The Challenges of Framing Art

All I have to do is say the word “frame”, and I see artists get a dejected, depressed look in their eyes. Framing has long been the bane of painters, photographers, pastelists, pencil artists and all others who work in two-dimensions. Framing art is time-consuming and expensive, and just when you think you’ve found the right frame, your clients let you know otherwise.

Framing costs impact your bottom line and change the way you price your work. Finding a good framer in your area can prove an exhausting challenge.

 Is it any wonder that many artists are moving away from framing?

With all of those hurdles, is it any wonder that many artists are moving away from framing? Many artists who paint in a contemporary style are creating their work on box-stretched, gallery-wrapped canvases that don’t need to be framed. I’m also beginning to see artists who are painting in more traditional styles taking this approach. In my gallery, I have very few artists who are using a traditional frame.

That said, some artwork begs for a frame. Frames can add real elegance to a piece, and many art buyers with traditional homes simply won’t buy work that isn’t beautifully framed.

I frequently receive requests from artists to share my thoughts on framing, and I would like to take the opportunity to do so. I’m also interested in drawing on my readers collective wisdom in the framing department, so if you have some advice or input on the ins and outs of framing, please share your thoughts in the comments.

Finding the Right Frame

Client FrameOften, a client will see piece of artwork, fall in love with it, and then say, “but that frame has got to go.”  Is there anything more discouraging than having to reframe a piece when you put so much time and investment into framing it in the first place? Wouldn’t it be great if you could find exactly the right frame every time?

Well, you can’t. Everyone has different taste and different needs when it comes to presentation. The perfect frame for one buyer might not work at all for another. With that in mind, I suggest you find frames you feel do a great job of accentuating your artwork. For some artists that will be a simple, minimal frame, and for others it might be an ornate, gold-leafed frame. Employ your artistic eye to find the perfect match for your work, or find a framer who also has an artistic eye and have them help you find the right frame. Even though your clients may end up reframing the work down the road, at least if you have a frame you like and can reuse on a future piece.

I would also encourage you to aim for consistency. Sure, not all of your work can be framed in exactly the same way, but if you can keep your framing as consistent as possible, you will simplify the decision making process and your framing will become a part of your brand. I’ve worked with artists who limit their frames to three or four different mouldings.

How Much to Spend on a Frame

Of course, another major consideration is cost. Frames can run the gamut from $30 – $10,000 (and more), depending on the size of the piece and the quality of the frame. Understandably, many artist struggle with  making a big investment in a frame. It can be difficult to pay for framing when you are unsure that the piece will sell. The higher the framing cost, the lower the artist’s profit margin when the piece sells.

I’ve done some research into framing costs, and I found that among well-established artists, those who are selling in the $2,500-$10,000 range, many are spending 7-15% of the retail cost of the artwork to purchase the frame.

Pegging framing investment to retail price is a good place to start, and 7-15% is probably about the right target

I hesitate to give numbers like this because my research is far from scientific (it comes from conversations I’ve had over the last several years about framing and pricing), and because there are many caveats. As the price of the art goes up, for example, the % spent on framing can go down. Still, I think that pegging framing investment to retail price is a good place to start, and 7-15% is probably about the right target.

If your prices are low, you are going to be limited in the frame that you can afford. If you are selling a 24 x 30 at $500, your framing budget would be $35-$75. In framing, you get what you pay for, and you’re not going to be getting much at those prices.

Another interesting way to think about framing cost would be to look at it in reverse. Find a frame that you feel is absolutely spectacular – a frame you would love to buy if money were no object. Take the cost of that frame and divide it by 15% to find out what your retail price would need to be in order to justify the frame.  So, if the frame costs $400, you would get $400 / .15 = $2,666. Now, buy the frame, raise your price to where it would need to be in order to afford the frame, and go out and find a gallery where you can sell the work at that price.

Many successful artists consider framing to be an investment, not an expense.

Changing Frames

What if the frame you’ve chosen doesn’t end up working for your buyer? This happens all the time. You’ll still be glad you invested in a good quality frame – the buyer might simply have passed the work by otherwise. Now you have to figure out the logistics of changing the frame.

Here is how we typically handle the issue in the gallery. I will talk to the artist and find out how much the current frame is worth to them. I then offer that amount to the client as a framing allowance (or discount) against the retail price of the art. The client can then take the art to their own framer, or I will accompany them to our framer if they need help, and select their own frame.

Setting the Price on Framed Work

I am an advocate of developing a simple formula for pricing your work (watch my podcast with Barney Davey on the topic here). Often, artists ask, “how do I account for framing costs in my price?”

When developing the retail price for your work, you need to roll the frame into your formula and make sure that your costs are covered out of your portion of the commission. I’ve spoken with artists who would like to have a base price that would be used to set the gallery and artist commission, and then add their framing cost on top of that. In other words, if they have a piece they want to make $500 on, they would double that to $1,000, in order to cover the gallery commission, then add $150 for the frame. The retail price would be $1,150. When the piece sells, the gallery would keep $500, and then send the artist $500 in commission and $150 to cover the frame.

I can definitely see the appeal of this scheme, but, unfortunately, it’s simply not how the gallery commission structure works. Gallery’s pay commission on the total sale price. So your markup needs to include the frame. If you are shooting to net $500, and the frame costs $150, your retail would need to be set at $1,300.

The only exception I’ve seen to this is when the gallery has a framing business and they take care of the framing costs and markup (the result for the artist would be the same $500 though).

Where to Find Great Frames and Framers

Finding the right framer can be a challenge. We have several different framers that we work with and recommend to customers. We’ve worked with custom framers who create their own mouldings and do seamless corners, and we work with a framer who uses manufactured mouldings. We select the framer based on our client’s budget and needs. I’m especially happy with the service a local frame shop, The Art Department, provides.

Find a framer in your area that has an artistic eye and that offers great service. Get to know the framer you’ll be working with. In many ways, the framer will become a partner and adviser in your art business.

Talk to artists in your area and find out who they are using.

What Advice Would You Give?

What do you think about framing? What advice would you give someone who is struggling with framing? What has experience taught you about framing? Please share your thoughts below.

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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, 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.


  1. Hi Jason,

    I had a friend that the gallery they had their work in changed out the frame of their work and put it on another artist painting to sell that work because the client wanted that frame. Then put their painting in the substandard frame. How would you suggest that as an artist we should handle this sticky situation if it should ever happen to us?

    1. Just a few comments on the above.
      1. The gallery has no right to change the frame to make the sale unless they have contacted the artist and have their approval to do so. They do not own the frame if it is on a commission basis. If they purchased the piece in advance then they do own it and can make whatever changes they want since the artist has been satisfied with the original purchase price from the gallery.
      2. If you find your artwork in a substandard frame that has been switched out, I would hope that you could have a discussion with the gallery as to the benefit of placing a new frame of equal value to the original frame and explaining that you realize that they needed to do this to make a sale but you are an artist…not in the frame business and you would like your art to be re-framed ASAP so that it will have an opportunity to sell also. This would be at their expense since you already paid for the original frame they decided to sell with another piece or they could pay you to have it re-framed to your standards.

      Sticky situation indeed but if this becomes a “norm” at this gallery to make switches, then you might need to look at that relationship overall. Why frame at all if they are just going to move them around??

    2. I agree with Robert’s comment. I would hope this wouldn’t happen very often, but when it did, you shouldn’t feel any hesitation in expressing your dissatisfaction. Let the gallery know that you don’t care to have the other frame on your work and tell them what the frame you placed on the piece was worth. Ask them to purchase the same frame for your piece to replace the one they took.

  2. For works that must be framed under glazing, the cost of the frame can be much higher especially
    when it is large work that pushes beyond standard materials sizes (32×40). Acid free (cotton or
    alpha cellulose) mats and conservation glazing (UV protective) add to the price but are vital for
    original work.

    1. I love working with paper. However, matting, framing and selecting the glass or other…where is the profit? I find I don’t sell paper for as much as oil. Guess what I am doing more of?

    2. I adhere my watercolor paper to a panel and varnish my watercolors… Frame them just like an oil. They look vibrant and have no reflections. Many watercolor artists use Kmar or Golden’s UV protective varnishes for their watercolors now. This eliminates the high cost of acid free mats and glazing. I sold some varnished watercolors in the late 1990s and the owners say they still look great and can be wiped off with a cloth.

    3. Jason, I re read this blog today, and what struck me is… “Buy the $400 frame and find a gallery that can sell my painting with that frame.” I really would love to buy some custom, closed corner frames for my work, but my prices have been to low to accommodate them.

      I’m creating a new and better body of work, with some larger paintings… In order to find good gallery representation. I will plan to put quality frames on my work, believing that my works are worth the cost.

  3. My unusual painting technique requires framing to be shown at all. I use a standard Nielsen metal frame on all my work. It’s very inexpensive and the nice thing is that it can be slipped into a fancy wooden frame without any problem, metal frame and all! I just sold a 48″ x 48″ painting: frame cost me $50–the painting sold for $5,500. They loved the simple, neutral, all-black metal frame, too.

    When I set up a festival booth, all my work is unified by the framing, too.

    1. Hi saw that you made a Neilson metal frame for $50 for a 48 by 48 painting. I have the same size painting. Where did you get the materials for that cheap?

  4. To frame or not to frame….such a dilemma.
    If the frame is selected as a decoration to the painting, it seems more likely that the chances of it not “fitting” with a decor is more probable.

    As an artist, I want to consider a frame that reflects my style/vision and becomes part of the painting rather than just an enhancement. They go together and are not separate. When one looks at a painting, they are looking at the whole creation not just what is inside the frame.

    My approach towards framing is the same as materials. I use the best possible. Then I add the cost of the frame (x2 for gallery resale) and calculate the total retail cost of the painting.

    The biggest problem with framing for me, is shipping glass and costs. Even as an artist, I am always surprised by how a mat and frame can change a pastel, drawing, print or watercolor, so I am certain an untrained eye might have some difficulty looking at “unfinished” pieces.

    Regarding gallery wrapped canvases. Some styles seem to suit the unframed look more than others. Sometimes it is nice to see paintings contained and sometimes it is lovely to see them float. The bottom line is, making the choice for the right reasons is sometimes tricky.

    1. Good point RonaLynn – framing and glass can definitely increase shipping costs. This also needs to be taken into consideration when pricing. You can use the same shipping techniques I shared in a previous post (, but in addition to the other packaging and preparation, use masking tape to tape over the glass to help prevent damage to the art in the case of breakage.

      1. I work primarily with paper and thus need acid free matting and glass….and the costs are extremely high in the finishing. I have used less expensive frames and they really are not working. I am now considering taking at least one piece to a custom framer who is local to see what he might do and whether he is willing to work with me long term for discounts in framing. I sell my paintings and generally have shipped unframed for the buyer to finish as he or she wants. This is always the easiest!! I must sell at a much higher rate at the gallery to include their 45% commission and the cost of framing. It is a dilemma. I am beginning to work on canvas which I do not like as well as the wet, fluid paper paintings. I am doing this to try to conserve on the cost of framing.

        Should I let this guide my work? My heart answers “no.” Should I also be practical? Maybe. This is truly a struggle for me.

  5. As a professional custom picture framer, educator, author, columnist in the framing industry and artist I can indeed comment on this topic.

    It is true that framing is generally an afterthought for most artists surrounding the display and sale of their art. Framing is designed to “enhance and protect” the art. It should work well with the image and medium–via color, texture, weight, shape, period, finish, etc–while providing the safest and most reversible environment to protect it for years. If the selected framing truly enhances the art itself–rather than being selected by price or simply because it is the one on-hand that fits–it will work with the art to create an entire package. These are the framed pieces that will fit into any room and are loved by all collectors.

    As far as pricing goes, the frame is a part of the completed package. The artist cost price should be doubled and that added tot he art. As you mentioned in option 2 above that way the commission is 50% and the framing is covered. Framing can make or break a sale…it’s up to all artists to take care of their art with the correct home that enhances and protects it.

    1. Hi I have just been given an unframed woodcut print on paper by an artist for christmas and have no idea where to start to get it framed- I was not aware that the artist in question has a print in the V&A collection until I googles him and now feel that I should take care to get the right sort of protection for it- I can get the frame made easily enough but have been told the print should not touch the glass and that it needs to be backed. Any advice gratefully received

  6. Most reputable art programs will teach how present and build a beautiful frame. And I encourage my students so build or use three inch deep gallery wrapped canvases to avoid this problem all together. A look at any museums contemporary collection will show a majority of work unframed due to the substantial edge giving it a polished complete look.

  7. My paintings sell better when framed. I do offer the client the option to switch frames or I simply adjust the price and let the client get their own frame. Ninenty percent of my clients buy my art becaust they like my framing.
    When I began to show and sell many years ago, I just framed in whatever frame that I could find cheap. I soon learned that the better frames produced more sales. The right frame for art might not always be expensive, but must lok expensive. Often I have switched out a frame from another painting just because the client wants it. I have an edge over other artist in that I onced owned a frame shop and still retained my wholesale framing source for supplies and frames. This is very convenient when I make a sale and I can re-frame while the client waits. Not the best to give them cooling off time by having to return at a later date for the finished package, for they may have changed their mind. Today’s frames have a dreyys look without being too fancy. That is the best to select.
    I advoid the gallery wrap canvas due to it being too trendy and contemporary. Sooner or later the client will opt for a frame, thus limiting the frames available .
    Also, I ship my pastels and haul them about to galleries and competitions. Glass is not allowed in most shows. I agree. So at the initional framing I request plexi for safety. I have it understood that when the art is sold, I will switch to glass if desired.

    1. Great input Ann – and while not every artist can get into the framing business, there are some framers that offer a discount price if the artist has a resale tax license.

      1. After many years of trying to ‘buy” the right frame for my work I gave up and decided to learn how to make what I wanted. I build all my frames, cut mats if needed and build all bases to respond to each piece. I don’t always charge as much as I should for my labor but keep the quality of materials high and end up happier because the work and framing/presentation really holds together.

