TO FRAME OR NOT TO FRAME?

This weeks business blog is on the do’s and don’ts of framing artwork. During my time at the Oeno Gallery I was asked to put up a short “how to” on framing that owner Carlyn Moulton had written for artists. Below are a few of the points as well as a link to the full article. Although this article may, at times, sound a bit sarcastic these are all valid and honest comments. Some of which artists would never really think about. Working with commercial galleries can be a great thing for an artists career, these spaces work very hard promoting and selling the work of their artists. Being considerate when submitting work is quite important and these guidelines can be helpful when trying to send in well framed work.

Random Thoughts on Framing
by Carlyn Moulton

Framing is indisputably a very important aspect of presenting 2D works. Individuals are free to make a wide range of framing decisions and choices, but galleries require a more uniform presentation to avoid looking chaotic and cluttered, and to focus attention on the work itself.
Unless you have conceived the structure and the materials of your work in such a way as to negate the need for framing, the frame is part of your presentation package, and the care and attention and investment you make here conveys much about the value and respect you have for the work yourself.
As a gallery, we have had occasion to receive works by artists framed in almost every conceivable fashion – and some that were inconceivable. We are quite sure that some will have other opinions, but based on our experience to date, here are our observations and preferences.

1. Consider where you want your work to go – presumably your goal is for someone to see it and be able to imagine it in their own bedroom, livingroomor office, and then buy your work. And they need to be able to see why they should pay several hundred or thousand dollars for this work. While it is true that a bad frame can always be replaced, it is not true that clients will make that leap to imagine it framed differently. Nor do they want the hassle. Nor do they have a car big enough to carry the work to and from the framers.

2. Some artists create their own hand made rough hewn pine frames. Others use chipped old frames they got from their grandmother or in a garage sale. Some people whack barn board or lathe onto their work. Some people carve odd little flowers on to their frames. Do not do any of these things. People acquire work like this from their children, friends or relatives perhaps, but it never helps to sell it, at least not through a gallery.

4. A good frame finishes a piece. We have often hung two almost identical pieces together, one framed, the other unframed, to give people the option. They always choose the framed work. They are also prepared to pay for it. So if you choose good frames, the gallery will pay you for them when they sell your piece. Find a framer who will work with you and perhaps allow for stretched payments when you have a show.

8. The work needs to breathe. Leave a reveal around the canvas. Build up the mat so that it sits proud of the paper. Use wider mats.

12. For a collection of works going to a gallery, choose one frame that works for them all. Or if necessary, two. Despite minor size variations in the paper works, frame them up the same size, so that the client has the option of purchasing several pieces and using them in a grouping.

To read all 27 points click here: Random Thoughts on Framing