Tuesday November 18, 2025
Framing Matters - Chapter 1
I didn't really learn about the importance of framing until after graduating from art school.
As a frugal student living off my part-time work study job, I never considered it necessary to invest in frames when a tidy canvas edge (in the case of a painting) or some tacks, magnets, or clips for works on paper would do just fine.
Framing my work in college didn't fall on my radar until it was time to consider my BFA show. I had nine large marbled prints on paper, and my department head, Maggie, brought it up during one of our meetings. We priced out what it would cost to buy the materials and do it ourselves, and (if memory serves me) it was around $500. It was expensive for me at the time, but I felt ready to make that kind of investment in presenting my work.
After college I started framing my black and white monotype prints for exhibitions. I decided on a rigid formula that worked for me at the time: Black frame with a black mat--I cringe now lol! And I bought my share of particle board frames from Pat Catans (RIP), Michael's, and Hobby Lobby. An artist friend taught me how to cut beveled mats with two clamps, a yardstick, and a sturdy table.
In September 2018, I got a job managing the frame shop for Hudson’s Joann Fabrics (RIP). It opened my eyes to an incredibly important aspect of being an artist that before had been an afterthought. The first six months to a year were so stressful and pushed me out of my comfort zone more than any other job I'd had. Looking back, I feel so proud of myself for how much I learned and grew in my appreciation for the art of framing. It is an art!
The original idea I had for this post was to share a list of some lessons I’ve learned from working in a frame shop. I started off with just practical framing advice, but then some of them started getting philosophical, and now I’m overwhelmed with the amount I have to say!
For today’s post, I’m going to keep it simple.
Framing isn’t and shouldn’t be an afterthought.
It’s everything, actually. Or a really big part of everything.
How a piece is framed influences the message of the art itself, whether we like it or not.
If we choose not to put a frame on a painting, it could be a conscious choice, but it could also be a sign that we haven’t considered how a frame could work with our painting to create an even deeper impression on the viewer.
Works on paper—not always, but in my opinion—will look incomplete unless they’re in a frame. Unless the artist has a very specific reason not to frame their work on paper, seeing a piece unframed in a show communicates negligence to me and the mindset I used to have: “A frame doesn’t matter if the artwork is good enough.”
No. That is completely wrong!
A frame is what communicates to viewers that this is something which should be considered and taken seriously.
The presence of a frame tells the viewer that what’s inside it is of value and worthy of protection.
It isn’t just the presence of a frame, though. It’s also the quality and style of the frame, how the piece is mounted, what kind of glass is in the frame (if any), and the design of the mats surrounding the art (if any).
When the artist isn’t aware of these things and considers framing to be an afterthought, they may not notice how their decisions are having a detrimental effect on how their work is being perceived.
I believe that even if people don’t have an insider knowledge of framing, they pick up all these cues on a subconscious level. After my first weeks working in a custom frame shop, I could see them all the way across the gallery.
When I’m looking at work hanging in a show, there are aspects of the framing which now stick out to me like a sore thumb:
Cheap storebought frames. It’s a tough pill to swallow, But unless the artist really knows what they’re doing, they will cheapen the viewer’s perception of the art inside it. A giveaway is if the mat around the work is narrower on the top and bottom than the sides or vis versa.
In the same vein: Using Goodwill frames. I know people are trying to save money and upcycle, but these frames end up looking like an afterthought and unintentionally cheapen the work, as well.
Using an antique frame on a piece that isn’t suited to that style. Again, unless there’s a specific reason where an antique frame is just the right choice, it will create a jarring effect in the viewer.
A mat which is poorly cut or doesn’t have a 45 degree bevel.
An old mat with a yellowed bevel
A mat with smudges on it.
Artwork with no mat which is pressed directly against the glass.
Thin, plexiglass (usually in storebought frames)
Chips or scratches in the frame (unless it’s intentionally rustic)
Glass that isn’t clean on both sides or has scratches in it.
I could sit here thinking of more, but those are a good start.
This could come across as very snobby, I realize. I know there’s a time and place not to care about all these things and just throw a piece in a cost-conscious frame. But I hope that as someone whose job it’s been to consider art presentation all day, I’ve made a point for artists to think more deeply about the part presentation plays in their work! When we care about our work, we have to care about all aspects of it.
The second moral of this blog post is that I believe every artist should spend at least three months working in a frame shop. Or there should at least be a framing course taught in every art school! Without really taking time to consider the impact of framing on their artwork, artists are really left at a disadvantage.