      2. Jason,
        There are two issues here that I must address. First, a professional artist needs to get a resale tax number. It is not smart to buy retail, then try to sell it at retail. (That would be like Target buying something at Walmart, then trying to sell it.) Artists should be wholesale customers of frame companies. There are plenty to choose from- JFM, Decor, Southern Moulding, to name a few. Second, the framing industry standard markup is 2.75%, so if the moulding costs $10 the framer charges $27.50. The concept of only doubling your cost means that you are WORKING FOR NOTHING. Doubling your cost, then paying the gallery commission means that there is no money left for studio expenses, materials, education, insurance, retirement svings, salary. It distresses me when an artist says “I did okay, I made my show expenses.” That means they worked hard, maybe all weekend standing on concrete at an outdoor show, for nothing…Artists need to take some business classes if they want to prosper while doing what they love. It is possible.

  8. Just like everything else from web site to artist statement, framing should reflect the artist. I understand that what I am doing would not be right for anybody else but I am going to tell you about it because it illustrates that one can make any problem into an opportunity. I work in mosaic so my work is heavy, causing a problem in framing securely. Last year I decided to have all my frames hand made so that they would be sturdy AND exactly how I want them. I thought a frame that is rather urban, less refined would fit my style better. My frames all come to me raw, with all the ply in the wood (sometimes nicks and dents or screws) intentionally showing. I finish them myself to not only fit my style but to also be part of the finished piece. For example, a frame might have dripped paint on it after staining, woodburning, a sneaker print, whatever. These details are super subtle and most people don’t see them. The ones that do seem to really appreciate it. Before this framing venture, I had never had comments on my framing. Now, when someone compliments my frames, I am actually happy because it is still MY work they are loving on.

  9. I am a pastelist and mixed-media painter who LOVES working on paper (much to the dismay of my practical/business-side) and I actually learned custom framing and worked a couple of days a week at a high quality frame shop for 7 or 8 years, starting in college and through the first years of my career as an artist so I could not only get a discount on the supplies, but also not have to pay someone else to do the work.

    That said, what Dean Russell Thompson mentioned above is absolutely true: 7% on a piece that needs archival matting and glazing (and glazing means some type of glass or plexi-glass for those who aren’t up on the trade lingo :-P) is *completely* unrealistic – even 15% is optimistic unless you’re selling at very high prices (and sadly, works on paper, despite their added cost of framing, generally do not go for as much as a work on canvas for whatever strange bias the art world has). Also, trust me, you do not want to waste your money on non-acid-free mattes trying to cut down costs — if you don’t sell your work quickly you will notice the yellowing from the lignans, and even if you do, your clients will notice it and might be wary to buy from you again since you use sub-standard materials)

    So Jason – for artists who work on canvas or board, your advice seems sound – especially since you can easily swap frames, etc. But for the people who really suffer at the hands of framing — those who need to put glazing over their work — it doesn’t fully apply. I’d be curious to know what your opinion is of works on “paper” (here I mean anything that needs glazing over it) in general and in relation to the framing issue.

    As much as my business side would love to just switch media/grounds (my life would be SO much simpler if I’d just paint on standard sized canvas/boards), my artistic side demands otherwise. Because ultimately I am making art because I *need* to make art, not because I need to make money — I’m not an “art factory” that can switch gears based on market demands as I’ve noticed some people do — and I’m just trying to find a way to make money with what I’m doing by tweaking/altering the things I can (e.g. marketing efforts, website, etc)

    Thanks again for an interesting blog post!

    1. Donia – you bring up a great point and a real challenge for artists who are working on paper – the costs can be greater and it can be more difficult to raise prices. That said, there are pastelists, watercolorists and other artists who work primarily on paper who are charging high prices for their work, so it’s not impossible.

      I just want to be sure that everyone is being realistic about the finances of their art business. If you are spending 30% of the retail cost on the frame and then selling in a gallery, you need to realize that 60% of your net is going to framing after you take out the gallery commission. Add to that transportation and and overhead and it’s going to be incredibly difficult to eek out a profit. For artists who are trying to make a living at their art, something will have to give. Prices will have to go up, or costs come down.

    2. You have a beautiful web site Donia, and I enjoyed looking at your art. I too like working with paper and agree with Jason, that while not impossible, it is more difficult to get a decent profit. Some of the works I have sold in the past are becoming prints, and I’m now seeking ways of inexpensive, but classy, frames. Getting the print ready made with a border might work instead of a mat. Perhaps an inexpensive – but nice – fits all frame. Scratching with plexi? Breaking with glass? Oh what to do, paper artists?

  10. I’m a print maker and have gone digital in the past couple of years.

    I started out and will only use museum standard black or silver aluminum frames for my prints. If the buyer has a hate of the frame they are more then welcome to switch it out. But at there cost. The piece is priced as is with the frame. No discount for taking it out of the frame and switching it or making it frameless.

    Might sound harsh but My pricing is per the AGA guild guides of price of materials x 10.
    A small 4×12 aluminum print is @ $21.00 to print and $25 to frame. $46.00 and with my time and effort because I frame it, mark up to $50 x 10 = $500.

    I sell over the net. If I had to put it through a Gallary it would be $666.00, I still get my $500. (if its a 30% gallery commission…)

  11. Like Donia I work almost exclusively on paper. After many years of resisting framing but having to do it and ending up with less than ideal frames, (people do not respond to generic frames generally) I have bit the bullet and set up an entire framing workshop in my studio along with an account with a moulding and framing supplier. In markets where people are not spending a lot of money there is appeal to purchase an already framed piece of art. So I get paid for the framing along with the art.

    I try to pick frames that really set off the piece of art with appropriate conservation mats and uv non-glare plexi glazing. If the piece looks fabulous I can ask more for the whole package than I might get for the unframed work. People often lack the imagination to see how it fabulous it will look in a frame when it is unframed. The value of the framing is often from 30 to 50% of what I am selling the piece for. If they want the frame replaced I might offer them an upgrade fee if I can reuse the existing frame, but if it is an inexpensive piece reframing is up to them. I would encourage them to buy another similar unframed piece.

    When my customers purchase a piece of unframed art, I can offer to frame it for them. They like the one stop shop effect of not having to find a framer and figure it all out.

    And I agree again with Donia, it is really not fair that art on paper is perceived as less valuable, when in fact the skill level can be much higher.

    1. Karen – there are certainly a number of artists who have taken this approach – opening their own frame shop. For most artist, however, the time that framing takes away from production isn’t worth the tradeoff, not to mention the capital investment required to get the tools and materials to get started.

      If you are doing a high enough volume of sales, however, and if you have someone that can help with the framing, a friend, partner or spouse, it’s certainly an option that should be explored.

      1. Yes Jason, I am now looking at the barter system to get framing work done. Maybe someday I’ll have all the tools myself and set up shop. In the meantime: Art in trade for miter box skills. I can buy molding to fit, paint, it, etc. and for larger pieces, this can save a lot. Anyone in Tucson, AZ interested – need art?

  12. This is really helpful. I find a high quality frame does make a huge difference. I have tended towards standard sizes in the last year so I can re-use frames. I will sell a painting at an unframed prices, but without the frame the painting may not have been noticed. I am also a collector and I finally had a floater frame made for a very special large painting after living with it for a couple of years. It was really the only option with a gallery wrap piece. That experience of seeing an important painting really presented well made me stop using deep stretcher bars almost entirely. I watch for a molding I like to get discounted by a favorite online store and then have several made.

    1. Maria – I’m glad you brought up the concept of standardized sizes. This is really important, and may be something that an artist beginning in the business might not think about. If you can limit your production to a number of standard sizes, everything about production becomes easier – from buying the canvas or paper, to framing. Pricing is also easier.

  13. I have always felt that the client usually wants to choose a frame, perhaps I am wrong. If I have used a narrow stretcher canvas, I usually put a simple painted lattice strip frame to give the canvas a finish. It can be easily changed out to a frame the client would prefer.

    1. Deborah – I know that there are a lot of artists who feel this way, but in my experience, this is not typically the case. Most clients would rather make a purchase and not have the extra work of finding a frame. Yes, there are some clients who will end up reframing a piece, but they are in the minority in my experience. There are many buyers who will pass over a work of art if it’s not well framed or well presented.

      I know artists hate to hear this. We all want it to be about the art, not the frame, but the reality is that the client sees it as a whole package.

  14. My biggest problem with framing is the lack of care at the gallery or show. How many times have I spent lots of money on a frame and the painting is return with a damaged frame , NOT damaged during shipping but because of improper handling at the show or gallery?

    1. K – this is another issue altogether. I agree completely – it’s deplorable the care some galleries and shows give to the art. I would suggest that a contract with a gallery include a clause about responsibility for frames. Make it clear that you expect them to care for the art and the frame, and then give them guidance on how to handle the frames.

  15. I am a sculptor, with a “framing phobia”, yet sometimes I find the need to frame my wall-hung artworks. In the past I would look through my collection of recycled and found frames, maybe alter them a bit, and use those. One of my friends with lots of high-end framing experience has really taken me to task on this subject. Years of discussion with her has resulted in my noticing and appreciating good framing, but I was able to continue creating 3-D without needing to frame much of anything.

    But, recently I have been creating delicate works sewing human hair onto handkerchiefs. I have just completed framing my second artwork from this series. The first one has a shadow box with fabric-wrapped sides & backing, museum glass, and finished corners. Beautiful, but horribly expensive. The second one has a deep custom-made bent-plexi box with a finished corner frame. Totally lovely, but even more horribly expensive. The frames will end up costing about 25-30% of the retail price. I will present the third artwork without framing but with a hanging apparatus to hold it away from the wall about 3/4″. While not ideal, this third format of presentation will allow a direct visceral experience with the art, and allow someone to frame it as they see fit.

    I am hoping that if I show three different presentation options that buyers can chose the style they prefer. (This would alleviate my fear that they might discard the expensive custom frames)

    Years ago, I read about the concept of deducting the cost of framing from the sales price before splitting the commission, but as you say, Jason, this is not a common arrangement with galleries, unfortunately for me, as I think it would a more fair solution for such issues.

    I recall years ago as another friend and I were jurying the art for the county fair that she was adamant about eliminating all the artwork with less-than-decent framing, and it didn’t matter if the artwork was good or not. I suspect many art buyers would have the same reaction, even if they were not conscious of it.

    Another point I have begun noticing is the colored-mat syndrome. My friends all say “NO NO NO!”

  16. I glue my watercolors to a panel and varnish them with UV protective varnish. Some that I varnished and sold years ago are still vibrant and can be wiped off with a damp cloth. Another watercolorist, Robert McFarland varnishes his watercolors with KMAR spray. I frame the paper on panel with an oil type frame. This saves on framing costs and also lessons confusion for viewers because sometimes they wonder if matted glazed watercolors are possibly giclee prints.

    For common sized works, I use gallery frames from Omega Moulding, and for custom sized works, I visit a local framer who gives discounts to artists.

    1. Thanks Lori – I seem many artists innovating on presentation as you suggest, to avoid the difficulties and expenses of framing. Ultimately it comes down to aesthetics, but if you find that your work looks good without a frame (and some work actually looks better without a frame), it makes a lot of sense to pursue the frame-less presentation.

  17. I work rather large (36X36 on up) on canvas and panels, and frame just about everything. I encourage my patrons to replace my framing with their own choices; something they like, that goes with their room decor. Let me explain: all my frames are of thin mahogany strips – ranch stop, or mull casing – available at most lumber and home improvement stores in 7 and 8 ft. lengths. With nicely mitred corners, this solution is an inexpensive and effective finish to my work.
    I appreciate a good frame enough to know that I don’t want to waste a lot of my resources on it. There are those who are truly gifted framers who would do a much better job than I. I also think my clients like the option of some hands-on design of their finished presentation.

  18. Hi Jason! I can sooo relate to this. I paint feathers, an art form I have done for 23 years now, currently with a worldwide market. But when I first delved into shows, I had not at that point framed my work. I checked with several framing shops, but nobody wanted to touch them for fear of damaging them in the framing process. Fortunately there is a company here in the Pacific Northwest where you can order moulding and cut mats and glass and they’ll teach you to frame. I took full advantage of that and learned through trial the best way to present these feathers.

    Not long after that I sought employment at one of the very shops who refused to frame my work. Eventually I became lead framer, and then became the one in our district they deployed to catch up the other shops who fell behind in their queue. During this course of employment I had the priceless opportunity to learn so much about framing so many different things. This knowledge became invaluable as I learned the best and most archival techniques, as well as color trends and customer preference.

    Since leaving the industry to pursue my own self employment in art and commissioned work, what I learned has helped me so much. I still cut my own mats, but currently hire a gallery to cut moulding and glass. There is a LOT to be saved in framing one’s own work, and in addition you have total control over the archival quality of the framing process. Having the experience in a frame shop and exposure to customers’ wants and needs educates you in what people are looking for. I haven’t had to reframe anything yet to meet a customer’s preferences. *knock on wood*, but at least no substandard techniques are ever used in my work, you would be aghast at what I have discovered upon opening a piece for reframing things when I worked at a frame shop!

  19. I’m one among many who do not depend upon our art for a living to avoid being “starving artists.” I’m happy if my 16x20s can sell for $125 framed. I can’t spend even that for a frame. My solution is either extra-good-deals at a local frame shop or frequenting re-sale shops and garage sales in well-to-do neighborhoods. Then I try to paint pictures that would look well in those particular frames. I’ve found really great buys in frames this way. I admit it’s humbling, but at least I can break even at the end of he year, or occasionally even make a small profit.

  20. One of my galleries likes wide plein-air style frames; another prefers minimal floater frames, and this is my biggest framing dilemma. I ship to galleries frequently and if there is ever damage, it’s always to the frame–usually a broken corner. Some frames styles are more prone to damage so it’s good to keep this in mind when selecting. I see it as my job to provide the best quality frame for the lowest price, so I usually buy wholesale ready-mades. Here in the Southeast, more and more customers are buying my work that is framed in a wide silver plein-air style as opposed to gold. If I’m painting a series that can be hung together on one large wall, I often use unframed gallery-wrapped canvasses.

    1. Rani – as mentioned above – standardized sizing is going to be critical so that you can easily swap out frames. As far as damage, I think it’s interesting that originally, frames were built as protection, more than decoration. The idea being that it is better to have the frame damaged than the art. As frames have become more ornate and elaborate (and more expensive) it’s now almost the opposite. I know many artists who would prefer to have the art damaged than the frame because the frames are so costly! Okay, that may be a bit of an exaggeration, no one wants to see their art damaged, but you get the point.

