I’m always thinking about the architecture and overall pictorial structure of my works and I love to create unique framing experiences, from multi-paneled works to multidimensional constructs. I find that a unique framework adds that extra special magical element to a piece. In this post, I demonstrate how I custom painted the matt as well as a frame for the work featured below.

Pegaea at Twilight: mixed-media painting with custom painted framework by Lisa L Cyr                  Artwork: 6 1/8 in x 3 1/2 in (center art) and 6 1/8 in x 2 1/8 in (side panels) mixed-media on layered illustration board with accents  Mat: 16 in x 20 in 8-ply archival mat with frame

In Greek mythology, Pegaea is a water nymph known to inhabit a sanctuary near a spring flowing into the river Cytherus. Pegaea is one of the Ionides sisterhood of water nymphs who are known to bring healing powers to the world, curing all disease. In my work entitled, Pegaea at Twilight, the water fairy is transitioning at twilight, where a soft red glow radiates the deep blue sky and the sun begins to set below the horizon. A place between the worlds of darkness and light, twilight symbolizes the completion of one journey and the rise of another.

This work is available for purchase through Abend Gallery.

STEP ONE:
I started out with a wood frame that came painted black. It had an inlay that I want wanted to keep black because it echoed the spaces in between the three-panel work. To protect the inlay, I used painter’s tape, covering all around the inner edge of the frame. Masking the inlay allowed me to paint the edges of the frame in a dynamic and freeform way. It is important to note that once I get the masking tape down that I use my finger to closely seal the edges so that no paint can slip under during the painting process.

 

STEP TWO:
I used Iridescent Antique Copper acrylic paint in a heavy-body viscosity to decorate the surface of the frame. Iridescent paints are basically a faux metallic made up of mica coated particles to give them that sparkle-like quality. The great thing about the paint is that it doesn’t tarnish like metal. For the frame, I used two colors applied to the surface rather thick in consistency.

 

STEP THREE:

Using plastic wrap. I employed a monoprinting/blotting technique to add visual interest to the framing surface. It is always a good idea to test the imprint first, making sure that you are getting the mark and consistency you want.

 

STEP FOUR:

I will work around the frame, applying about two to three imprints before I have to apply more paint. I like the thickness differences that it creates on the surface.

 

 

 

STEP FIVE:

Venetian red acrylic was applied to the inlay section of an 8-ply black mat.

 

 

I purchase my mats from a company called Matboard and they will cut your mat to your exact specs, leaving a perfect beveled edge. They have a wide range of mats to choose from, including metallic and cloth options.

 

Sometimes I will create decorative details in my mats by carving into the surface or by debossing into various pastes and gels that have been applied on top.

 

 

STEP SIX:

Using the same monoprinting technique that I employed for the frame, I decorated the mat using acrylic paint.

 

STEP SEVEN:

Once the first layer was dry, I added floral elements to the piece in the upper right and lower left corners using black.

 

STEP EIGHT:
After the painted mat and frame were fully cured (about 72 hours, humidity depending) I began to frame the artwork. Notice how all of the colors employed in the framing details help enhance the colors in the artwork.

You can check out a video below to see an indepth, up-close inspection of the art and its unique framing!

To hear more about creating an experience with works of art, check out this episode of my Rediscovering Your Creative Self Podcast!

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To learn more about traditional as well as experimental mixed media techniques and approaches, check out my Masterclass on Patreon:

Masterclass is a unique approach to learning, where each artist works on their own projects, whether that be standalone works or works in a series. Unlike a workshop or an assignment-driven class, this online atelier supports each individual artist’s intent on creating works that they really want to pursue.

The Masterclass online atelier covers a variety of topics from studio best practices to a vast array of experimental and traditional painting as well as expressive drawing techniques. The instructor provides assistance and guidance through live demonstrations, lectures and group chats. ​If you miss a class, you can watch the recording at a later date. 

​Check out the complete Collection of Content already on the Navigating the Labyrinth of the Creative Mind site! 

 

copyright 2024 Lisa L Cyr, Cyr Studio LLC, all rights reserved