A Painter's Musings on the Visual World

When I taught elementary art and did my annual end of the year show, most of my time was spent in mounting the students’ work.  Each student only had one piece selected for the show and the act of presenting it, even if it was mounted on a sheet of construction paper, made a huge difference. It not only made the show look more impressive but it made the students more impressed with their own ability. It gave the aura of importance to their work and pride they may not have had. Are grown-ups really that different?  

Tempera painting by a third grade student, double mounted on paper, 9 x 12

I recently posted an opinion choice between two gallery quality frames on Facebook and got over 50 comments on which looked better complete with detailed reasons why or why not. I can almost guarantee that if I had included a photo of the same painting in a very cheap box store frame, I would have gotten a different, less equal result.  At an opening of a regional show of various level artists I noticed many poor framing choices that either did not help or actually detracted from the painting.  If I had one thing to say to most of them it would be, “Your work deserves a better frame.” I have actually gone up and said this to young artists, followed by ”That is a compliment." A good frame cannot save a bad painting but a bad frame can certainly spoil a good one. 

Jane Chapin, "Corrales Adobe" 10 x 8 Oil (Gallery style closed corner frame)

Putting a decent frame on a painting need not be expensive or custom made and it makes a world of difference.  You can usually get one for under $50 unless it is a larger painting and that is probably only $25 more than you would spend on a cheap one. I remember watching a PAPA member judge a show and his commentary that, in judging, it is really hard to see past a bad frame to just judge the painting on its own merit.  That little bit of extra money usually pays off with an award or a sale.  If it doesn’t, you can always use the frame on another painting.

So how do you find and choose good frames without putting a second mortgage on your house?  For the purpose of this blog I am going to leave out the possibility of having time and money to order a custom frame for each painting as if it were going in the Met.

Joseph Henry Sharp painting in a hand carved 22k gold frame that is beyond most artist's means

Recognize that there are trends in framing. One year, shiny gilt frames may be in and the next, sleek modern black may be the frame du jour.  Frames sales are tempting and I have made the mistake of “stocking up” on a good deal only to find myself unable to use them down the road. My go-to frames now are simple profiles that are durable for shipping but also have some elegance (and timelessness) to the finish. I also like frames that are easy to touch up.  I usually keep a variety of soft gold, champagne silver or black on hand.  One of those usually works with paintings depending on their temperature and contrast. The rule of thumb is that a cool painting will look better in a silver or silver liner frame and a warm painting will look better with gold tones next to it. But there are many exceptions and the best thing to do is try them out. Never ever submit your work in a beaten up old or cheap frame. Whoever is looking at it should see your painting first.

An unfinished wood grain chop frame will probably not help your painting.

If you are shipping to a show, remember that those paintings will be handled many times, sometimes by volunteers. They will get put on the floor, bumped and stacked.  The more ornate edges, if they are a composite material, are easily cracked and chipped. Wood frames are more durable and ones with fewer edges usually fare better in the hostile world of shipping to shows.

If you are shipping to a gallery where you are represented, familiarize yourself with that gallery’s practices.  I have seen well-known galleries with work stacked five-deep on the floor.  Either hand deliver work and take pictures of the frame condition on delivery or accept the fact that you are going to have some loss, then frame accordingly.  Discuss frame damage with the gallery ahead of time so you know their policy. Well-made frames are easier to repair and it may be worth the initial investment rather than tossing cheaper frames in the trash. 

If you get work returned damaged from a show or a gallery where you are not represented, take a picture of the damage and politely let them know.  Even if you do not get compensated, you are doing a service to the gallery owner and other artists for pointing out the problem.

If you live in an arid climate like I do half the year, frames constructed in a humid climate may separate at the corners in a few months.  Keep this in mind for shipping cross-country as well. 

Closed corner frames may start to separate in drier climates

Whatever frames you decide to use, make a few choices that work well together.  If you ship 10 paintings to your gallery, each one in a different color or profile, your work will look less cohesive than if you have 3 different colors or profiles on the wall. I generally either use the same profile in different tones or the same color in a few slightly varied profiles. It should not look like a variety wall at the second-hand store.

Finally, presentation is an indicator of your self-worth as an artist.  Just as you would not go to a job interview in sweatpants and a dirty old t-shirt, put your art’s best foot forward. You never know who may wander into a show and see your work for the first time.