about it!) and see if I can maintain a non-critical mindset while painting. Here's the process I'm going to try out:

1. Draw the scene.
2. Critique the drawing and make adjustments.
3. Paint with a non-critical mindset.
4. Critique the painting, deciding what I like and what I  want to improve.
5. Go through steps 1-4 again.

We'll see how it goes. 

Setting up an Outdoor Easel

As you know, the plein air painting season is in full swing. Outdoors I usually sit in a low beach chair with my paper clipped to gaterboard in my lap and my watercolor paint and water on the ground. This is OK, but standing up with the paper in front of my face works better because I can see what I'm doing more easily. However, although I've been looking for good outdoor easel for several years, none of them were ever "just right." Recently though, at her Yakima Canyon workshop, I saw Catherine Gill's easel, adapted from a camera tripod. It looked perfect, and so I decided to try setting my own up the same way.

To show you what I did, I'll start with the finished product and work my way backwards through the process:

Here's the finished easel. Gaterboard and paper, attached to the  tripod head, is completely adjustable for level and angle. I could even lay it down flat if I wanted, as if it were on a table. BTW, if you don't already have a tripod, you can buy the complete setup rather than baking your own. But that wouldn't be as fun doing it yourself, would it?

Side view. 

I bought the tray already made. It's plastic, lightweight to carry around, and has channels that the tripod legs fit into.  The legs can be spread farther apart if necessary.  You can see the different size holes for brushes and a water cup. The shelf is called a Traveler Series Watercolor Tripod Shelf and cost about $46 with shipping. Catherine's tray was made by a friend out of wood.

Here's where the tripod head attaches to the gaterboard. It attaches by using both parts of a tripod head quick-release attachment, a piece of plywood, and some velcro. It isn't necessary to decorate your gaterboard as nicely as mine.

Here's the female part of the camera attachment. I'm going to connect the gaterboard to it by using the male part of the camera attachment, as you'll see in the next photo.

Here's the male part of the camera attachment, called a quick release plate. I ordered one from B&H Photo so I wouldn't ruin the one that attaches to my camera. This plate usually clips onto the bottom of the camera. Instead, Bill screwed it into a square piece of plywood for me, which my neighbor Pete had kindly cut from a scrap left over from building his new kitchen cabinets. I had to get a particular screw from the hardware store that would work with the quick release plate. After looking at the plate, the hardware store guy knew just what I needed. 

On the other side of the plywood, I stuck some industrial strength velcro.

Here's the other side of the velcro stuck to the back of the gaterboard. Voila! All set!

 I've already used this ensemble a few times and just love it!