Framework Designs Gallery - Wildlife and Falconry Art and Custom Framing in Bozeman Montana

<BODY BGCOLOR="#000000" TEXT="#FFF8C6" LINK="#FFFF00" ALINK="#FFFF00" VLINK="#FFFF00" BGPROPERTIES="FIXED" BackGround="http://www.iwebc.com/Backgrounds/ZBlackBurgandy.gif"> <FONT FACE="Footlight MT Light,Times New Roman,SURREAL,Lucida Handwriting,Arial,Helvetica,Swiss,Swiss721 BT"> <CENTER>  <H1></H1><BR> <table width="80%"><tr><td> <H2>Framework Designs Gallery - Wildlife and Falconry Art and Custom Framing in Bozeman Montana</H2><BR><BR> </td></tr></table> <table width="80%"><tr><td> <H1><BR><br></H1> <H2>Framework Designs Gallery - Wildlife and Falconry Art and Custom Framing in Bozeman Montana<br></H2> <H3>Framework Designs Gallery has a complete collection of wildlife art by John Banovich, Guy Coheleach, Robert Bateman and Daniel Smith as well as Falconry Artists Ronald David Digby and Andrew Ellis<br></H3> </td></tr></table> </CENTER> <H1><BR><br></H1> <H2>Framework Designs Gallery - Wildlife and Falconry Art and Custom Framing in Bozeman Montana<br></H2> <H3>Framework Designs Gallery has a complete collection of wildlife art by John Banovich, Guy Coheleach, Robert Bateman and Daniel Smith as well as Falconry Artists Ronald David Digby and Andrew Ellis<br></H3> <A HREF="http://ww2.fwdart.com/gh/adminclient_s1_menu+Username=adminclient_s1">Site Menu </A> <A HREF="http://ww2.fwdart.com/adminclient_s1/AboutFWD/go">AboutFWD</A> <center><B>Welcome to Framework Designs!</B></center> Framework Designs, located in Bozeman Montana, was Started by Skip Tubbs in 1980. After graduating from The University Of Montana, Skip relocated to the Bozeman area to become partners in The Artist Union. The custom framing business soon separated and became Framework Designs. Skip is a part time biologist, falconer and avid sportsman. <BR><BR> In the fall of 2000 a partnership was created between Tubbs and Michelle Monson, a former employee of 7 years. Michelle has 12 years of custom framing, management and art sales experience. When not in the gallery, Michelle is an avid sportswoman and enjoys spending time with her family and dog in outdoor activites. <BR><BR> The staff at Framework Designs has a combination of over 30 years experience in designing custom framing, art sales and customer service. Customer satisfaction and service are our first priority at Framework Designs. <BR><BR> Framework Designs shows original paintings, etchings, baskets, sculptures, jewelry, gifts and crafts. Featured are Montana and internationally known artists portraying western landscapes and lifestyles, sporting art, African art and much more. We are Greenwich Workshop and Mill Pond Press Dealers giving us a huge access to popular limited edition prints and glicee canvases. <BR><BR> Our custom picture framing services include a wide range of experience from large quantity production jobs to original masterpieces, family heirlooms, shadow boxes and kids art. We cater to all needs in the preservation of your art work for your home, office or commercial business. On site consultation is available upon request. <BR> <BR><BR> <center>WE SHIP ANYWHERE AND FRAME ANYTHING.....</center> <A HREF="http://ww2.fwdart.com/adminclient_s1/CommercialServices/go">CommercialServices</A> Commercial services <A HREF="http://ww2.fwdart.com/adminclient_s1/FramingProcess/go">FramingProcess</A> I f you own art there are two things you need to know. Not all artwork is alike, and none of it comes with a maintenance manual. Yet unless your artwork is cared for properly, it will deteriorate. So, how do you decide when and how to care for your artwork? The answer to that question is complex. How the artwork was created, where it has been and under what conditions, and what kind of care or treatment it has received all affect its future care. The more you know, the better care you can give. This care starts with your decision to frame and display your art. When framing, consider these questions:<br> <br>• If decorative qualities—color, style, design—are your most important considerations, then you may choose framing materials and techniques based solely on your decorating needs.<br> <br>• If the longevity and preservation of your art is your primary concern, then the selection of framing materials and techniques must all be directed toward preservation.<br> <br>• If both the preservation of the artwork and the decorative value of its framing are equally important, you may have to adjust either some of your decorating expectations or your preservation concerns.