ARTWORKS ON PAPER
FRAMING FOR EXHIBITION

 James A. Miller, Certified Picture Framer
1698 Hill Road N.
Pickerington, Ohio 43147
614-868-5554 / FAX 614-868-0440



Framing for exhibition usually means framing for sale. Even if sales do not take place at an exhibition, artists enjoy the promotional value of public display both in recognition of their works and in sales that come later.

One benefit of doing artwork on paper is that the materials are relatively inexpensive. Framing is the best way to present it and avoid damage. The main obstacle, of course, is cost. For artworks on paper, framing is usually the artist's largest single expense. Done right, it is worth every penny.




PRESENTATION


Like any product for sale, presentation of your artwork determines its salability. This is the first consideration of frame design, and it is subjective -- purely a matter of choice. However, the best presentation for exhibition is not necessarily what you, the artist, would personally choose for it. It should be neutral and uncomplicated. Remember the idea is to focus attention on your art. The frame should be secondary in terms of visual order, which is the difficult task of frame design. Too often, efforts to bring attention to the art result only in bringing attention to the frame. Be careful not to overpower the art. It is a thoughtful process.

Some artists consider framing to be unimportant. They buy the cheapest available, or just use an old frame they have handy, thinking its only function is to keep the art on the wall. Big mistake. Good framing will enhance any artwork, but poor framing - regardless of its cost - will detract from it.

The classic "gallery frame" is universally acceptable. It consists of a wide white or off-white top mat, color-matched accent mats or fillets (if any), and a simple frame; often black or whitewashed wood. If your artwork is contemporary, a metal frame is acceptable (black, gray, silver, gold). Otherwise, wood frames are more consistent with conventional styles.

Mats provide a background which defines the visual importance of the art. If your artwork includes a wide margin of blank paper around the image, perhaps you could omit the mat. On the other hand, if your artwork is big and bold on its sheet, then you need to provide a generous mat margin to give the image an integral background. Avoid narrow mats; a margin of less than 2", even on a small picture, makes the finished piece look unimportant. It might be better to frame it without a mat. If the mat seems to overpower the art, that means the color is wrong; probably too strong or bright.



PRESERVATION


This is about keeping your artwork in new condition. Original art is always considered to be collectible. Any collectible thing keeps its greatest value (whether the value is monetary or sentimental) if it is in pristine condition. Anything that happens to change its original condition reduces its value. If the paper is yellowed, or mildewed, or if an area has stuck to the glass, or if the mount has failed, the art has lost some of its value.

Real preservation framing is done by relatively few framers, specially trained, although most framers claim to be qualified. Here are some things to expect in true preservation framing: 100% rag mats and mounting boards (or, if mats are not used, spacers under the glazing); ultraviolet filtering glass or acrylic glazing; feather-edged Japanese paper hinges and fresh-cooked starch adhesive for mounting; complete finishing of the frame with dust cover, wire and bumpers in bottom corners. Everything done to the artwork in preservation framing should be completely reversible; that is, the artwork could be returned to its original, pristine condition.

Many framers think anything "acid-free" is acceptable for preservation framing. Not true. Avoid standard acid-free mats, and any pressure-sensitive adhesives or tapes for mounting, even if they are acid-free. Common drymounting and other popular mounts make permanent changes to the artwork, and are not acceptable.

Some artists have little consideration for preservation in the framing of their artworks. Perhaps it is a matter of money, since preservation framing costs 25% to 35% more than comparable standard framing. They may think their art is not worthy of the extra expense, or they expect the art will be sold before any damage takes place. Maybe they think the client should take the responsibility to have it reframed properly after purchase. Some artists are not aware of the dangers, and some have been led to believe that deterioration cannot be avoided.

If preservation framing is not your choice for whatever reason, there are some "half-way" things you can do to avoid catastrophic damage in the short term. Do not use masking tape, rubber cement, or other adhesives that are designed for short-term use. These will cause harm in just a few months, and they will likely fail in a short time. Keep glazing (glass, plexi, shrink-wrap) off the surface of your artwork. Without an air gap, moisture will condense inside; some media will stick, and mildew is invited.

