ONEYE wrote:Framers, producers of mats, fillets, liners, and frames all want a piece of the action. They saw the boom in the print market, saw the prices that some of the flippers were getting, and have been raising prices ever since. Once this collectible genre's bubble bursts, and prices for a majority of prints being sold, re-sold, drops (like they have for action figures, comic books, sports & non-sports cards, thing will return to semi-normal. Now, there will always be certain prints that will command premium prices. However, it's bound to fall. When people start framing less and less, there will be a price drop. Till then, stop framing, wait it out. No rule says you have to frame.
I've been framing for 18+ years now, we price our materials at my shop using the same formula that my boss used when I first started. I would say we've seen prices rise by 25% over that time, to suggest that framers are specifically riding a "boom in the print market" is ridiculous. It's been a slow steady increase just like everything else. And we frame anything, just like we always have.
There have been leaps and bounds in the quality of some product lines which comes with a price. 20 years ago most people could care less about archival mats and backing. Acid-free foam cores, Museum Anti-Reflective glass, high quality acid-free mats, this stuff wasn't used/available even 25 years ago. Moulding production has also improved dramatically, finishes and textures have come a long way. So there's a lot more variation in pricing nowadays. I was doing archival designs for $185 this weekend, they weren't complex but they did the job. And conversely I can do designs on the same prints 5x that, moulding prices range widely, $7/ft vs. $50/ft, big difference. Fillets, hand-wrapped mats, custom paint jobs, everything has to cost something.
So if you want cardboard backing and paper mats with an inexpensive frame like you could get in the '80s and '90s, I'd bet you could frame an average gig poster for under $100. And your kids can bring them back to the framer in 20-30 years asking what can be done to salvage them, just like we do for the old gig posters framed before anyone knew better.
Maybe a better option than "waiting it out" would be to find a good framer you trust and develop a stronger relationship with them. I have never met a quality framer who didn't take care of his/her long time clients.