As framers, do we really know how to develop a relationship with an interior designer? Do we really know what designers expect from framers, or even what they expect of a particular project? What we do know is that art reflects personal taste, and in most instances it deserves special attention-in the home of a client, or in his or her office, or on any wall where it may hang. The designer is trusted by the client to instill a vision into every room and every wall and every framed piece of artwork. But what are they thinking? And what do they want from you?

Interpreting the thoughts of an interior designer was a tremendous opportunity to unlock that mystery. To explore the preconceptions and/or misconceptions that framers may have about designers, we asked our designer right away, What do you look for in a framer? His reply is the basis of this series: I need a professional framer who takes my concept, listens to the parameters of the project, and runs with it; providing both the expertise to make it happen and the creativity to put it over the top. In the grand scheme of things I must act as the orchestra's conductor, but I value and need the talents of every string and every horn, and oftentimes I will call for a soloist to steal the show.

In this new series we will examine the relationship that develops and evolves between an interior designer and a framer, and how it can result in significant profits. It undoubtedly takes time to develop the trust necessary for a free flow of ideas. Like a good band, it takes practice to be effective. In the end there's the chance for sweet music. If everyone in the concert plays together and plays well, then consumers will surely listen.

Flower Power

Nelson's first project involved designing for a small space. In this instance he chose six 8"x10" dramatic flower photographs on black backgrounds. Each would be hung in the same narrow hallway (leading to the bathroom), meaning they would be viewed while standing unusually close to the artwork.

Karen immediately offered her expertise to Nelson-inquiring whether his vision was complete, or if he was open to early suggestions. Nelson explained that while he may sometimes ask for design assistance, in this case he knew exactly what he wanted. “I want these to be special—nothing like my client might find commercially or even on somebody else's wall. I need an abundance of texture so that viewers feel encouraged to reach out and touch these images.” He then paused, apparently realizing his vision. “I want to frame the flowers between pieces of glass, and I want them surrounded by flower petals.”

With Nelson's idea firmly in place it was time to brainstorm how it could be accomplished. Fred and Karen both rejected the idea of framing between two pieces of glass, as they feared the images and contents might settle over time. Instead, the images would be framed individually, then floated in the middle of outer frames that would hold the petals, giving the impression of matting made of fresh flowers. In order to prevent the eventual disintegration and discoloration of real flowers, silk petals were used. Fred could then hot glue the individual petals to a backing board, effectively preventing them from settling to the bottom of the frames.

Karen suggested that Nelson spec the flowers, thereby making sure that the texture and color would be exactly what he had envisioned. Nelson selected silk petals to match the colors in each of the photographs. For this project, each of the pictures was framed usingtwo simple, narrow black frames. Fred began by cutting and joining six frames using Framerica's Black Satin (#72273). The flower photographs were then dry mounted and fitted into the frames leaving a space between the artwork and acrylic glazing. Nelson delivered the silk petals which would become the “mat” for the prints.

It was then time to cut the outer frames for each image. Together they chose the same Framerica Black Satin finish, in a slightly larger but otherwise identical profile (#BW52273). The frames were cut 6" larger than the previous previous ones in order to leave 3" of “matting” all around the framed images. Acrylic glazing was then cut into each frame before the images were centered. Then Fred drilled holes through the acrylic and into the backs of the image frames. The image frames were then attached with 3/8" pan head screws, which were placed through the acrylic.

Next, the “mats” were created. Black matboard was used to line the sides of the outer frames as well as create backing boards. Different colored petals were used for each flower image (respectively, a virtual color match), with each individual petal affixed in an overlapping pattern with dabs of hot glue to the backing board. Finally, the backing boards were fitted into the outer frames. The finished size of each framed print was 16"x20".

The result was more beautiful and unique than any of the participants had imagined. With the first project complete, the team proved to be a formidable group. Nelson was thrilled with the framers, and they were moved by his dedication and creativity. Perhaps most importantly, the framers now have a new and exciting outlet for framing concepts.