  21. Fred above spoke of getting a 48″x48″ frame for $50. That is hard to believe. A simple floater frame from online frame supply houses will run you $150 and a simple wood or metal frame that size $100. And if you go to a local frames shop, be prepared for sticker shock.

    Artists really have three choices, use an expensive quality frame, use a relatively inexpensive frame, or like many artists do sell the work unframed. The downside of unframed is that it may take longer to sell than framed. But then how do you even know if the work will sell better if framed? It has also been my observation that if you are dealing with a gallery they would prefer it framed to speed the likelihood of a sale so there you are with the framing dilemma. But selling out of your studio or at art fairs I wonder if the work needs to be framed. The buyer can provide this.

    Even more vexing is the issue which many artists face today who have taken up making quality giclee prints of their artwork is whether to frame it as well as the original. The issue and cost of frames is still the same as with framing the more expensive original work whereas the sale price of a giclee is much less. In pursuit of an alternative to framing and as someone who makes all my own giclee prints of my work and prints for other artists I have invented a method of framing (or I should say the look of a frame) when I make a giclee print. I print on canvas and actually print a frame just outside the printed image of the artwork so that when stretched it looks just like a framed print. I am calling this a “faux frame”. I have had people come into my studio and look at these prints on the wall and believe they are framed works and then discover they are printed on frames. Moreover I have been using this technique for making giclee prints for clients lately, much to their delight and approval.

    Now this will not work with original works if quality framing is desired but when an artist moves into making giclee prints of their works this is an easy and quick way to get a quality framed looking print for augmenting sales and at very little cost.

  22. I’ve been going through a framing dilemma recently. Usually my paintings are framed using a wide matt and a conservative Metal Nelson frame. Then I went to an educational framing event at my local frame company. I look some of my art and the italian designer from Fotiou : a high quality Italian frame company, asked me why I framed my work so conservatively when my work is so playful. So I put a Fotiou frame on one of my pieces and it looks fantastic and very contemporary. But then the frame costs twice as much as my conservative frame. So now I’m wondering if I can sell work that costs more. I guess I have to find a gallery that can sell my work at that price point.
    Sincerely, Jane Wilcoxson,

  23. Hello Jason,

    I agree that the proper frame can really add to the impact of a painting… but when looked at as a purely financial decision, the idea of an artist paying for framing and then sending it to a gallery makes no business sense. In your example of the artist doubling the framing costs and passing that on to the gallery it would seem at first glance that this has a net zero effect on the artist’s potential earnings. Nothing could be further from the truth. Although the artist would earn the same profit on the sale of the work… what has not been taken into account is what the cost is to the artist to replace that piece.

    For example: I sell my 18″ by 18″ oils on canvas un-framed for $1100.00 retail at my galleries. My cost for canvas and paint is probably around $50.00. After considering my materials cost I will net a $500.00 profit per painting. It will then cost me another $50.00 in materials to replace the sold painting leaving me $450.00 to pay for the other costs of maintaining a home and studio. In other words it only takes 10% of my profits to replace each sold painting.

    If I were to frame that painting using the formula of 15% of retail… lets say $150.00 I would have to raise my retail by $300.00 to $1400.00 to recoup my framing costs and maintain the same profit. But now it would cost me $200.00 to replace that painting after paying for another frame. In this scenario after replacing the sold painting I would only have $300.00 left to pay for my cost of living. In effect, by framing my work and only recouping the cost I would be reducing my cash flow to pay for the essentials of living by 33%.

    In a world where most full time artists are struggling to keep their heads above water this can make the difference between earning a living and having to pack it in and get a “real” job. Most artists don’t like to deal with the “business” side of things but the reality is that if you are a working artist you are a small business owner operator. Just like any other business if you want to succeed financially you need to maximize your profits and minimize your capital costs. You can only do this if you have a true understanding of how each dollar spent actually affects your bottom line.

    For those must frame their work due to the medium they work in you have my condolences… but for those that have the option of framing or not framing I would suggest that you think long and hard about the actual costs of framing your work before sending out there.

    1. Tim, I appreciate the comment and you are exactly right about this being a business. Every business has to look very carefully at costs and profits. I know a lot of artists who simply create and hope that the numbers will work themselves out in the end. Far better to know the realities and start working with them, than to fly on a wing and a prayer.

      I do need to point out an error in the accounting of your illustration though. In your example, you are counting the cost of goods sold twice. You are right that you have to draw funds from cash flow in order to replace a piece of art, but that charge only counts against your profit once.

      Using your example, the framed piece sold at $1,400, results a net of $700 to you after the gallery commission. You are correct that your profit would only be $500, because you spent $50 for materials and $150 for the frame, but you paid those when you produced the piece, you don’t have to pay them again now. You do have to replace the art that sold. This will cost you $200, but that comes out of the $700, leaving you net cash flow of $500 for ongoing overhead.

      Assuming you borrowed the $200 to produce the first painting, you would have to pay this back, so after the first sale you would be left with only $300 (exactly as you suggested in your illustration), but you would only have to pay back that initial investment one time. All future sales would then result in $500 cash flow, taking into account the $200 cost of producing a replacement piece.

      The same applies to your unframed work – you only have to charge the materials once per piece, and net $500 for each sale.

      The frame is a wash, and if it helps you sell more paintings (though, of course, there is no guarantee of this) you may be able to increase your cash flow.

      1. Yikes! Hi Tim (we met in Ottawa a few years back) and Jason
        My right brain can’t even process your numbers .. so I am somewhere between making the wisest decisions I can, with the advice of successful friends and mentors, with a splash of some very basic number crunching … that’s it. I’m pretty sure there are a lot of artists out there in the same boat. My solution to the number confusion is to gather smart business people around me as advisors, take marketing courses and go for it!

      2. I agree with your assessment, BUT, there is one flaw in the logic. It assumes that every painting made is sold in order for the math to work out so nicely. Granted, some frames on older work can be switched out over time, but there is still a very large investment required on the front end in a business that some investment in time is required before sales begin to occur. I guess I would rather spend my money on materials to make more paintings (which is expensive enough!) than on framing. I do agree with an earlier statement about the trend in contemporary art. My visits to local museums provides me with a little more comfort with the choice to forgo a frame….for now! I am always open to the possibility that time will reveal a different choice.

  24. Some of my work requires framing, and I love how one of my galleries handles it. They add the cost of the frame onto the standard retail price for a work of that size, and then re-imburse me for the frame when the work sells. This way I can frame it in the best way possible and not worry too much about the cost. This gallery is not a framer by the way, although they have a good relationship with a local frame shop that gives me a great price for the frame. It seems like a win-win to me–the painting looks great in the gallery and has the best chance of selling, I don’t lose part of my commission on the frame, and the client doesn’t pay extra for the frame. I love putting a great frame on my work–I don’t love losing a big chunk of my commission on an expensive frame. This way gives me incentive to invest in a high quality frame, which makes me and my gallery both look good! By the way, I communicate closely with the gallery regarding framing choices so we are both happy with the result.

  25. Jason,

    Different take on the same issue…Based on some of the past blogs, I frame in all black frames to “cheat” my brand until my pastel work is widely known. All of my work is being framed with the best frames I can afford and the highest quality mat and glazing available. I debated long and hard on whether or not to use simple conservation UV glass or Museum quality glass. The cost difference is high, but feel it might make the difference in my work being sold. Many watercolors being sold in the same gallery are simple conservation UV glass, but the artist is widely known…so all is yet to be seen.

    1. Yes, to plexi or glass. Do you want your work ultimately in museums? I do. To ship to juried shows, plexi is almost always required. Standard sizes and a nice supply of all types of materials – yikes, my studio is now a storage area… Different requirements for different exhibiting. Comments?

      1. I work in contemporary watercolors on a surface called a “shikishi” board. As watercolors, they usually do require matting and framing, and I have been framing all of them consistently for years, as I can get a discount when I purchase from my trusted framer in quantities. It is best for me to have frames immediately available in my studio so I can frame a piece once it is finished. (I purchase the mats and frames and do the assembly myself.) I feel that the standard metal frames are not as elegant or professional presentation as a (simple) gold or silver frame. I have chosen a frame that is not so smooth or pristine that it cannot handle a small scratch or ding as happens in the business. I have also begun using a Krylon UV coating (2 coats of matte and 2 coats of Gloss) and mount the painting on TOP of a flat frame. That presents a more contemporary look, and adds a little sheen but not too much – sort of dresses up the finished product. That said, I think glazing looks best and most professional. When I exhibit in my local gallery I have switched to Museum Glass to cut down on glare (over regular conservation glass.) But recently have tried (I know there are critics) non-glare acrylic to cut down on glare PLUS prevent breakage when shipping to distant galleries. I am going to let my gallery owner tell me which he prefers, but the shipping is so much easier and cheaper with the non-glare acrylic. I think it looks great, perhaps in the “old days” it wasn’t as good as it is now. ? The key is to get the image as close to the glazing as possible, as the farther away it is, the more “diffused” the image can be, I am told. Any comments?

  26. I worked in a art and frame shop as well as I used to help artists with framing their art, and the experiences as well as framing my own art taught me that the time is well spent researching frame makers and investing money in to good frames that work with your art. What a difference a frame makes on your art, for sure!

  27. I have struggled with this issue also, as I work primarily on paper. (watercolours, montype prints and acrylic) I recently purchased Opus gallery frames in black and use them to show my work. I use quality materials, archival mats and UV glass) however I sell most of my works unframed, but instead opt to include the mat plus an archival foamcore backing which is mailed or delivered in cellophane bags or slips. If the collector is close by, I offer to meet at my favorite local framing store and help them choose a frame. Sometimes they also change out the mat, as they may decide that wish to bring out another colour from the art. I just advise them that framing is typically equal to the price they paid for the painting!

  28. A successful businessman said to me (after I’d been spending lots of money on framing) “You’re not a framer, you’re a painter.” And from that day on I stopped framing my paintings and do you know my clients didn’t even notice! I’ve got a great framer and I tell my clients they can frame or not frame. Many of them don’t but some always did and still will. Now it’s their call and it hasn’t affected my sales in the least, if anything … sales have increased.

  29. With my work, a cradled panel from Ampersand is ideal. I paint abstracts with alcohol inks and the cradled panels give a very clean, contemporary look and does not take away from the painting. They can be hung immediately with no waiting for a framer. That being said, I dislike greatly when I see an unpainted wood portion of the cradle when they have dripped paint around the edges and the painting is hanging in a gallery or show. Unless the work calls for natural wood, it takes away from the painting. The cradled panels are also very durable and easy to transport.

    1. Jeanne:
      I have been painting alcohol inks on Yupo paper but have have some problems with the framing. Can you paint the inks directly on the wood canvas?? What do you seal it with as the inks only work well on slick surfaces.
      Linda Hill

  30. To my way of thinking. a frame serves to contain the piece and keep the eye focused on the work. The frame should not draw your attention, as this distracts from the art, but rather, accent the artwork. A good frame is one that gives the art work space to exist in. It makes the art “pop” off of the wall without distracting from the artwork itself. As a black and white photographer, I prefer a simple black metal frame with enough matte space to keep the print from feeling crowded. The frame definitely gives the print a finished look. Of course, others may prefer a more ornate approach, but for the purpose of presentation to the general public, simple and clean is the most surefire approach.

  31. Jason, Been thinking about this subject on framing forever. I keep coming back to what my mentors do and have always done. They frame. Yes they get a bigger price than me but I will too someday. It makes me real sad to see a great painting in a show in a pitiful frame. It always makes me think of a beautiful woman with perfect makeup and hair wearing a moo-moo. All the viewer sees is the frame. Ick. On the other hand if an artist gets too carried away with the frame the same thing occurs. Simple and elegant always works and what compliements the art without over – stateing. Yeah I take a hit on the framing but like I said someday it will pay off.

  32. As Jason has consistently advised, no outside elements should stand in the way of a fine art sale. When a potential client is confronted with an unframed work of art, more than one decision must be made- “Do I like the work… How will I present it in my home… What will the frame cost… Etc.?” If it is framed and hanging on a gallery wall, there is one decision – “yes or no”. I believe that artists should train themselves to choose frames that present their work to the best advantage. Learn to make your own frames, or find a frame shop you can trust. And, if you can, stay away from that cheap-looking junk. A bad frame kills good work. Make the investment.

  33. I know for me, cost is the biggest issue. I want the best deal I can get so that my art brings in some cash! But being a creator of art, framing can be done both creatively inexpensively. For several of my pieces, I just went to the local Lowes and assembled my own frames from long strips of wood. Cut it to size, stain it or add some finish and it will end up looking very professional. If you’ve ever done sculpture or carpentry, it should be fairly easy to learn.

    I also have ordered some custom framing jobs from , they actually just launched a custom framing app called Build A Frame where you can upload your image and they’ll print it for you, add mats and size it all/assemble it. Haven’t tried it yet myself, but it looks like it could take the hassle out of spending several hundreds just for one piece!

  34. When I faced this issue with my ink/watercolor paintings, the folks at Dick Blick told me that if I had lots of paintings to display, to use the simple polished silver frames with off white mats. Those are consistent, inexpensive, and though might not be ideal for a single painting, will still work with any of them, and that customers tend to want to change frames anyway. Though I took their advice and love the convenience, and have sold a two or three paintings that I framed, I have not done very much as far as marketing or showing. So far so good, but needs much further testing and feedback.

    Where to get frames? If you don’t do a large volume of framing and know someone who has a wholesale account at a framing supply, you are in the right place. You can get whatever you need at lowest prices and it helps your friend keep up their minimum order requirements. I use my landlord’s account, and the company sells frame by the foot. For a small cost, per cut, they will chop to whatever size you need. My paintings are either 22″X15″ or 22″X30″ and total cost comes out to about $35 to $45 per frame (including the glass, mat, and screw thingies). DO NOT do what I did and try cutting it yourself with a bandsaw or your corner seams will look terrible!

  35. Hi Jason –

    Would you please clarify this for me – as I occasionally have clients ask for a different frame or no frame. When you say, ” will talk to the artist and find out how much the current frame is worth to them,” do you mean how much the artist paid for the frame, or if it’s wholesale, would the artist “value” the frame with a markup?

