Art Business Today June 2013

ARTTODAY

BUSINESS ÂŁ6.50 June 2013 www.fineart.co.uk

Building something beautiful . . .

Bespoke framing mark-ups Copyright factfile Web design tips ART & FRAMING INDUSTRY AWARDS WINNERS 2013

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4 June 2013

ART BUSINESS TODAY

NEWS

CONTENTS Art Business Today June 2013, Issue 3

First published June 1905 as the Fine Art Trade Journal

BUSINESS

REGULARS

26 21 years of excellence Coverage of the 21st art and framing awards event 32 It’s all about your image A trip round the HQ of leading image processor Metro Imaging

8 Trade news 21 Face to face: Howard Robinson 23 Product news 47 Business tips for artists 59 Trade secrets 60 Pete Bingham’s agony 62 Branch news 63 Letters 64 B2B: classifieds 66 Last word: Phil Barker, Tetenal UK

ART 38 Copyright factfile Keys facts about copyright, licensing and protecting your images 42 Caught in the web Alyson B Stanfield helps artists design effective websites

FRAMING 48 Understanding mark-ups Know the difference between gross and net mark-up, says Mark Wilson 54 A historical challenge Ian Dixon GCF makes a double-sided frame on a swivelling base 56 Putting the customer first A profile of framing supplier Mainline Mouldings

www.fineart.co.uk

COVER

12

COVER STORY Building something beautiful . . .

Floral Story III on Grey by Lisa Audit, an open edition print from Wild Apple Graphics (16x16”; print ref 11435).

Beaver Lodge Prints are the newly appointed UK distributor for Wild Apple Graphics. www.beaverlodgeprints.co.uk See the advertorial on page 36

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26

26

ART BUSINESS TODAY

June 2013 5

ARTTODAY

BUSINESS

Art Business Today Published by the Fine Art Trade Guild 16-18 Empress Place, London SW6 1TT, UK T: +44 (0)20 7381 6616 F: +44 (0)20 7381 2596 info@fineart.co.uk www.fineart.co.uk Publisher Louise Hay louise@fineart.co.uk

The fragmentation of the print industry ow the print market has changed. 20 years ago it was dominated by big publishing companies; offset litho printing was too expensive for most artists, and before the internet finding effective methods of distribution was even more challenging than it is today. The art and framing hall at Spring Fair Birmingham was dominated by huge expensive stands, some of them running over two floors. Our best-selling image surveys invariably consisted of prints from Venture Prints, Solomon & Whitehead, Rosenstiel’s and The Art Group, to name a few.

Today, the industry is much more fragmented. It’s largely made up of selfpublishing artists and ‘boutique’ publishers with a small portfolio of artists.

Attempts to find the industry’s best-selling images are much harder, as each gallery sources and sells very different work, often from local artists.

Artists still have a tendency to underestimate the challenges and costs of distribution and marketing, but the internet is there as a tool for those who are prepared to invest in it. I typed ‘buy wildlife art’ into Google today and one of the first names to appear was that of independent British wildlife artist Jeremy Paul, not a big multi-national. Similarly, ‘buy botanical paintings’ reveals the wonderful website of Rosie Sanders, followed by that of Ann Swan. Artists can get their work in front of a global audience if they are prepared to work at it and they have the aptitude.

In the old days, artists relied on publishers and galleries. Now, business skills are essential, as there are so many routes to market to assess, manage and promote. The art industry is mirroring the music industry; the big record labels don’t have the hold that they used to. Musicians can post their work online, advertise their own gigs (and those of other musicians they admire) and ensure that they are talked about on social media sites. When I was a teenager we just listened to the top 40; now young people have access to an incredible range of music and they typically embrace a whole range of tastes and genres.

While this fragmentation and the growth in prominence of indepent artists is exciting, for artists and consumers, it makes artists’ lives more complicated. It’s no longer a question of fighting to be taken on by a big company; instead, you have to work at promotion and sales yourself, as well as producing great art.

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Editor Annabelle Ruston annabelle@fineart.co.uk Advertising manager Kasia Szkolnicka kasia@fineart.co.uk Subscriptions Moira Sanders moira@fineart.co.uk Contributors Jan Baker Sarah Bayliss Pete Bingham GCF Ian Dixon GCF Mick Hodson James Lawson Alyson B Stanfield Mark Wilson Publication dates Art Business Today is published five times per year: January, April, June, August and October Subscriptions 2013 UK Europe World One year £30 £36 £44 Two years £53 £62 £74 To subscribe, call 020 7381 6616 or visit our website, www.fineart.co.uk, and click on the ‘go to Art Business Today magazine’ button Liability ©All rights reserved. ABT is intended to inform but no liability can be accepted for action taken, or not taken, in reliance on it

Annabelle Ruston

14

Guild CEO Louise Hay

62

Master of the Guild Steve McKee GCF Adv Like us on Facebook facebook.com/artbusinesstoday Follow us on Twitter twitter.com/abtmag

32 6 June 2013

ART BUSINESS TODAY

ADVERTORIAL FEATURE

Fujifilm declares Photo Art Fair ‘a great success’ FUJIFILM was one of the major sponsors of the recent Photo Art Fair and the initial feedback points towards a positive venture for the company.

Photo Art Fair was a four-day exhibition of carefully curated, collectable works from around 50 international photographers. The brand new show was designed to provide visitors with the unique opportunity to purchase collectable photographs direct from both undiscovered and emerging artists.

The event, held at Victoria House, Bloomsbury in Central London, attracted large crowds all eager to see the assembled collection of photographic art, ranging from new talent through to well established names. A highlight of the show was Gert Elfering’s personal collection of previously unseen works of Will McBride.

Fujifilm used the Photo Art Fair to showcase its Photographic Artwork Range of professional inkjet papers. Peter Wigington, Marketing Manager for Fujifilm Photo Imaging Group explained the tie-in: “We are keen to promote our range of papers to the fine art market and Photo Art Fair seemed the ideal opportunity to reach that sector of our industry. It was great to see people looking at our information and I think the show was a great success for us. Collectors pay many thousands of pounds for photo art and they need to know their image is printed on quality, stable media that will stand the test of time – that’s where the Photographic Artwork range comes in.”

He continued: “Most people within the imaging industry appreciate that there are different papers for different jobs and that choosing the correct paper can have a dramatic effect on the quality of the printed image. Hopefully Fujifilm’s attendance at the Photo Art Fair will help spread this knowledge into new areas.”

Above: Amelia Trowbridge talks in front of her Dublin Urban Cowboys set. Right: Walter Hugo explains his work.

Bottom: Joey L’s ‘Holy Men’ series attractes attention from visitors. Inset, lower right, Gina Soden and Susie Babcock in front of ‘Blue Orphanage’, Best in Show.

Mark Adams from Photo Art Fair was equally enthused by the event: “Photo Art Fair was a huge success, and we welcomed over 7,500 visitors through our doors. The level of sales was very encouraging and everyone seemed to really enjoy the experience. Fujifilm has been involved in the fair since its inception and I would like to thank them for believing in us and choosing us to help promote their Photographic Artwork range.”

The Photographic Artwork Range includes a paper for every possible creative requirement - from the heavyweight 310gsm Baryte Fine Art paper, to the 90gsm Matt Bond Paper Base - each one has been designed with the customer’s needs at heart.

Go to www.fujifilm.co.uk/parange to see the full selection.

supported by

NEWS

Inbrief Something different

THERE’S A Star Behind You is a new card company based in south east London, which specialises in eclectic cards with an arty vintage feel. A free catalogue, featuring the entire collection, can be downloaded. www.greetingcards4you.com A week of wildlife art LONDON’S MALL Galleries will host a week of wildlife art from 3 to 8 June. The main gallery will showcase shortlisted works for the £10,000 Wildlife Artist of the Year prize, with all pieces for sale and profits supporting endangered wildlife. There will be original works and limited editions from three generations of the Shepherd family in the north gallery, including David Shepherd CBE, Mandy Shepherd and Emily Lamb.

Visitors will also be able to see a new collection entitled Urban Safari from official Olympic artist Jeremy Houghton and watch painting demonstrations by Hazel Soan. www.davidshepherd.org

Protect our Habitat by Ivana Prokopovic is shortlisted for the Wildlife Artist of the Year prize. Two panels of the triptych are shown here

8 June 2013

Arqadia photo competition launched FRAMING SUPPLIER Arqadia’s Best of British Photography Competition invites amateur and professional photographers to submit their interpretations on the theme of ‘Britain – what makes it great?’.

Prizes include a limited edition run of 50 copies of your photo and £250 of Arqadia products. The winning images will be professionally framed and used

by Arqadia’s sales team for in-store promotional activity and as part of the company’s 2014 advertising campaigns.

They will also be exhibited at the Fine Art Trade Guild Awards Event 2014, as well as on Arqadia’s stand at Focus on Imaging and Photokina.

Pauline Hutchinson from Arqadia said, ‘There is no better way for us to showcase our products than by proving first-hand how they can enhance a beautifully crafted piece of artwork. Last year we did this with huge success during our search to find original paintings and multi-media artworks.

This year we want to focus on photography.’

Judges include Dr Michael Pritchard from the Royal Photographic Society, Derek Poulston from One Vision

Arqadia’s competition is on the theme, ‘Britain - what makes it great?’

Imaging in Coventry, Andy Cole from Arqadia and Fine Art Trade Guild CEO Louise Hay. Winners will be announced in January 2014. The closing date for entries is the end of November.

Entries must be at least six megapixels in size, in JPG format and emailed to arqadia-art@htpr.com. Entry is limited to one per person. www.arqadia.co.uk

Pigments that change colour at night ELI-CHEM Resins have launched a revolutionary step forward in pigments for artwork. Eli-Glow is the latest pioneering technology in creating stunning effects that come alive in the dark.

These amazing pigments are available in fine crystal form for easy mixing into Clear Artwork Resins. They can be added to the resin or sprinkled over the surface and sealed in place with a brush. By day the crystals absorb UV light and after dark they release energy in a long-lasting glow.

This enables the artist to achieve two very different effects as the light changes.

Unlike conventional pigments, Eli-

Glow is not a primary light reflector, but is an actual source of light. They absorb radiant energy from natural sunlight (or interior lighting) and convert it into longer wavelengths in the visible spectrum, thereby emitting it as light with the sensation of colours.

The available colours are green and aquamarine blue, with more to follow soon. Just mix the crystals into clear epoxy resins (five to ten per cent by weight) and pour over the surface to achieve a glow across the artwork, or sprinkle in selected areas.

By day it is invisible, by night it comes to life. Eli-Glow is non-toxic. www.elichem.co.uk ART BUSINESS TODAY

NEWS

Steve McKee voted Master of the Guild Newly elected Master of the Guild Steve McKee GCF Adv (left) with the outgoing Master, Maxwell Roberts, at the Guild Artists’ Exhibition which was held during the 21st Art & Framing Awards Event

STEVE MCKEE GCF Adv, of Dromore Picture Framing and the Down School of Picture Framing, was unanimously elected Master of the Fine Art Trade Guild at the AGM. ‘I have been involved with the Fine Art Trade Guild for many years,’ explains Steve McKee GCF Adv, ‘Both as the branch master in Northern Ireland and as a Guild Commended Framer examiner. My business has benefited enormously from the contacts I have made and the wealth of expertise that others in the industry have so generously shared. My training course at the Down School of Picture Framing is Guild accredited, an accolade that is valued highly by me and my students. I am also proud to be one of a handful of framers to have achieved all three

advanced GCF qualifications. I know from personal experience how much the Guild has to offer everyone in the trade, and I am looking forward to helping spread this important message and to building membership. Working together is more important than ever in our highly competitive marketplace, and in an age when you can buy pretty much anything at the click of a button, consumers attach increasing value to emblems of quality and reliability such as the Guild logo and the GCF logo. My wife Sharon-Lee and I also run a gallery, so I am enthusiastic about taking forward projects such as the Inkjet Print Quality Assurance Scheme and the Original Image Register too.’

Read more about the AGM and Awards event on p26. www.fineart.co.uk

Crescent launches promotional crusade MOUNTBOARD MANUFACTURER Crescent Cardboard, and its UK subsidiary Britannia Mounts, are continuing to promote its wide range of products with an easy to understand ‘good, better, best’ crusade. All Crescent products are manufactured to the highest standards, but of course not all standards are the same.

Products are in three clearly defined groups, making it easy to recommend the right products for the job and encourage customers to upgrade to a higher quality for prestigious framing jobs. Following Crescent’s ‘good, better, best’ plan will help increase profits, reduce wasteful orders and improve the quality of customer advice.

The three categories are clearly identified by name and colour and ART BUSINESS TODAY

closely follow Fine Art Trade Guild standards. Most products are available in small packs with a minimum carriage free order of only £50. The ‘good, better, best’ mountboard range includes all the most popular UK colours together with a vast array of trend colours. All Crescent conservation board meets Guild standards, including the fade resistance of papers, and can be purchased in single sheets.

A wide range of back board including Corri-Cor, glass including Tru Vue, and tapes and accessories are available with the ‘good, better, best’ system. Call for more information and for free point of sale material on the Crescent / Britannia product ranges. www.britmounts.com

Inbrief Wide format print exhibition this June FESPA 2013, the world’s largest event for the wide format print industry, takes place at ExCel London from 25 to 29 June. 650 exhibitors will show the latest equipment and consumables for digital printing, screen printing and garment decoration.

