From: Clay (wcharmon@wt.net)
Date: 06/28/03-07:46:26 AM Z
Some pecuniary considerations:
Having just participated in a local fund-raising show, I observed that
buyers definitely prefer a matted print over an un-matted print.
Framing also would probably be big plus to a potential buyer, but the
problem is the economics of the deal. A good frame will add fifty to
one hundred dollars to your direct cost of a print. But in many
situations, you will only be keeping 50% of the total selling price, so
you in effect are subsidizing half of the frame cost directly out of
your profit. I dealt with the problem by selling only matted work, but
let the buyers know that they could contact me later, and I would sell
them a frame 'at cost'. This seemed to keep everyone happy.
Esthetic considerations:
As far as matting esthetics go, most of the artists seemed to stick to
the basic gallery white matboard, although there were a few(I'll bet
less than 10%) that were mounted in black mats. I noticed a few people
who rigorously observed the old salon rule of matting the print in the
'optical center' of the board. I find that this looks ridiculous for
most prints, however. If you are curious what this, I am sure that you
could Google on 'optical center matting' or 'esthetic trainwreck' and
find a description.
My two pesos worth.
Clay
On Saturday, June 28, 2003, at 08:22 AM, John Cremati wrote:
> I was wondering if any one had any suggestions or theory's on matting
> and
> framing B&W work to enhance the image..Color, tones of mats and
> frames ,
> Frame types., Mounting.. techniques, materials, ect.. ?
> Do you frame your work for shows or just mat them..? Do you find that
> framed images sell better at shows than just matted..?
> John Cremati
>
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