    Thanks – lots of good information in this article.


    1. Rebecca – it’s the value with the markup. This way I know how much to deduct from the retail price to allow the client to reframe. The artist gets the frame back, and a commission on the work less the frame value.

  36. At the risk of sounding like an advertisement for Michaels’ Arts and Crafts stores, if you stick to standard sizes, you can get black frames with glass up to 30×36 I think it is, maybe even larger. I watch for their 2 for 1 sales and buy when on sale. I order the UV mat boards pre cut from Bags Unlimited in bulk for very reasonable prices. This way I get a consistent, clean style that works for what I do. If you want a lot of different colors and styles of frames this will not be the best place. If you want a consistent black frame style and stick to standard sizes, you can frame works on paper for a reasonable price that look good.

  37. I was a practicing framing person for 15 years and during the last 10 I started to paint…in oil, landscapes. I still have a number of artists who rely on my experience plus some retail framing outlets as well. Like many consumers and artists, they all express the feeling that framing is expensive. I try to dispel that position by pointing out to them that if they paint on standard size canvas or boards, they can buy quantities like 11×14 or 16×20 which are stock items by art stores or some framing outlets. Also, I try to convey the position that a proper frame surrounds the image but should not dominate it. This is often contrary to a retail framing shop that makes its revenue from framing and sometimes forgets that its the artists image which should be on show and not overwhelmed by the frame.

  38. One tip that might save you a lot of money is to use ready made frames. The trick is find the frame and size before you make the painting so you know that it will fit or paint to standard sizes. Finding or making a custom frame to an
    odd size gets expensive. Just a thought.

  39. Jason, your introduction is my story.
    The funny thing is that we always justify the place in which we are.
    So, when framing was too much for me, from a mental point of view, I justified it, saying that the customer knows best what is a good frame for the painting he bought from me.

    Things have changed when I was in contact with a gallery that wanted my paintings framed.
    I truly tried to find appropriate frames, and could not find any that I really liked.
    It was not even a matter of money.

    So I started doing my own frames which I find exquisite.
    The frame is an integral continuation of the message of my art.
    I spent my last year in framing about 80% of the paintings I have.
    Its an effort worth making.
    The client receives a piece of art that reflects the same vibrations all together.
    Here is an example:

    A painted framed painting is always less expensive than the same size carved framed painting.

  40. Waaaaait a minute here. What is this about the “artist’s commission?? I don!’t know about everybody else but I pay the commission to the gallery. There seems to be a bit of a twist here. The gallery never owns the work…I do. Therefore they are entitled to be paid for selling it for me. When the work is on consignment, I continue to own the work and I pay a commission to the gallery when they sell it for me. Period. Framed or unframed. If I frame the work which is unlikely, then I set the price which will include the commission that I will be paying to the gallery.
    This is an important point especially when doing taxes and of course when that awful event happens when the bailiff puts the lock on the gallery door as they go out of business. If the gallery is somehow under the impression or gives the impression, that they own the work in the gallery, you lose the work to the debt collectors. Or hire a lawyer etc.etc. Big hassle!
    It is also important to note that when a piece sells, the gallery can hang on to their commission but they must give me my money as soon as possible. No artist should wait to receive the proceeds from their sale. This is an arrangement that every artist must tackle with their gallery. One gallery told me …did not ask, but TOLD me that I would “be paid” at the end of the month following the month of the sale. This means that the gallery gets to use the artist’s money as working capital for a month free of interest. In fact if they start using it to invest, they are using your money to bolster their investment portfolio. This is of course illegal. The relationship did not last.
    The point for artist to remember is that the gallery is the sales arm of the arrangement, not the creator of the work and unless the gallery buys it outright from me, I PAY THEM THE COMMISSION to sell it, they do not pay me a “commission” on that which I already own. Keep that straight, find the right gallery and you’ll be fine. Ps. Don’t forget, you have not sold the copyright to anybody.

    1. Kate – you make a valid point about commission. It’s pretty common parlance in the industry to phrase it that way because the gallery takes the payment and remits the check, but you are right, it’s the gallery that’s making a sales commission. The difference is not semantic, it’s substantive. Thanks for the correction and comment.

  41. When I first realized that pastels were my medium of choice, I decided to learn how to do my own framing and invest in the tools and equipment. That decision has saved me so much money over the years, and I have never regretted it. I frame a lot of my paintings for shows, and I have no problem unframing older paintings to substitute newer ones. I have always offered to change the frame for a customer who may not like the frame I have used. I use basically 3 different moldings for all my paintings, which also helps with the consistency when I am showing a number of paintings together. My paintings are representational but somewhat abstract, so I usually use a simple black flat frame. Also, I “float” frame my pastels so that it’s obvious they are originals.

    Very interesting discussion.

  42. One consideration in framing that isn’t mentioned in this post, is my observation that serious galleries generally want a whole show of work to be framed consistently. For this reason, I usually look for a simple frame of high quality materials that look good with both a body of work, as well as the aesthetics of the gallery.

    I am able to get a shows worth of frames made up by my framer at a lower cost this way as well.

    The other caveat for an artist presenting in gallery wrapped frames is that a frame offers protection for your work. If a frame becomes shopworn it can be replaced, however the canvas is presumably irreplaceable.

  43. I agree with your position on the quality and price of The Art Depart-
    ment’s frames. They are great and the service is completely
    amicable. I have worked with them for over five years, been
    through a dozen framers in town and found the price variance
    to be in these varying companies to be frustrating and unexplanable.
    The Art Department gives the artist
    a fair shake and the craftsmanship is always admirable.

  44. I spend so much time on my pictures. Some things that I could have sold a long time ago, I hold because I know the idea is incomplete. And when the picture is finished, I want everything about the presentation to be there to match the exacting nature of that image. So framing is important. As far as I’m concerned, it is simply part of the work. Indeed, if I go to extensive trouble to find just the right frame, and then the buyer decides “that frame has got to go,” my advice for the buyer at that point might be to get some supplies and paint his own picture. I’m not saying this to display an attitude, but to make plain an important point.

    Realistically the art that one finds in galleries covers a wide range of ability and intention. Not everybody who paints is setting out to create a masterpiece in the same way that not every guy with a guitar is really a great musician. Justin Bieber? He is exceedingly rich and successful, but he ain’t Mozart. In contrast, Bireli Lagrene who you’ve never heard of is a consummate musician. When I chose to pursue painting, I wanted to be — and still strive to be — a “great painter.” Whether or not I ever get reach my aspiration is up to God and Mother Nature and will depend upon the depth and commitment of my striving, but I set myself this goal, and so I am hopeful always of finding collectors who understand.

    If someone is decorating their house, I think that is totally fabulous. I really do. Fun, lovely, elegant, fabulous. But I don’t paint pictures to be just ornaments. And I want the frame at last to become part of the idea, and once I put the picture into a really proper frame, I will probably discourage a potential buyer from changing it. After all I have a very limited number of works to offer, and the world is full of art. If they don’t like mine — for whatever reason — it’s not as though they don’t have myriad other choices available to them. So why would I cooperate with a buyer if they decide to begin unraveling the thing I worked to hard to create?

    I have shied away from framing for most of my pictures because of cost. I simply cannot afford to frame everything, but when I do frame works — often, not always — the frame is special. Just as I don’t want them touching up the painting to suit their environment, I don’t want them messing with the frame.

    Visit a world class museum and look at the frames and note the relationship between the frame and the painting. It opens the artist’s eyes to the really marvelous possibilities available for making a frame part of the whole experience of the art. I haven’t always been this keen on the idea of the frame, but these days after contemplating the question a long time, I see the frame as the “last touch” of the painting — as that element that can really make the rest become magical. Thus I think the search for the right frame can be an adventure. It’s not something I resist at all. I completely welcome it. A beautiful frame is wonderful.

  45. Being a 3 dimensional mixed media artist I don’t get into “framing” per say but I can certainly attest to the fact that framed work sells faster than unframed work from my experience in a working art studio ( My wife and I are no longer in that “working studio” environment (it was a great place to work and had great synergy between artists) since we now have an in home studio. I have made the mistake of using “cheap” shadow boxes for my work early on and they just didn’t hold up against the travel from venue to venue. I now use high quality shadow boxes with larger frame like qualities and have had better success. Since my wife is a painting instructor at Michael’s Arts and Crafts she is able to get an employee discount on my supplies which comes in handy to keep cost down.
    David Back (

  46. The framing issue is new to me. Since I make my own frames, it is no big deal, and actually enjoyable, since my frames I consider part of my work. The expense and hazards are not for everyone though. I have two table saws, two routers, three sanders, and numerous bits, blades, stains, etc., etc. High quality frames, as well as “unusual”, seem to be an asset. Just today my wife and I entered a show in Redlands, CA and had several comments on the “really nice frames” that have came in. Hand made, weathered wood, custom fit and finish, make the difference. Hopefully they will make an impression on the juried aspect and help our work be selected for the showing. Cost, is only about $3-$8 each. Time though is more like 1-2 hours, minimum. But that is what we love to do, right? Hope someone gets inspired from this to create their own frames, verses Aaron brothers or some other retailer with limited sizes and styles. Not knocking the retailers, but sometimes we need to create, instead of follow.

  47. when I was new I did not put as much thought into the framing. now I do and spend the money to make my work look nice. However, I do certain things to help bring the cost down – for example, I work in standard sizes so if I can find a a good ready made frame in that size, it beats the cost of the custom frame. I also have a friend that runs a frame shop, and I bring all my work to him that I need custom frames for, and he gives me an artist discount. Also if I have a piece that needs to be behind glass, sometimes I can find a ready made frame in a standard size, then I bring it to my friend to matte and put glass into and backing. I get a ton of comments from people now on my framing and I think it really makes the work stand out.

    Another thing I do, is I also work a lot on deep cradled panels – Ampersand Aquabords for example, which allows those who work on paper to get similar effects but on a clay-coated board. So it’s good for watercolorists or any kind of water based media. I work on them, varnish it, paint the sides of the panel, and display as is. Although these boards are more expensive than plain paper, you save by not having to use frames, glass, matting etc. And they look really nice as is. I get a lot of compliments on those as well. Not to spam, but here is an example of a piece that I did on Aquabord, where you can see the sides of the panel.

  48. As a watercolor artist who exhibits in competitions, I have learned to use plexiglas® in my frames (lightweight and no fear of breakage). I also worked in a frame shop for a year to learn some framing techniques.

    I found a reputable wood worker who mills the wood and creates my frames. I do the final assembly of putting my paintings into them securely. The result is that my paintings look unified by the same two frame styles (1″ and 1.5″ solid koa depending upon the size of the painting). Yes, it takes my time, or that of my assistant, to mount and frame my art, but the cost savings and results are worth it!

    When I paint in a very large piece, I take it to a good frame shop and “bite the bullet”. Really good framers are worth the expense; after all, framing is also an art form.

  49. I have a friend who sells at art shows.
    She uses a standard size canvas and 3 sizes.
    She puts the work in nice frames,
    but she dose not include the frame in the sale.
    she removes the frame at the sale.
    She sales a lot and has repeat sales.
    Her work is small oil still-life. very traditional.
    How do you respond to this way of selling.

  50. As a professional framer/gallery owner/artist for over 25 years I’ve seen it all trying to enhance and protect and educate both artist and client. But, that being said, we give artists an ample discount that is based on volume and consistent materials for a consistent look that are priced at a lower cost to begin with. (most artists are happy with this and most boost their sales because of it) it’s impressive to see a body of work that is consistent in every way.

    Clients who want to switch out the frame get a credit back toward a new frame that better suits them and where ever the piece is going to hang. We give the frame back to the artist. We have made many sales out of the gallery with this offer that might not have been made. There is a slight disappointment sometimes with having to wait while the frame is being ordered, but we offer that they take it home, live with it and we’ll frame it while they wait when the frame comes in.

    The trouble with unframed works is that it can look unfinished in many cases. The edges get worn and the color may be wrong or unsuited for the work… Most clients can’t envision a frame around it, it’s a hurdle and a barrier and they will walk away, knowing it’s going to be a trial of sorts to “fix” it. BUT, again if the artist is working with us, they know that we will honor the artists discount to the client and frame it in whatever they want. It usually is a great selling tool for the artist and we gain a client and a happy artist to spread the word.

    Where there is a good will there is a right way.

  51. My recent series of paintings are all on deep 1.5″ wrapped canvas so I don’t frame them. I paint my images so that it continues onto the edges to make the edges part of the painting. When you look at the painting from the side it almost creates an optical illusion. To me the image on the edges finishes off the piece.

    1. Hi Cathy, I agree with you, if you’re going to not frame something… that’s the best way to present a work. Floater frames that show the sides are perfect for those who want a frame, but if we do anything to finish a piece like yours, it’s to put a dust cover on the back and wire it off nicely with a hook for hanging and bumpons to keep it from resting on the wall and create a bit of air space. It just feels more professional and protects the work.

  52. It is important for all artists to realize that art is a luxury item. I have always felt that framing was an important part of presenting my artwork to its best potential. A beautiful framing job that complements your artwork says to the buyer that you value your artwork as something precious.

    Only once have I lost a sale because of framing. The buyer asked to purchase the piece without the frame, which I was willing to do, but I think they thought that the price would come down substantially. Since, I have been working with a framer for awhile, who is very reasonable, the frame only discounted the piece buy approximately 15%.

  53. I find if I spend some money on a frame it brings out my painting. If I don’t want a fancy one I will mate the picture and put it in a simple frame, just wood grain. I have afriend who as cut frames down to fit my art work, if I find one I like and the size is wrong. A frame can make or break the sale!

  54. I am a watercolorist who exhibits on a annual basis. I have found through trial and error that a contemporary black wooden frame with glass or plexiglass and white mat gives my paintings a professional look. I always have my paintings professionally framed. I believe when your presentation looks good, you as an artist look good. It shows you take pride in your work as a creative professional.

    When calculating the pricing for my painting I also account for the framing fees as well. In addition, I also have found framing is not an easy task especially when the size of one’s work may not perfectly fit a frame and a custom designed frame needs purchased in turn increasing the artwork pricing.

    I have found this article to be very interesting. Especially all the artists’ information shared and Jason’s responses to certain entries.

