september 2012


FrameStore_Logo_01Framestore Loacations 2011

Orange and Blue Abstract 

Last Days of Summer

September Newsletter



School has started once again and summer is entering its twilight fade into autumn. The college graduates of spring have moved on to new jobs and new horizons, and those final family vacations of the season are already becoming mere memories. So much is happening so fast, and the holidays are literally just around the corner yet again. It's a busy time of year, and only due to get busier in the months ahead.Orange and Blue Flowers by Anne Powell
So, as the temperatures stubbornly refuse to drop, make sure all those new memories from the summer now past are preserved for the future through the best quality custom framing designs your photos, art, and memorabilia can possibly have. Celebrate all the art in your life from this summer, and all the time, and do it right the first time and forever!
If your graduate still hasn't decided what to do about that recently acquired diploma, Masters or Doctorate they spent so much time and money to get, you might consider a FrameStore gift certificate towards custom-framing and proper preservation to last their career. Stop in to any of our 9 SoCal locations to discuss the options with one of our expert designers.
In other news, we once more shine our Monthly Spotlight on a local Los Angeles area artist, as well as bring you information on new art exhibits and gallery openings around the Southland.  And our In The Studio section sees the latest installment of an Art Education series which will showcase information on various topics from Art Mediums to styles and history. So check out what is new below, and in the months ahead.
Summer is here with all the fun that brings, and FrameStore wants to help you make those memories last!
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FrameStore has been helping southern Californians take care of their photos, artwork, and mementos correctly for over 35 years.

Stop by one of our stores this week to have one of our Art and Design experts help you to turn those precious memories that will only come once into lasting and lovely art that will bring joy for decades.


Local Artist Spotlight:


Death by Eliza Frye c2012  

Golden Fish

Gouache on Paper




Eliza Frye 



"I love colors, and am happy that my Rainbow Brite childhood is shining through. I feel deeply connected to colors and tend to associate them with words and meaning."


- Eliza Frye, Sequential Tart Interview, 2012


Eliza Frye's colourful, stark, and sensual artwork shows equal parts influence from modern pop art and Japanese anime, and yet is totally her own. After getting a BA in Japanese Literature from UCLA and studying character animation at the California Institute of the Arts, Frye has spent time teaching, traveling, and finally breaking into comics with her Eisner Award nominated "The Lady's Murder" in 2009.


Hip, media savvy, yet geeky, Frye is a regular and recognizable face on the comic book convention circuit. Meeting her in Artist's Alley at Comic Con you might even think she was one of the colourful characters she paints so vividly in her works.


Her comics have been featured in literary magazines and anthologies in the United States and Europe. She is recently back in Los Angeles after a time in France, and still enjoys cooking, dancing, and earl grey, hot.


I approach my work the same way I approach my love letters. "



Morning Little Death by Eliza Frye 


See her comics, paintings, and more of her work at her site:


SoCal Art Happenings -



 Orange by Ken Price c1987   

Ken Price Sculpture:

A Retrospective 
September 16, 2012 - January 6, 2012


For more than fifty years, Ken Price, born in 1935 in Los Angeles, California, created remarkable and innovative works that have redefined contemporary sculpture practice. Price procured a cult following among critics and scholars since the 1960s, including Lucy Lippard, who declared in 1966, "It is a fact rather than a value judgment that no one else, on the east or west coast, is working like Kenneth Price." Price's work has been much talked about, though not widely exhibited until relatively recently (and then only in group shows or in commercial gallery presentations). Ken Price Sculpture: A Retrospective traces the development of Price's sculptural practice from his luminously glazed ovoid forms to his suggestive, molten-like slumps, positioning him within the larger narrative of modern American sculpture. This sculptural retrospective honors the late artist's creativity, originality, and revolutionary art practice.

Architect Frank O. Gehry, who enjoyed a friendship with Price of almost fifty years, is designing the exhibition. A fully illustrated catalogue includes essays by Stephanie Barron (exhibition curator) as well as art historians and critics Phyllis Tuchman and Dave Hickey, and an extended interview with the artist by MaLin Wilson Powell.


This exhibition was organized  by the Los Angeles County Museum of Art. It was made possible through major grants from the LLWW Foundation, The Andy Warhol Foundation for the Visual Arts, and The Aaron and Betty Lee Stern Foundation. Generous support for the catalogue was provided by The Shifting Foundation and Friends of Contemporary Ceramics. Marketing support by Matthew Marks Gallery. Image: Ken Price, Balls Congo, 2003, Fired and painted clay, 22 x 18 x 18 inches, Linda Schlenger, ©Ken Price, Photo © 2011 Fredrik Nilsen.


