ArtyCool http://artycool.posterous.com Articles about journeys through art posterous.com Tue, 15 Jun 2010 17:01:00 -0700 Framing - Is your artwork just a juicy steak on a trash can lid? http://artycool.posterous.com/framing-is-your-artwork-just-a-juicy-steak-on http://artycool.posterous.com/framing-is-your-artwork-just-a-juicy-steak-on

Monalisa

The correct frame can make or break a piece of artwork.  Why then do I so frequently see beautiful pieces of artwork in badly matched frames, sometimes to the extent that the artwork looks like something cheap picked up  from the local op-shop.  Bad framing makes works hard to sell and devalues asking prices, while good framing can significantly enhance both the saleability and asking price of a work.

As an emerging artist I often visit galleries to assess what is selling, and to appreciate the skill and technique of other artists.  What surprises me is how often I see masterful works degraded by a poor choice of frame.  In some of these cases the artwork would actually look better if packaged in shrinkwrap – the selected frames are doing neither the artwork, nor the artist, any favours.

As an artist I am also aware of the economics of the process of producing a work for sale – expensive frames potentially eat into how much you can earn: profit = price paid – commisions – cost of materials.  This is a prime, but not sole motivation, for poor frame selection by some artists.  However this is very short sighted, as we shall discuss.

A quick lesson in history.  Before the beginning of the 20th century, most painted works were framed.  This was partly due to what was expected and fashionable, but more so because works in this period demanded a frame to enhance the work.  Artists realised that the frame was an integral part of the work, and many well-known artists would spend considerable time selecting the correct frame for the work.  Often the frame would cost more than the artwork itself (not surprising since many frames were ornately hand-carved and covered in hand applied gold leaf) – however the cost was justified as it was considered that the frame was part of the overall work – not just a whimsical accessory so you could hang the work on a wall.

I have a friend who used to work for the museums in Paris, overseeing the restoration and conservation of frames on artworks.  She indicated that some of the frames can cost in the order of five figures, but that the wrong frame could literally ‘destroy’ the aesthetic merits of a masterpiece.  It was not out of the question for frames to cost more than newer up-and-coming masterpieces purchased by museums.  Can you imagine the Mona Lisa in a ready-made white frame?

So do we need to spend in the order of thousands or tens of thousands of dollars to get the right frame?  Fortunately no.  Manufacturing techniques have improved and there are a large number of mouldings available which are machine made, rather than hand-made.  Hence an exceptional quality frame can often be custom made (for a 16” x 20” work) for around the $2-300 price mark.

Is this a good investment?  Research of opinions on the internet suggest that in many cases it is.  One story by a US framer told of their convincing a well known artist to let them select his next frame.  Convinced, and paying more than he was accustomed to, the experiment quickly paid off.  He soon found that appropriately framed pieces of his work not only sold almost twice as quickly, but for almost double the price.  Another told of a steady trade in reframing the purchased works of a well-known local artist – few of the purchasers liked the artist’s choice of frames.

Does every piece justify a custom frame?  Not always.  Certain works can lend themselves quite well to ready made frames – many artists who draw or produce watercolours find this a good option.  However, the important rule is – “One size does not fit all, and a frame ideally needs to be individually matched to the artwork”

Recently I have produced an artwork, best described (by a friend and art tutor) as a quirky modern interpretation of Rennaissance and Pre-Raphaelite styles.  Accordingly, no ready made frame was going to do it justice.  Intrigued with the process of frame matching (and fully cognisant of how bad frames devalue a work and can make it unsaleable) I visited several local framers.  One in particular was recommended to me as being highly skilled and experienced.  I called in with the artwork, and decided to step back initially and watch her at work.  From  this I noted several aspects that I believe one should expect to see in an experienced framer:

-                     they placed the artwork against a blank neutral background so we were not distracted by environmental elements in the workshop;

-                     they studied the artwork to get the feel of it, and to look for elements which might suggest a frame type;

-                     they will try different frames, and frame combinations (and also matt board combinations where appropriate) – even if their first choice is best, they will still consider and investigate other possibilities;

-                     they will consult with you, the artist, as to whether you consider particular options uphold the spirit and character of the artwork;

In the end I became involved in the process and, seeing where we were heading, chose a frame sample off the wall.  As soon as I placed it on the work, we just looked at each other and knew it was the right choice.  How?  Because the artwork suddenly sprang to life – the already vibrant colours became even more vibrant and three dimensional; the spirit and feel of the work was enhanced.  Suddenly I saw  the transformation of an unframed work which might normally be sold in a gallery in the high hundreds, to not being out of place in a fine art gallery where the asking price might be two to three times higher.

At that point I became convinced of the value of the correct frame.  It can bring a work to life, or destroy it by appearing as a lifeless unfinished piece.

Are there any tips I’ve learned?:

-                     find a good experienced framer whose skill and judgement you trust, and establish a relationship;

-                     consider the frame as a vital integral element of the artwork, not just something you rush past in order to start the next work;

-                     white does not suit everything.  The worst examples I’ve seen of framing has been with white frames, presumably because some artists think that as gallery walls are often white to enhance pieces of artwork, this also applies to the frame – not so!

 

And to finish with a memory from the Bill Cosby show, who loved telling stories to reinforce lessons –

Bill, talking to one of the characters in the show:

“Imagine a steak, a big juicy steak cooked to perfection.  Sizzling and smelling asolutely wonderful”

“Mmmmm”

“Surrounded by potatoes, and your favourite vegetables.  So delicious you can just taste it”

“Mmmmm”

“Now imagine it all set out on a garbage can lid”

“Eeeewwww”

While my recollection of the conversation may not be perfect, the question remains – Is your framed artwork just a piece of juicy steak on a trash can lid?

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