Framed Origin Trees Toned Triptych

I have fallen into favor of the small print of late. I had been in the thrall of larger prints for a long time, usually preferring 16x20 prints. However smaller prints in addition to being more pragmatic have their own distinct charm. They invite you to get closer and to appreciate the details and textures more. 

Back in 2020 I started refining my own style of framing of small prints. I eschewed many of the traditional techniques and worked towards some more stripped back. The impetus in part was due to my use of Ilford Art 300 paper which is a cotton rag paper with a rich texture. Rather than hide this behind glass I opted not to glaze the framed prints. I also opted to not use mounts and depended instead on generous borders. Some examples on display here... 

The frames I made by hand were simple and fabricated in pine. Later I went from painting the frames to using the Japanese technique of Yakisugi which is a wood treatment made by partially charring the wood with a flame. This makes a rich dark brown/black color with none of the trouble of applying paint. 

So, with the recent printing of the Origin Trees in my impressionism series I decided to frame the three toned images that I presented as a virtual triptych. I made a Yakasugi frame 17 1/2" x 11" (44.5cm x 28cm). Because the prints are small and, in a triptych, I had a three-window mount made from an online shop. When this arrived, I then mounted each print in its respective window and assembled the frame. I opted to place the warmest print in the center as the other two are cooler in tone and this created a good visual balance. 

I am happy with the result. The lack of glazing and small size means you get right up and can see the odd texture of the Fohar Raster paper. The replicated images in different tones work well. 

Framed Triptych