  55. Hi Jason,

    my advice? Find the right framer, someone who has the artistic sense and knows how to best frame your work, and leave the decisions to them. I’ve been saying for years that any artist’s best friend is a good framer. I am lucky to have one in my own town, a 5 min walk down the street. Joanne is an artist in her own way and I trust her implicitly to make my work look its best.

  56. Framing is very important to me. I take all the time necessary to get it right. I work with two framers who are really great. They know their business and save me lots of time. They are wonderful to work with and my work looks terrific.

  57. I have always tried to match a frame to a painting, but I had never thought that framing could be part of one’s style/signature . Very helpful info. Thanks

  58. Hello,
    When I first started out, framing was a big concern. I found that collectors very rarely wanted to change out a framing I sellected for my work. You are correct – Collectors consider a work finished when it is ‘presentable’ – framed. Now days, if a work is priced $50k or above I frame it. I pay particular attention to details. My work is usually works painted on vinyl. I mount them on fine silk. And I keep the framing simple. Lately with smaller works, I frame them floating – all in the same type of framing, as a part of my signature. Large works, like my Christ painting that you can see on my site –, in mounted on silk.

  59. Jason,
    I have had a passion for framing and put as much work and time into it as painting. From our studio in Kayenta, we have a man who makes custom metal frames, and I’ve actually had good luck with them. I also have a framer who works with me tirelessly until we come up with the perfect frame. So far, if it isn’t a gallery-wrapped canvas or linen piece, I work with either one of these framers.

  60. This has been a very stimulating and informative discussion. I just add the cost of framing to the price I require for a painting before adding the gallery commission to achieve the retail price. My framing costs seem to average about 20% of the net fee, but that figure involves framing, matting and glazing – sometimes dry-mounting the support – as I work in pastel. I occasionally get to avoid matting (usually double matting) by making my own spacers that I place in the frame rebate between the pastel surface and the glass. However this makes the overall presentation of the work smaller by double the width and height respectively of the mat!

  61. I paint in acrylic, pastel and watercolour and always have my work professionally framed. I have used the same framer for a number of years now and he knows what I like. I’ve also found that I’m consistently using the same 2-3 frame styles, depending on the work. The frames are professional looking but understated so as to enhance the work but not overpower it. I’m really enjoying the discussion and am learning from the experience of others.

  62. Being a life long artist and owner of some antiques I find myself in both art galleries as well as antique stores. In just about every mom and pop antique store you will find many different styles and conditions of frames. In fact on every piece of art that I hang in my home is framed in a frame that I purchased at a antique store. If you pay attention and look you can find some pretty good deals on nice frames. I can feel everyone cringing… lol. Of course if you want to sell your art you can not present it in a substandard frame in poor condition. But for a artist just starting out or only showing his/her art in local events. It is a opportunity to make your art stand out and offer a quality piece at a reasonable price for your event. I’ve sold a few of my pieces in such frames. Now about the glass. I find that more and more store bought frames are using the “plexiglass” material for safety reasons. Makes sense and our pieces would travel and store a lot safer I guess.

  63. I work in watercolor and need matting and framing on all my pieces. I worked in a high end frame shop when I was younger, so I know what is involved. I do my own framing with materials ordered online. Paying the prices at a retail shop is just too painful. All the comments about using standard sizes sound nice but, even using the same size paper, when it comes to cropping the paintings for matting I rarely have a “standard” size.
    Also, when it comes to choosing a frame, the same frame does not complement every painting and I end up with a variety of styles. How important is it for my work to be framed alike, as in a show? Should I reframe everything to look the same– is it a no-no to have more than 2 frame styles?

  64. I usually work on stretched canvases and haven’t needed to think about framing, but my most recent painting was a work on paper and the framing was superb making the whole piece look spectacular and lifted my work to a whole new level. And, Jason, your discussions on maximising quality are opening up a whole new world of possibilities for me.

  65. Some artists such as my self who live in far away places like the Bahamas need to sell locally with out the frame so it can be taken back to the USA or where ever the tourists live and they can take it on the plane . However when dealing with studios to frame my work I have not had a good experience , one painting was shipped fed ex a small 16 by 20 water color sold for 250 and the studio charged me 150 to frame what I would have spent 40 on after commissions and framing charge I got 50 dollars and it cost me 40 to ship the painting via fed ex. so I made a big 10.00 needless to say I pulled the rest of my work from that studio and had a friend pick it up . But most studios are very good working with me to arrange for frames and one was brilliant picking which frame a painting should go in it can be art into its self..

  66. I agree that investing in a frame is an important step. On the Monterey Peninsula I highly recommend Glen Gobel’s Frames. He & his staff have the gift of making your work look professional. They also work with you so that it is within your budget. I have won ribbons in art competitions that I know were in thanks to the framing.

  67. As an artist, I firmly believe that framing completes a painting and should enhance , never overwhelm, it. If the framing is noticed before the artwork, it’s not framed correctly. The artwork should be the star of the show.

    During the seven years I worked in a custom frame shop, I learned a great deal. Many framers frame from a decorator’s point of view, which is not always in the best interest of the artwork. Don’t forget that framers are in business to sell framing, but a good framer will always put the client’s needs first. I often saw a customer bring in a piece of artwork and a swatch of drapery or upholstery fabric which the framing had to match. Sometime that works, but most of the time the artwork suffers. If the framing compliments the artwork, there will always be a place to hang the piece.

    I am fortunate to be able to use the knowledge I accumulated, and also the professional equipment I was able to purchase at wholesale price, to do all of my own framing. I also still have access to wholesale suppliers. These savings make it easier to use better quality framing materials.

  68. I have found that for my genre of art (action sailing&yacht racing) the following works best and its an easy formula.
    ALL ART 24×36 and larger. are done on standard size, box stretched gallery wrapped canvas with art finished edges and no frames. If I exhibit just ONE at these larger sizes along with smaller sizes I will frame it in a float frame of teak or barn wood. (one large framed piece on exhibit looks best with all the *smaller pieces framed as well.. If I exhibit more than one of the larger sizes, all are exhibited without frames. (when I exhibit I try to exhibit a variety of sizes) .
    All art *18×24 and smaller are done on standard size, stretched canvas or canvas panels and framed in a teak or barnwood float frame. I make all my own “float frames”. some box corner, some mitered..all nicely finished.
    I have the price of the frames built into the price of the pieces. I make no price allowance for sans frames…ya buy ’em like ya see ’em. I’ve exhibited both with and with out frames…experience has shown (I hate to admit) that I sell more art and attract more attention when the art is framed. It’s a little extra effort but seems to be worth it…all I can say is try it, you’ll find out quick enough….best of luck ……ron.

  69. I agree with Jason about framing and galleries….I think. What bothers me is how framing effects competitions.
    I think only things made by the artist should be considered. If I can’t paint hands, I can’t hire someone else to do it for me. Therefore I shouldn’t be allowed to have someone else make the frame if it’s considered in the verdict.If the frame
    is considered that’s plagiarism, the person with the most money will win.

  70. I agree it’s important to use quality frames. I feel that I want a very good looking frame that enhances the artwork, but doesn’t overshadow it. And I want something that works in contemporary and traditional rooms. It took me a long time to find a frame that accomplished that, regardless of the price. I also agree that it makes a lot of sense to standardize canvas sizes. Right now for my landscapes I’m standardized on two sizes and two different frames. So if the client doesn’t want the frame, I can always reuse it. (I work with two different local framers who give me an artist’s discount, about-20%. But still, framing is a big part of my expenses.) My portraits tend to be various sizes, so I tell the client that I’m happy to help them pick out a frame, if they like. Then I take them to my favorite framers. That way I’m not in the framing business, but I’m doing my client a service, and they’re happy.

  71. I have found the easiest and most straightforward solution to the framing question and costs, is to set a standard. I use
    the same framer each time and worked directly with him to choose a frame that is generic enough to not cause a huge negative reaction in a client and yet is lovely and enhances the work. That is of course unless the client has something very specific in mind and is looking for my advice and help in choosing something else for a commission or a purchase after the fact. The advantage of the framing standard is that my framer keeps the molding in stock and is able to buy large quantities which also helps to keep the price down. I work on canvas for the most part and do gallery stretching. When I have the opportunity to do a show in a gallery, I will add my very simple illusion frame to each piece I am going to hang. I do include the price of the frame in the cost of the work and then add the gallery percentage.

    Another way I have been able to afford more elaborate frames for commissioned pieces is to go to the framer and ask just what he may have on hand. They often have smaller cuts available that are leftover from another project and in order to move that stock out of the back room, they are often quite willing to take much less. Of course this only works on single pieces and most likely smaller ones as well.

  72. I’ve been going back and forth on the framing issue for quite a while now. I paint on aluminum / stainless steel.
    Though not overly thick , gauge is on the lighter side, I’m really not sure how to approach it. My gut says framing is the next step , but have some conserns , if my work is scratched it cannot be fixed( I work with automotive paints).

  73. Currently I gallery warp my work with a mirror edge on sturdy wooden stretcher bars that are 1 7/8″ thick. I am not framing the work, but leaving it up to the customer. I advertise my work as “ready to hang” at which point the buyer can add a frame at their own cost or hang it “as is”. I have a great local framer, expensive (but they all are) who does fabulous work. I’m just not certain that my work is “high end” enough to be framed, placed in a top-notch gallery, and command the higher prices.

  74. I work with paper exclusively – Chinese Brush Painting, watercolors, and woodblock prints, so I must properly frame my pieces to protect the paper. If I exhibit the piece, I must use Plexiglas (not glass) for safer handling, and that is 3 times more costly than glass. Typically 1/2 or more of my cost of goods sold is just the framing, and framing is always the starting point of my pricing calculation.

    I recently spoke with a gallerist who said he doesn’t even like to take in works framed with glass or Plexi because they are too hard to illuminate – glare from lights, and too risky to handle. Really??? Is the world going to be boiled down to oil and acrylics?

  75. I have found that my paintings sell better when nicely framed in a simple, traditional moulding, with a linen liner. I haven’t been successful selling my gallery wrapped originals, probably because my work appeals to a more traditional customer.

    Although it might seem obvious to those of us who have been around for a while, I encourage new artists to use standard size canvases, so that their frames can be easily swapped among paintings. I give my customers a ‘discount’ on the painting if they don’t want the frame. It’s no loss to me, since I can use the frame on another painting. I have three moldings I use, and they all work well with most of my paintings, and present a consistent look. My biggest problem with frames is that they are easily damaged. Hate it when I unpack a painting a find ‘dinged’ corners!

  76. Jason,
    I love your changing frames solution.
    I think the most intimidating thing about framing is not knowing the future purchaser’s taste.
    But by having a selection of 4-5 frame styles, with the option of swapping out the frame, makes this “mystery beast” achievable.

    I will have to visit the framer you mentioned. I’m looking forward to seeing what they offer.

    In your book you say 10-20% on framing, while here you say 7-15%.
    While this is not much of a percentage difference to worry about, however, if I had a $1,400 piece, $100 vs. $280 for a frame gives me quite a bit of wiggle room for choosing the right frame.
    I love these mathematical guidelines. I have been enjoying crunching numbers on my own work.

  77. In the past when I’ve shown my photographs I’ve found gallery owners prefer to look at the work unframed, to focus on the images themselves. They usually frame the work after it’s chosen, each having their individual preference for exhibiting. Most in my experience frame as simply as possible in the least decorative manner to call attention to the work knowing that clients may reframe anyways. Would recommend showing one or two framed regardless?

    1. Though there are some gallery owners who will frame work themselves, I do not, and there are plenty of gallery owners like me, who will only take framed work (if intended for display with a frame). So yes, always have some framed work to show.

  78. Yes framing 2D art is a problem especially when you live in a very small town- not alot of options unless you drive an hour or so. I understand better now about having better quality frames to make your art sell. Also I have tried to be very creative in my framing using round wooden hoops for example.

  79. I have a background working in a very upscale gallery in Montana that also did custom framing. I was the framer. It is much more costly of course to frame flat artwork that requires matting and glass and needs to be done by a professional framer, unless of course the artist has the equipment to do themselves. Oil paintings are much more affordable, however it is still a cost of necessity. What I am doing due to the fact that I am just starting to sell my own work and do not have the capital to custom frame, I have been buying open back ready made frames and fitting them myself. I can get a simple wood black frames, but there are many different moulding styles, black just happens to go well with most of my paintings. Very little cost. 16x 20 around $20. (Keep in mind that they come only in standard sizes.) I have been getting them at a local art and craft store. Of course I would rather custom frame but that will come. In the mean time I have decent frames to display my paintings. There are also a lot of on-line ready made frame companies as well that are very reasonable. I have talked to many artists at shows that do this as well and it doesn’t seem to effect their sales the fact that the frames aren’t expensive. Of course this is art shows and not upscale galleries.

  80. I chose to frame most of my paintings and I consistently use custom hardwood frames. This way a customer who returns to collect another piece will find that the new piece goes quite well without framing. A small percentage of patrons do re-frame and they usually never ask for a credit. I happily give the credit (through galleries also) if the frame is returned undamaged and I can use it again. Sticking to certain sizes allows me to re-use frames if necessary. Having been a framer for many years I will tell you that the mark up on framing is tremendous. Almost everything is marked up 200 to 400%. You need to find a framer who will give you discounts to help your bottom line. Or you can take some classes in framing and do the framing yourself to help with the bottom line. One of the reasons there is so much mark up is that there is wastage and sometimes things go sideways. So the framer has to have a margin which includes their overhead, time, materials and expertise. One of the companies I use for hardwood frames is Picture Woods in Colorado. They use all natural woods that are not endangered and have a good selection of moldings and finishes.

  81. I used to make strip frames as I was taught in school. My professor would always strip frame his pieces, even for a gallery show and they did look great, but I decided to just paint the edges of my paintings out of frustration of having to keep replacing the banged up strip frames, and of course, the frames have to be cut perfectly to look right. Well now the edges of my paintings have to be touched up every now and then because they get banged up too. At least the strip frames would create an edge for other paintings to be stacked up on. My paintings are fairly large and frames can cost quite a bit. Any suggestions? Don’t know if the size of paintings is going to come up any time soon, but I really want to go BIG, unfortunately transporting is an issue. Tips?