The Getty:

 Glaucus and Nydia by Lawrence Alma-Tadema c1867   

The Last Days of Pompeii:

Decadence - Apocalypse - Resurrection
September 12, 2012 - January 7, 2013


The Last Days of Pompeii addresses the potent legacy of the ancient city of Pompeii in the modern imagination. The eruption of Mount Vesuvius in A.D. 79 destroyed yet paradoxically preserved the city of Pompeii and neighboring towns. Seemingly frozen in time, they are often considered the places where we can best access the daily lives of ancient Romans. While providing windows to the past, since their rediscovery in the early 1700s, the Vesuvian cities have also served as mirrors of the shifting present. For three centuries they have remained a constant obsession, inspiring foremost artists-from Piranesi, Fragonard, Ingres, and Alma-Tadema to Duchamp, Dalí, Rothko, and Warhol-to examine contemporary concerns, such as sexual identity, psychoanalysis, the nuclear threat, collective memory, and the nature of art.

The exhibition draws its name from Edward Bulwer-Lytton's 1834 novel The Last Days of Pompeii, a melodrama of Pompeian life set immediately before the eruption of Vesuvius. One of the most popular literary works of the 19th century, the novel transformed modern perceptions of Pompeii and inspired numerous works of art, several of which are on view in the exhibition.


This international loan exhibition is co-organized by the J. Paul Getty Museum and the Cleveland Museum of Art in association with the Musée national des beaux-arts du Québec. The Los Angeles and Cleveland presentations are supported by an indemnity from the Federal Council on the Arts and the Humanities.


Santa Barbara Museum of Art:

 Money to Loan, Girl (2) Guys, Denver by Douglas Busch c 1986  

Scene on the Street:

Doug Busch


August 25, 2012 - December 2, 2012


Having served as an assistant to Ansel Adams and Al Weber, Douglas Busch mastered the art of large format photography, and like his mentors, he forcused his lens on the landsacpe. In 1986, however, he launched "The Denver Photographic Project," taking his large-format cameras into the city to capture both the people on the street as well as the architecture of the Western metropolis.


Busch's large format black and white photographs, taken with a 20 x 24 camera that the artist designed and built himself, are images of great subtlety and irony. Through a combination of Busch's photographic sensibility and impeccable technique, the ordinary is raised to a monumental scale. The street scenes presented in this exhibition open our eyes to the beauty and subtlety of the everyday. Ranging in scale from 8x20" to 20x24", the images are Busch's attempt to "record reality more accurately than I can actually see it."


The Santa Barbara Museum of Art is a privately funded, not-for-profit institution that presents internationally 
recognized collections and exhibitions and a broad array of cultural and educational activities as well as travel 
opportunities around the world.


Koplin Del Rio:

 Cleaned Up, Left Early, Took My Dog by Norman Lundin c2012  

Between Truth and Fiction:

Pictorial Narratives
September 8, 2012 - October 19, 2012


Koplin Del Rio is pleased to announce the second of a series of three exhibitions in celebration of its 30th anniversary. This second exhibition titled "Between Truth and Fiction: Pictorial Narratives" includes new work by KDR artists, as well as, invited guest artists from the gallery's history in the past 30 years. Subsequent shows will include themes also reflective of the gallery's historic program.

The Last Leader: Yerevan, Armenia by Shay Bredimus c2011 
Participating artists include:

David Bailin
Sandow Birk
Shay Bredimus
Wes Christensen
Einar and Jamex de la Torre
James Doolin
Cynthia Evans
John Frame
Moira Hahn
F. Scott Hess
Oldrich Kulhánek
Rico Lebrun
Tim Lowly
Norman Lundin
Michael McMillen
Fred Stonehouse
Ruprecht von Kaufmann
Peter Zokosky
Suné Woods 


In the Studio -


In the Studio:

Art Education

Bather drying herself after the bath by Degas c1895 

Techniques and Mediums:  



Pastel is an art medium in the form of a stick, consisting of pure powdered pigment and a binder. The pigments used in pastels are the same as those used to produce all colored art media, including oil paints; the binder is of a neutral hue and low saturation.


The color effect of pastels is closer to the natural dry pigments than that of any other process.

Pastel Media

Pastel sticks or crayons consist of pure powdered pigment combined with a binder. The exact composition and characteristics of an individual pastel stick depends on the type of pastel and the type and amount of binder used. It also varies by individual manufacturer.