Exhibitors include Epson, Fujifilm, Innova Art, Keencut, LION Picture Framing Supplies, PermaJet and Valiani. www.fespalondon.com

Using online images USERS OF social media sites are to lose control of images posted online. They will no longer have automatic rights over their work unless they record every image with an online registry. The new Enterprise and Regulatory Reform Act permits the use of ‘orphan’ images if information identifying the owner is missing and diligent efforts have been made to find them. Metadata showing who uploaded images is routinely stripped out by Facebook, Twitter and Flickr, making it easy to use other people’s images. Britain is the first country to make exploiting unidentified work legal.

Veteran fashion photographer David Bailey is ‘appalled’ by the changes, ‘This legislation should never have been considered without first giving us our moral rights. Releasing ‘orphans’ will not create growth, it will damage taxpaying creatives.’

The Fine Art Trade Guild launches its Original Image Register later this year. www.fineart.co.uk June 2013 9

NEWS

ARTIST’S SKETCH ‘I found myself exhibiting at 44 shows last year’

Sarah Bayliss

dilemma which many artists face at the start of their career is how to sell their artwork. Should you acquire premises or perhaps convert a spare room into a studio/gallery? Or should you look for galleries with a proven track record? As I mainly paint farmyard animals, it seemed appropriate that I should exhibit at agricultural shows and country fairs.

I attended my first show with some trepidation, but it went so well that I decided to book further stands within the craft marquees of other smaller local shows throughout the year. These also proved successful, so I became more confident and adventurous, booking stands at larger shows such as The Royal Bath & West, The Royal Welsh and The CLA Game Fair. I now also exhibit at several art and craft shows, ones that showcase unique and individual British-made products. I had no concept of quite how many shows and events are held throughout the year in this country. The more shows I took part in, the more I got to hear about.

The list got longer and longer until last year when I found myself attending 44 shows all over England. This year I have even more on my list, which includes events as far north as The Royal Highland Show in Edinburgh.

The booking process can be a mammoth task taking hours, even days. The position of your stand is critical; these shows can be massive events

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spread out across many acres and a bad position can result in very few sales.

There is no point in being on an aisle with little public footfall; you may as well stay at home and hope for orders over the internet. Once you’ve been given a good position however, it is often possible to hold on to the same site the following year, which makes the booking process easier.

I eventually took the decision to leave the craft tents organised by the shows and branch out on my own, investing in a commercial-grade marquee with my business name and images printed onto the panelling. My son works for me on a full-time basis and we are now able to erect our marquee and wall panelling, and display my framed artwork, within a five hour time frame.

Exhibiting at shows is by no means the easy option. Taking stands is not cheap and it is very physical work; gym membership is no longer a requirement.

The days are long; some shows open to the public at seven in the morning and go on well into the evening. However, the advantages are many: you get to see a variety of places; exhibit alongside a multitude of lovely people; and meet customers face-to-face. There is no commission to pay on anything you sell, as would be the case if you exhibited at a commercial gallery. I can honestly say that, despite all the hard work, I would rather be working at a show than be anywhere else, other than sitting at my easel and creating my next character. ● www.sarahbaylissfineart.co.uk

Artists sell all their stock at Artexpo THE 35th Artexpo New York was officially opened by New York mayor Michael R Bloomberg, who welcomed visitors to the largest fine art trade show in the world. 250 artists, galleries and publishers showed their work to 17,000 attendees, including gallery owners,

10 June 2013

interior designers and private collectors, at the 135,000 square foot Pier 94 convention centre. Around 2800 visitors were trade buyers, as opposed to consumers.

The organisers report that several artists sold all their artwork on show,

while many others came close, including Samir Sammoun (who sold 36 paintings), Anna Art Publishing, Nancy Forman and Dage. www.artexponewyork.com

ART BUSINESS TODAY

NEWS

Tru Vue® glazing in Rijksmuseum Paper conservators Dionysia Christoforou and Leila Sauvage framing artwork with Tru Vue® Optium®

AMSTERDAM’S RIJKSMUSEUM has framed over 100 works with Tru Vue® Optium® acrylic glazing. The museum, which re-opened in April following a ten-year transformation, has used the product to protect artwork from Rembrandt to Mondriaan.

‘This is as close as we can get to actually putting the works in the hands of the public,’ says Idelette ven Leeuwen, the museum’s head of paper conservation. ‘Tru Vue®’s contribution of Optium® for all the frames used for drawings, prints and photographs makes it possible for us to give the public an optimal view of the art in the new galleries. The anti-reflective coating reduces distracting reflections, so that it almost seems as if there is nothing between the artwork and the viewer.

The viewer can study the art from a very

short distance without endangering it.

This allows for a close, almost intimate experience of the art. Because works on paper are vulnerable to damage from exposure to light, they can be exhibited for only short periods. Thus the selection of works on paper on view in the galleries will be changed every four months. This makes it unavoidable that frames and glazing are handled and cleaned often. Optium® has the advantage of being shatter-resistant, and the abrasion-resistant coating allows us to re-use the acrylic a number of times, since it will not scratch easily. This makes it longer-lasting and therefore more sustainable than normal acrylic.’

Tru Vue® glazing is available in the UK from Arqadia, Britannia Mounts and Wessex Pictures. www.tru-vue.com

First Mat Pro® Ultra installed in the UK THE FIRST Valiani Mat Pro® Ultra computerised mountcutter, which was unveiled at Spring Fair International, has been installed in the UK. Gallery Frames of Ely, a bespoke framing business, is renting the machine and owner John James is pleased with its performance, ‘I saw demos and spent five hours with Mal Reynolds GCF Adv of the Valiani Support Group before taking on the Mat Pro®,’ he explains. ‘It is producing nice clean cuts and is reasonably easy to operate once you get used to it. I have an employee who is using the machine for creative work, but ART BUSINESS TODAY

I mainly cut mounts for other companies, which is something we do to cover the cost of renting the machine. I was impressed that as soon as it was installed, the engineer cut a perfect mount first time, with no need for calibration. We’ve had a few niggles, so we’ve called Joe Adepoju at D&J Simons and he just takes over the desktop of our computer and sorts out the issue for us. This back up is one of the reasons we took on the machine.’

Valiani’s UK distributor is D&J Simons. www.valiani.com www.djsimons.co.uk

Inbrief New Mainline Mouldings catalogue is published

FRAMING SUPPLIER Mainline Mouldings has published a new catalogue. The 182-page volume is mailed upon request, free of charge, and is also downloadable as a pdf from the website. The full-colour catalogue is 30 per cent larger than the previous edition. It includes the full range of mouldings, together with framing materials and the popular ‘Basics’ mountboard collection. www.mainlinemouldings.com Giving & Living going for gold GIVING & Living, the south west’s gift and homewares trade show, marks its 50th year in 2014. From its early beginnings as the West Country Gift Fair in 1965, through years as The Torquay Fair, to its current incarnation as Giving & Living, the show has been bringing together buyers and sellers for half a century. The show, now based at Westpoint Exeter, runs from 12 to 15 January 2014. www.givingliving.co.uk

June 2013 11

NEWS

Inbrief

Issue 3 of Upon Paper now available ISSUE 3 OF Hahnemühle’s XXL magazine Upon Paper will be available from the end of May. The prestigious publication includes specially commissioned artwork from a range of international artists. The Berlinbased publication is described as a project for the contemporary international creative arts, spanning photography, fine art, design and applied arts, including architecture, animation, craft and technology. www.uponpaper.com www.hahnemuehle.com Michael Kay sells back catalogue MICHAEL KAY, an artist specialising in architectural views and animals, is selling his back catalogue, which stretches 34 years, and is seeking commissions. The former factory worker became a full-time artist following redundancy, ‘I went to art college and am really happy to be drawing again. My favourite part of the job is seeing a customer’s face when they see the finished picture.’ www.michaelkayartist.weebly.com

12 June 2013

Autumn Fair expects 31,000 buyers THE INTERNATIONAL Autumn Fair once again takes place at the Birmingham NEC, from 1 to 4 September. 31,000 buyers are expected to visit the event to stock up with products for the Christmas buying season, with a combined budget of £6billion.

The vast gift and homewares trade event includes sectors dedicated to contemporary gifts and home; hobby, arts and crafts; greetings and stationery; and home interiors and furniture, plus many more. Art and framing exhibitors include framed picture manufacturers Art Marketing and Artko, sculpture company Blue Poppy Art, frame suppliers HHJ Trading and Innova

Editions and card and print publishers Pyramid International and The Art Group. www.autumnfair.com

Green lady sells for nearly £1million

VLADIMIR TRETCHIKOFF’S iconic Chinese Girl, known fondly as the ‘green lady’, has sold at Bonhams’ South African sale for £982,000. The 1952 painting became one of the bestselling prints in history. Chinese Girl was sold to a South African collector, and will be returning to Cape Town where it was painted. It has previously been owned by the same family in Chicago, USA, for 60 years.

All the Tretchikoffs in the sale beat their estimates and the artist outperformed the two longtime market leaders in South African art, Irma Stern and Jacob Hendrik Pierneef. The value of Tretchikoff’s art has risen exponentially thanks to a re-evaluation

of his legacy and following a major retrospective of his work at South Africa’s National Gallery in 2011.

The Russian artist, who died in 2006, claimed to have sold half a million reproductions of the painting.

Tretchikoff grew up in Russia and Shanghai, but settled in Cape Town in 1946 and painted Chinese Girl there in 1952. His model was Monika Sing-Lee, then 17, whom he spotted working at her uncle’s launderette in Sea Point, Cape Town. The popularity of ‘the green lady’ led to Tretchikoff being called ‘the king of kitsch’, a moniker he hated, insisting he was a serious artist. www.bonhams.com ART BUSINESS TODAY

NEWS

Making Pictures Glasgow round up MAKING PICTURES Glasgow, an event organised by The Fine Art Trade Guild, attracted artists, gallery owners and picture framers, all eager to learn about developments in their industry.

The event, which was sponsored by Epson and their re-seller Tetenal, included demonstrations of printing and image capture equipment. There was advice on increasing sales and marketing art from the Art Retail Network’s Jamie McCallum, and Ron Warbrick talked about running a gallery and producing your own limited edition prints. Wessex Pictures’ Ken Turner and Steve Goodall were on hand to show framers new products and discuss how to improve margins and profitability.

‘It was absolutely fantastic. The formula just worked,’ reports Wessex Pictures’ Steve Goodall. ‘We were really pleased with the turnout and there was a nice mix of customers. There were lots of new people there; I gave catalogues to 20 people who had never received one before, so I achieved in three hours

what normally takes a week. There was a lot of interest in the new Tru Vue® UltraVue® glass, with loads of people requesting samples.’

Kathryn Crookshank, a framer, and her daughter Emily, an artist, both of The Maple Frame Company, found the event very useful, ‘We were able to ask a lot of questions and gather valuable answers. Emily wants to get her work into print and approach galleries, so she spent a long time talking with Phil Barker from Tetenal and Iain Donaldson from Annan Gallery. I wanted to see the new Wessex pricing app in action and ask a few questions about pricing. Ron Warbrick provided me with invaluable advice about running a framing business; we discussed what’s selling at the moment, introducing new products and services, marketing, engaging customers’ interest and pricing,’ says Kathryn Crookshank.

See p19 for informtion on two up coming Making Pictures events. www.fineart.co.uk

Inbrief Street life

Pupils from the Claires Court Schools performing for visitors to last year’s fair

ART ON the Street, the open-air art fair held in Maidenhead town centre, takes place on Saturday 8 June from 10am until 5pm. The event, which includes live music, entertainment and free creative workshops for children, plays host to 120 artists, photographers and ceramicists. www.artonthestreet.org.uk New trade show launches website THE NEW trade fair to be held in the city of Kassel in the Molfsee region of Germany now has a website. The Art & Frame Show will run from 7 to 9 September and will include a programme of educational events.

The organiser is Expo Management GmbH, supported

by Der Kunsthandel, the German art and framing trade magazine.

The organisers have much experience with art fairs, but encouraging German retailers to visit may be a challenge as Germany’s only other art and framing trade fair was cancelled in 2012 due to lack of support. www.artandframeshow.com Develop your social networking skills SOCIAL MEDIA for Business: A Beginner’s Guide, available as a paperback or ebook, helps readers assess the best social media channels for promoting their business and how to win over the right audience. www.need2knowbooks.co.uk

ART BUSINESS TODAY

June 2013 13

NEWS

SHOP TALK ‘We pay our artists within ten days and notify them of sales as soon as possible’

Jan Baker

rtists and galleries need each other but this is not always the easiest relationship, though when it works well it is a match made in heaven. I get approached at least once a day by artists who would like to exhibit here.

Our website includes clear instructions on how to approach us, but even when directed to the website, would-be exhibitors still stand there saying ‘It will only take a second!’ It can be hard to deal with this and remain polite.

When we make an appointment with an artist we give our full attention and honest, but positive, opinion of their work. If we think the work would be right for us we explain our terms and commission rate, and hope that a happy and long relationship will ensue. We always notify artists of sales as soon as possible and pay within ten days.

Amateur artists can be insensitive, approaching staff when they are serving customers, or asking about commission rates in front of customers, then getting upset when we don’t stop to talk to them, making comments such as ‘Galleries rip off artists with exorbitant commission rates!’ I know that most people have to endure a bit of criticism in the workplace, but why are galleries viewed with such disdain?