<br> <br>There are no right or wrong answers to these questions; each piece of art has its own value and should be framed accordingly.<br> Choosing Materials The materials used to frame your artwork have a direct effect on it. The type of matting used, the materials used to mount the artwork, and even the glass in the frame are all important. Words like "acid-free," "pH neutral," and "archival" are often used to describe matboards and backboards suitable for preservation framing. Most of these materials have an additive or buffering agent to reduce any acidic condition which may occur. Matboards and backing boards that are not preservation quality may become acidic over time, and damage the artwork they surround. Because paper reacts to changes in temperature and humidity—expanding when they are high and shrinking when they are low—it is often mounted to keep it flat. Yet there are objections to fully mounting art: if the art becomes damaged at a later time, it may be harder to conserve if it is fully mounted. The mounting may also introduce materials into the artwork that may not be removable.<br> There are preservation alternatives that you may consider which allow the art to be mounted in ways that are reversible, and which allow the art to change with temperature and humidity while framed.<br> <br>Surface protection is also important. Glazing, either glass or acrylic, keeps foreign substances (like airborne dust or oil f rom fingerprints) off the surface of the art. UV-blocking glass or acrylic will also help to protect your art from fading and other types of damage caused by ultraviolet light rays.<br> <br>How and where your art is displayed will also have a direct effect on its condition and longevity.<br> Environmental elements— light, humidity, tempe rature, and even pollution can affect your artwork. Discuss where you intend to hang your art with a framer as you plan your frame design.<br> <br>Art, like everything else, needs constant care. Sometimes this care and maintenance should be performed by a trained specialist. When in doubt, ask. Making informed decisions about framing your art will add to your enjoyment of it and improve its condition and longevity. <br>Preservation Considerations Frame your art with preservation in mind and it will look like new for years to come. <A HREF="http://ww2.fwdart.com/adminclient_s1/ProductInfo/go">ProductInfo</A> <B>Giclée</b> - (Pronounced Zhee-Clay) The French term for "fine spray"; no printing film or plates are involved in the giclée printing process. A computer directly scans the artist's original painting. This information is used to control the tiny ink jets on a digital printer. The jets spray millions of water-based printing ink droplets per second onto a sheet spinning rapidly on a drum to create thousands of shades of rich color. The end result is a lush and velvety art print; one that has the look and texture of a fine original.<BR><BR> <B><I>Giclée Canvas</b></i> - The above-described process on canvas.<BR> <B><I>Giclée Paper</b></i> - The above-described process on fine art paper. <BR><BR> <B>Limited Edition</b> - A limited edition is one whose size is determined in advance by the publisher. Each print in the edition is signed by the artist and then individually numbered (s/n). <BR><BR> <B>Offset Lithographic Print</b> - (or offset photomechanical reproduction). The original image or a photograph of the image is scanned into a computer to produce color separations, one for each color used in the printing process: cyan, yellow, magenta and black. These separations are then output to film with dot patterns that represent the values of each of the four process colors. The films are exposed to printing plates, one for each color. The plates transfer the ink to a rubber blanket, which in turn offsets the ink onto paper or canvas.<BR><BR> <B>Original Lithographic Print</b> - Not a reproduction; each is an original and unique work of art. The artist "etches" separate drawings, one for each color to be printed, directly on the working surface (commonly cooper or zinc) to create individual plates. An original lithograph must pass through the press one time for each color it contains. Hand coloring may also be added later.