Reflecting on the Anatomy of Trees

Have you ever really looked at a tree? This time of the year is the best time to observe the shape and nature of trees when there are no leaves on them. Look out your window right now and set your eyes on the nearest tree. Are you looking? Good. Now, consider that all trees have an anatomical structure just like people. The main branches emerge from the trunk and support smaller branches as they reach toward the sky. How does your tree stand? Is it straight, does it lean, does it twist, and if so, in what direction? Where are the curves?

The Trunk

Ask yourself what the color temperature of the trunk is, i.e., is it warm or cool? The time of day and whether it is sunny or cloudy will affect the color temperature. If the sun is hitting it on one side, that side will be a warm temperature, while the shadow will be a cool temperature. On cloudy days, the vague shadows are slightly warmer than the lighted side.

Now, look at its texture. Is it smooth or rough? A beech tree has a smooth bark, while a maple is decidedly rough with vertical ridges. If you were painting a beech tree, you would want to paint the trunk in a horizontal motion, following the curve of the trunk to simulate a smooth texture. When painting the maple on the other hand, you would use large vertical strokes to emphasize the rough ridges of the bark that flow in vertical directions.

The Branches

Now look at the branches. How do they grow? Do they curve upward majestically like an elm or do they grow at sharp angles like a sycamore? Branches help to balance a tree. If the trunk leans to one side, often a branch will counter balance it on the other.

Also, notice that branches don’t just reach out from the trunk in profile. Branches reach out from all sides of a trunk, so remember to paint branches that both go toward you and behind the tree away from you. Paint the branches with a lot of movement in them, avoid painting them parallel to one another, and vary their size. Look at how branches are attached to the trunk and other branches. They don’t suddenly and sharply emerge from them. Instead, they gracefully grow with a slight curve upward and out.

The Base and Roots

Finally, notice how the trunk emerges from the ground. It doesn’t stick straight up like a utility pole. The base spreads out in all directions and sweeps upward in a curve, bearing the weight of the branches above. Be sure to consider the roots as they reach into the ground and how the grass grows around them.

The Art of Framing

Recently, I had the pleasure to sit down and talk to George Aresco and his son, Dan, from Wholesale Frame Company in Meriden, about framing.  I discovered that a lot of decisions depend on personal taste. However, when pressed, George admitted that there’s a difference when selecting the frames for contemporary work, traditional realism, plein air and impressionistic work.

There’s an advantage to taking your artwork to a professional frame shop, especially one that has a good reputation. Frame shops offer personal service, years of experience, and the best equipment. They work with amateur and professional artists and collectors on a daily basis.

There’s no limit as to the types of art that can be framed. Even personal items can be set into shadow boxes. Choosing a frame is partly a personal preference. However, you should select a frame that compliments the artwork, but not be too overwhelming. Generally, you want to put abstract work in contemporary frames, and traditional realistic work in frames that may have some raised detail. 

Selecting a Frame

Choosing a frame is partly a personal preference. However, you should select a frame that compliments the artwork, but not be too overwhelming. Generally, you want to put abstract work in contemporary frames, and traditional realistic work in frames that may have some raised detail. The best frames are made of wood. Some are painted or stained, and some are coated with a resin finish to give a unique look. Less expensive frames are made of composites, but over time, they don’t hold up as well as wood.

When it comes to selecting the color of the finish, you should choose colors or finishes that are consistent with the rest of the artwork that you have, especially when you are presenting a show of your work at a gallery or exhibition. If you have five or six different types and colors of frames, they can detract from the artwork and confuse the viewer. Renovating old frames can be done, but it’s not easy to do. You can stain them, paint them, and try to put gold leaf on them, which is not easy to do. It’s very difficult to match color, especially golds.

The width of the frame for most traditional styles should be between two and three inches, for artwork eight by ten inches and up. Plein air artwork should have a plain flat look, and be about one inch high in thickness. Be careful when choosing frames with decorative designs that they don’t overwhelm the artwork. Contemporary pieces look good with narrow, simple frames.  

Be sure to check the dimensions of your canvas. Often, canvas is not square. To ensure a correct canvas size, measure it diagonally from corner to corner. Canvas may loosen as it is exposed to changes to humidity and paint. Use keys (those little wooden triangular pieces) to tighten a canvas snugly to the stretcher.

Offset Clips

Attaching Hardware

When securing artwork to a frame, use offset clips and screw it only into the frame. The part that sits on the artwork should fit snugly on top of it. This allows the artwork to shift with changes in temperature and humidity. 

When wiring a picture, the screw eyes or D-rings should be placed one third down from the top of the frame. The wire should be double wound on each end of the screw eye or D-ring and be loose enough to form a thirty-degree triangle when hung.

Substrates and Glass

When matting watercolors, pencil drawings and pastels, you should use acid free mats for longevity. Select a neutral color such as white or cream so as not to detract from the artwork. A second mat that has a hint of color that matches a color in the artwork is also popular. The mat acts as a spacer to keep the artwork away from the glass. This is preferable to prevent mold from forming. Never use cardboard as a substrate. Its acidity will burn and transfer its texture onto the artwork.

There are different types of glass that will provide various levels of protection.

• Premium clear blocks up to 40 percent of UV light.
• Ultra Vue UV70 blocks up to 70 percent of UV light and has an optical coating to reflections.
• Conservation clear blocks 99 percent of UV light
• Museum glass blocks 99 percent of UV light and has an optical coating to eliminate reflection.

For more information on glass, go to Tru Vue.

Never put glass over canvas paintings.  Canvas needs to breathe. Also, never cover the back of the canvas.