Professional artists have a different approach and working with them is generally a pleasure. We give them our total commitment. We normally make the first move and contact the artist.

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Working with Jean Haines SWA this spring has been amazing, and we made sales before the exhibition opened.

To help attract top artists to the gallery I employ Polly, our marketing director (yes, we do like to big it up!)

She used to work in marketing at BMW, but now uses her skills to promote our artists. She provides us with a professional PR service; her press releases achieve lots of publicity in a variety of publications, as well as via Facebook, Twitter, Pinterest and the rest. (This is something I hate doing but I know it has to be done!)

We have been working with wildlife artist Pip McGarry, planning an exhibition which starts on 21 June. His professional approach has made this project exciting and enjoyable. Pip has a wealth of experience and our marketing team provides him with a package that has resulted in record sales.

Artists need to be certain that their gallery will invest in them, both financially and in terms of commitment.

They need to know that the gallery will be promoting their work and maximising sales. Galleries need to make sure that artists understand the full range of services they offer, and, above all, galleries should not underestimate the value of their database.

We don’t offer a warm glass of wine and a small ad in a local paper; if we take on an artist, it’s a five-star service all the way. Our artists know we provide value for money. Don’t be shy, shout about it. ● www.theframe-gallery.co.uk

Wide ranging fayre at Harrison Lord THE HARRISON Lord Gallery in west Yorkshire has announced an impressive and varied exhibition schedule for the remainder of 2013. The gallery makes a point of exhibiting a wide range of work and styles, with the aim of having ‘something for everyone’.

A show dedicated to showcasing new

artists’ work takes place in May and June. The Landscape Exhibition and The Affordable Art Show take the summer slot, while autumn will see a show entitled A Fantasy World and The Christmas Show. www.harrisonlord.co.uk

Left: A landscape by Clare Haley, whose show runs from 14 September until 5 October Right: Phil Lockwood’s work will be featured in the show entitled A Fantasy World, which runs from 12 October until 2 November

14 June 2013

ART BUSINESS TODAY

NEWS

FrameArt Expo reports busy event

5000 VISITORS attended the third FrameArt Expo trade show, held in Milan. Fine Art Trade Guild CEO Louise Hay was there, ‘It was a very busy show. It’s primarily a show for manufacturers to showcase their products to international distributors, the focus is not on selling stock to Italian retail framers. Lots of Italian and Spanish moulding manufacturers were exhibiting, as usual. Russian buyers were out in force and I spoke to visitors from Dubai, Azerbaijan and Slovenia, to name a few. People came from all over the world.’

The organisers report that half the buyers came from 53 different countries. ‘Quality is the leitmotiv of this event,’ says Fabio Ustignani of organiser Publifiere. ‘Once again exhibitors presented the best of European production in the sectors of frames, machinery, manufacturing technology and graphic art. European companies stand out in the international market for

the high quality of their materials and production processes, which enable them to meet the increasingly complex needs of the global marketplace.

British exhibitors included Arqadia, Rosenstiel’s, Framers Corner, International Art Supplies, LION Picture Framing Supplies, Pyramid International, Slater Harrison and The Lade Back Co. Framers Corner’s Richard Cook was at the show, ‘FrameArt Expo worked well for us. We have about 30 overseas distributors and we saw ten of them at the show. We are always looking for new distributors and we made good contacts, with lots of interest from Eastern Europe. There were lots of Russian speakers there, from a range countries within the former USSR where Russian is the second language.

Luckily we had a Russian speaker working on our stand.’ www.frameartexpo.com

Art shop helps community win £93,000

Inbrief Open day at Wessex Oldham follwed by Guild event THE WESSEX Pictures Group has announced an open day to be held at its newly refurbished Oldham depot on Wednesday 12 June, from 10am until 4pm.

Wessex is piloting a range of inkjet media from PermaJet. Staff will be on hand to discuss the range and offer samples to framers who are in the fine art printing market.

‘This will be an entertaining and informative day - a ‘must do’ for anyone in the north west,’ says northern area manager Steve Goodall.

From 7pm until 9.30pm there will be a North West Art Event, organised by the Fine Art Trade Guild, to which non-members are also welcome (there is a £5 charge to nonmembers; entry is free to members).

Refreshments are provided. The guest speaker is Lesley Humphrey who will talk about marketing and PR for artists and art professionals.

The event is intended to be informative, yet social. Please RSVP to daniel@fineart.co.uk www.wessexpictures.com 10th Art Car Boot Fair THE ART Car Boot Fair celebrates its tenth anniversary on Sunday 9 June, when it returns to London’s Brick Lane between 12noon and 7pm.

Participating artists include Gavin Turk, Sir Peter Blake, Wildcat Will and The Bethnal Green Working Men’s Club. There will also be live music, cocktails and ‘pass the art parcel’. www.artcarbootfair.com Sir Peter Blake signing prints at last year’s fair

BROCKWELL ART Services and other local retailers in Herne Hill, south London, have won £93,000 from the High Street Renewal Awards. The community is being recognised for the innovative way in which it has revitalised its town square, according to Local Growth Minister Mark Prisk.

Local businesses got together with the Herne Hill Forum and Transport for London to change the traffic flow, creating a tranquil semi-pedestrianised shopping area. A Sunday market was ART BUSINESS TODAY

established a year ago, which sells produce from within a 100 mile radius.

‘Saturday has always been good for local shops,’ says Jim Davidson, owner of Brockwell Art Services, ‘But now Sunday is good too. The money will be spent on street improvements, providing electricity for the market and organising events. Our aim is to tap into local talent. A recent open-air film night attracted 500 guests and our cafés and restaurants did a roaring trade.’ www.hernehillforum.org.uk June 2013 15

NEWS

IN BUSINESS ‘Maxwell Roberts led an inspiring Business Forum Group’

Louise Hay

he Fine Art Trade Guild team went up north for the 21st Art & Framing Awards & Convention, held in Harrogate for the first time, with a Guild Artists’ Exhibition added to the event mix. Fine Art Committee chair Anne Corless and her team, ably assisted by the Guild’s own Kasia Szkolnicka, did a sterling job in organising the exhibition which was beautifully hung by Maxwell Roberts and Steven McKee GCF Adv. There were some superb artworks along with the framing awards entries on display.

Following a delightful awards evening, Fine Art Trade Guild members dragged themselves out of bed for the AGM. It was fantastic to be able to welcome ‘ordinary’ members and to hear their views. The elections of Court members all went through and I’m looking forward to working with our new Master, Steven McKee GCF Adv, and I’m grateful for the continued support of Maxwell Roberts, who will be Master’s Warden. I’d like to welcome new Court member artist Karen Hollis, Art in Bloom, to the board and to thank continuing Court members for their support and contributions.

Following the AGM Guild members generously offered the benefit of their expertise in our seminar programme: thank you Mal Reynolds GCF Adv, Peter Hayton GCF, Mark Wilson, Anne Corless and e-mango’s Gordon Fong, who all more than did their bit.

T

Maxwell Roberts led an inspiring Business Forum Group, kick started by a question from Sue Illett GCF about career paths in the framing trade.

Discussion focussed initially on apprenticeships and training programmes, both of which the Framers Committee are working on. Forum members considered attitudes toward the art and framing industry as a career, and how to raise its status; we looked at adding value by emphasising the bespoke nature of the services on offer.

One area that aroused considerable interest was design counter sales skills; the Guild and our expert members will soon be able to offer a comprehensive programme. There was an interesting discussion on ‘orphan works’ and protecting images online, in the wake of the recent Enterprise and Regulatory Reform Bill which allows works by unidentified authors to be used provided a ‘diligent search’ is made.

The Guild’s Original Image Registration programme, under development, will go a long way in helping artists claim their authorship.

All in all, although hard work in the preparation and a long way from home, this was a fantastic weekend which left everyone who attended buoyed up and looking forward to the next event already, so don’t miss out and start planning to get involved; enter awards, submit your art for the exhibition and don’t forget to pencil 17 May 2014 into your diaries now. ● Louise Hay is the Chief Executive of the Fine Art Trade Guild

LifeSaver and FrameVue software installed in UK framers HAVE IT Framed, Edinburgh, is one of the first UK businesses to install LifeSaver framing software and the FrameVue visualisation program. The software was launched in the USA in 1994, but has only been marketed in the UK for a few months, since co-founder Eric Crowe relocated to England.

‘LifeSaver is a feature-rich program,’ says Grahame Case of Have It Framed.

‘It’s particularly powerful on customer tracking and allows you analyse factors such as how customers find you, how profitable each job for a particular customer is, total spend per customer and it includes a unique customer loyalty scheme. We don’t use 16 June 2013

FrameVue for every job, there isn’t time, but it’s great for complex jobs or when a customer wants a quote remotely and just emails over a JPG. We can then email back samples of how the frame might look. We have 1500 frame chevrons so to pre-photograph them would not be viable, but FrameVue allows us to use our ceiling-mounted camera to quickly photograph each customer’s choices. We have a 36” monitor wall-mounted at eye level and FrameVue allows you to change the wall colour, so customers can really see how their framed work will look.’

FrameVue has just analysed 200 US shops that use their software, to find out

the impact it has on customers’ businesses. ‘We reviewed more than 135,000 sales which included mounts and found that when the store used FrameVue with their order they generated 38 per cent more mounting profit than on orders where they did not use FrameVue,’ explains Eric. ‘Their mounting revenue increased by 29 per cent which seems to indicate that when they used FrameVue the jobs were more profitable. Similarly, on the glazing side, we looked at more than 235,000 sales and found that glazing profitability increased by 27 per cent with a glazing revenue increase of 35 per cent.’ www.lifesaversoftware.co.uk ART BUSINESS TODAY

NEWS

A warm welcome at Wessex Oldham

Inbrief Wild Apple Graphics teams up with Beaver Lodge Prints IMAGES FROM US publisher Wild Apple Graphics are now available in the UK from Beaver Lodge Prints. See page 36 for further details. www.beaverlodgeprints.co.uk www.wildapple.com

BRANCH MANAGER Ken Turner has spearheaded the trade counter upgrade at Wessex Pictures’ new Oldham depot. Ken was keen to listen to what existing customers had to say, ‘The free parking at Oldham, right by the door and in our own private car park, was something customers loved so we have extended the customer parking facility. Customers can spend as much time as they like browsing our products or enjoying a coffee and a chat, whilst our warehouse team pick, pack and even load the customer’s order for them. The Oldham team are all local folk and you can be sure of a very warm ‘northern welcome’. The kettle is always on and coffee and biscuits are never far away.’

Memorabilia specialists Dave and Wayne from Autograph Arts admit, ‘We find any excuse to leave the football shirts behind for an hour to pop into the depot for a few bits and a cuppa. New products are coming in all the time and the team are always quick to keep us up to date on everything.’

Robin Sharples of Mill Town Gallery agrees, ‘Though I use the Wessex van delivery service regularly, I still like to jump in my Land Rover and pop down to the branch. It gets me out of the gallery for a break and though I am based almost 20 miles away, it still only takes around 25 minutes to get there as Wessex is just off the motorway.’

Lauren Worsley is a popular voice ART BUSINESS TODAY

on the phone at Wessex Oldham, as she makes her weekly ‘phone around’ calls for the five Oldham based vans.

Lauren says, ‘It is really nice to actually put a face to someone you may speak to every week on the phone. I am always pleased to meet the people I speak to and I have been letting all my regulars know about our new showroom.’

Wessex Oldham is now keenly working with local Fine Art Trade Guild branch master Anne Corless to revive their popular ‘hot pot supper’ and ‘curry night’ events, which proved a real winner with local members in the past.

Wessex offer the complete range of Liberon products for hand finishing and the Wessex range of plain wood profiles is extensive; free training sessions are being planned for week days, evenings and weekends. With Hot Press laminators and vacuum presses on display, and with Steve Goodall’s extensive knowledge of the range, free mounting and laminating classes will also be an ongoing feature of the programme of events.

Located just six miles from Manchester city centre and only 500 yards from Junction 22 of the M60 Manchester ring road, Wessex Oldham is easy to reach.

Wessex Pictures, Units 5 & 6 – Under Lane, Chadderton, Oldham OL9 7PP, 0161 681 2859, steveg@wessexpictures.com www.wessexpictures.com

Ilford Galerie paper samples for ABT readers ILFORD OFFER ABT readers the chance to sample their four new Galerie inkjet papers: gold cotton, in both smooth and textured finishes, in 330gsm and fine art smooth and textured in 220gsm.

Take advantage of this opportunity by emailing uk@tetenal.com. These papers have been created for the professional fine art printer.

Gold cotton is 100 per cent cotton rag and complements the fine art papers, delivering stunning contrast and sharpness for colour or black and white prints. The range sits alongside some other fantastic finishes including the celebrated gold fibre silk; TIPA 2012 awardwinning smooth gloss and smooth pearl; and Photokina’s star product (and now TIPA 2013 award winner) prestige gold mono silk, produced specifically for black and white images.

Tetenal is a one-stop shop for a wide range of inkjet papers, including Hahnemühle, Kodak Professional, SpectraJet and Epson. Contact Tetenal for more information. www.tetenaluk.com June 2013 17

NEWS

IN PRINT ‘There is no doubt that a true RGB workflow gives the widest range of colours’

Mick Hodson

y last column explored image capture or ‘repro’, which involes scanning or digitally photographing an image, to make a digital file that you hand over to your printer.

