Being a routined miniature artist, you will be aware of the special requirements of framing for miniature art exhibitions. Starters in this beautiful kind of art – please see my little guide. This first part is about framing oil- and acrylic paintings.

First decision to be taken is the choice of the framing material. I used to order 5 or 10 frames of my favourite size in different colours to give me a certain stock to choose from. When deciding on a frame, I check which one would match with the colours of the particular painting. My rule is – the frame should enhance the painting and should never be dominating – as this can kill the finest miniature. A wide and very ornate frame is often unsuitable.

Even if my painting is rectangular, I check whether a round or oval frame would be more favourable. Once I have chosen the frame I cut my painting to fit. Dura-Lar, Polymin and some other carriers to paint on are very thin. To support my painting I use tape to fix it to mounting board – all acid-free! To level the back of the frame I fill it up with further mat-board.

Finally I cover the back with paper-tape, bought from a framer, cut off overhanging tape with a ruler and a sharp knife as long as it is wet, add a self-sticking business-card holder and insert a printed card with my name, title of the painting and medium. 

As I paint mainly in oils I mostly do not use glass as it is not needed – this applies for Acrylics as well. However – this is only my opinion. Sure I make exceptions – if the frame comes with a convex glass cover – like this one.

If a frame has no ring hanger as in my first example I use a fine wire and crimps – plus a triangular or D-ring which can be folded down. Those rings are required in several exhibitions.

The fine wire is of high quality and is available in craft shops – usually to create fashion jewellery. This material does not crinkle. To stop the wire from slipping I crimp the wire at the correct length and fasten it with tiny nails to the back of the frame – making sure that the loop in the wire is small enough and cannot slip over the head of the nail.

© Marion Winter – Text and Photography


By Carol Rosinski

The secret about miniature art is the intense sense of intimacy that is experienced, when you hold a piece in your hand. When a piece of art is so small that it can rest in the palm of your hand, you are being gently invited to bring it a little closer to your eyes. You bow your head a bit and bring your hand nearer to your face. This is a very intimate pose. At this moment, you have let the piece of art enter into a vulnerable personal area. You would never hold anything dangerous that close to your face. This is the way you would hold a butterfly or a small kitten; very gently and close. Holding a piece of art in this way relaxes you and actually creates a bond between you and the art work. 

Miniature art is a gift, a treasure, a secret and special friend. It is not loud or demanding. It does not shout its presence to the world. Rather, it waits quietly for you to pick it up and admire it.

Published with permission by Carol Rosinski 



The Magic Square by Albrecht Dürer
Published on this website with kind permission of the National Gallery of Victoria, Melbourne, Australia.