    1. If you do stick with painting the edges and you work in acrylic (or oil over acrylic), I have some suggestions that make upkeep simpler and the presentation nicer.

      1.) Before you paint the work, tape the edges and seal the edge between the tape and the gessoed front of the painting, that way, after the piece is done and you remove the tape, you get a crisp line and no mess. Then, if you have very steady hands, you can freehand paint the edges a solid color. Or, a safer way is to tape over the actual painting (with painter’s tape) then paint these edges.

      2.)Touch-ups you mentioned are much, much easier, if you stick with tube colors as opposed to mixed colors. That way, if you need to match an exact hue a year later, it is easy to do so. While it is possible to match a mixed color, more time is involved, and you want this to be simple. That said, I do give clients who purchase custom paintings a choice of colors. If they want a mixed color, I can pre-prepare a large amount of that color and store it in Tupperware until the painting is shipped so that I can make accurately-colored touch ups towards the end.

      Also, I use cradled wood panels, as mentioned above, with stained sides that act as built-in frames. These, too can be taped for protection while painting and will need plenty of cushioning when shipping.

  82. My framing experience has evolved over the past several years, and it has affected my choice of mediums as well. I started out with oil pastels, then soft pastels. I would order the matts and frame, purchase the glass locally and put them together myself to keep the costs low. After putting about 8-10 of these together for a show one time, I realized I couldn’t stand the hassle anymore and switched to acrylic on canvas, and then oil on canvas. Once painting on canvas I could work with standard sizes canvases and corresponding frame sizes. It’s made my life easier and really, less expensive.

    The next step began when I decided to start taking workshops and mentoring from artists who were making a living from their art. I could ask questions about framing. At one workshop in particular, the artist had his own gallery and he had made all his own frames since he was so prolific. He showed us his workshop where he made his frames and explained how he made them, from designing the moldings, taking the designs to a woodworking firm so they could set the knives to make the moldings, all the way to how he painted them and finished them. It was really impressive and my idea of framing was totally changed. There was a wonderful consistency to his paintings and the frames that made his work stand out. So now that’s what I aim for. I’m not ready to make my own frames, but I know what I want to look for in frames. Why spend a lot of time and put the best materials into a painting only to put it in a frame that says “I really don’t what else to do here”. Honor the painting and honor the collector with the best frame that I can find and afford. And to make it affordable, I’ve had to search and ask around to find very nice, affordable frames. I may also look into moldings from wholesalers down the road.

    I’ve only found one framer who I felt could really pick out a perfect frame for my painting. If I still lived in Salt Lake City I would be going there a lot. Plus he gave me a nice discount. I think there’s a learning curve to framing just as there is to painting.

  83. I have a friend that is local who owns his own frame shop. He has a great eye for art, we always discuss the appropriate frame for my art that will enhance it. It always increases my sales. I think the frame is part of the artwork.

  84. I like to keep my framing simple. I do a lot of abstract art on paper and I found that a white mat with a matte black metal frame works well for all. I usually put plexiglass on the piece. If I use a canvas for my art, I use the same type of frame (no plexiglass though) if I frame it or leave unframed but will finish the side in a matching color to the front of the canvas. Occasionally, I differ from mate black metal frame to accommodate a specific color scheme in the piece. I usually do my framing myself or buy already made frames. Usually the best quality I can afford for the piece. I make my pieces standard sizes so the customer or me can find “cheaper” frame more easily. I have also used online frame shops such as or . The quality is most of the time reliable and it saves cost for me if I have a non-standard frame request rather than going to a local frame shop. I find that of the work is already framed, customers will buy it more easily.

  85. skimping on frames is a mistake…consistency in frames usually is the best idea….if you frame yourself then do it in a professional manner with proper hangers and finishing details….I can’t afford to buy the frames I love because I paint a lot of paintings so I learned how to make frames and frame them myself (a lot of work but it pays off)…I am constantly learning how to do it better but I try to still keep a more or less consistent look to my frames.

  86. Hi! Quite often when I am in the planning stage (sketches developed) I will work backward from identifying the type of frame and size and then go to execution of the works I have in mind. Granted, this is not always the best or most linear approach, and some of it I have learned through experience, but it helps me to avoid surprises at the end, blowing the budget, or missing my deadline altogether.

  87. I am a beach photographer, and I find that people prefer white frames, as they give a more ‘beachy’ feel. I have found a few inexpensive frames at Michaels that look quite nice. White paint on a frame has a way of making it look good, even if the frame is cheap. I also use Craig’s Frames on ebay. If you ever try them,I suggest that you order the upgraded acrylic, instead of the standard acrylic that comes with the frames. In my opinion, it is much sturdier.

    Would it behoove me to try some more expensive frames? Jason’s points about upselling our work by showing it in quality framing is important to consider. I think it is certainly worth trying a few frames to see if they will sell better and at a higher price point.

    I always ask people where my work is on display what they would like to see in terms of formats. That is where I found out that people really like white ‘beachy’ frames for beach art.

    I did a survey at a coffee shop where I sell some of my artwork. I compared my photography printed on paper and framed, with my photography printed on gallery wraps. The results were mixed. Half said that they liked the framed paper and half thought the gallery wraps were more ‘trendy’.

    In addition, a few people have mentioned that my photography would look good on aluminum and acrylics. With all the possibilities, the price can sure add up quickly. It would be nice if there were some concrete statistics on what formats sell best. Jason, do you have any thoughts about what formats sell best in your gallery?

  88. Having spent a significant portion of my career conserving and restoring frames, I can spot a cheap frame from across the room. A cheap frame cheapens the art work. Intelligent collectors and art aficionados are often able to perceive the quality of the frame, even if it is a thin metal edge frame there are various levels of quality. I have treated quality metal edge frames, likely custom made, for ten million dollar paintings, as well as the most elaborate gilt frames, many of which exceeded the value of the painting which it held. It may surprise some to learn that in many cases, the value of the frame can, and often does, far exceed the value of the art. Historically, the cost of framing, with elaborate hand carved and gilt frames, was several times the cost of the art it was created for and that was the expected norm.

    During the industrial revolution framing became a mechanized process, and suddenly framing could be done quiet cheaply. A ‘fancy’ gold toned frame, once reserved for the wealthiest of patrons, became more accessible to the general population. The quality of the frame suffered significantly, and in revolt many artist abandoned frames altogether, an unfortunate trend which continues to this day due to the sufferable quality of the mass produced frames available. I do not blame artists for lamenting the cost of an often unnatural looking mass produced frame on their uniquely hand produced art. If there is one sight I can not stand, it is a lovely piece of art in a substandard frame. I have no trouble believing collectors may pass over a work cheapened by poor framing.

    Thank you for pointing out the significance of the frame!

  89. I would really like some comments regarding the presentation of fiber art. All my pieces can be hung on the wall, and they are “wall ready” when purchased. But they are flat fiber pieces with beading, stitching, painting, and to frame something like that would be extremely expensive. Comments? You can see what I mean at Thanks for your thoughts – it’s a puzzlement…..

  90. I do photography and I have standardized my frame sizes and face widths to 32×40 frames with a 1.5″ face width and 22×28 frames with a 1″ face width. They are the same style made with wood and finished in black.

    I went to two framing shops and got estimates from them. Sticker shock, over $500.00 for the 32×40 frames including matting and museum glass. I can buy the components from various suppliers and assemble them myself for $181.00 for the 32×40 and $101.00 for the 22×28, both including archival matting and Tru Vue Museum glass. Framing shops want $156.00 for a 32×40 Museum glass and $117.00 for a 22×28 Museum glass, which are almost the prices that I pay for a complete frame, mat, backing and glass.

    The other advantage, is that framing shops cut their own frames with expensive mat cutters which involves a blade for cutting. Where I order my mats, they are laser cut. There is a big difference in the quality of the cuts.

    As far as transporting them, not shipping, my wife has made bags made of felt in various sizes for me to transport frames and stretched canvases. Saves a lot of time, inconvenience and heartbreak.

  91. When thinking of my art, often I think of a frame as being a secondary issue… but to look at it from a buyers point of view, a frame may make the difference. I now agree with Ann Haag comment that “A cheap frame cheapens the artwork”. From now on when I frame a piece I will no longer see the frame as unimportant.

  92. I “HATE” framing if it requires something out of the Renaissance! I do not paint in he ancient style nor do I wish to. I also “HATE” painting the edge of the canvas! So I have found a happy medium, I frame the edges! I have had many people tell me they like this style of framing rather than the heavy looking frames of gold. Works for me, might not work for everyone else. This is just my style.

  93. as I live on Aruba and most of my customers are from the USA I paint my paintings on over sized pieces of canvas that I stretch out on a flat surface before painting. When my painting is done I stretch them over a piece of plywood with a few nails. By doing this the painting continues over the rounded edges on the sides without causing to much damage and loos nice. As an customer likes the painting, I show them How easy I can take them from the wood so that they can carry it with them. This never caused any problem. My smaller work 16″ x 20″ I prefer to paint on paper designed for acrylic paint. These paintings are all nicely framed with matting and covered with glass, but I always sell them without frames because they most likely will brake on the way home. My small paintings are always framed with standard sized custom frames, other wise they will not sell.
    The smallest ones 12 x 14 cm are made of 4 pieces wood 1″ x 1/4″ glued together at the corners and on the top I will glue a piece of canvas, acrylic paper or watercolor paper to paint on. Than I will finish the sides with black acrylic. and wallah you have beautiful boxframed painting, nice and complete and easy to sell. This is the way how I do it here in Aruba and over the years this worked fine for me and my customers.

  94. I buy less expensive frames at Hobby Lobby or Michael’s but I always look very hard for the frame that makes my photographs look best. I try to match up frames with style or subject of print and/or a frame that contributes to the overall piece. I would consider using a professional framer if it increased my chances of selling and I could get my work into the higher markets. Where I live many people can’t afford high end prices.

  95. In the early 1980’s I was approaching galleries in the 57th St. area of NYC . One gallery owner sat me down and told me to approach with one painting framed in 22k. gold. I met a framer in Los Angeles named Jerry Solomon who liked my work and traded me a hand carved frame with an ornate 4″ 22k. moulding for one of my flower gardens. The frame retailed in his store for about $6500 in 1986. I still have it, and a few more frames I have gotten from Solomon Frames over the years.

    I always offer my work framed or unframed, and will always help the purchaser with a different frame if they want. I always make a profit on the frame, though. I have 22k. compo frames from Solomon that I pay $600 for in LA and sell easily in Santa Barbara for $2500.

  96. I dilemma I am currently experiencing is that I have some oil and watercolor paintings in a gallery and the gallery owner wants all of the frames to be the same and recommended black. Well, not all of the paintings look good in black, as I do a lot of beach scenes. I prefer white. Some of my paintings, esp if they represent an afternoon sunset, colorful rendering, will look great in black. I have found some frame and painting combinations that are phenomenal and yet it becomes a “lone” painting in a great frame. I have been thinking about putting together enough works to do an art fair and am wondering, do I frame each piece so it looks phenomenal or does the entire “collection” at the art fair need to be framed the same way? What seems to be occurring to me is that I have “consistency” but no “wow” factor on any one piece. Whereas if I framed them so they all had a “wow” factor, they might not hold together as a collection at an art fair. Or does the real issue come down to I need to paint a bunch of pictures that are all the same type, done in the same coloring, same time of day, etc. That seems boring to me. Any thoughts?

    1. Just my opinion here – I think a consistency in style may be more important than in whether the frames are black or white. I would certainly go with what looks best for the piece you are framing.
      When you set up your pieces put like pieces together, you may end up setting up two or three “collections” one on either side of the tent and one in the back.

  97. This is wonderful information, especially since I am going shopping for frames today. Because of cost, I have often painted on gallery wrapped canvas to avoid the frame. However when I do frame, I often create/modify the frame to complement the painting. Making it as unique as my whimsical art.

    I do want to get the best materials for my art regardless of how I frame it. What I have become aware of through Jasons’ tutelage is that quality matters and to focus on the right frame for the painting.

    Thank you Jason!

  98. I buy top-quality archival mats and simple but very well made wooden frames from Frame Destination. Before finding this company, which is based in Dallas, I bought sample frames from a number of well-known art supply retailers plus some other companies specializing in frames. Went through many disappointments; it’s surprising how many frames arrived with poorly mitered corners and marred finishes. Frame Destination has come through for me every time. I also buy a few rag ArtCare mats from Dick Blick.

    We have a very good local framer, but he usually has a delay of several weeks per order, and his idea of an archival mat doesn’t always correspond with my standards. With Frame Destination, I can order even mats with custom-sized openings, plus the frames, acid-free foam board, extra rag mounting board, and the glass — and get my order within a week or so.

    Although I keep my mats and frames very simple and consistent, there are often several mat options for any one painting. I see the cropping and matting as part of my artistic process, and at this point, wouldn’t want to delegate it to someone else. It took some effort to learn to do archival, conservation mounting, matting and framing — and it was well worth it.

    My first blog article for my new website relates to this topic. “Does Archival Framing Matter?”

  99. I have found that a professional frame designer will always make my artwork look its best. There is a remarkable difference between the look of a custom made frame and a frame that is taken off the shelf at an art supply store. I believe my artwork sells better with a professional frame. I use Art for Interiors in Scottsdale, when I am showing artwork in Arizona. Joelle designs all my frames and has a great eye. I get a lot of comments from clients and other artists about how well my art is framed.

  100. I am happy to frame my artwork. I would loathe seeing my work displayed in a substandard or poorly selected frame. Most often, collectors don’t have an artistic eye or a great framer to work with. They can’t envision what a piece will look like in their home without the frame. Although the boxed canvases are popular, my more established clients still love the huge, stately frames.

    Once you’ve established a relationship with a trusted framer it’s a wonderfully collaborative effort to find the perfect frame to showcase your piece. A fabulous frame honors your art and brings it to a higher level.

    For a wonderful framer in Northern California I highly recommend

  101. Hi Jason,

    Ahhh yes framing!I’ve run into a bit of awkward situation in regards to framing. Perhaps you can help elucidate this dilemma for me. I now have two ways of framing because of this situation.