This time I am going to cover the other three elements in the printing process: inks, papers and plotters.

There are companies manufacturing inks that they say are perfect substitutes for the ‘real thing’. OEM are the real thing, which stands for original equipment manufacture. Substitute products may be fine for printers making exhibition posters and other work that is not expected to last, but fine art printers use them at their peril.

If a machine goes wrong and you are not using the recommended inks, the warranty will not cover any damage.

Even if you send samples for lightfast testing and achieve good results, there is no guarantee that consistency will be maintained in the future.

Only work with printers who use the real thing. It is perfectly reasonable to ask if they use OEM inks. I heard of a big printer who was caught using dodgy inks and had to close down because of it, probably to avoid litigation. I never heard what happened to the hundreds of prints that are fading on gallery walls.

Paper, or ‘media’ as it is also known, is another area to consider. My advice is not to get too bogged down with the choices, as when you view most images from a few feet away in a glazed frame, I doubt most people see a

M

difference. Potential clients are often more concerned about types and brands of paper than anything else. I encourage them to focus on the quality of the file and the ability of the printer to achieve the best output, rather than the paper.

Of course you must make sure that the paper is high quality, that it will last a long time and will not discolour or accelerate the fading of the inks. The other issues to consider are simply: canvas or paper, textured or smooth?

Now the dumb animal at the end of the process, the printing machine or plotter. This is very important, together with the RIP (raster image processor) that drives it. The file gets sent to the RIP, which then does the clever computery bit. It has a bunch of colour profiles for each paper, and the output colour space (RGB or CMYK) to be used. There is no doubt that a true RGB workflow gives the widest range of colours, and this has only been possible for a short time. Before, you could print an RGB file, but in reality your file was processed for printing and sent to a machine which only contained CMYK inks, so the results weren’t consistent, though they did look nice and bright.

Now you can expect true RGB colour.

My equipment is set up for it; my 12colour machine has red, green and blue ink cartridges and my RIP has been specially written for this purpose. The machine only does what it is told, so if it does not get the right information, it will not achieve the best results. ● www.mickhodson.co.uk www.gicleelondon.co.uk

Framers Corner celebrates made in Britain FRAMING EQUIPMENT manufacturer Framers Corner is making its new P5 pneumatic underpinner in Leicester, rather than the Far East. ‘We are producing the machine in Britain for two reasons,’ explains Richard Cook, ‘Firstly, quality control: items made in Europe are generally of higher quality than those made in the Far East. Also, the cost of manufacturing in China has risen sharply; the difference used to be 30 per cent, but now it’s only about ten per cent. A few years ago the quality of Chinese-made goods was rising steadily and everyone expected this trend to continue, but it plateaued, or even deteriorated, about five years ago.

18 June 2013

However, switching production back to the UK isn’t as straightforward as it sounds, as we no longer have foundries working with iron and steel, so we will have to continue producing quite a few of our products in the Far East.’

Framers Corner is part of a wider trend for ‘re-shoring’. Aston Martin has begun producing the Rapide S in the Midlands, and Golden Wonder has cancelled its Chinese contracts and is now making its pot noodles in Leeds.

Other companies moving production back to the west include Topshop, River Island and Apple.

As demand for China’s skilled labour force has increased, so have wages and

shipping costs, making the economics of manufacturing 10,000 miles away far less attractive. Companies also experience fewer supply chain problems when goods are made closer to home, and they have the flexibility to respond to increases and decreases in demand much more quickly.

The P5 is a twin-pedal design aimed at the professional production environment. Priced at £1299 including VAT, the machine is supplied with two extension tables, an L-shaped pressure pad, a round pressure pad, a tool tray, adjustable rubber feet and a magnetic wedge remover. www.framerscorner.co.uk ART BUSINESS TODAY

NEWS

Art and framing show in Australia

Inbrief

Centre from 13 to 15 September.

This year’s show, which is organised by Profile Magazine, will include a zone dedicated to education and industry development, where there will be speakers and demonstrations, plus skilled industry representatives on hand to provide advice.

The show, first held in 2004 and called The Framing Show, showcases framing equipment and materials and hosts Australia’s national framing competition. Exhibitors and visitors come from the Asia Pacific region, as well as Europe and the USA. After successfully running the event in Sydney for several years, the organisers are bringing it to Melbourne and expanding the show to include a section that will be open to the public.

This year’s show will include a large art and image focus area and will be three times the size of previous shows. There will be strong emphasis on digital printing and creating fine art editions. www.theframingshow.com.au

Angles of Art frame the queen BERKSHIRE-BASED framer and retailer Angles of Art were asked

by Co-operation Ireland to frame this oil painting of Her Majesty The Queen, painted by Irish artist Craig Kenny. The painting marks her majesty’s historic trip to Dublin during her Diamond Jubilee celebrations, and was presented to The Queen in January this year. www.angles-of-art.co.uk

Two Making Pictures events coming up

Book now for Art Moscow THE 17TH Art Moscow show, which will be held from 18 to 22 September at Moscow’s Central House of Artists, invites applications from galleries. In 2012 exhibitors came from 14 countries including Iran, Cuba, Portugal, Japan, France and Ukraine. This contemporary art fair also involves seminars, large scale art projects and talks. New this year is a sector for emerging galleries which have been trading for less than three years and where original artwork is priced at under 5000 euros. www.art-moscow.ru/en

AUSTRALIA’S ART and framing trade show, Art & Frame 2013, is being relaunched and will take place at Melbourne Convention and Exhibition

THE FINE Art Trade Guild is holding its third Making Pictures event in Bristol on the evening of Tuesday 11 June. The event, which is sponsored by Epson and their distributor Tetenal, will be held at The Island, a multi-use arts facility and creation centre housed in Bristol’s old police station. Making Pictures Anglia will be held at Arqadia’s HQ near Bedford on Thursday 1 August.

The strength of the Making Pictures formula is that framers, artists and gallery owners can meet a range of suppliers in an informal setting. The emphasis is on networking, learning and acquiring valuable advice. Making Pictures events are the perfect environment in which to test machinery, study new materials and talk to suppliers about topics ranging from image capture to pricing hand-finished frames. Visitors can watch practical demonstrations and talk to self-publishing artists about their challenges and opportunities.

Demonstrators at Making Pictures ART BUSINESS TODAY

Bristol include: Tetenal’s Phil Barker, who will be talking about self-publishing and fine art printing; multi-award winning framer Martin Tracy GCF on marketing your business; Gilly and Mark Wilson from Framiac explaining how to increase profitability; Wessex Pictures’ Steve Goodall and Paula McConkey on using specialist glass; this year’s Up & Coming Published Artist Laura Wall will create a painting and talk about her career to date; and the Guild’s Daniel Radley and Kasia Szkolnicka will advise on copyright, licensing and standards.

In Bedford guests can talk with Conservation by Design’s Chris French about photographic storage; gather workshop tips from Framers’ Equipment’s Peter Stanlick; learn about profitability from Mark Wilson; discuss promotional strategies with PR expert Eve Parkin; and watch Buckingham Fine Art’s Edward Waite create a painting.

Book online and find out more at: www.fineart.co.uk/making-pictures

June 2013 19

NEWS

Inbrief Bristol Framing Supplies under new ownership BRISTOL FRAMING Supplies has a new proprietor, David Southwell, though the previous owner, Richard Broome GCF, remains a consultant.

‘We aim to increase the level of services we offer to the trade and we are planning lots of advancement,’ says David. ‘There will be a new website for online ordering, a delivery service that covers a wider area than before, barcodes to ensure collecting orders is quick, online booking for delivery slots and much modernisation to the warehouse facilities. We are very grateful for all the warm support we’ve received from the trade.’

On 31 July the company name will change to Framing Station Ltd. The email and phone details remain unchanged. www.bristolframingsupplies.co.uk Selling art in prime retail space ANYONE INVOLVED in selling fine art is invited to take part in the Love Art Fair and help make art more accessible. This October will see the second Love Art Fair held right in the middle of a huge shopping centre, right outside John Lewis, with thousands of shoppers getting ready for Christmas. The event is held in a huge promotional space in the country’s fourth largest shopping centre, The Centre, Milton Keynes.

15 galleries attended in 2012 and this year there will be 35, with a third of the spaces already allocated. www.theloveartfair.co.uk

20 June 2013

Record sales for Pip McGarry

A SOLO exhibition of work by renowned wildlife artist Pip McGarry at Haddon Galleries in Torquay resulted in six figure sales before the exhibition even opened to the public. The top price was paid for a 40x46” painting entitled White Tiger, which sold for

£40,000 to an early buyer at the private view. Fiona Haddon, owner of the gallery, reports, ‘This was a record show for both gallery and artist and indicates that demand for quality work is still out there despite the recession’.

Pip McGarry says, ‘This was my first solo exhibition at Haddon Galleries, despite working with them for many years. We are astonished and delighted at the outcome of the show, which proves that if you work hard, treat people well and provide a good service, customers will remain loyal and give you their business - even in these difficult times’.

From 21 June until 14 July an exhibition entitled The Great McGarry, featuring big cats and African animals, will take place at The Frame Gallery in Odiham, Hampshire. www.haddongalleries.co.uk www.theframe-gallery.co.uk

Art Copyright Coalition visits China THE ART Copyright Coalition, an international organisation dedicated to copyright protection, brought together six art publishing and licensing companies to attend the April 2013 Canton Fair and Jinhan Fair in Guangzhou, China, to search for copyright infringing products. Just five months ago, five of the same companies attended the same fairs, and while they found a similar number of infringing exhibitors (over 40), the number of images being copied was significantly lower, and infringing companies were more co-operative when asked to remove infringing products.

In a case where an infringing exhibitor refused to cooperate, formal documentation proving copyright ownership was presented to the fair organisers, who in turn caused the infringer to remove product and sign a legally binding promissory letter. ‘The amount of paperwork we had to do to ‘prove’ copyright for some of our images was extremely time-consuming,’ said Wild Apple Graphics owner John Chester.

The participating companies, although competitors, joined forces to

combat this common problem. The group on this trip included senior executives from International Graphics, Germany; Kunstanstalten May AG, Germany; Rosenstiel’s, UK; Top Art, Italy; Wild Apple Graphics, USA; and World Art Group, USA. ‘We toned down our aggressive approach from the last time and received a lot of co-operation in return,’ commented Mauro Torre of Top Art. ‘We were happy to see the progress from six months ago, but we still have a long way to go.’

For more information contact John Chester, john.chester@wildapple.com ART BUSINESS TODAY

FACE TO FACE HOWARD ROBINSON’s detailed and colourful images of animals have been reproduced on a vast array of merchandise for over 30 years. The artist’s extensive list of international licensing clients includes stationery companies in Russia, homewares manufacturers in Italy and card publishers in the USA, to name just a few

Under licence Have you always been an artist?

I did a foundation course, then an honours degree in illustration and design at Brighton Polytechnic. As soon as I graduated I started working on commissions from Oxford University Press and designing promotional material for the band Adam and the Ants. I’ve been a freelance illustrator all my working life, though now I have more control over what I paint and who I work with.

Do you have an agent?

I used to have one, but it ended badly, so I prefer to handle my own affairs.

Licensing work through an agent can be frustrating as you lose direct contact with the client, which is inefficient and makes interpreting briefs problematic. I like to get to know my clients and their tastes and preferences.

Now I paint what I feel like painting, and I know which companies to approach with licences in each image. I am currently working with about 30 jigsaw companies, for example, and I know instinctively which company to approach with particular colours and styles. A jigsaw that will sell in Walmart will be different from one that will sell in upmarket gift shops, though the difference is sometimes quite subtle.

Art directors sometimes have little idea what will sell. I’ve attended meetings with nine or ten senior executives who don’t know their own catalogue, let alone their rivals’. They know that after 30 years of producing best-sellers I may have an idea of what I am doing. They trust my judgement.

I have about 100 licensing customers at the moment, mainly in the USA. How do you market your work?

I exhibit at licensing shows; I usually do two each year, Surtex in New York and Licensing Expo in Las Vegas. I’ve just started taking part in shows in Asia as ART BUSINESS TODAY

well; I exhibited at one in Hong Kong in January, where I picked up licensees from Vietnam and China as well as Hong Kong. I’m doing a show in Japan in July. I did Brand Licensing Europe in London last year, which I might do again.

I sometimes share booths with other artists who are friends; it’s more fun, though I don’t mind doing a show on my own. I enjoy talking to customers and listening to feedback.

My website also brings me new business, from all over the world. The only bit of SEO that I do is linking with people who use PaintShop Pro; two or three users get in touch each week asking to use my images for their graphics. I always give them permission, so long as they link their work to my website, so I have hundreds of active links, which really helps my position with the search engines. I don’t do social networking, just through lack of time.

What media do you paint in?

Mainly gouache and I use an airbrush a lot. I paint each picture as separate components, then blend images together in Photoshop. That’s an efficient use of time as it makes it easy to turn one image into several commercial entities for use on a range of products.

Any advice for artists starting out?

Read licensing contracts carefully and don’t assign your rights. Check whether the deal is global or just UK; research the industry standard royalty rate for the product; look at the timespan you are being tied into. If you don’t understand, don’t sign until you do. Research the company; I go round shops picking up merchandise and finding out who is getting their products out there. There’s no point in tying yourself into a licensing agreement with a company that has no distribution.