Dry pastels have historically used binders such as gum arabic and gum tragacanth. Methyl cellulose was introduced as a binder in the twentieth century. Often a chalk or gypsum component is present. They are available in varying degrees of hardness, the softer varieties being wrapped in paper. Some pastel brands use pumice in the binder to abrade the paper and create more tooth.


Dry pastel media can be subdivided as follows:


Soft pastels: This is the most widely used form of pastel. The sticks have a higher portion of pigment and less binder, resulting in brighter colors. The drawing can be readily smudged and blended, but it results in a higher proportion of dust. Finished drawings made with soft pastels require protecting, either framing under glass or spraying with a fixative to prevent smudging; Hairspray also works. White chalk may be used as a filler in producing pale and bright hues with greater luminosity.


Pan pastels: invented in the past few years are formulated with a minimum of binder in flat compacts like women's makeup and applied with special Soft micropore sponge tools. No liquid is involved. Pan Pastels can be used for the entire painting or in combination with soft and hard sticks.


Hard pastels: These have a higher portion of binder and less pigment, producing a sharp drawing material that is useful for fine details. These can be used with other pastels for drawing outlines and adding accents. Hard pastels are traditionally used to create the preliminary sketching out of a composition. However, the colors are less brilliant and are available in a restricted range in contrast to soft pastels.


Pastel pencils: These are pencils with a pastel lead. They are useful for adding fine details.


Flowers by Leon Dabo 



Pastel techniques can be challenging since the medium is mixed and blended directly on the working surface, and unlike paint, colors cannot be tested on a palette before applying to the surface. Pastel errors cannot be covered the way a paint error can be painted out. Experimentation with the pastel medium on a small scale in order to learn various techniques gives the user a better command over a larger composition.


Pastels have some techniques in common with painting, such as blending, masking, building up layers of color, adding accents and highlighting, and shading. Some techniques are characteristic of both pastels and sketching mediums such as charcoal and lead, for example, hatching and crosshatching, and gradation. Other techniques are particular to the pastel medium.Pastels can be used to produce a permanent work of art if the artist meets appropriate archival considerations. This means:


Protection of Pastels 


Use only pastels with lightfast pigments. Pastels which have used pigments which change color or tone when exposed to light have suffered the same problems as can be seen in some oil paintings using the same pigment.
Works are done on an acid free archival quality support. Historically some works have been executed on supports which are now extremely fragile and the support rather than the pigment needs to be protected under glass and away from light.

Works are properly mounted and framed under glass in a way which means that the glass does not touch the artwork. This avoids the deterioration which is associated with environmental hazards such as air quality, humidity, mildew problems associated with condensation and smudging.
Some artists protect their finished pieces by spraying them with a fixative. A pastel fixative is an aerosol varnish which can be used to help stabilize the small charcoal or pastel particles on a painting or drawing. It cannot prevent smearing entirely without dulling and darkening the bright and fresh colors of pastels. It is also toxic, therefore it requires careful use.

SpectraFix, a modern casein fixative available premixed in a pump misting bottle or as concentrate to mix with vodka or other high proof drinking alcohol, is not toxic and does not darken or dull pastel colors. However, SpectraFix takes some practice to use because it's applied with a pump misting bottle instead of an aerosol spray can. It's easy to use too much SpectraFix and leave puddles of liquid that may dissolve passages of color, also it takes a little longer to dry than conventional spray fixatives between light layers.

For these reasons, some pastelists avoid its use except in cases where the pastel has been overworked so much that the surface will no longer hold any more pastel. The fixative will restore the "tooth" and more pastel can be applied on top. It is the tooth of the painting surface that holds the pastels, not a fixative. Abrasive supports avoid or minimize the need to apply further fixative in this way.

Glassine (paper) is used by artists to protect artwork which is being stored or transported. Some good quality books of pastel papers also include glassine to separate pages.


We here at FrameStore hope you find your summer season to be filled with art, fun, family, and many memories with lots, and lots of lively colour!


Chuck Mitchell
September News
Local Artist Spotlight - Eliza Frye
Art Happenings - LACMA
Art Happenings - The Getty
Art Happenings - Santa Barbara Museum of Art
Art Happenings - Koplin Del Rio
In the Studio: Art Education - Pastels
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We at FrameStore are proud to introduce our new EcoCare Collection from Nurre Caxton. This line of moulding is both 
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