    It took me quite a while to find a framer with an artistic eye who understood the rustic look I was after and the layering to accentuate the feeling of entering the “cave painting”. Got all that done , it was looking sharp and professional and then I was told that in BC no one buys paintings that have glass on them , no matter the type of glass. It seems that BCer’s with money have large house with lots of windows and they dislike the reflection. So how does one protect printmaking and rice paper I ask? Your problem to solve. Not many galleries in Canada will accept glass, I’m told by the fourth largest gallery in Canada.
    Hmmm, rethink and regroup. A recessed floating frame done by a professional framer became the solution. I then had to insure that the paintings had a few isolation coats and were varnished. Not the perfect solution but a cheaper solution but I still believe my paintings look better under glass and built up. I have 3 variations of frame colors and all my framing and painting is made using archival materials. What is the situation down your way?

  102. I have a wonderful framer here in Central Florida. He is an artist as we’ll so his creative juices are always going. We work together very well. D K ART SUPPLY, LEESBURG, FLORIDA owners name is Dennis.

  103. I agree with what you wrote Jason. I was really lucky really on to find a great framer. They work worth me as well so happily swap frames when needed. So the buyer has “credit” of the value of the frames I use of they don’t like it. So all my pre framed art is in a simple natural wooden frame. Actually though most people seem to like the frame anyway so it’s only rarely an issue. The framer recommended I stick with that one and it’s been great advice. Also makes it easier if I want to exhibit any pieces as they are all already matching. All at an excellent price so I couldn’t be happier.

  104. When I was in arts management is would never cease to amaze me the lack of attention artists would give to framing. They brought art framed in frames that were too big for the piece, or that they had clearly picked up at the thrift store. They would tell me the frame doesn’t matter – it’s the art that matters.
    Now that I’m on the other side of the table, I understand not wanting to spend time and money on the frame. However – what I always said, and it applies to my work as well. If I am going to spend that much time and passion on a painting, why not take the same care to make sure it is presented in the best way.

  105. Framing is my biggest expense. My work is abstract with texture. I have tried framing fit to the canvas but have discovered that my work shows much better when it is floated on a mat with 3-4 inches of mat showing around the canvas. I use black mat with a custom black frame. The frame and mat are plain. I am able to emphasize my work this way. While more costly, I find it serves my work better, which is the purpose of a frame. I float my gallery wrapped frames as well. First impressions are everything, and I find most clients are unable to “visualize” framing options for an I framed piece. I believe that when someone buys a piece, he/she wants to proudly display it and enjoy the “ooh’s” and “ahhh’s” of friends who see it. Inadequately framing will not achieve that nor will it achieve a sale.

  106. I too, create primarily works on paper and of course, as mentioned, the framing costs can be high, though I have worked with an excellent framer for many years whose prices are pretty reasonable. I can safely say I get as many compliments on the frames as I do the art, so feel that the previous comments are invaluable. I have often seen good works that are killed by bad or inappropriate frames. I also frame some of my smaller pieces–cut mats and find frames in some cases comparable to the ones my framer uses—simple but elegant or at least consistent with what’s already been framed. This helps me save some money.
    I also can’t understand the general public’s attitude towards works on paper. I feel that an educational movement needs to be started on their value.

  107. I make my own frames from oak. The frame is strong and basic. They have a raised edge around the perimeter and a flat area leading to the painting. The frame has a double bevel so creates several planes so there is interesting light and shadow areas. Most are 2-1/2″ wide to 3-1/2″ wide and 1-1/4″ thick. I can stain any color I need. If someone asks about my frame, I tell them it is my signature frame and that I create them is fit my art. This also create a uniform look when I have several paintings in a show.

    The other advantage of doing my own framing , is I can remove a painting that does not sell and put a newer painting in.

  108. Hi Jason,

    I am not really into framing my works for two basic reasons 1. I do not have that kind of cash to tie down. 2. I can’t really tell what a client or a collector would like.
    I honestly don’t bother myself with framing of works, but when it becomes very necessary for me to frame a painting, 2 things are involved. 1. What the client wants and how much he is willing to pay.
    2. I take him or her to my local framer and make him pick his or her choice guided by the experience of my framer.
    When I have water color paintings or drawings to frame I do go to an Art shop called ARTWORLD here in Nigeria they have wonderful frames and are experienced in finishing but expensive also

    But I must agree with you, framing (finishing) does give a painting or two dimensional works a touch that makes an Artist or a collector smile.

    Best Regards,
    Ojemekele Ighodalo.

  109. This is a discouraging topic for me. I agree with the value of a frame, the value of quality materials…but these things continue to push the price of production far outside my budget. Galleries won’t consider me unless I have a strong body of gallery-ready work, but I don’t have $10K to invest into a body of work. So, I show my work in coffee shops or whatever, where you can’t really ask for more than $100 for something. I always sell at a loss or just give my work away. I think it might be dawning on me that I’m not a very good artist if I can’t command $1000+. Yikes.

    1. I checked out your link to your work. It is very unique, to me. Maybe if it is marketed more like prints or lithographs in limited editions, versus a one-of-a-kind original painting. When the limited editions are sold out the original will become so valuable. I view your work as art that really makes a statement and the more it gets ‘out there’ in volume the stronger the voice. Just my humble opinion. I like your work. Some examples of successful artists who mass-produced were Andy Warhol and Maxfield Parrish. Parrish, in the early 1900’s was dedicated to making fine art available to average people with lower income, and help improve and develop the quality of lithographic reproductions of art. Art for reproduction is an art in itself.

  110. Hi Jason and others who have posted.
    The posts on how to price the framing has been very valuable information! In my experience, presentation is everything! In the pastI have been blessed with a family of wood workers who built perfect custom frames. My work is usually abstract so I also use 2 to 3 inch canvas frames, that don’t require framing. Some times the extension of the artwork is part on the total piece. The stretching of the perfect corners has been a challenge, so sometime a frame or float frame became necessary. Lately I have been using float frames, or wood panels. It really depends on the art work.

  111. I am an oil painter and have been using “generic” frames for years (made in China or Mexico). They are relatively inexpensive, but not terrible durable. Lately, I’ve made some leaps in my results and raised my prices accordingly. I am looking for a better quality of frame. There are some local places that make frames (local meaning within 100 miles) but still the quality is not what I am after. Since I don’t live close to anything, I am now looking at the internet companies but it’s hard to wade through the garbage to find something good. Often when I find something I want, it seems to take them months to get the frames to me. If anyone has found a high quality framer, I’d appreciate knowing. Thanks.

  112. I once owned a frame shop. Every so often parents would bring in a piece that their child did. Generally I got two different types of parents; “frame it to the nines because ‘Johnny did it'”, or “Johnny did it, I don’t want to spend a lot of money””. Johnny’s art would look like a “master’s work” in a fancy frame, and like the “the kid did it” if it was stuffed into a metal frame. Johnny’s master work is probably still hanging in their homes 20 years later, doubtful the kids is.
    I couldn’t agree more with quality framing, and, a frame that ‘works’ with the artwork. I wince when I see a nice contemporary floral in a barn washed frame…ugh. I think too often artists will buy cheap frames at rummage sales, another mistake.
    I like really wide frames on my large works, which poses a problem if I’m shipping my work, adding more $ to the retail. I try to keep my pricing consistent, which then my work seem pretty pricey local. It’s all hard!

  113. Presentation is clearly an important aspect of what we do and framing is the most difficult part of it. I have solved the framing challenge in a variety ways. From buying the penny frames for smaller work at Aaron Brothers to custom framing by the best. One of the problems with framing is that styles and preferences change. For the longest time gold frames were the thing for Plein Aire painters, later they shifted to simple 3-4″ black frames. Collectors often prefer to match frames with their home interiors and may ask to change the frame. I have lost sales because the frame was a distraction.

    For my watercolors on Yupo (s smooth synthetic paper), I use Framing Artistry, a local shop that works with many of the artists in my town. My work requires glazing, although I am tempted to experiment with the varnish techniques mentioned above. I have used museum glass for local shows. Plexiglass is lighter and better when shipping, but has the glare problem and scratches easily. I consistently use a contemporary black walnut frame on my larger pieces. (Small nicks on the edges can be repaired with a black sharpie pen.) They show well together as a collection of works. The framer suggested sticking with standard sizes, if possible, which makes framing easier and may solve the frame switching problem.

    I have exhibited my work at Art-a-Fair, a summer art show in Laguna Beach, CA for several years. Part of the reason I do this show is to spend time with other artists, meet and greet the public, discuss my process, and to see what is selling. This year the biggest seller was a glass artists who was showing framed pieces that hang on the wall. They were colorful and shiny landscapes and abstracts created in fused glass. Not exactly my “cup of tea,” however, the artist sold 22 pieces @ $2000 each this summer. This show gives me an opportunity to see how other artists create, present, and market their work and to see what the public is responding to.

  114. This is from my own blog regarding the importance of framing –
    Although framing your work is the last step toward the completion of your masterpiece, it is by no means less important than quality materials or an inspired theme. The choice of the right frame (and matting, if your piece is created on paper) can make or break your finished painting. Matting and framing, when chosen successfully, should perfectly compliment your art and work in concert with it – never against it. It should never over power the piece or draw the viewer’s attention away from the art itself.

    The framing and art should work together “as one.” This being said, it is important to select a moulding that “fits” the theme of the painting you have created. It should not be too rustic nor too ornate depending on the subject of the painting itself. Let your style and your work be your guide.

    Develop a good relationship with your local framer. Matting and framing should not only be done in a professional manner to better present your work, but by using proper archival materials the piece will be better able to stand the test of time. Trust the framer’s professional advice as they offer a few suggestions, then take the time to actually try out different mouldings (and mats if working in watercolor or pastels) to see how each looks with your specific painting. You’ll be amazed at what a difference a frame makes.

    Making good choices on the final presentation of your art may lead to success with future gallery representation, in juried shows or the potential sale of your work. A professional “finish” in framing is well worth the extra time and investment in the long run.

  115. Framing has always been an issue for me. I started out as a watercolorist and everything had to be framed, matted and behind glass. That is really expensive now. Matting alone has gotten very expensive. I have noticed a trend over the last several years towards Gallery wrapped canvas that requires no frame. because I do most of my art now in acrylics, this has become a viable option for me and one that I prefer. The kind of frame I think looks good on my artwork usually doesn’t fit a customers decor for one reason or the other. If someone wants an ornate or unique frame, let them get it.
    I understand what Jason is saying, and for the most part I agree. For me, I now prefer the gallery wrapped canvas.

  116. I am constantly looking for new ways to present my batik artwork in a way that enhances the piece. Unlike a painting, a batik is not a surface design. the dyes chemically bond with the fabric making the back virtually a mirror image of the front (sometimes the only way even I can tell which is the front is to look for my signature).

    I have framed them under glass with the edges of the batik under mat board. Problem: many don’t realize that it is fabric. I have mounted them on white foam core and placed them in a frame on top of the mat board, pulling a few threads so you can see it is fabric. Problem: some still don’t readily know it is fabric. I have hung them on banners. Problem: without being lit from behind (or mounted on foam core) the image loses much of its “pop.” I have started to back them with styrene and mount them in lightboxes, which look great but detracts from the batik factor by being mounted permanently on the styrene.

    In my home I hang them on banners and put them against a white wall. That way they are free to move with breezes but, were I a buyer, I would be concerned about people touching them with dirty hands.

    It’s a constant quandary.

  117. I recently changed my approach to the subject of framing, and, found that coming from a particular perspective (mine) as well as taking an ‘assumptive’ position worked wonders for me as an artist. This approach was selling direct, and, not selling via a gallery so I’m not sure how contributory or helpful this might be to you all.
    I decided to take an ‘artist approved’ approach. In other words I decided to approach the situation from the perspective of the frame being an integral part of the ‘piece’ in question. Now, obviously, the client might not agree with the frame choice, but, because of the perspective I have taken on it being an ‘integral part’ of what they are purchasing, the client is loth to disagree with its creator, and, question the artists choice or ‘approval’.
    I refuse to let any of my art go to a client/ collector without a frame; that sets a ‘fait accompli’: they’re buying the painting, ergo they’re buying the frame. As the frame was chosen by me as the creator of the piece, they are less likely to question its choice or presence, and, therefore accept the frame, and, pay the asking price.
    Of course, they can get it home, and, fiddle with it as they please: new frame etc, but, they don’t ask, or, tell me because they feel that ‘that’ choice is theirs, after all, they now own it.
    Mission accomplished. They might have the piece re framed at their own cost having paid for the artwork and frame I provided; up to them. No ‘discount’ questions (never discount by the way!), no questions about swapping frames. It’s simply not an option. This also comes down to defining, and, being clear on your client/ customer/ collector base too.
    It is very funny to be invited to a dinner party at which one of your pieces is displayed, and, see it is in a new frame! I never ask why, that would be rude, it’s their choice, but, the point is, they paid for it, and, I’m happy. So are they in taking away a ‘complete’ piece.
    I look at it like guitars. I have bought wonderful, and, extremely expensive Gibson Les Paul guitars. They are, more or less, perfect as created. I can’t resist changing the pickups, furniture, strings for what ‘I’ like personally though. I would never ask the guy in the shop for a discount because I don’t like the pickups or strings! He would think I was mad: the guitar is already perfect…. isn’t it?
    I hope this was useful to somebody. It’s more about person to person than gallery, but, I really appreciate your help and contribution Jason, so thought I would add a little myself for what it’s worth 🙂

    1. Chris… thanks for your comment and opinion on the subject of framing. I like your approach. I think it takes a certain level of confidence to pull it off. I like your comparison of paintings to guitars. That brings your idea home. Mary

  118. Mostly I solve the framing issue by not framing. I do what many painters do and paint on gallery-wrapped canvases, painting my painting around the edge as I paint (not a solid color edge). Or I use wood panels with 1.5-3 inch sides and do the same.

    There is something to be said, however, about giving the artwork / painting a presence on the wall. The frame gives the painting a presence so it doesn’t float on the wall. A floater frame solves this issue. Honestly, though, I have only framed one piece in a floater frame.