Don’t just go for big companies; smaller businesses can value you more and make more effort to promote your work. If you think a company looks as if it might go places, get in there early, before anyone else. ● www.howardrobinson.info See Howard’s work on page 22 Howard Robinson taking photographs and seeking inspiration for his work in South Africa

How do you manage your time?

I work way too hard; I started at 7am today and I may not finish until 2am. I do lots of travelling. When I’m inspired I may paint for two or three months without interruption, then I’ll go on a trip to take photos and seek further inspiration.

I’m pretty efficient at admin and working with licensees nowadays. I don’t focus on selling originals.

I have just launched my own range of about 55 designs as 3D lenticular products, as I was unhappy with the quality that licensees were achieving. I visited China and it took about 18 months to find the right manufacturer. I grant customers a licence and they can order direct from the manufacturer, so I don’t get involved in distribution and chasing payment. I also target and approach customers; I do research and find out who the big suppliers to zoos are, for example.

June 2013 21

PRODUCT NEWS

Howard Robinson

Towngate Publications

It’s a Class Photo is a new image from illustrator and designer Howard Robinson. The artist has launched a range of 3D lenticular products.

Towngate Publications is proud to present Eric Kincaid’s Peter Pan series of signed limited edition prints. Eric Kincaid has illustrated many famous children’s books world wide for over 45 years and has now asked Towngate Publications to produce a collector’s limited edition for Peter Pan. Other famous titles such as Wind in the Willows and Alice in Wonderland are also available.

Title: Peter Pan Image size: 40x30cm Paper size: 47x37cm Edition: 500 Trade price: £36 +vat Paper: Hahnemühle 310gsm German Etching This is one of a set of four Peter Pan limited editions by the internationally famous Eric Kincaid. For more information on this and other classic fairy tale images please contact Towngate Publications.

www.howardrobinson.info

01202 679182 peter@towngate-publications.co.uk

AC Art and Framing

Arqadia

Artist: Andrea Hunter Size: 24x16inches Title: Stroppy Lass Edition: 250 Format: signed limited edition giclée New artist Andrea Hunter’s work is now available as a series of stunning limited edition prints exclusively available from AC Art and Framing. Email sales@acartandframing.co.uk for information.

Arqadia has added to its extensive range of mouldings with the launch of Ponza, a versatile collection of profiles which add a coastal feel to any framing project. Named after the Italian town of Ponza, which is famed for its beautiful beaches, the range comes in four colours providing a natural wood finish.

Silvery greys and white tones make for a weathered appearance, while the rustic look of the brown and black profiles adds character to this stunning new collection.

The Ponza collection is accredited by the Programme for the Endorsement of Forest Certification (PEFC). Available in 19.5mm and 29mm profiles, with prices from £2.99 to £3.89 per metre.

01484 547947 www.acartandframing.co.uk

01234 852777 www.arqadia.co.uk

Afrikart Gallerie / Madhumati Manda

Jester Designs

Based in London, Afrikart Gallerie specialises in promoting contemporary African art and world artists, sharing the richness and depth of life in developing countries with discerning collectors of art the world over.

Artist: Madhumati Manda Title: High Street London (top) and Evening Drizzle (left) Medium: Acrylic on canvas Size: 70x90cm Price: £1440 and £1100

kwameakuffo@btinternet.com www.afrikartgallerie.com 22 June 2013

A selection of Arab-inspired designs from this new bespoke mount design service from framing expert Mal Reynolds GCF Adv. Patterns both ancient and modern are available, with Arab, Islamic and Gothic designs a speciality. The mounts are cut with a Valiani computerised mountcutter.

01673 860249 www.jesterdesigns.co.uk ART BUSINESS TODAY

To advertise here, call Kasia Szkolnicka on 020 7381 6616 or email: kasia@fineart.co.uk Entries are £80 for Guild members, £150 for non-members (+ VAT)

Paul Tavernor

PRODUCTNEWS NEWS PRODUCT

Anna Grzesik

Introducing the latest offering from Paul Tavernor, a BBC Wildlife Artist of the Year 2013 finalist.

Title: Storm Breaker Edition size: 125 Mounted size: 28x20cm Trade price: £28 Gallery and framer enquiries to leapingfoxmarketing@gmail.com

Anna is an artist who makes large, energetic abstract paintings on canvas and cardboard. She is fascinated by Asian and Aboriginal art. In her paintings, she creates ‘collages’ from many perspectives and glimpses of the surrounding world and objects. Intense colours and decisive graphic accents are characteristic elements of her paintings. She has exhibited her art in Seoul as well as in Poland, where she lives.

01663 766568 www.paultavernor.co.uk

www.annagrzesik-art.com

AC Art and Framing

Mainline Mouldings

Artist: Amanda Stratford Title: Ole Blue Eyes Format: available as limited edition giclée prints on paper or canvas; see website for details.

One of six images from exciting new artist Amanda Stratford exclusively available from AC Art and Framing.

Email sales@acartand framing.co.uk for information.

The Napoli range of wooden mouldings are available in 13mm and 42mm profiles with five finishes. Both profiles can be combined to great effect. Priced from £2.61 per metre.

01484 547947 www.acartandframing.co.uk

01949 861000 www.mainlinemouldings.com

Clinton Banbury Illustration

Jacqueline Stanhope Fine Art

Title: Make a Wish Format: signed giclée edition of 195 Image size: 30.5x30.5cm plus mount Price: £18; RRP £45 Art that makes you smile.

Following the success and sell-out of this super cute fairy print in our small size we have re issued it as a larger version. This image has just been released by Portfolio as part of their Art Folio range of Clinton Banbury greeting cards.

Artist: Jacqueline Stanhope Title: Novus Advena Edition size: 250

01789 773526 / 07971 106628 www.clintonbanbury.com

0191 384 5343 www.jacquelinestanhope-fineart.com

ART BUSINESS TODAY

Image size: 41x30cm Retail price: £75

June 2013 23

PRODUCT NEWS

LION Picture Framing Supplies

LION Trade Catalogue No 49 and LION Fine Print Edition 15 are now available.

0121 773 1230 www.lionpic.co.uk

AC Art and Framing Artist: Danny Abrahams Title: Me and Me Dad Size: 15x15inches Edition: 95 Format: signed limited edition giclée on canvas Exciting new artist Danny Abrahams unveils his first print collection for 2013.

Originals are also available exclusively from AC Art and Framing. Email sales@acartand framing.co.uk for information.

01484 547947 www.acartandframing.co.uk

Valiani

Selective Prints

The new Valiani Mat Pro® Ultra computerised mountcutter.

A wide range of new John Bird prints are available, all limited to 50 copies.

The new images cover a wide range of subjects from Cuban scenes (right), street scenes (below) and beach/coastal scenes.

Image sizes vary (check website for details), but are around A3.

All images are printed on Somerset Velvet Enhanced 255gsm., which is British and made from 100% acid-free cotton rag.

The RRP is £90 per image. www.valiani.com

Marialuisa Marino

Marialuisa Marino is a portrait artist and poet. Email the artist at marialuisa@live.co.uk

07770 553787 www.marialuisamarino.com 24 June 2013

01948 818181 www.selectiveprints.co.uk

Britannia Mounts Britannia Mounts is launching its e-commerce site to feature sheet products such as mountboard, glass, back board, acrylic and foam board as well as a mount design tool that lets users create a mount online, upload images and check prices prior to ordering via the secure server.

Britannia’s brand product range includes Crescent mountboard in single sheets, Britannia mountboard, TruVue glass, Corri-Cor and Crescent tapes in addition to a bevel cut mount service, acrylic sheets, clear resealable bags, back board and other accessories.

All products are now delivered carriage free on orders over £50 nett. The Crescent white core range is illustrated.

01484 668990 www.britmounts.com ART BUSINESS TODAY

To advertise here, call Kasia Szkolnicka on 020 7381 6616 or email: kasia@fineart.co.uk Entries are £80 for Guild members, £150 for non-members (+ VAT)

Arqadia

Karen Wallis Coleman

Inspired by 18th century Italian decor, the new Fenice collection by Larson Juhl delivers traditional elegance with a contemporary twist.

Fenice is available in either a 30mm or 49mm profile, in gold, silver, black, ivory or burgundy. The Fenice collection is certified by the Forest Stewardship Council (FSC), and prices range from £4.81 to £6.73.

Fenice is also available through the chop service.

Karen Wallis Coleman was voted winner of the Best in Show competition at the Fine Art Guild’s Artists’ Exhibition, and was also shortlisted for the Best-selling Published Artist Award. Original paintings are available.

01234 85277 www.arqadia.co.uk

0780 1073 879 www.karenwalliscoleman.com

Robert Pollock

PRODUCT NEWS

Afrikart Gallerie / Bruce Chidovori Bruce Chidovori uses situations from the environment he lives in to imagine new things related to that space that can generate change of perception of that space in the minds of the spectator. Bruce generates change of perspective philosophically, aesthetically and politically.

Based in London, Afrikart Gallerie specialises in promoting contemporary African art and world artists, sharing the richness and depth of life in developing countries with discerning collectors of art the world over.

Eclectic, enchanting and emotive images from photographer Robert Pollock are available as limited edition prints, canvas prints and cards. Illustrated is On the Rocks, a signed and numbered limited edition print.

07813 144827 www.robertpollock.net

kwameakuffo@btinternet.com www.afrikartgallerie.com

Eli-Chem Resins

LifeSaver Software

Eli-Chem Resins has launched a revolutionary step forward in pigments for artwork.

Eli-Glow is the latest pioneering technology in creating stunning effects that come alive in the dark.

These amazing pigments are available in a fine crystal form for easy mixing into Clear Artwork Resins. They can be added to the resin or sprinkled over the surface and sealed in place with a brush.

By day the crystals absorb UV light and after dark they release energy in a long-lasting glow. This enables the artist to achieve two very different effects as the light changes. Unlike conventional pigments, Eli-Glow is not a primary light reflector, but is an actual source of light. The available colours are green and aquamarine blue, with more to follow soon. Eli-Glow pigments release light for up to ten hours in darkness and ‘charge up’ in minutes.

01483 26 66 36 /37 www.elichem.co.uk ART BUSINESS TODAY

FrameVue is new digital preview software from the makers of LifeSaver Software for picture framers. The company was founded in the USA in 1994 and co-founder Eric Crowe has just relocated to the UK in order to promote the company’s products in Europe.

FrameVue, which integrates with LifeSaver Software, creates a library of mounts and mouldings, eliminating the need to recapture. Mountboard can be re-positioned without re-shooting and multi-opening mount designs can be displayed. Users can create bespoke slide show presentations and email designs to customers.

020 3286 5431 www.lifesaversoft.co.uk June 2013 25

BUSINESS

Winner of Best in Show, artist Karen Wallis Coleman

Eric Crowe, LifeSaver Software (left), with Maxwell Roberts, outgoing Master of the Guild

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Jan and Len Brook of Alpha 1 Marketing

ANNABELLE RUSTON reports on the art and framing industry’s most glamorous event, the awards dinner, which this year was combined with an exhibition of work by Fine Art Trade Guild artists and a programme of educational events 26 June 2013

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Nigel and Mary Hallard, Hallard Studio

Peter Cleevely GCF, Picture Corner

Karen Hollis, Art in Bloom

â&#x17E;ş June 2013 27

BUSINESS ➺ Mal Reynolds GCF Adv, Harlequin Frames and the Valiani Support Group, with Ann Carroll, Picture This Art & Framing

From left: Chris Draper, Frinton Mouldings; Ken Turner, Steve Goodall and Jean Roberts, all from Wessex Pictures’ Oldham branch Steven Lord and Juliette Gaffney of Harrison Lord Gallery

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Jonathan Gooders (left) and Mark Barrow of Framers (London) Ltd

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BUSINESS

Steve Burke, Arqadia, with the winning pictures from the company’s 2012 Star Artist competition

Ian and Theresa Bates GCF, Frame of Mind

Paul and Fiona Haddon, Haddon Galleries

Daler Rowney’s Tom Hopper with artist Laura Wall

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Artists Gordon King and Anne Corless Jenny Isaacson GCF, Topmount Framing

Mike and Monica Ogden, Sky Blue Framing & Gallery

30 June 2013

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BUSINESS

Claire Westmoreland, Zeitgeist Fine Art

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From left: Graham Miller, Arqadia; Daniel Pluta GCF, DK Frames; Simon Flavill, Arqadia

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2013 WINNERS Art Retailer of the Year sponsor: Besso Limited Haddon Galleries

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CUSTOMER SERVICE sponsor: Fine Art Trade Guild Wessex Pictures

BEST MOUNT DESIGN sponsor: Framers Corner / Wizard David Wilkie GCF, Eagle Gallery

GUILD CHALLENGE FRAMING AWARD sponsor: Valiani Ann Carroll, Picture This Art & Framing, and Peter Cleevely GCF, Picture Corner

BEST-SELLING PUBLISHED ARTIST sponsor: Arqadia Becky Mair

INNOVATION sponsor: i2i Events Group Frame of Mind

BEST-SELLING UP & COMING ARTIST sponsor: Daler-Rowney Laura Wall

SALES PROMOTION sponsor: Art Business Today Art on the Street June 2013 31

BUSINESS

Itâ&#x20AC;&#x2122;s all about your

IMAGE STEVE MACLEOD, a director of Metro Imaging, tells Annabelle Ruston why the London-based company has moved into framing, having been printing, processing and mounting images for 38 years

32 June 2013

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ART BUSINESS TODAY

BUSINESS

❞ Framing is a fast-growing and important aspect of the business. Five per cent of turnover is accounted for by analogue printing and ten per cent by film processing

❞ Opposite page: Duratran printing at Metro Imaging (Duratrans are translucent, allowing light to diffuse through the image); image © Steve Macleod This page: Printing a C-type image

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34 June 2013

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ART BUSINESS TODAY

BUSINESS

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ART BUSINESS TODAY

June 2013 35

Building Something Beaver Lodge Prints & Beautiful Wild Apple Graphics Great partnerships can build something beautiful. That’s especially true in art publishing. Every piece of art that is created is the culmination of a partnership between artist and publisher. From season to season new collections of inspired, trend-forward art are presented to customers throughout the UK, ready to be framed and hung in homes, businesses and design projects.

