STARTING TO EXHIBIT YOUR WORK - some hints from CLARE BLOIS

 Artists who regularly sell their work are likely to agree with me that their most memorable sale was the very first one made to someone who was not a friend or relative!  When your painting communicates enough to a complete stranger that they are willing to part with money for it, it is a truly gratifying experience.  like many others, I sold my first painting at the ASI Annual Exhibition (circa 1991 I think) and every summer we all look forward to seeing new names in the catalogue.  For those starting out, here are a few pointers that will hopefully lead to success!

Which to choose?  Only you can decide, but bear in mind that subject matter personal to yourself (your house, your children etc) may not appeal so much to others.  Also, very large works are much harder to sell.  Consider your titles carefully: 'Winter Landscape' will connect with more prospective buyers than 'The View from the A9 just before the Tore Roundabout'.  Before framing remember to sign your work, keeping your signature not too enormous.  You may also want to take a photograph for the record.

Framing: yes it does matter a lot.  When in doubt, keep it simple.  If you look at a painting at an exhibition and notice the framing first, then it is wrong!  (be wary of exciting suggestions from a framer looking for a challenge).  If the cost of professional framing scares you, you can start off by buying 'ready made' frames without too much difficulty.  On no account make your own frames unless you are a joiner and do not use old battered frames from the attic.

Work on paper needs a mount and a glazed frame.  Use a good wide mount (or better, double mount) and if you are temped by bright colours, I would suggest visiting a gallery and counting how many mounts you can spot that are not white, cream or ivory!  With a few rare exceptions, neutral mounts really do look best.
A narrow frame is fine for a mounted painting, although for a large one the frame has to be strong enough to hold the heavy glass.  If you are unsure about moulding, you cannot go wrong with something plain.  Plain wood can be finished with a coat of wax polish or lime-wax (which gives a distressed white look to it).

Oil paintings do not need to be glazed, but some artists choose to frame them under glass for a number of reasons (hopefully not because they are wet!).  Glass gives protection from dust and can ass depth to a painting.  The big disadvantage of glass on a painting is the trouble caused by reflection and this can present real difficulties, especially in hanging oil paintings with dark or rich colours.
So the choice is yours, but glass or no glass, an oil painting needs a 'slip' between the painting and the frame.  This is in effect a narrow inner frame, which keeps the glass off the surface of the painting, but in my view it is equally important to have on an unglazed oil. 
Oil paintings need nice wide frames - try not to be mean or you will not be showing your work to best effect!  Again, keep it simple and avoid colours - a coloured frame will put a buyer off immediately if it is not the colour in their living roo.  I also have a theory that heavy black frames appeal mainly to men and often it is not the man who gets to make the decision on the purchase!

Glossy varnishing has had its day, although a coat of retouching varnish can even up any dull patches on an oil painting.  Acrylics can be framed like oils or, if on paper, mounted under glass.

If you want to leave your canvas unframed, then it must be a thick 'box' canvas.  The sides can be painted round or not, as you choose.  You still need rings and cord.

Hanging: be professional.  Your work should not look scrappy on the back and the glass should be clean with no fingermarks.  Label clearly (price always in pencil).  Hanging rings should be screwed into the frame one-third of the way down and cord or wire should be as tight and neat as possible.  Do not use household string as this will break after a few years.  Nylon cord is best.  Check your knots!  I had one give way recently at an exhibition and I was very embarrassed when I heard.

Pricing: there are no magic formulas for working out the price you should ask and (sadly) it may not bear any relation to the hours you put in, nor to what other artists get for similarly sized works.  Take into account the cost of framing, the rate of commission and other expenses such as entry fees and transport costs.  Then do the maths and decide if you would be happy with the result.  Setting prices too high at the first can lead to disappointment and you can always increase your prices next time!  Do not be afraid to ask advice from other ASI members.

Finally, deliver your work and be proud to see it hanging!  See you there!