Ready to Hang: Works on Canvas

Ready to wear, ready to go, ready to hang–as a curator, I’ve seen a variety of methods artists use to hang their work. HOWEVER, there are several artists who are so intent on creating their work, they forget it needs to be displayed as well.

There are a variety of surfaces artists work on, so we’ll tackle one per post. Here, we’ll focus on Works on Canvas, of which my gallery has a lot of dealings. 

First thought for artists, ‘Canvas, easy to easy to hang!’ A frame, a wire, even the dreaded saw-tooth hanger can be used, depending on the size of the canvas. The larger the piece, the larger the tools to hang it. Use a heavier wire for larger pieces, and something as simple as fishing line can be used for small pieces. But you must USE SOMETHING. Hanging an unwired canvas on the wall makes for potential fall–the rhyme was unintentional, but the sentiment is true. Also, for those who wrap their own canvas, the nail may get caught in the canvas itself, potentially ripping the canvas on the back and threatening the integrity of the piece for your buyer.

UNFRAMED CANVAS

Eyelet screw/wire on inside of frame, the painting lies flush to the wall.

Mind the gap: eyelets screwed on outside of frame create a gap against the wall.

First, think of your sides. Do you want to wrap the painting around the side, or do you want a clean edge? Do you want the ‘gallery wrapped’, or the stapled sides? NOTE: Stapled sides do NOT show well unframed. This matters with some buyers. 

Wiring your canvas is the simplest, cheapest, and most convenient method. Purchase a pack of eyelet screws and a roll of wire–NOT the kind that requires crimps!–screw the eyelet in the INSIDE of the wooden frame. Why the inside? Because when it’s on the outside of the wooden frame, the eyelets make the piece tilt away from the wall. 

 

Do not put your eyelets too close to the top–I generally begin about a third of the way down. Measure your wire, and wrap the wire through the eyelet. Leave enough for a secure wrap–too little, it’s not secure, and the weight of the canvas will pull the wire loose. Too much, and your wire could potentially show OVER the painting, which is never a good look.

FRAMES

Frames are another animal completely. They are great for canvas boards, but will increase your personal investment in the work. Buyers in my area also want to choose the frame themselves, perhaps something that matches the rest of their decor. Other buyers don’t like the frame the artist chose for the work, and want the option to purchase without. 

If you decide on a frame, then choose one that fits your piece’s composition. Keep in mind, the frame itself could cost more than the painting, and will raise your retail price by that much.

Putting your canvas piece into the frame:

Three options
1) have the framer do it. Done. 
2) use clips. Examples below.

Doubly secure.

One screw: goes into the frame.

Fit around the stretcher bars and ‘bite’ into the wooden frame.

 

 

 

 

 

 

 

3) Glazing Points. I use this method–I have a glazing point driver, points, and needle nose pliers for pulling the glazing points out of the frame. This works for both canvas and when framing flat work with glass, so you’ll see me bring it up in the next post. 

 

 

 

 

 

Points can be applied using the flathead screwdriver method, as seen in the second picture, when using a package of glazier’s points, seen in the first picture. Not recommended for beginners.

Glazing drivers cost around $30, and make the job effortless (once you’ve figured out the right pressure and angle for ‘shooting’). I have a glazing driver, both as an artist and as a curator, as it’s handy for both jobs.

When wiring with a frame, use the wire on the frame–the frame adds weight, and wiring on the canvas alone (unless it’s a light, thin frame) could put too much tension on the wire. I recommend ‘d rings’; just check the length of the screw with the depth of the frame–otherwise, the frame will have an unattractive “point” to make on your measuring abilities, face out to the world.

 

Speaking of, now you’re ready to showcase your canvas piece! Curators and buyers will appreciate your efforts, and your attention to detail.

 

*Ms. Wakefield notices all the details, no matter how small.

Word on Percentages

Every gallery charges a percent, a commission. Many people try to figure out how to up their prices with the percentages, but I have an easy way to do it.

HOW NOT TO DO IT: Just a minder, this is how NOT to figure your percent, and I’ll explain why.

You want $75. You know the gallery takes 40% commission, so you think, “Okay, so 40% of 75 is 30. So I’ll just add 30 to 75 and have my price!” So you turn in your piece with a price of $105. HOWEVER, the Gallery is going to knock 40% OFF of $105. Guess what 40% of 105 is? $63. Now you’re wondering why you received a check for $63, and I will tell you, bad math just cost you $12.  And don’t think this is a small thing–the difference is larger the more “net” you want to receive. For instance, using this formula, if you wanted to net $600, you could come out $96 short!