Beaver Lodge Prints, a premiere distributor of open-edition fine art prints in the UK, has been delivering beautiful art to customers since 1993. “We carefully select each publisher we work with,” says James Arnold, owner at Beaver Lodge. “Diversity of imagery is important. That’s why we are so excited to announce that we have become the exclusive UK distributor of Wild Apple Graphics, one of the world’s leading fine art publishers from Woodstock, Vermont in the US.” For more than 23 years, Wild Apple has been working with artists, creating and delivering exclusive collections of top-selling prints to customers around the world. But this isn’t the first time Wild Apple and Beaver Lodge have worked together.

A family-run business, James recalls with fondness when in the early 1990s, Beaver Lodge became the distributor for Wild Apple. “I can remember my Mum’s face and how proud she was, that our little UK company was distributing for a prestigious publishing house called Wild Apple Graphics, “ he says with a smile. “As Wild Apple grew, so did we,” recalls James.

“

“Soon, thanks to We are looking that relationship, we became the distributor forward to working for other publishers with James and his such as Kunstanstalten May AG and Quartero team to bring our artists’ International and later work to galleries, Gango Editions.”

In 2003, Colin shops and projects Stern, patriarch of the throughout the UK. company passed away and James, dedicated to keeping Colin’s legacy alive, took over. “I don’t know if I ever imagined when I was a young man, working in the warehouse, that I would be running the company today.

This has been the adventure of a lifetime filled with twists and turns. I can’t imagine doing anything else.”

And as the years progressed it was some of those twists that caused Beaver Lodge and Wild Apple to turn in alternating directions. But like all good things, these partners, who helped build each other’s success, have reconnected.

“We couldn’t be happier to be working with Beaver Lodge Prints again,” says John Chester, founder and co-owner of Wild Apple. “We are looking forward to working with James and his team to bring our artists’ work to galleries, shops and projects throughout the UK.” And the timing couldn’t be better. Wall décor continues to be a popular choice for consumers looking to add updated trends and décor-friendly colours, patterns and images in the home.

“We are an artist-centered business,” says John.

”

“We work with over 60 artists, each with their own unique style covering popular themes fr from city and landscapes to florals, coastal, fashion, wine, coff ffeee and more.” New prints are released each month allowing Wild Apple to fo focus on delivering their mission to “find, create and deliver great art fo for the world.”

And the world is listening. To Today’s y’s consumer tastes are shifting which means an increasing number of for something special. “Smaller art buyers are looking fo raming galleries and shops can elevate their sales by ffra a print in a way that stands out ffrrom the crowd” says James. “Our customers are seeing success by ffra rraming prints into something truly unique, with specialty mounts, inspired fra frame choices or ffo or something really modern acrylic bonding” Staying on top of trends is critical to success.

From home décor magazines to specialty blogs, websites and TV shows, we are more trend conscious than ever.

James suggests that retailers should become “Interior

conscious, and inspire the consumer by displaying art in vignettes with matching décor that imitate the warmth and fe feeling of the home.”

One thing that neither company would have suspected in the 1990s was the influence of technolog y and social media on the art business. “We’re growing our social media and blogging presence,” says John Chester.

“B etween our new trend blog and daily posts, we’re discovering it’s an exciting avenue to share our business and connect with customers in a new and progressive way.”

In the end it’s all about the art. Even though the companies are an ocean apart, their shared passion fo for bringing beautifful art to customers is one that can be seen each and ever y day. And the similarities don’t end there. Both companies are family owned and incredibly, both are nestled in tranquil farm countr y off the beaten path. Some would call that kismet. They just call it kinship.

Beaver Beaver Lodge Lodge Prints: Prints:

W Wild ild Apple: Apple:

www.beaverlodgeprints.co.uk www.beaverlodgeprints.co.uk

w www.wildapple.com ww.wildapple.com w www.facebook.com/buyart.wildapple ww.facebook.com/buyart.wildapple w www.twitter.com/wildappletweet ww.twitter.com/wildappletweet

www.twitter.com/BeaverPrints www.twitter.com/BeaverPrints

GETT A SIGNED GE SIGNED G PRINT PRINT BY BY

Mike Schick

Order Wild Apple Catalogue O rder your your W ild A pple C atalogue ttoday! oday!

5 orders orders will rreceive eceive a sig signed ned pr print int of the (0)1245 361066 361066 ccover over art! art! call: +44 (0)1245

ART

Copyright factfile )" $ "$' " #$# " ) "# $ " $ "$ #$+# $ $ #$ $ $ % $ #& " # " % $") $ % $") " ( )" $ # %# ) "# $+# %# ) "# $ " $ $ )" $ $ ' " ## # $ $ % Do you have to register paintings, or include the © symbol on them, in order to own copyright?

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Annabelle Ruston collates the answers to some of the questions about copyright that The Fine Art Trade Guild answers most frequently

❞

How long are paintings in copyright?

The artist continues to own copyright regardless of who owns the original artwork: the artwork and copyright in it are two distinct commercial entities

❞

Does the artist always own copyright?

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ART BUSINESS TODAY

ART ART

If an artist died in 1890, am I free to reproduce his paintings for commercial use?

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ART BUSINESS TODAY

& %*% ( & ( %( * * #+) +# $)* *+* %$ %( & %*% ( & ( - ) -%(! $ %( . #&" * %+ %$ ( $ ( * +(" $ *%$ %+) (*%%$ $ * -%(! $ %$"/ - * * & (# )) %$ % ( &(% + * %$ " "" (/ ) $ * / %-$ %&/( * $ * * " " ) ( '+ ( *% # ! ( &(% + * %$) When a fine art publisher reproduces an artist’s work do they automatically own copyright?

% %# * # ) &+ " ) () +/ %&/( * $ $ # +* #%( % * $ * / +/ " $ *% &( $* $ # %( )& &+(&%) $ ) "" * %) ( &(% + * %$) %( (* $ #%+$* % * # $ (* $ %+$*( ) %( . #&" &+ " ) ( # * +/ " $ *% +) $ # %$ ) + * * $ %( * $ .* , / () $ , (* ) * %( ) " $ * $ +(%& $ * ) ) * (* )* -%+" ( *% ) "" " $ ) $ * ) # # *% %* ( # $+ *+( () %( ( $* +) ) #%)* %$*( *) -%+" %( * (* )* (%# ) "" $ " $ *% *-% %#& $ ) %( * ) # &+(&%)

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$* * ) $ $ (* )* ) "") $ %( $ " -%(! % (* %&/( * ( # $) - * * (* )* +$" )) )& ( # $* *% * %$*( (/ ) $ ( $ -( * $ (* )*) ( ( *% ) "" %&/( * $ -%(! * $/ * # +* * ) *( $) ( % # $ -( * $ %-$ () & #+)* %-$ ( % * %( $ " ) $% %$*(%" %, ( * ) " % %&/( * $ * * #

Sometimes publishers buy copyright, but more often they buy a licence to print an image for a specific purose, and sell reproductions for a certain time in particular countries

❞ (* )*) ) "" %&/( * * / , $% %$*(%" %, ( %- * %) # ) ( +) $ * / $$%* ($ $/ #%( #%$ / (%# * # $ # ) &+ " ) ) "#* * %$ &( $* * ) %$) ( +$ * " %( * * # *% ( &(% + $ $/ %* ( %(# ( ( " )) % - % %-$) %&/( * Is it okay to copy wildlife photographs and turn them into paintings?

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June 2013 39

➺

ART

❞

➺

The difference between inspiration and plagiarism is not always clear, but if you have a hunch that an artist’s work is too similar to that of another artist, don’t sell it

Image courtesy of getacoder.com

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ART

$ " # $ #$ " " $ " " % #$ ' " "$" $ $ " # ' $ %$ " ## " $ $ " " $ " "# " " " $ # " " % $ " $# $ %#$ "# %$ $ " ' % " "$ # # $ " "' % $ $ $ ) " " $# $ %$%" $ " "# " " " $ # )" $ ' $ " # ' #$ $$ ) *$ %# $ # $ " & "$ # $ " I have a wide-format printer in the gallery; am I legally culpable if I inadvertently print work for a customer that breaches copyright?

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The Fine Art Trade Guild will launch its Original Image Register later this year. This will be a low-cost way for artists to register their images to help verify ownership of their work and prove provenance. There will be discounts for Guild members. www.fineart.co.uk

ART BUSINESS TODAY

June 2013 41

ART

Caught in the web Artist, author and art business expert ALYSON B STANFIELD provides hints and tips for artists on designing an effective website

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42 June 2013

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ART BUSINESS TODAY

ART ! & " $

The home page of Alyson B Stanfield’s artbizcoach.com website

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ART BUSINESS TODAY

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June 2013 43

➺

ART ➺

❞ If you don’t know code and how to use it, I beg you not to try to design your site yourself.

Your website is key to your livelihood. Focus on nuturing your genius in the studio

❞ Left: Alan Reed’s website opens with a high-impact image. It is immediately clear that you can buy from the site, but there’s no tacky ‘buy now’ button (alanreed.com)

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➺

ART ➺

Anne Marie Bourke, at artannemarie.com, catalogues her work under the heading ‘paintings’, which is then sub-divided into oils, pastels and watercolours with a drop-down menu

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ART

BUSINESS TIPS FOR ARTISTS PAUL HELM WWW.PAULHELM.COM / WWW.52COMPOSERS.COM

WARWICK HIGGS WARWICKHIGGS@MSN.COM

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KEITH MELLING WWW.KMELLING.COM

JULIE CROSS WWW.JULIECROSS.CO.UK

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ART BUSINESS TODAY

June 2013 47

FRAMING

Understanding mark-ups If you don’t understand the difference between gross and net mark-ups you can’t have proper control over profitability, says MARK WILSON

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

T

WHAT IS A BENEFIT? Benefits offer advantages and solutions to consumers.

Examples: ‘This car has headlights’ the benefit is that the car can be driven in the dark.

‘This is a mahogany frame with timber inlay which will match your Edwardian furniture’ the benefit is that the frame will maintain a desired unity within the room.

48 June 2013

WHAT SHAPES THE MARKET? • Scarcity of product or service • Demand for product or service • Wealth of customer

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

FRAMING

%

GROSS MARK UP

!

#

% % %

£10 cost of goods

3.6 gross mark up

X

£36 sale price

=

! #

!% #

# "

" !

"

% "

NET MARK UP

" !

£10 cost of goods + £20 running costs = £30 true cost

1.2 net mark up

X

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£36 sale price

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ART BUSINESS TODAY

%

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What should my mark-up be? % !

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➺

June 2013 49

FRAMING ➺ #%

£180 £160 £140 £120

fit Pro

£100 £80 £60

Frame cost

£40 £20 £0 50%

Percentage mark-up

30%

The actual £ profit becomes greater on the larger cost even though the % mark-up is decreased

# %&"! & "% ! '' % ' %' % # % #' "! " ) ( "% "! , * ! '%(' #%" ' & %! * & "( !.' (&' +# ' '" #%" ' , (! %&' ! ! ' ! & " ' (&'" % ! #% & !' ! ' ! '& " "(% # '(% % &* ! % & &% ', ! ' % , # % #' "! " ) ( %" * * ! #%" ' '.& & ! ' ! '& ! '" * % " ' !! # '(% % & % ! '" ' ) & " "(% (&'" %& ! " (& "! ' & &% & * ! !' % ' ! ! & !! % & *' ' ! ,"( (! %&' ! ' % ! & ' " & & % '" & ' ! '& ' ' ( ' % &% & % '! # % #' "! " ) ( ! ' % , %! ! #%" '

PROFIT IS EARNED: • Know your market • Make the client feel special • Show an interest in customers’ work • Develop your design skills • Stay up to date with trends • Get the client involved • Paint visual images

50 June 2013

'(% % %& & (& ! && & ) ' "(!' " ' ! "! , ' , ! &# ! "! ) %' & ! ' ! '& " ' % # '(% % & "* ) % ' % % !, ' ! & ,"( ! " '" % ' % # % #' "! " ) ( ! ,"(% % & * !' ! % ) ! !'" ! % & % !& .) &' &" "* Store presentation '"% #% & !' ' "! ' , "% & #% # % #' "! ! ' (&'" %.& ! %" & "# & ! ! +' %! * ! "* &# ,& ' %"( '" !'% ! & '! ! !' %! &# ,& ' & % (&' &" " ' &' ( ' ' % ' #% # % #' "! ! * #% & !' &'"% * ' "" &# ,& % ' & & % ! ( & "! ! ' ' ,"( " % #%" && "! & %) ! "(' ' ' % ' (&'" % ,"( * !' '" ''% ' '" ,"(% &'"% ! % ' ! ' "&# % * ' "& (&'" %& * ! ", ! " "%' *' Be interested in the customer ' "(' "( ' (&'" %& (, & %) ! ) ' , ##% ' ' ' & & # %&"! & ' ! ' ' '" # ' ! ! % # "# # % ' % ) ( "! ' ' ! "! , ! ' ' ' ' ,"( ) &# !' ' *' (&'" % ! ' & ' ' ,"( ) ( ' & " & !"' ! ' ' ,"( ) '" &# ! "(%& *' !' (&' ' ' ' ' ) ! * & $( ', ! " (& "! ' % ! & ' (&'" % ' ,* % " % ' "%% ' ) ! ' '' % ! & * % #%"# % , '' ! '" ' % ! '" (&'" %&. "&' #% "(& % &"(% ' % ' ! "% # %&( & ) ' ! ) ! ' "&' % &' "

