To paraphrase a famous thought, we can say that the image must all be beautiful: the work of the creator, and the mat, and baguette, and hanging works in the exhibition hall. In this small article will discuss how not to spoil a good job a bad design.
What is a mat and why is it necessary?
Passepartout – a colored cardboard (or other similar material), framing a picture, painting, photograph or other work of fine art. In other words, the mat – this field between the physical frame and image.
Why is it necessary? First, the mat facilitates the perception of the work, helping the viewer to focus on the image. Secondly, the whole mat and frame as a whole to protect the product from adverse environmental factors. Third, correctly matched mat can accentuate certain details of the image and thereby enhance the aesthetic impact on the viewer. Fourthly, frame and mat are elements harmonize the image as a wall surface, and with other closely spaced objects. Fifthly, it may itself be the subject of art. Surely you can add to this list anything else, but the objective of this article mainly is to highlight the basic practical questions. Therefore, this concludes our discussion of issues of high theory and move on to practice.
On the dangers of symmetry
Unfortunately, most commercially available mounts are symmetrical. This means that the field on opposite sides of the image in such mat are equal. This allows the same mat used for processing images as both horizontal and vertical formats. This approach is very practical, but in terms of aesthetics it is rarely justified. This idea often try to challenge. For example, Sharon Himes (Sharon Himes) writes in his article on ArtCafe: «If the image is large or intended for hanging above eye level, sometimes the bottom field mat made wider, allowing the viewer looking from the bottom up, not to notice the reduction in size lower field compared with the lateral fields. Since such situations are rare, it usually mounts do with the same margins on all four sides. ” In order that the upper hanging requires additional increase in the lower field mat is hard to disagree. But with what can not accept is the fact that when hanging at eye level is always possible to limit the use of symmetric mat.
Let’s try to figure out what was going on. To do this, we recall a well-known example of a Latin letter S. Look at Fig. 1. The lower and upper halves of the left letter “S” seems to us almost the same (proportional), and the whole letter as a whole looks quite harmoniously. At the same time, this can not be said about the right letter S. Here we see clearly that the upper part of the letter too high. But the most surprising thing is that it is one and the same letter! The second option was obtained by turning the original letters to 180 °.
The visual perception of humans is arranged so that the harmonious perception of the object vertically to the lower part must have a few more visual weight. This “secret” has long been known to all who, one way or another, connected with the printing process. And that is why the letter S in almost all regular fonts asymmetric: its lower part slightly exceeds the size of the upper.
This “secret”, of course, know all manufacturers of frames and moldings. In English literature it is called «bottom weighting effect». Thus, the only reason for the high incidence of symmetric mat is of commercial expediency.
In fairness it should be noted that symmetric mat in some cases look good. This happens mainly when the zoom function of the visual weight in the lower sector performs the image itself. Symmetrical mat are also relevant in cases where we do not deal much with artistic works, as with cognitive or scientific illustrations. But most of the bottom field mat still be increased.
Look at Fig. 2. In its upper part are examples of symmetric placement of the image in a frame (option A). Option B differs from variant A increased the lower field. In my opinion, even on these, small in size, illustrations can be seen that option in the show in general harmonious.
Sometimes it is only slightly larger bottom – and the perception of the image is significantly improved.
How to place an image in a frame
In all cases, when it comes to human visual perception, rigid formal rules can not be formulated. All that will be described below, no more than recommendations. Sometimes they quickly lead to success. Sometimes they require a significant correction. The most sensible thing applies to him as a good starting point. It should also be remembered that in this article refers exclusively to a single mat, frame the only image in the frame.
First of all, you should answer the question: what size should be mat? Zero field normally used for framing paintings. When it comes to graphic works (including on the pictures), it should be noted that the small field practically does not perform any function. They just visually merge with the physical frame. Very wide margins in many cases inappropriate, since excessive mat may distract attention from the image.
Width of lateral field usually ranges from 1 / 3 to 1 / 2 narrow side of the image. Left field should be equal rights. Top field often choose roughly the same size as the side of the field. Bottom field for the reasons mentioned above make several more.
Often, you can also meet the following recommendations: for vertical image top margin must be greater than the side. For horizontal images, on the contrary, the side of the field must be wider than the top field. And only in the case of square image must comply with the equality between the upper and lateral field. However, in practice, these rules often violated, so treat them should be very critical.
Sometimes it is allowed to make lateral field is very broad. This situation may, for example, occur if the image itself is not balanced. As another example of this kind can lead engravings (as well as images, like the engravings on the technique of execution). The slight increase in field is also required for “dense” image (in this case, the image objects are densely filled with painting, as if under pressure from within its borders).
For vertical pictures with aspect ratio a / b = 2 / 3 good work the following formula: sidebar = a / 3, the top margin = b / 5; bottom field = b / 3. These relations allow to determine not only the size of the mat, but also the position of the image.
If, on the basis of these or other reasons, the size of mat you have chosen, and the deployment of the image is not specified, as a good starting point, you can use the recommendation from the book of VP Mikulina “25 lessons pictures. According to this book, the image should be at the optical center of the frame. Find the optical center can use the simple geometric construction (see Fig. 3).
In general, the construction of clear and without additional explanation. On the left drawing the blue dotted lines divide the right and bottom halves of the field. As found in this way point A should be placed lower right corner of the image.
I will say at once that the theory Raushenbaha (like many other theories) is different from the classical approach, mainly to the fact that states: it is impossible to achieve a natural display of scale and natural transmission of depth at the same time. Using the more correct wording, it can be argued that the mathematical model Raushenbaha generally proves impossible without distorting the reality show on the plane. However, it is not surprising. This view dominates among professionals involved in the visual perception of man.