<BR><BR> <B>Etching</b> - A metal plate usually copper or zinc is etched using various acids or mordands, Instead of cutting lines onto the plate, the artist covers the plate with a acid- resistant ground and then draws through that ground, with special sharp tools, exposing the plate where the design is to be. The plate is then immersed in an acid bath which bites into the plate where the protective coating has been removed. <BR><BR> The areas that are corroded, or bitten, will hold ink, and when a sheet of moistened paper is placed over the plate and run through a press under pressure, the image is transferred to the paper. Areas of the plate that have been masked out during the development of the plate are still the original smooth metal and will hold no ink; these are white areas in the finished print.<BR><BR> <B>Serigraph</b> or Silk Screen- The serigraphic process incorporates the use of fine mesh screens to hand separate the colors of the image. Originally, these screens were made of silk, hence the name by which this process is also known - silk screening. To produce a serigraphic print, a separate stencil-like screen is made for each area that is to be printed in one color of ink. The ink is then squeegeed through the screen onto the paper. The inks sit on top of the heavy paper on which the final serigraph is produced. Because the ink is not absorbed by the paper as in other processes, the final serigraphic print actually looks like a painting on paper.<BR><BR> <B>Textured Canvas</b> - A limited edition canvas which has been embellished to represent the artist's brush strokes on the original painting. Framed without glass, textured canvas has added dimension and luster, and the appearance of an artist's original painting.<BR><BR> <A HREF="http://ww2.fwdart.com/adminclient_s1/ShowGallery/go">ShowGallery</A> <center><B><I>Framework designs gallery wishes to invite you to their 8th Annual Art Show, Benefit Sale and Silent Auction. A portion of all July sales and the total proceeds from silent auction items will be donated to The Montana Raptor Conservation Center.</I></B></center> <B>Reception:</B> Friday, July 12th, 2002 -- 6:00 pm to 9:00 pm<br> The Montana Raptor Conservation Center ambassador birds on display.<br><br> <B>Artists Show:</B> Exhibiting <a href="http://ww2.fwdart.com/adminclient_s1/BirdShowArt/go"> <font color=yellow>Original Works</font></a> by International, National & Local Artists<br><br> <B>Exhibition:</B> July 1st through August 3rd</B><br><br><BR><br> <center><B><font size=5>Participating Artists</font></B> <br> <a href="http://ww2.fwdart.com/adminclient_s1/BirdShowArt/go"> <font size=2 color=yellow>Click Here to View the Art</font> </a></center> <br><br> <table border=0 align=center width=80%> <tr> <td>Clyde Aspevig</td> <td>Steve Aller</td> <td>John Banovich</td> <td>Linda Besse</td> </tr> <tr> <td>Susan Blackwood</td> <td>Ranie Botsford</td> <td>Janie Camp</td> <td>Richard Clifton</td> </tr> <tr> <td>Simon Combes</td> <td>Bunny Connell</td> <td>Kate Davis</td> <td>Jim Dick</td> </tr> <tr> <td>Ronald Digby</td> <td>Jim Dolan</td> <td>Andrew Ellis</td> <td>Ethel Fogelsong</td> </tr> <tr> <td>Carol Guzman</td> <td>Anne Huffine</td> <td>Burl Jones</td> <td>Ott Jones</td> </tr> <tr> <td>Beki Killorin</td> <td>Johann Koch</td> <td>Bridger Konkel</td> <td>Dave Konkel</td> </tr> <tr> <td>Mark MacLeod</td> <td>Pat Mathiesen</td> <td>Patrick Mavros</td> <td>Hans Peeters</td> </tr> <tr> <td>David Ruimveld</td> <td>Lindsay Scott</td> <td>Dan Smith</td> <td>Bob Story</td> </tr> <tr> <td>Lee Stroncek</td> <td>Paco Young</td> </tr> </table> <br><br><center>SILENT AUCTION ITEM #1<BR><BR> "Mt. Ellis Foothills" By Clyde Aspevig</center> <br><br><center>SILENT AUCTION ITEM# 2<br><br>"Forever Free" By Dan Smith</center> <br><br><br><br><br><br> <table width=75% align=center border=0><tr><td> The Montana Raptor Conservation Staff will be at the gallery reception July 12th, 6:00 pm - 9:00 pm, with their ambassador raptors. <br><br><font size=4><B>For more information, please call 1-800-533-9396.</B></font> </td></tr></table> <A HREF="http://ww2.fwdart.com/adminclient_s1/StoreServices/go">StoreServices</A> <A HREF="http://www.fwdart.com/adminclient_s1">http://www.fwdart.com/adminclient_s1</A> <A HREF="http://www.fwdart.com/aspevig">http://www.fwdart.com/aspevig</A> <A HREF="http://www.fwdart.com/bateman">http://www.fwdart.com/bateman</A> <A HREF="http://www.fwdart.com/berry">http://www.fwdart.com/berry</A> <A HREF="http://www.fwdart.com/botsford">http://www.fwdart.com/botsford</A> <A HREF="http://www.fwdart.com/coheleach">http://www.fwdart.com/coheleach</A> <A 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