  119. I find most of my work looks Okay without frames, as I do use gallery wrap. None the less they come alive in either a simple 1 inch width, black or mahogany frame. They look like they were planned together from the start.
    I have had some tell me it ‘reflects my style better.’ ‘Highlights the presence’ and ‘spirit’ of the work. So framing for me is a reasonable consideration.
    I do agree that even a simple frame as long as it accents the painting correctly. enhances the artwork and that each piece is better combined by the artist for the best presentation of that work. I feel, One needs to keep in mind that the frame and the artwork needs to be able to fit with the decor, personal aesthetics and preferences of the collector. So unless it is a commissioned piece, the rule of K.I.S.S should be kept in mind for the frame, thereby making it all a complete piece of art – instead of the artwork and the frame as two separate items.
    On commissioned pieces, I consider the type of frame desired by the commissioning collector part of the process when discussing design of the commissioned piece before accepting and beginning the work and then any special frame request is included in the commission price.
    Still it is a cost I had as yet considered as incorporating into the base cost of operation instead of loss of net profit, since it was a variable in sales. Due to this I was looking at a profit of an example of $500 for the painting sale with a net profit being minus the frame, since not everyone wants one of my paintings in a frame. I will have to consider including the frame and the price of the artwork in future sales. –

  120. My suggestion to new artists is to make their paintings/drawings, etc standard in size. Having to go to custom framing because your piece had an odd finished size can break the bank when you are just starting out. Lived and learned that one!

  121. Initially when I began working full time in art, I would use second hand frames, as I progressed, I became increasing dissatisfied with that methodology. I work with miniature oils and in pyrography on Joshua Tree wood and paper, Both are problematic in the framing world. I was fortunate that out local framer is extremely accommodating and actually has created a shelf for me. They do small frames and with the pyrography that needs to be matted and framed under glass. I have a series that I am doing , all the same size 9×7 inches. I have the framer do all the frames the same, same molding and mat which hs lead to multiple sales for groupings. I was also fortunate to find a frame maker of 100 yiear old barn wood. He does any size that I need and is a perfect compliment to my westetn paintings and drawings. I have found ,that presentation is “very” important and I have been well served by my frame maker and the local framer.

  122. In the past, I have cut my own rag mats and backings and did my own frame fitting. I order the frames already joined. My experience ordering the frames not joined made for bad miters. I pay the up-charge for large frames joined. It’s worth it.

    I always frame very neutrally so that the work is the center of attention. I consider my work to be art not a decorator accessory. As such it stands alone and does not need to match someones’ decor. It’s a kind of snotty position but I can’t anticipate everyone’s taste. It’s just too costly.

    I cost my work based on the cost of my framing materials. I figure the mat, backing, frame and glass. Then I multiply by ten. As it turns out that’s right in Jason ballpark of 7-15% of retail calculation.

    When I go into mat cutting mode, I cut mats for at least a dozen pieces and usually end up cutting mats for 2 dozen pieces. I then shrink wrap them. It makes the work much easier to store. They stay clean. And they are ready to pop into a frame if I need them to show.

    Recently, I have discontinued framing work. I show the matted, shrink wrapped work as is. I might include one or two works in a frame just to show what frames I can provide. I cut mats in standard sizes so the client can easily go find a frame to her/his liking. As Jason said, I am an artist not a professional framer. I cannot keep a fully stocked frame shop in my studio.

    It was a tough decision to stop framing. Many times the client’s choice would not be mine. Often I see my work re-matted with cheap colored mats that are detrimental to the work physically and detrimental to the work visually. I have resigned myself to the attitude that, once they’ve bought, it’s theirs, and, it’s out of my control.

  123. I previously owned a frame shop and can make frames, cut mats, and glass. I still have a lot of supplies, but not my frame cutting tools. I have to admit that I find great frames at Goodwill and auctions etc. and use new mats and mountings to frame my artwork with great results at a fraction of the price. Sometimes I even paint frames if I want a special look.

  124. Presentation is everything. No artist is an island. These are my mantras for the production of my work. It takes a team to present my work in it’s best light. Having the right framing team, the right art print production team, the best quality output, materials, and frames all play a part in the production of my work. I have a standard that I refuse to fall beneath, and am known for it. If that sounds arrogant, too bad. I feel that how you present your work makes a huge statement about what you think about your self and your art. It’s my preference to have people’s initial reaction be the word, “wow.”

  125. It might seems like a lot of money to put out at first but we have to look at it like an investment. Any person that starts a business has to put money in inventory at the beginning. Compared to any other industry, buying frames (being about 7 to 15% of selling price as Jason suggests) is actually a really good return. I only have to sell one or two paintings to cover my expenses on 12 of them! I never worry about spending money into beautiful frames.

  126. I work on the computer creating digital images — there are many forms of display, either monitors, tv’s, projection, etc. or printing — the latter method is what I usually chose for logistical reasons — prints can be more easily shipped with less chance of damage or loss — aestheticly it can mean compromising quality or changing the image — the way the print is displayed is all important, especially since I create 3D images (those that may be viewed with or without glasses) — I cannot use glass or in any way have a shiny surface as any reflection interferes with viewing — as you might imagin, this has led to years of searching, finally settling for the print and frame being one unit, done at the same time — the cost of producing the work includes the cost of the frame — it’s not ideal and I’m still looking — technologies and materials are changing all the time — but the bbottom line, especially for contemporary work, is presentation is as much a part of the work as the image since it determins what that image looks like, how well it can be seen.

  127. Anyone in the Dallas, Plano, Frisco TX. area needing a good framer with years of experience in selecting frames for their customers, the Hobby Lobby in Plano on 15th St. is the place to go. I’ve used Larry for years in my framing and mat selection needs. Just a heads up.

  128. The frame is the pearl necklace of any painting. I understand that and have kn the past spent a decent amoi t on framing mh pieces. After go to several large well represented Art Expos in gbe Hamptons this summet I found thag mlsg og tne work from american and european gallies have the majority of the work framed in neutral colored strip molding, nothing fancg. I have to say it was a little freeing though I still believe that a great frame only adds value to the work.

  129. No doubt about it, frames make a difference. I like to have several frames available for my clients and I tell those commissioning portraits to expect to pay 15 -20% of the cost of the painting to appropriately frame the piece. Having a framer you trust is wonderful and a major part of finishing the project. Standard size canvases can save you a lot of money and time when it comes to framing as well.

  130. When I lived in Idaho I had a great framer who had The Eye when it came to framing my art with just what it needed. Alas I moved. Eventually I found a good framer but within a year he went out of business, and anyway I live out in the sticks and it was a long drive to his shop. Turning to the internet I found a company that makes good custom frames for a quite reasonable price. So far I have purchased over 20 frames from them, at all sizes and have not had a problem. So far so good. They are I stay away from Michael’s and Aaron Bros stock frames for my gallery pieces as they give a bargain-basement look which is not what I want. I did however find a frame at Aaron Bros once which really worked with the piece and framed it for a group museum show. Knowing what it was I was all insecure looking at it on opening night thinking “Everyone can see this is a cheap Aaron Bros frame…” Apparently not everyone as it sold early in the show.
    It really is true that a good frame makes a world of difference when it comes to the impact the painting makes, and a quality frame says a lot about the confidence I have in the piece.

  131. a majority of my paintings are done on glass. I buy frames with glass in them and so when I am done they already have a frame. this is great for the originals but once I do Giclee prints (signed and numbered) I run into the same framing problems as everyone else. and when selling a print for $150-300, the frame is often 30-50% of my expense.

  132. Ditto. I lost my certificate of first big achievement as I hadn’t carefully kept it. I think all prestigious documents should be framed. Archival framing doesn’t just save it for long time… it also makes them look better. 🙂

  133. To keep my costs down I buy good quality ready made frames for the majority of my watercolours and Limited Edition Prints. I choose the frame carefully to suit the painting but it also serves to protect the art and enable it to be exhibited. As with the artwork itself, not everyone is going to like it, it would be impossible to please everyone. If a buyer wants to change the frame they can, knowing they’ve not paid heavily for it anyway. I don’t need to sell via Art Galleries yet but if I did the cost of my paintings would triple and I’d still be making the same amount from a sale so surely the only people to gain from my doing this would be the framer and the art gallery?

  134. I had an instructor years ago when earning my Masters degree that told me I should frame everything in grey. I was horrified! My work looks best, to me, when in gold or silver framing with a bit of detail. Being that I do both oil and soft pastel, I have been spending quite a bit on framing costs and never regret a beautiful frame. But…it is difficult when framing 12 – 15 paintings for a show to choose the frames you really want and to find consistency. I’m starting a new series of paintings and do not have gallery representation…how do I justify he cost of framing without prospect of selling?

  135. I used to frame my photographs in frames and mats that I believed would enhance the piece. Then I started working with a couple galleries and they wanted white matts and black frames on everything. Since, they were relatively basic- I made friends with workers at the local Hobby Lobby and they will tell me when frames are half off and then I will use a coupon for glass or matt to get another 20% off, in order to help keep my costs down. They will go through the frames, make sure none have any type of nick or scratch, mount and matt in archival quality and do a really professional job. I make most of my photographs the same size- 11×14 and matt to 16×20, so they know exactly what I need. When it comes to my paintings that I frame (ones that are not gallery wrapped) I also used to pick ones that I think complimented the piece but was told to stick with just a plan black border frame. So, I guess I have a question about all this- does what customers and galleries want vary from region to region and as an artist, should I ask the galleries what type of framing they prefer before I actually frame? I do use a wire hanging system on the backs and that seems to have been acceptable everywhere.

  136. As both a framer and an installer of artwork, I can tell you people expect and demand wires in some cases. I’ve even seen cases where the back of a huge mirror has a suitably huge label which says DO NOT USE WIRE but the purchaser will still put a wire on it. I think using the wires is the way to go. The exception is definition very heavy items, where the weight ought properly to hang directly on the hardware.

  137. My style is more traditional (oil on canvas/linen, still life of ribbon and fabric), and looks best with gold frames. I worked in a frame shop long enough to have an appreciation for good framing, but I have not yet found a source online for gold frames that would “pass” in a discerning environment. If anyone has links to sources of high quality gold frames or framing materials, I’d love to check them out.

    Until I find a wholesale source, I suppose I’ll have to bite the bullet and invest in a dozen custom frames GULP! At least I have canvases in only two sizes so they’ll be interchangeable. I have seen the difference in my own work when a complimentary frame is added. It looks like a million bucks. (Ok, not a million but maybe a couple thousand)

    Thank you for this, and the previous, discussions. They helped me realize that I was doing my art and my business a great disservice by being frugal about my materials. Now that I’ve made that decision, I will be more ready to approach more expensive gallery settings.

  138. Beautiful frame increases the beauty of art ! Choosing a right frame for right picture is a real challenge in framing art. We use plexiglass for mounting images as they are good for providing glaze and protection to the frames. All the beautiful memories must be framed ! Image enhancement is again an another boon to Digital Works these days. Frames must be catchy and impressive to get the maximum attention of the customers.

  139. Picture need frames not only to beautify the artwork but also to protect it from the external souces that damage the artwork , which is invaluable with life long memories to be preserved. Arcylic Material are very popular these days as it gives a classic look to the pictures along with the protection. BEnefits of Arcylic are many but still we need to focus on specific ones so that it proves to be best for the artwork because being in this business every now and then artwork and its related issues are faced on routine basis, So it would be best for every artwork. Many Frames and Art Wrok Business have shown there presence online Such as Paint Box Nolita , American Frames , Caustic Frames.

  140. Hi Jason! I am convinced with the fact that many artists are moving away from frames but that is only because of the wrong choice of frames. Frames should be selected based on individuality of artwork. A right picture frame will enhance your artwork.

  141. The right picture frame will always make or break your artwork. We strive to match as much as possible the art we’re provided or work directly with the artist to bring out their art, rather than overshadow it. If you’re in western washington state, please stop by and we would be glad to help any artist for free!

  142. Hi Jason! I am convinced with the fact that many artists are moving away from frames but that is only because of the wrong choice of frames. Frames should be selected based on individuality of artwork. A right picture frame will enhance your artwork

  143. I just wrote a blog about this. I think there’s a misconception that framing a piece is something that is easy to do. A lot of DIY videos, especially on youtube, have pointed toward this. Do I think there are some good resources that show how someone can become a talented framer? Yes, but it takes a lot of work and dedication, just like any art form, and that is what custom framing is– it’s an art involving chemistry, know-how, carpentry, aesthetics 101…. I don’t think a lot of people realize that the actual materials used in the framing process are as important, if not more important, than the actual frame itself. Do I think you should get something custom framed if it’s not really important to you? That’s up to you, but I don’t think so, just from a monetary standpoint. With that said, if you want something to last, get it done right. Just my two cents.

  144. I won’t spend the money on a frame unless it’s CHEAP. I am done with trying to frame pieces – whether or not they are framed by professionals belonging to any certified framing organization, regardless of the number of years they’ve been framing, etc.. I have gone the entire route over my career – from building and framing pieces myself (too much investment of time better spent painting) to having a professional pick the frame and build it. It has made absolutely NO difference in the reaction of customers to the framing. I have found over and over again that IT DOES NOT MATTER whether the frame is cheap, built by me, chosen and built by a professional – each has had the same number of likes/dislikes. Framing is just too personal and there are just too many choices. Everything I frame now is done with a very, very simple frame in black, white or brown. And I still find that around the same number of people will not like the frame. Then they want me to “un-frame” it, which I refuse to do. I simply tell them it is sold “as is”, and if they want to get it re-framed, they can take it to a frame shop. They think because I could “reuse” the frame, it’s alright to ask me to take the frame off and the price of the frame off of the art piece as well. I am just not going to do that, because chances are, I will probably NOT reuse that frame. I’ve found that to be the case more often than not. More often, I simply don’t frame pieces any more. I paint on canvases that don’t require a frame – and have completely ELIMINATED the whining about frames.

  145. Well, the advices are well enough to fix your frame into the older ones. But, yeah I would add a little into it and advice you to rather use a cardboard as a mat & fix it to the frame. You may have to use some solutions too while fixing these or else you may contact a custom framer & I know one of which is PaintboxNolita. You can rely on them for your framing solutions.

  146. I like how you said that everyone has different needs and tastes in regards to the presentation of an art piece. My wife would like to get into painting and she wants to make sure that she can keep the pieces that she makes in good condition. I’ll pass this information along to her so that she can find some nice frames to help her accomplish that.

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