This is what your (incorrect) little equation looks like: 75 X 40% (OR 75 X 0.4) = 30 You follow up the equation with a second one: 75 + 30 = 105. THIS IS WRONG.

So how do you figure the adding of 40% to your price? $75 is 60% of the total price you want it to be, right? So to wind up with the correct price–pay attention, because this is HOW TO DO IT–you divide 75 by 60%. Answer is the amount the gallery will charge: $125. NOW take your figuring from before, and multiply $125 by 60% to figure how much you’ll receive. $75, the end result you wanted in the first place!

This is what your NEW equation looks like: 75 ÷60 (OR 75 ÷ 0.6) = 125 THEN TO FIGURE OUT FROM THE GALLERY’S END: 125 X 60% (OR 125 X 0.6) = 75.  You always want the end result to be your net. You can change the numbers–if the gallery does 30%, then figure with 70% (because that is ultimately what your cut will be from the final figure).

Oh math, you fickle subject for artists. Where to multiply, where to divide…at least here, I’ve given you a tip I hope becomes imprinted! Our customers often find it confusing as well, as does any customer who doesn’t understand why 10% off plus a 10% off coupon does not equal 20% off the total price. (which is a subject for another day*)

Percentages are not the only grief causing math problems…

 

*okay, first you take the price, then take the 10% off. AFTER that, take 10% off the reduced price (for instance, a $10 item would actually cost $8.10, not $8). It’s tricky tricky, but retail clerks everywhere will appreciate you not fussing because you thought 10% off plus 10% coupon equals a total of 20% off. It can be a small difference on an inexpensive item, and less off than you thought on a larger item. Because do you really expect a 20% off coupon plus an item that rings 80% off means that item is free? No way!

*Ms. Wakefield spent several years working at a big box chain store. This has changed her attitude towards retail probably for the rest of her life.

E-Mail No-Nos

Received E-Mail.

Hey my name is (removed), I would love for you to consider my art in the galleries. Thank you ,

Gallery Submission Advice. When e-mailing galleries, it is best to start the paragraph with a “Hello”, as “Hey” is a bit too familiar for someone you’ve not met.  Note I said “paragraph”; flesh out your request with engaging questions.  Ask if the gallery is accepting submissions at that time, and include a question on how you can best submit work to be considered. Be sure to include images* or a link* to a web-site. Close the e-mail with your name, e-mail, and any contact information you’d like to include.

Received E-Mail.

Dear heather,

                 I am a fellow artist from chicago, who currently resides in (removed). Ive been painting and doing anything art related all my life. I took classes at the art institute of chicago and majored in art at Northern Illinois University, Harold Washigton college and Chicago State University. However since moving to (removed)  ive been searching for an orginization that deals with art. I am very interested in learning about the (removed) and if I can participate in your events. If so, please email me back. I can send photos of my work to show my skill.

Thank you and have a blessed day.

Gallery Submission Advice.  When sending an e-mail to a potential gallery, do not address the curator by a shortened version of their first name. Be consistent with your punctuation and capitalization efforts.  In this particular e-mail, if all had been lower-case & punctuation had been removed, okay, maybe that’s a part of your artistic signature–I’ll give you the benefit of the doubt.  However, spell check is always your friend, always.  Sign your name at the end of the e-mail, include a link to the web-site if you have one.  This particular artist did not sign the name, and I could not tell the order of the name based on the e-mail’s tag.  I guessed.

Received E-Mail.

Hello!!! My name is brittni and I love to make art!!!!!!!  I’d love to bring some by!

Gallery Submission Advice.  No.

Received E-Mail.

Please call me at (removed) re pottery vendors

Gallery Submission Advice.  Do not make demands of me.  I’ve not met you, I’m not interested in being ordered around, even if you use the word “Please”.  I will not respond, and I certainly will not call you.

Gallery’s Response.  Ultimately, this is a blanket response to any of these submissions.  Other galleries may not waste their time.

Mr. (removed),

 I meet new artists by appointment only, and do not have an available spot until next week.  You will have to call me to arrange a meeting. 

 If you have a web-site, or would prefer to send jpgs as an example prior to a meeting, send the link or images.  

Thank you.

–Heatherly Wakefield
(company & phone number removed)

 Gallery Submission Advice.  RESPOND TO ME.  I gave you the courtesy of my time, offered to see your work in the politest way possible, and never hear back from you again.  This certainly does not help your chances, and does nothing to help you gain experience in the art world.