To learn more about preservation framing, consult a qualified custom picture framer. Try to find a Certified Picture Framer who is certified by Professional Picture Framers Association, the international trade organization for picture framers. You can also learn from a qualified paper conservator, if you can find one. Most museums are acquainted with the local ones, and may refer you.



A COMPARISON OF CHOICES

You can have your artworks preservation framed by Certified Picture Framers, or your can stick them in old frames you pick up at garage sales, or you can choose something in between, which is what most artists do. As an example, let's say you have an 11" wide x 17" high piece of paper, with a watercolor image of 7" x 13" in the center, to frame for exhibition. Here are some choices and their estimated relative costs:

  • Custom preservation framing with a double mat 3" wide, medium-priced ( $7.00/foot) wood moulding, preservation mounting, UV filtering glass, and complete fitting...frame size is determined this way: Image size is 7" x 13"; add 1" all around for white space, so mat opening is 9" x 15". Then, add 3" mat width, making frame size 15" wide x 21" high. This is the best framing you can buy for your art, in terms of preservation, and it makes a very good presentation, as well...
    • Retail price $129.14

  • Custom standard framing is the same as above, except not preservation. This framing appears very similar to preservation (above), and some custom picture framers would incorrectly claim that it is. Although the materials in contact with the art are acid-free, they still have wood-pulp paper and will eventually discolor with acid burn. Also, mounting is not preservation-grade; it is done with linen tape hinges, the next-best choice. Glass is standard; not ultraviolet filtering. There will be permanent changes to the artwork, which will reduce its value and might eventually destroy it...
    • Retail price $ 99.51

  • Custom ready-made frame is similar to above, except it comes to you like a ready-made frame you could buy at a craft store. It has the same molding cut-to-fit and assembled, including glass, backing board, standard double custom-cut mat, and sawtooth hanger. Its finished appearance on the wall would be the same as option #2. However, you must mount your own artwork, and fit it into the frame. There is no dust cover or bumpers, and you get a sawtooth hanger instead of wire. With this option, you do part of the work; what you save is the mounting charge and about half of the complete custom fitting charge...
    • Retail price $ 82.16

  • Craft store open frame must be a standard size; in this case, 16" x 20". You can have a custom framer cut your double mat for $18.00 and you assemble the frame at home, after you mount your own artwork. This is going to be an inexpensive foreign-made frame; not the quality you would get from your custom framer, but it sells for only $22.95. You have to add $6.50 for glass and $3.00 for backing. This frame sacrifices a lot in appearance, because it must be a standard size. The mat margins will be unequal; 3-1/2" on sides, 2-1/2" on top and bottom. Also, you do all the work. If you make a mistake, you pay twice...
    • Retail price $50.45

  • Craft store ready-made frame in standard size 12" x 16", including glass and backing. To use this option, you have to cut down your artwork. Then you can stick it in without a mat or mounting. The margins of paper around your image will be unequal. This is the minimum-cost "real frame" option, and its appearance says so...
    • Retail price $ 18.50

  • Mat and Saran Wrap You cut your own single mat with your X-Acto knife, use leftover matboard for backing, cover it up with a neat wrapper of Saran, and stick an adhesive hanger on it, for hanging at the exhibit. This is certainly not a real frame, but it is acceptable presentation for some exhibits. This is the minimum-cost presentation with little or no visual appeal, and your art has minimal protection from damage...
    • Retail price $5.00


These examples are all typical and represent only a few of your choices. Which choice is best? Consider your prospective clients -- which option would they find most attractive? More important, which product do you think is representative of your work?

Let's assume you want to sell your artwork for $150.00 plus framing. Is the attractive, preservation-framed piece worth $279.14 to a prospective buyer? Or would she rather pay $155.00 for the Saran-wrapped piece? Which would you rather sell?

You decide.



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614.868.5554
FAX 614.868.0440
Hunters Run Center
1698 Hill Road North
Pickerington, OH 43147
15 minutes from downtown Columbus, OH




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