In the past three years, The Center for Fine Art Photography has exhibited exceptionally
fine photographic art by artists from all over the world. Some work is designed such that
traditional framing is not appropriate. However, most of the work is traditionally framed. That is, the image is framed by a metallic or wooden frame, a single or multi-ply mat with a glass or Plexiglas cover, and dust-cover back. Each element is important to the presentation and preservation of your work. In this issue of Artists’ ShowCase we briefly highlight the important role of matting.

Matting serves three purposes: to isolate the image from its surroundings—thereby focusing attention on the image, to keep the image from touching the glass, and to color coordinate the image with its surroundings.

The width of the mat is dependent on the image and the artist’s preference. Generally, the wider the mat, the more it serves to isolate and focus attention on the image. Visualize a three-inch wide mat on an 11x14-inch print and a three-inch wide mat surrounding a 4x5-inch image. The same three-inch margin will create a significantly different affect when viewing the prints.

Ever see a print where part of it is touching the glass? It creates all kinds of unexpected and unwanted distractions. But what if all of the print is touching the glass? That is, there is no mat. Is that ok? Not if you’re serious about your work being respected by knowledgeable curators and collectors. Images that are touching the glass can be damaged and deteriorate with prolonged contact.

Color coordination is an important issue when exhibiting a print in group or solo shows. Generally, when all of the matted work in an exhibition uses the same color tone, such as white, the exhibition looks clean, professional, and viewers are not distracted by a kaleidoscope of colors. When a gallery requires white mats, be sure that you do not use slightly off white as they will bring unwanted attention to your work, or worse, eliminate it from a show. If you are interested in presenting your work for sale or wish to avoid long-term discoloration, acid-free, archival quality mats must be used.

Please note that one function of mats is NOT to serve as a place for the artist’s signature. Your signature belongs on your art work for several reasons. First, it is a stamp of your authorship. Your creation is the image, not a mat. Second, over years mats get damaged and replaced. Third, it is not uncommon for purchasers to re-mat work to better conform to the décor in which it will be shown. In the latter two instances, all traces of your authorship will have vanished. If you are reluctant to sign your work in the image area, consider signing the print in an extended white border below the image.

The top example is as framed by the artist, Shaun Sullivan, Motel Salton Sea