Preface

The introduction from a publication by Guy Downing in 1976, based in part on a lecture given by him  at the first annual Professional Picture Framers Association convention. We present here the introductory passages from this publication, and the table of contents. First printing was made in 1976, and is not currently in print. If you are interested in obtaining a copy of this, should it be re-published at a later date, please email frenchmat@artrestorationsf.com. If you have questions, either go to the discussion forum on this site, or email guy directly at guydowning@artrestorationsf.com.

Text by Guy Downing

First Printing 1976

Copyright 1976 by J. M. Kaveney, Inc. All rights reserved.

Published by J. M. Kaveney, Inc / Arts and Crafts

"The Art of French Matting" is distributed by Graphics International, Importers and Publishers of Graphic Art, P.O. Box 13292, Station E, Oakland California 94661

No part of this publication may be reproduced or used in any form or by any means; graphic, electronic, or mechanical, including photocopying, recording, taping or information storage and retrieval systems; without written permission of the publisher.

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The Author

Guy Downing at work, 1976

A native of California, Guy Downing has been associated with the framing business since 1964. Following graduation from Graceland College, Lamoni, Iowa, with a Bachelor of Science degree, Mr. Downing continued his education at University of California, Berkeley; University of Western Ontario; and California State University, Chico, where he then received his life credential for Secondary Education in the Arts and Sciences.

While teaching school, Mr Downing began apprentice work in a framing and art supply store under the direction of J. M. Kaveney. After several years, Mr Downing gave up a teaching career to pursue his interest in artwork.

Since that time Mr Downing has gained national recognition for his French Matting and excellence in picture framing. He was guest speaker and demonstrator in French Matting at the first annual P.P.F.A (Professional Picture Framers Association) convention in Los Angeles, California.

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Introduction

For decades French Matting has been a lost art. Only in recent years has it resurfaced as a reasonable and profitable mean of enriching artwork on paper.

The history of French Matting is scant. During the 19th Century, when French Matting was most prevalent, there was a lack of organized format and standardization. As artisans passed away and the Industrial Revolution began, the art of French Matting was almost completely abandoned.

Later, styles and trends conformed to the "modern look". This was neither time-consuming nor necessarily a lasting type of presentation for fine art. Although later forms of matting served a purpose, they cannot compare to a quality piece of 19th Century French Matting.

Any form of French Matting must take into consideration three major components: the mat, frame, and the object of art.

A picture frame that complements the object to be framed can usually be found, as well as a piece of matting which blends and/or contrasts pleasingly with the picture. Putting the three pieces together, the matting can become a necessary broad expanse, acting as a breathing space between the picture and the frame. This the object of the French Mat is to unify the components of the object of art and the frame.

A broad expanse of "simplicity" can be as distracting as a heavily overdone frame on a delicate picture. The French Mat is generally lighter than the frame, repeating the delicacy and the contrasts of the object to be framed.

The French Mat should draw the eye inward and toward the focal point of the picture. Matting can give a delicate delineation around a picture whose parts may be very contrasting. A picture with strong foreground and a delicate, if almost colorless sky, can be tied into a unit by repeating its strongest contrasts on the mat. The same principle of repeating the contrasts of the picture on the mat holds true for still life, portraiture, and academic biological renderings.

The end result of French Matting is an object of art seen through a decorative, delicate, and complementary window; a showcase for whatever one wishes to display.

French Mat example French Mat example French Mat example

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What is a French Mat?

Contrary to popular belief, a French Mat is more than two or three lines drawn on a mat board.

A French Mat is a watercolored band, not drawn line, that can be of varying widths. It is then surrounded with contrasting lines, which help to repeat the contrasts and line work shown in the picture.

When planning a French Mat, do not be confused by individual colors found in the picture. Do not make a watercolored band yellow simply because there happens to be a spot of yellow in the picture.

The colors used in the French Mat are proportionate to their appearance in the picture. Therefore, a picture that is predominantly green is going to look best with a French Mat that has a light green watercolored band.

Picture framers have different ideas as to the use of color. However, whatever color is used for the major watercolored panel should not be of greater intensity than the color it is repeating in the picture.

French Matting is an embellishment to a work of art. It can increase the value of the artwork and compensate for the time used in creating it. Properly used, it will never detract from paper-borne art.

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Closing Remarks

Once you master the basics of watercoloring and linework, experiment until you find your technique of French Matting.

If you practice the basic steps in French Matting you will be able to increase the speed of completing a mat, and realize a profit for your time.

I have found that being able to French Mat has increased sales in my shop, and has improved the value of paper-borne art with unique, interesting and complementary framing.

There are countless variations in French Matting, using multiple areas of watercolorings, and myriads of combinations of lines and spacings.

When properly done, the French Mat will enhance almost any paper-borne art.

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