Everything I Know About Framing, Thanks to J. Pocker

A Conversation with Robyn Pocker

Mrs. Mayfair: When you begin framing a piece, what is the very first thing you look at?

Robyn Pocker:
The medium. Works on different papers require entirely different approaches—pastels, mezzotints, photography, works on board. Framing isn’t just about the frame; it’s about matting, glazing, and preservation. You have to understand what the artwork needs in order to live well.

This is something most people don’t realize: framing is less about decoration and more about stewardship.

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Mrs. Mayfair: Is there a single choice that immediately elevates a work on paper?

Robyn:
An 8-ply mat board. It gives contemporary works real presence. And if the artwork is on paper, use the best glazing you can afford. Museum glass makes an enormous difference—it removes reflection and preserves true color.

Once you’ve lived with museum glass, it’s very difficult to go back.

Courtesy of J. Pocker

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Mrs. Mayfair: Where can one be economical without losing quality?

Robyn:
Choose a simpler frame if needed, but never compromise on archival materials. Preservation is non-negotiable.

This mirrors how I approach the home: simplify the visible if needed, but never the foundation.

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Mrs. Mayfair: Should a frame or mat “match” the room?

Robyn:
Not necessarily. A strong piece of contemporary art belongs even in a traditional home. The art leads, the room follows.

This is why truly good homes feel confident rather than coordinated.

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Mrs. Mayfair: Are there guidelines for hanging artwork properly?

Robyn:
Eye level is still correct. In dining rooms, where you’re seated more often, art can be hung slightly lower. And whenever possible, use a professional installer, especially for gallery walls.

A gallery wall is a commitment. Planning matters.

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Mrs. Mayfair: With so many frames available, how does one choose?

Robyn:
There are no fixed rules, only informed decisions. A knowledgeable framer understands periods, finishes, and proportions. Let them guide you, then respond honestly as a client.

Trust, followed by discernment, that’s the real formula.

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Mrs. Mayfair: What about mat color and size?

Robyn:
We almost always use white or off-white mats now. Color is rarely necessary; the artist already chose it. We also don’t use small mats. Two and a half to three inches is the minimum. The mat gives the artwork room to breathe.

This is one of those details that quietly separates professional framing from everything else.

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Mrs. Mayfair: Your favorite frame-and-mat combination?

Robyn:
An off-white mat with a simple gold or silver frame works beautifully for almost any work on paper. It’s the little black dress and pearls of framing, the finish and width may change, but the idea holds.

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Mrs. Mayfair: And when framing something as a gift?

Robyn:
Think only about your budget. If the artwork and frame work together as a cohesive whole, the gift will always be right, no matter where it ends up living.

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Mrs. Mayfair: Where do you personally look for art?

Robyn:
Local galleries. Seeing work in person matters. Gallery owners can advise on scale, tone, and placement, and many will let you live with a piece briefly before committing.

Good taste is rarely rushed.

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Living With Well-Framed Art

Once you’ve lived with art that has been framed thoughtfully—with proportion, patience, and respect—you notice everything else. Walls feel calmer. Rooms feel considered. Nothing shouts.

Framing is not an afterthought. It is the final act of care.

And when it’s done well, you feel it every day.

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From Our House to Yours,
Mrs. Mayfair