We’ve covered works on canvas and works meant for a pedestal, now it’s time to get into the nitty-gritty of 2-D presentation. Matting, glazing and choosing the right frame can make or break a piece. Galleries want to see the work, not the frame. As I mentioned on Tuesday, the presentation of the work you hang in your home can vary from that of what’s desired by a gallery. When figuring out what will work at home, go wild if that’s your thing.
Matting
What should be matted? Works on paper including printmaking, drawings, photographs, and digital prints. All works on paper should be matted or mounted on acid-free (archival) matte board. When choosing a matte, galleries prefer the color to be white, off-white or cream.
When placing artwork in a matte, the piece may “float” within the matte’s edges or the matte may be beveled against the edge of the artwork. The matte width should be proportional to the size of the work, but is seldom narrower than two inches. Don’t be shy about using a wide matte. Many tiny artworks look great in a 4 inch matte. At the discretion of the artist, a matte may be “weighted” – slightly wider at the bottom (a nice border is 3 inches on the top and sides and 4 inches at the bottom).
Glazing: Glass or Plexiglass?
When choosing a glazing material consider the medium and the size of the artwork. Plexiglass is lighter in weight than glass. For works sized between 24-30 inches, use 1/8 inch Plexiglass. For larger works sized between 40-42 inches, use thicker Plexiglass (depending on the proportions).
IMPORTANT: Pastels and charcoals must be framed using glass because Plexiglass produces a static electricity charge which attracts the drawing materials away from the support, despite the use of fixatives, creating a cloudy effect on the Plexiglass. When glazing pastels, allow for a space at least 2 mattes thick between the artwork and glazing materials.
Choosing a Frame
When choosing a frame, consider the subject matter and style of the painting, drawing or print. Also, consider the scale of the frame to the painting. The frame should compliment but not overwhelm an artwork. Wooden, and not metal, frames are strongly recommended for paintings.
Choose a quality frame for matted works. Frames in natural, light colored wood finishes work well in a contemporary gallery setting. Also acceptable are “Nielson”-type or other metal frames that are silver, gold or black in color (a shiny finish is preferred to the brush finish). The color on the black metal frames does tend to chip off, but if chips are small, they may be touched up with a black permenant marker.
To keep very large or heavy works from bowing, use a wider frame and thicker gauge of metal, otherwise the glazing material will pop out and cause damage to the work itself. If the artwork wants to “torque” and bend, they include a structural support crosswise to the hanging device. Another option is to add a piece of 1/8 inch masonite behind the work to support the frame’s structure.
Wiring and Finishing
Appropriate wiring is a big deal! Securely attach a wire to the frame or backside of the artwork (whichever is more secure) with either screw eyes of mirror hooks. Place wire holders approximately one-third of the way down from the top of the piece. The wire’s length, when grabbed in the center and as it holds the weight of the work, should come halfway between the wire hangers and the top of the piece.
For wooden frames, use either screw eyes or mirror hooks. Attach screw eyes parallel to the back of the work so they do not poke outwards and prevent work from hanging flush to the wall.
Metal-section frames provide a channel. Attach wire holders that slide into the channel and screw down, not the type that holds in place via tension. The tension sometimes releases during the exhibition.
For large, heavy works, securely attach larger mirror hooks or D-rings at appropriate height (one-third from top) on backside of the frame. Make sure the D-rings are a the same height so the piece will hang level. In most cases, saw-toothed hangers are STRONGLY discouraged, especially for large, heavy pieces.
That’s it! You’re ready to present your work to a gallery- but wait, there’s more! There is all manner of hanging widgits and devices that promise to make framing, wiring and hanging your work easier – not all work and many are frowned upon by galleries. Check back tomorrow for a list of “don’ts” (or, “how not to make your curator mad”)
The Indianapolis Art Center is now accepting applications for the 41st Annual Broad Ripple Art Fair. Apply at 