*Images should not be overly large, or too small.  Go with a medium sized jpeg.  Make sure your image is clear, in focus, and in unaltered colors.

*Always check your links!  Broken links reflect badly on you, and if your site is “Under Construction”, then I am “underwhelmed”.

 

*Ms. Wakefield has been receiving e-mailed gallery submissions for several years.  She has yet to see one that makes her jump on her chair and scream in horror.

Tips on Getting Artwork Seen by Curators

Hello, future artists of our Gallery.  Just thought I’d share a few tips on how to approach an art gallery when submitting your work:

The Approach.  Curators, gallery managers, director of fine arts–whatever their titles, they do not live in wait of the next artist to come in with a portfolio to review.  We have full-time jobs, most of which involve rearranging art, mailing out purchases, checks, and postcards, as well as dealing with retail records, inventory reports, etc.  We are busy, and the best way to approach us is to make an appointment.  It will be a strike against you if you fail to show up.

Calling.  Always introduce yourself within the first two sentences.  When describing your work, do not use these adjectives: outstanding, amazing, unique, fantastic.  I do not need help figuring this out if it truly applies to your work.  If you have difficulties describing your style, keep to the basics; nothing irks me more than “Have you heard of Jackson Pollock?  It’s kinda like that but different.”  Assume someone working in the art industry is familiar with art history.

E-Mail.  Love it, a great way to reach me with your website information.  I can look at it once I have a free moment, or can view it immediately if I’ve the time.  Before I continue, I will mention I was raised by an English teacher, so grammatical errors and multiple exclamation points irritate me.  If you type like a valley girl from the ’80s, then you will not receive a reply.  Consider your submission akin to a cover letter for a job application: keep it short, to the point, and professional.  If you attach images, resize them for easy download.

Technology.   New technology is great.  However, actual work is always more preferable than viewing images on an iPhone.  If you must use your iPhone (or any other handheld gadget), then please for the sake of all modesty, remove pictures of your genetalia.  I am not interested in those, or any other personal pictures.

The Portfolio Review.  Make sure the work within your portfolio is current; student work from 1997 is no longer relevant.  Photocopies or poorly printed scans of work are also not relevant, and considered very unprofessional.  There should never be a clown in any part of your portfolio; this is my personal preference.

Education.  By all means, tell me where you went to college.  If you put your college education to good use, it will be apparent in your work.  Other than that, your alma mater does not impress me.  I have many successful, talented self-taught artists who’ve received no formal training.

The Review.  Please be courteous to me.  Your attire does not bother me — artists come in all shapes and sizes, and all styles of clothing.  I am not here to judge how you look, I just want to see your work.  If your work is on paper, and I want it in the gallery, it needs to be framed.  (FYI, Michael’s often runs great deals on their frames, other stores run sales, and even Goodwill & Salvation Army have inexpensive frames–black spray paint can work wonders on an old frame).  Canvas work needs to be strung with a wire; this is easy to do, and only costs a couple of dollars (if I have time, I can show you how to do this—just ask!).  I will review your work, and if it fits the style and price point of our gallery, I will accept it immediately.   Here’s another tip: have an idea in mind of what you’d like to charge for your work.

Please, when framing your work, (if you frame it yourself) look at the matts.  If there are numerous pieces of dog/cat/human hair, brush them off.  Clean the frame and glass if it’s dusty or smudgy.

Pricing Your Work.  This is the tough part.  We have a commission–all galleries do.  We do not charge you anything unless your work sells, so please do not haggle over the commission.  What does commission pay for?  The lights directed at your painting, the air conditioned climate control, the constant advertising, the sliding walls for storage, the credit card machine used in transactions, and the insurance that covers disasters.  If you argue the commission too much, I will wish you luck in selling the work out of your studio; galleries are not right for every artist.

The Rejection.  If I feel your work is not right for the gallery, I will direct you to other locations.  Not all galleries do this, so research galleries within your area and follow these tips when approaching each one.  Also, you can always ask a gallery why they feel your work is not right for their space — there could be an opportunity to improve your presentation, technique, or issue with multiple exclamation points.

Good luck!

Ready to e-mail a gallery?

*Ms. Wakefield has been a Director of Fine Art since 2008, and has been rejected from numerous galleries since becoming an artist in 2000. However, she has shown in museums, galleries, studios, and churches–actual churches, not Church’s, which has damn good fried chicken.