About the Author: Jason Horejs

Jason Horejs is the Owner of Xanadu Gallery, author of best selling books "Starving" to Successful & How to Sell Art , publisher of reddotblog.com, and founder of the Art Business Academy. Jason has helped thousands of artists prepare themselves to more effectively market their work, build relationships with galleries and collectors, and turn their artistic passion into a viable business.

9 Comments

  1. I exclusively do gallery wrap and it makes it so simple to not have to second guess what the buyer might like. Some times I paint the edge black, or white, or a nonconflicting color, or wrap around the image from the front. From today’s presentation, I gather I should stick to one style for consistency. You didn’t mention the back. I see some framers cover the back with a paper layer as if to be a seal against dust, perhaps? Is this needed? I would like to keep the back open as that is where I sign and date and name my work.

  2. I do pastels and am no longer using mats how do you feel about that in a gallery? I guess I need to be more consistent with my frames unfortunately I’ve been doing more to each piece. Thanks!

    1. Beverly’s comments are almost identical to what I would have written. I, too, am a pastelist and have picked frames that are complimentary to the painting. This can be time consuming and frustrating, especially when you’re then criticized for not having picked a gold frame!
      Your comments were interesting from the standpoint of where one is visualizing the final placement of the picture – gallery or private setting. Understandably, to group one’s work in a gallery with similar frames is the least frustrating and makes a statement; however, I believe most artists are hoping for people to purchase their work for the clients home or to blend in with decor in a semi-private location (office, etc.). Thus the frame would need to “marry” the painting with the decor of the location which could be an impossible task unless the artist knows the decor of the client. Also, a generic type frame may not compliment the painting at all. A frustrating revolving door!
      Matting also complicates the issue. Beverly stated she doesn’t use mats and sometimes I don’t either. However, there are times they make the painting appear more finished. Then should one stick with one of the myriads of white or cream mats or should one use a color that brings together the colors of the painting and the frame? And then there’s the question of the width of the matting….
      I very much appreciated your comments. As you can tell, I find this a frustrating aspect of painting, especially with the high cost involved, and would appreciate any further thoughts and answers to questions.

      1. I’m slightly surprised that people aren’t using mats for pastels–how are you keeping them off the glass?–especially since it’s easier to pick a standard mat color than decide between wood and metal, matte or glossy…

        I did a few shows where I brought watercolors (I’ve since focused more on acrylics); I just laid a bunch off my paintings out, asked “What looks good with most of them?” and ordered a pack of “antique white.” Though it may not work for a gallery, you can buy “sandwich packs” of mat, backboard, and self-sealing plastic sleeve, which makes them easy to store and transport (both for you and the customer) if you do any fairs or shows. Then you can let the customer worry about framing (If they’re really lazy, then can even frame them in the sandwich packs)

  3. Thank you, Jason for an informative discussion. I have been painting my pieces on primarily Gallery Wrapped Canvas (the 1.5″ depth with the exception from time to time of a 3/8″) I’ll paint the sides in black creating the visual effect of a frame. Ive found that most of my collectors prefer no fram but i like the finished look of the black paint. I’ll tape off the back to preserve the canvases from getting black paint on the backs. (It was a learning curve for the taping). I do have some pieces framed with Floater Frames. These allow the work to stand out some, still look framed but also not outdo the painting. I’m finding that more people would rather have no frame.

  4. I exclusively use a gallery wrap canvas with a 1.5 inch depth for my wildlife oil paintings. The edges are finished with a continuation of the painting. Years ago when I first started out, I had my paintings professionally framed with expensive coordinated wooden frames. Two buyers, looking for a bargain, offered me 50% of my asking price to buy the paintings without the frames. I declined their offers and by eliminating the frames have not had that issue since.

  5. My work is contemporary. I used to present my work in gallery wraps until one gallery wanted the all framed. The reason they gave was that I could get “so much more” money for the artwork if it was framed. Now I’m using all floater frames. I do like the look. The down side of floater frames is they add weight to the painting and I have to charge more to recoup the cost of framing. What’s your opinion on floater frames.

  6. Mainly I’m doing gallery-wrap (1 1/2–2”) with continuous flow of painting around the edges. Occasionally if I paint using a different medium (watercolor), it is matted (white or black) and finished with a simple black frame.

  7. Thanks Jason! This subject is always great to chat about and never gets old. For my artwork, I like to use gallery wrapped canvas and/or 2” cradled wood panels. I paint around the sides to give the paintings a three dimensional effect. Then, I design and build a semi-shadow box style frame (aka, wide floater frame). This allows the viewer to see the painted sides, yet gives the painting a polished look. This may add substantial weight to the painting but the beautiful part is, it’s easy to disassemble and may be changed out for the buyers personal preferences. However, I won’t pretend to say that framing is easy! It’s a steep learning curve to just get it right. Though, at the end of the day, my objective is to create high-quality art. There’s no better way to do that than just taking action! A positive mindset is essential to survive the framing blues. And I always ask myself, “How can this painting (or frame) be better?” So, that I learn and grow from each piece I create, whilst striving for excellence.

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