% ( ' "!& '.& *"%' "!& % ! ' ' (&'" %& " !"' * ,& * * , (& ' #% & '"" (' ' , " ' ! * * , (& ' & %) & #""% % ) ! !( %" ' & ) * * , %" (, ! #%" ( ' (& ' & %) ' ! (! %) ( Be interested in the customer’s item ( ' " ' ! (&'" %& * !' ) ' "! ' '' ' & *"%' '' ! % ' , & ,"( & ! +# %' ! ' % "% & ,"(% % ' "! ,"( "!.' ' ! ' & !,' ! &# "% "!.' ## % '" ##% ' ' * ' ! !' ) " & ' & ) ' '" " * ' ' &' % ! " - . !"' &(% '.& % , *"%' % ! . .) % ' ' "% (&'" %& , !"' % (& $("' (& ' , ,"(% #% & ! ! % ' , ' '' , ' #% & % ' %' !' ) ( ' ,# "! ' " ' '" % % & &' ! ' % ! '* ! ' & '*" "(' "" & '%, '" ( ' (&'" %.& & !& " ) ( &" ,"( ! ' % ! "(% ' (&'" % '" ) ( ' ' "% "% & ! % ' '* " # !' ' % #% "! ) ( ' Be a design expert ! ! +# %' & ! '' %& " & ! * "* ,"( '" ( ' !' '"* % & % ' '* #' ) ' ! ! ' ! #" !' "# ") '" &(%%"(! ' & ) &*' (' ( ' & ' ' ' , ! % "% & "* " ! '" " # ' !' , +# ! ' & ! #%" && ! % ' &'(!! ! & !& * !' (& ! !&# % ' (&'" % ! "&' & & "% "&' ! ' (&'" %.& ! & * ' * ' "" '.& !"' (!% &"! '" ' ! ' ' !, # "# & ' & %) & " # '(% % % '" " (# * ' &" ' ! ' ' & (! $( ! (' (

❞

£200

Customers buy service and advice; they appreciate that a sales person has taken the time to help them. In general, people place greater value on time than money

❞

ART BUSINESS TODAY

FRAMING

%

Mi lano Milano

Just very nice go-with-everything mouldings in the finishes that sell: distressed Gold & Silver foils with leaf lines and matt Black & White.

L2034

H Image: ‘‘Herman’ w..mill-house-gaaller y..co.uk Herman’ James Bartholomew Bartholomew RSMA www www.mill-house-gallery.co.uk

Made exclusively for us in Italyy..

L2 4 04

35

Actual size

28

Milano Gold & Silver

Milano Black & White

Lengths £3.60 m

Lengths £3.00 m

Wrap rap 2 W

Wrap rap 2 W

Chop £6.00 m

Chop £5.00 m

Ask for sample pieces or chevrons. n ion Lio 1 2012 Mouldings 14 Edition

io np ic.co .u k llionpic.co.uk

September

30

Stretcher Bars Wood Bare Wood l Minerva Mi rv Polymer i Aluminium A

ART BUSINESS TODAY

New from LION Mouldings

Wood Finished Finished Wood

$ & & ' %& % %$ !! % !$ ( ' & ) & % %" & $ & % " $ "& ! ! &$' ( ' !$ ! + Quality !( #' &+ "$! ' & $! & !! &! & ) & & % $ '%& %! ! & % %!$+ %& ' & & ( & "$ %% ! ! #' &+ % && $ #' &+ !$ ' #' & $ %!& !%&% ! + && !$ + & $ & % %&$! " $ "& ! ! #' &+ "$! ' & &,% )!$& (! & $ % & & +!' % " %% "$! ' $ % % '%&! $% $ + ( "$ " $ "& ! ! & % & & ) '& &! %) + Convenience $ % %% ( $!)& & ' $ ! " !" ) ! % !" ! %& +! % !"" $% $ % " + & $ & !) %& "$ $ ' $ $ & "!!$ '% & & $ & % & % ( ' & & %! ! $% ) ( $% ! ' + " !" $ + ) & &! % &!' " &'$ $ % &! & &$' % % ! ) & & + $ '+ '& & % ! % ,& $ $% * !'& & ! ( & +! $& $ '%&! $% & & & $ & % $ & " $ "& ! & & " !" & !%& +& %& & + +% '% $$ & & ! $ $ ! !'$% & ! ( !'% ! ( % &! ! $ '%&! $% %' % ! &! " $ " & % &! ! % $ +!' ! $ !" & %& & $ ! ( & !$ ' & )!$ $% $ +!' ! % %& & %! ) '%&! $ &'$ % '" & +!'$ '% %% & !!$ ) !" ( &! $ &'$ '% +!' $ !& !" $ & % $ & ! ! ( !'$ ) % & % !' "$ % & & % $( % "$! ' &% +!' ! $ !" & % ! &! ! & & & % % !)% '%&! $% &! ! & $ $ % $ $! ! !$ &! ( % & +!'$ % !" $ !! % & ! %! '%&! $% ! & & %& %' &% & $ % "% &! $ ) $ & '%&! $% !" ! ,& ) & & %% ! &$ ( &) ( $ !'% % !"% !! !$ & $ & ! '%&! $ !)% '% %% & $ &! & $ ( $+ & + ( %&$! & ( &! % !" ) & & & % "$! %% %+ !)% '%&! $% &! ! &! +!' ) & "$! ) & + !" +!'$ *" $& %

Rosetti, p.68

Birmingham 0121 773 1230 LION South 020 8848 4558 www.lionpic.co.uk

➺ June 2013 51

FRAMING ➺

CONVERSION RATE: 70 - 80%

100% Too cheap Realistic

Sales Report

70%

Period: 01/01/2013 - 31/01.2013

Total quotes:

97

Orders:

75

Conversion rate:

77%

80%

Too expensive

9+.. 51.8' 6=5 +/2146#06 016 61 276 1$56#%.'5 +0 6*'+4 9#; $; /#-+0) +6 .11#5 +( 6*'; *#8' $417)*6 ;17 #0 +0574/1706#$.' 241$.'/ *+5 /#-'5 6*'/ (''. .+-' 6*' $'#4'4 1( $#& 6+&+0)5 9*'0 +0 (#%6 6*' ':2'4+'0%' 5*17.& $' '0,1;#$.'

6=5 +/2146#06 61 )'6 %1/2.'6'& (4#/'5 $#%- 61 2'12.' +0 # 4'#510#$.'

6+/' '12.' #4' $'%1/+0) 75'& 61 +056#06 )4#6+(+%#6+10 #0& 6*'+4 .+8'5 #4' $75; ( 6*' &'.#; +5 611 .10) 6*' %7561/'4 /#; /18' 1061 6*'+4 0':6 241,'%6 #0& .15' +06'4'56 +0 2+%-+0) 72 #0& 2#;+0) (14 6*'+4 (4#/' +8+0) 2'12.' # &'(+0+6' 2+%- 72 &#6' #0& 14 %106#%6+0) 6*'/ 9*'0 6*'+4 (4#/' +5 %1/2.'6' )+8'5 6*' %7561/'4 # &#6' 61 .11- (149#4& 61 #0& '.+/+0#6'5 #0; (47564#6+10 1( %1/+0) +0 #0& 6*' (4#/' 016 $'+0) 4'#&; Give pricing examples 6 /#-'5 )11& $75+0'55 5'05' 61 1(('4 64#052#4'06 #0& %105+56'06 24+%+0) (6'0 0'9 %7561/'45 #4' 9144+'& 9*#6 # (4#/' 9+.. %156 *';=4' %10%'40'& 6*#6 6*'; 9+.. 6#-' 72 ;174 6+/' #0& $' '/$#44#55'& +( 6*' 24+%' +5 /14' 6*#0 6*';=4' 9+..+0) 61 2#; *+5 '/16+10 %#0 &+557#&' %1057/'45 (41/ #2241#%*+0)

(4#/'45 +0 6*' (+456 2.#%' "17 %#0 4'&7%' 6*+5 #224'*'05+10 $; *#8+0) ':#/2.'5 1( &+(('4'06 (4#/' 6;2'5 9+6* 6*'+4 24+%'5 %.'#4.; &+52.#;'& 6*+5 9+.. )+8' %7561/'45 24+%' %1/2#4+5105 #0& *'.2 014/#.+5' ;174 24+%'5 *'0 2'12.' 5'' 6*' #&8'46+5'& 24+%' 1( # 241&7%6 6*'; $'%1/' &'5'05+6+5'& 61 6*' 24+%' #0& (1%75 /14' 10 6*' $'0'(+65 #0& 21+065 1( &+(('4'0%' 19 6*' 24+%' +5 &'.+8'4'& *#5 # /#55+8' $'#4+0) 10 6*' %7561/'4=5 24+%' 2'4%'26+10 ( ;174 *'#& #0& ';'5 #4' &190%#56 #0& 6*' 24+%' +5 /7/$.'& +0 #21.1); 6*' %7561/'4 9+.. (''. 6*#6 6*' 24+%' +5 70,756 14 70%105+&'4'& 6 +5 +/2146#06 6*#6 ;17 $'.+'8' +0 6*' 24+%' ;17 #4' 3716+0) #0& $'+0) 574' 1( ;174 %1565 #0& -019+0) 6*#6 ;174 /#4- 725 #4' 4'#510#$.' )+8'5 ;17 %'46#+06; #0& %10(+&'0%' 9*'0 &'.+8'4+0) 6*' 24+%' *'5' #4' ,756 51/' -'; (#%6145 6*#6 #(('%6 6*' 2'4%'+8'& 8#.7' 1( ;174 (4#/'5 #0& 6*' 5'48+%' ;17 2418+&' *' $'66'4 ;17 #4' #6 5'..+0) 6*' $'0'(+65 #0& (7.(+..+0) 6*' %7561/'4=5 &'5+4'5 6*' )4'#6'4 ;174 4+)*6 61 #5- # *+)*'4 24+%' (6'4 #.. +( 6*' %7561/'4 *#5 4'%'+8'& 572'4+14 5'48+%' +6 +5 4'#510#$.' (14 ;17 61 $' 4'9#4&'& #%%14&+0).;

A reasonable, but not fantastic, return on a risk: £100,000 = total cost of overheads and materials

52 June 2013

X

1.2 (20% mark-up)

=

£20,000 profit on a total turnover of £120,000

Setting mark-ups *#6 9' 9#06 61 &1 9+6* /#4- 725 +5 )#+0 # 4'6740 10 +08'56/'06 "174 5*17.& $' 2412146+10#. 61 6*' 4+508'56+0) +0 # $75+0'55 1( ;174 190 +081.8'5 %105+&'4#$.; /14' 4+5- 6*#0 2766+0) ;174 /10'; +0 # $#0- 14 /#0#)'& (70& "17 5*17.& 6*'4'(14' ':2'%6 # $'66'4 4'6740 $'521-' (4#/+0) $75+0'55 *#5 4'.#6+8'.; .19 674018'4 %1/2#4'& 9+6* 1(( 6*' 5*'.( 4'6#+. $75+0'55'5 *'4' #4' 691 4'#5105 (14 6*+5 (+456.; (4#/'45 %4'#6' *+)* 52'% /#&' 61 14&'4 +6'/5 .+/+6+0) 6*'+4 241&7%6+10 #0& 6*'4'(14' 6*' 07/$'4 1( (4#/'5 6*'; %#0 5'.. +0 # &#; '%10&.; 6*' &'/#0& (41/ 6*' %1057/'4 5'%614 +5 4'.#6+8'.; 5/#.. 51 '8'0 +( ;17 9'4' #$.' 61 %4'#6' 8#56.; )4'#6'4 '((+%+'0%+'5 +0 241&7%6+10 6*' &'/#0& 917.& /156 .+-'.; 016 $' 6*'4' 14 6*'5' 4'#5105 917.& %105+&'4 2'4 %'06 6*' $#4'56 /+0+/7/ 61 #%*+'8' 0;6*+0) .'55 #0& ;17=4' $7;+0) ;1745'.( # .+('56;.' $75+0'55 ;17 /#; $' $'66'4 1(( 2766+0) ;174 /10'; +0 6*' $#0- #0& )'66+0) # ,1$ *+5 %#0 $' '#5+.; &'/10564#6'& ( +%674' 4#/+0)=5 674018'4 9#5 < .'55 #0& 6*'+4 /#4- 72 10 #.. %1565 9#5 2'4 %'06 6*'+4 241(+6 917.& $' < # 4'#510#$.' $76 016 (#06#56+% 4'6740 10 6*'+4 4+5- %105+&'4+0) 6*' 190'4 /156 .+-'.; 914-5 +0 6*' $75+0'55 #5 9'.. '4'=5 #0 ':#/2.' < 616#. %156 1( 18'4*'#&5 #0& /#6'4+#.5 ! /#4- 72 < 241(+6 < 616#. 674018'4 .'55 19 &1 9' #%*+'8' #0 1( 2'4 %'06 *#6 +5 2'4 %'06 /#4- 72 #5; +( ;17 *#8' %#2674'& #.. 1( ;174 %1565 +0 6*' 6+/' ;17 %*#4)' 176 ;174 /#4- 72 9+.. '37#6' 61 ( ;17 #%*+'8' 2'4 %'06 ;17 #4' &1+0) ( ;17 #%*+'8' 2'4 %'06 ;17 #4' &1+0) 9'.. ( ;17 #%*+'8' 2'4 %'06 )+8' 72 (4#/+0) #0& 94+6' # $11- 10 *19 ;17 &+& +6 ' 9#4; 1( 5'66+0) ;174 /#4- 725 611 6+)*6 ( ;17 9#06 # 2'4 %'06 4'6740 10 ;174 $75+0'55 +08'56/'06 +6 917.& $' +057((+%+'06 61 5'6 /#4- 725 $; 10.; 2'4 %'06 6 +5 6*' 0#674' 1( $75+0'55 6*#6 6*+0)5 )1 9410) ,1$5 910=6 )'6 2+%-'& 72 6*'4' 9+.. $' 4'67405 4' &1=5 #0& 70&'4'56+/#6'& 6+/' 61 0#/' # ('9 $8+175.; $75+0'55'5 5*17.& 64; 61 #81+& 6*'5' '8'067#.+6+'5 $76 +( ;17 5'6 ;174 /#4- 725 611 6+)*6 ;174 241(+65 /#; $' '#6'0 #9#; $; 6*'5' #0& 16*'4 70 ART BUSINESS TODAY

