Quote Originally Posted by jordanstarr View Post
I use an off-white for brown. It's a good transition into that tone and isn't too harsh. I also use it for warm-toned prints. It's a Peterboro PW572. You can go a little more "off" into a beige too and it works really well -that's what I use for my brown/walnut/cedar frames. For straight black and white that are selenium toned to a cool colour, I use a bright white PW521 Peterboro in a black frame. I know this doesn't necessarily apply to your scenario, but maybe you're thinking aobut it wrong. I like to draw the viewer in rather than pop the image out. It's my own preference to stick match with base tint rather than contrast. The image feels more as belonging to the frame rather than escaping it....if that makes any sense.

Thanks. It's entirely possible my approach is wrong. As I had it before, I had a distinct feeling there was a mat board and the image was inside it, sort of like an inch or so behind the board. The image was too far behind. In reality, it's just a 4 ply board so it's about 1/16" behind the board. It's the impression I had. When I used the board #2 which is less creamy, the image came little more forward.

You say, you draw your viewer INTO the image rather than to have the image pop out at the viewer. Do you care to elaborate on this, please if you would? Seems your approach is exact opposite of mine, so I'm curious.