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Chris Saper · 02-01-2002, 05:09 PM

Dear Mary,

Great Question...

Pastels:

I deliver all pastels in a complementary satin gold metal (VERY inexpensive ) frame, matted in archival materials. I encourage people to go to a real framer, and that I will buy their frames back after the final frame is done. Because I buy all these frame pieces in bulk, it rarely costs me more thn $30 to "buy" them back. Even if can't always re-use them, it is worth it to have my work viewed in its best light...a proper frame. I tell them to think of my gold frame as a "safe carrying case" until they decide on a permanent frame.

When I have them over to review the painting in process, I always cut the mat and have them see the piece in the mat...or occasionally in the frame if I worrry about smudges.

Oils:

I have clients review thier oils while the canvas is on the easel, and in this case, they would be unframed. They seem to respond favorably to the "process" insight (which is different from pastels in process, because there can be ragged sloppy edges on the paper, or little color experiments along the border that will eventually be hidden by the mat.)

When they come for a final review, I prefer to have the painting in a "review frame". Since I can so often work in standard sizes, I have several basic, but fine quality frames that I can pop a painting into temporarily. For most people it is easier to envision the final piece in their home with a beautiful frame on it.

For delivery, sometimes they will take the piece straight to a custom framer (I have a recommended list). Even so I would rather not have an unframed painting sitting in someone's home, even for a day. I think that the piece is diminished by raw edges, stretching debris, and often by the absense of a substantial border.

Alternately, I will sometimes send the painting with them in its review frame, taking a deposit which I return at such point as they replace the frame. Often, they are happy with the review frame, and keep it and I am happy too.

Now all of this I do because I HATE framing, I am not good at it, and I do not want to BECOME good at it. It can take as long to help someone choose a frame as it does to paint the portrait!

Chris

02-01-2002, 05:09 PM	#2
Chris Saper SENIOR MODERATOR SOG Member FT Professional, Author '03 Finalist, PSofATL '02 Finalist, PSofATL '02 1st Place, WCSPA '01 Honors, WCSPA Featured in Artists Mag. Joined: Jun 2001 Location: Arizona Posts: 2,481	Dear Mary, Great Question... Pastels: I deliver all pastels in a complementary satin gold metal (VERY inexpensive ) frame, matted in archival materials. I encourage people to go to a real framer, and that I will buy their frames back after the final frame is done. Because I buy all these frame pieces in bulk, it rarely costs me more thn $30 to "buy" them back. Even if can't always re-use them, it is worth it to have my work viewed in its best light...a proper frame. I tell them to think of my gold frame as a "safe carrying case" until they decide on a permanent frame. When I have them over to review the painting in process, I always cut the mat and have them see the piece in the mat...or occasionally in the frame if I worrry about smudges. Oils: I have clients review thier oils while the canvas is on the easel, and in this case, they would be unframed. They seem to respond favorably to the "process" insight (which is different from pastels in process, because there can be ragged sloppy edges on the paper, or little color experiments along the border that will eventually be hidden by the mat.) When they come for a final review, I prefer to have the painting in a "review frame". Since I can so often work in standard sizes, I have several basic, but fine quality frames that I can pop a painting into temporarily. For most people it is easier to envision the final piece in their home with a beautiful frame on it. For delivery, sometimes they will take the piece straight to a custom framer (I have a recommended list). Even so I would rather not have an unframed painting sitting in someone's home, even for a day. I think that the piece is diminished by raw edges, stretching debris, and often by the absense of a substantial border. Alternately, I will sometimes send the painting with them in its review frame, taking a deposit which I return at such point as they replace the frame. Often, they are happy with the review frame, and keep it and I am happy too. Now all of this I do because I HATE framing, I am not good at it, and I do not want to BECOME good at it. It can take as long to help someone choose a frame as it does to paint the portrait! Chris __________________ www.ChrisSaper.com