FRAMING

'03&4&&/ $*3$6.45"/$&4 !06 .": "-40 $0/4*%&3 $3&"5*/( " 7"3*"#-& ."3, 61 '03 :063 '3".&4 11-:*/( " 4."-1&3 $&/5 ."3, 61 0/ " ; $045 3&563/4 " 130'*5 0' ; 8)*$) )"3%-: 4&&.4 8035) 5)& &''035 "/% :06 8*-- $&35"*/-: -04& 065 *' "/: &33034 "3& ."%& 11-:*/( " 1&3 $&/5 ."3, 61 (*7&4 " .6$) #&55&3 130'*5 0' ; 8)*-45 /05 "''&$5*/( 5)& '*/"- 4&--*/( 13*$& &9$&44*7&-: 5 5)& 05)&3 &/% 0' 5)& 41&$536. "11-:*/( " 1&3 $&/5 ."3, 61 0/ " ; $045 (*7&4 " 130)*#*5*7& ; 13*$& 5"( 1&3 $&/5 ."3, 61 0/ 5)& 4".& ; (*7&4 " .03& 3&"-*45*$ 13*$& 0' ; "/% ; 130'*5 *4 " 3&"40/"#-& 3&563/ 4 45"5&% &"3-*&3 5)&3& "3& /0 45"/%"3% 3"5&4 50 8)*$) ."3, 614 4)06-% #& 4&5 #65 :06 /&&% 50 $0/4*%&3 8)"5 *4 " 3&"40/"#-& 3&563/ '03 :063 &''035 "4 8&-- "4 8)"5 :063 ."3,&5 1&3$&*7&4 "4 7"-6& '03 .0/&: )&/ "-- *4 4"*% "/% %0/& 5)& #&45 8& $"/ %0 *4 &45*."5& ."3, 614 5",*/( */50 "$$06/5 5)& #&/&'*54 063 '3".*/( 0''&34 "/% 5)& 26"-*5: 0' 063 $6450.&3 4&37*$& "4 %&4$3*#&% "#07& & $"/ 5)&/ .0/*503 "/% .&"463& 5)& 3&46-5 / 5)& &/% :063 ."3,&5 8*-- 5&-- :06 8)"5

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MOULDINGS18 is now available.

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FRAMING

IAN DIXON GCF explains how he constructed a double-sided frame on a swivelling base to display a 17th century sweet bag

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54 June 2013

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FRAMING

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ART BUSINESS TODAY

* Above Mat Pro Ultra fitted with optional board storage unit.

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June 2013 55

FRAMING

Putting the customer first Freelance journalist JAMES LAWSON visits framing supplier Mainline Mouldings and finds out that innovation, investment and listening to customers have allowed the company to grow

Below: A hand-finished Polcore profile (left) and a frame made from Napoli, a new wooden profile Opposite page: Mainline have invested substantially in a sophisticed e-commerce portal

56 June 2013

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ART BUSINESS TODAY

FRAMING

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➺ June 2013 57

FRAMING ➺ The Madison range of profiles

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FRAMING

TRADE SECRETS AIDAN LYNCH GCF UNIVERSITY OF LIMERICK

GEORGIA-ANNE RUDD THE GILDERS’ WORKSHOP

AIDAN LYNCH GCF UNIVERSITY OF LIMERICK

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AIDAN LYNCH GCF UNIVERSITY OF LIMERICK

ALAN WATT GCF BELVIDERE GALLERY

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IAN DIXON GCF IAN DIXON GCF BESPOKE FRAMER

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ALAN WATT GCF BELVIDERE GALLERY

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( *$ * ( # $ ! $ ' #* June 2013 59

FRAMING

Pete Bingham’s

Agony Send your framing problems to: pete-bingham@hotmail.co.uk

Q

A customer has brought me a large etching to frame that measures something in the order of 150x110cm. It has been folded in a large envelope for about 70 years and consequently is very heavily creased. She wants to be able to see both sides as there are some signatures on the reverse and she wants it framing to Conservation Level.

She has also indicated that she wants the creases removed, and that a friend of hers had a similar job done and the framer sandwiched the artwork between two pieces of glass, which cured the creasing problem.

She wants me to use the same approach. She is an extremely good customer and I want to do the very best I can. Any advice you can give, Pete, would be a great help.

Steve Armstrong, somewhere in Yorkshire

A

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60 June 2013

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Q

I have rather a gruesome framing job to do that has been brought in by an antique dealer, and I would like the benefit of Pete’s advice before I proceed. The customer is more than happy to leave the design to me, his only proviso being that the finished job is not fancy in any way.

The item is a what I believe is called a coursier’s breastplate and is reputed to date from the Napoleonic Wars. The gruesome bit is that there is a puncture hole of about three inches in diameter at the front of the right shoulder, with the metal bent inwards around the edges of the hole. There are several smaller dents at random points across the upper half of the armour.

There is an indistinct engraved number and letters around the lower rim that I can vaguely make out as ‘7 Eme’. I know, Pete, from past conversations that you have some ART BUSINESS TODAY

FRAMING

knowledge of such things; any lurid insight that you could shed on this would impress my customer.

Dave Barwick, north Lincolnshire 36&40.& 50 40.& #65 655&3-: A '"4$*/"5*/( 50 .& *4503: "/%

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Q

Your letter in reply to your critic on a restoration question was effective, but has it made you think twice about giving advice on such a contentious subject?

Name and address withheld 4 )"7& 4"*% ."/: 5*.&4 #&'03&

A */ 5)&4& )"--08&% 1"(&4 .": )"7& ."/: '"6-54 #65 #&*/( 830/( *4/=5 0/& 0' 5)&. â&#x2014;?

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www.valiani.com

Daler Mountboards ART BUSINESS TODAY

TM

June 2013 61

BRANCH NEWS

Membership Secretary Daniel Radley gives some of the spring highlights from around the country

Varied events in the north and south

Mal Reynolds GCF Adv (left) talking about the do’s and dont’s of stretching canvas, and Maxwell Roberts hosting a Q&A

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What’s on in 2013?

Details of upcoming branch events, reports on past events and details of officers and regions can be seen in full at www.fineart.co.uk

COTSWOLDS

LONDON, INC MIDDX & SURREY

NORTHERN IRELAND

REGIONAL ORGANISER

BRANCH MASTER

BRANCH MASTER

Cath Friend GCF, Emerald Frames 07507 774017 27 June, 10 Sept, 12 Nov

Paul Webb GCF, Artwork Creations 020 8390 0205 17 July, 18 Sept, 27 Nov

John McDermott, Still Photography 02893 368682

NORTH WEST

WESSEX

BRANCH MASTER

REGIONAL ORGANISERS (EASTERN)

Anne Corless 01253 780734 12 June, 11 Sept, 11 Dec

Johanna Cruickshank, Framing Star, 01962 850430 and Suzanne Parker GCF, Appleshaw Frames, 01264 772251 22 May, 2 Oct, 20 Nov

EAST MIDLANDS BRANCH MASTER

Andy Rossiter GCF, Artisand Framing and Art 01778 394664 17 July, 9 October

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NORTH EAST REGIONAL ORGANISER

Position currently vacant 25 June, 15 Oct

62 June 2013

ART BUSINESS TODAY

NEWS NEWS LETTERS

Letters and emails Changing publisher mid-edition '!,,%29 (!3 "%%. 02).4).' !.$ 3%,,).' -9 7/2+ &/2 ! 7(),% "54 7%=6% .%6%2 (!$ ! #/.42!#4 ./7 7!.4 4/ 34!24 3%,& 05",)3().' "54 4(% '!,,%29 3!93 4(%9 #/.42/, -9 0/24&/,)/ !.$ 4(%9 7/.=4 ')6% -% 0%2-)33)/. 4/ 02).4 -9 /7. 7/2+ (% %$)4)/.3 ). 15%34)/. !2% ,)-)4%$ %$)4)/.3 +./7 4(!4 )4=3 "!$ 02!#4)#% 4/ 02/$5#% ,)-)4%$ %$)4)/.3 ). !.9 /4(%2 &/2- "54 7(!4 7!.4 4/ $/ )3 #/.4).5% 02).4).' 4(% 3!-% %$)4)/. *534 50 4/ 4(% 34!4%$ .5-"%2 .$ 7!.4 4(% '!,,%29 4/ !'2%% 4/ 34/0 02).4).' 4(% %$)4)/. !-% !.$ !$$2%33 7)4((%,$

Write to: The Editor, Art Business Today, 16-18 Empress Place, London SW6 1TT, UK annabelle@fineart.co.uk

Framers shouldnâ&#x20AC;&#x2122;t undersell themselves, particularly those whose design and making skills are build on many yearsâ&#x20AC;&#x2122; experience

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I

June 2013 63

B2B

REPLYING TO A BOX AD? Email your contact details to sales@fineart.co.uk or fax 020 7381 2596. We will forward your details to the advertiser

AGENTS & JOBS Experienced picture framer. Busy Crowborough gallery. One/two days per week. Flexible hours. Would suit retired person or parent returning to work. To apply, call 01892 610770 New gallery opening in Wandsworth (London SW18) in September. Has a good space available for GCF. Flexible arrangements. Full details contact oilandwatergallery@gmail.com PRINTS AND ORIGINALS Fine art photography of London available in limited editions from Mr Smith World Photography. We supply homes and offices internationally. Call now to discuss bespoke collections. info@worldonfilm.com.

01992538899 Indian fine art prints available on canvas and paper in a range of sizes to suit any wall. View our unique collection including Vintage Bollywood film posters online. www.allindiaarts.com SERVICES Affordable giclée printing for galleries, framers and artists. Easy upload, trade discounts and great prices. Specialists in affordable canvas prints. Visit point101.com for more information and full price lists or call +44 (0)20 7241 1113 Digital artwork suppliers. High volume photographic restoration and enhancement services. Range of photo-to-art products available includes Caricatures, Pop Art, and Fantasy templates. Free to register. 0208 144 2472 or yasmin@photo-wonder.com Frame pricing software available for both Macs and PC's and in imperial or metric measurements. Powerful yet simple to use and easily adapted to suit all businesses. An indispensable tool for the modern framing business. Visit www.royallframing.co.uk or call Mike Royall GCF on +44 (0)1454 617022 Giclée printing for artists, photographers and framers. Top quality prints on fine art papers and canvas print specialists all at trade rates. Visit www.lucyart.co.uk or call +44 (0)1924 360226 64 June 2013

National Acrylic Painters’ Association (1985) promotes through exhibitions the excellence and innovation of acrylic paint.

Contact NAPA for membership details: 0151 639 2980, www.napauk.org, kjhnapa@hotmail.com Richard C O Lovesey Fine Art & Desktop Publishing. Personalised stationery, business cards, all in full colour. Products for artists: greeting cards, keyrings, notelets. Giclée printing. Mountcutting service. +44 (0)1507 600836 www.loveseyfineart.com The Association of Animal Artists invites artists to join for exhibition opportunities, workshops, field trips, AAA Art Rendezvous Days and the opportunity to work from life with the AAA En Plein Air Group. Please visit www.associationofanimalartists.com MATERIALS & EQUIPMENT Artwork / poster display system. 29 Selwyn’s print sleeves and wall mounting bracket. Size 30x40”. Hardly used. Also good for floor browser. £120. Tel Michael 01494 890636 / 07767 458434. Buckinghamshire. mwintgens@yahoo.co.uk

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Daler Rowney inspiring creativity since 1783 For all mountboard requirements, please contact: Tom Hopper Key Account Manager - Framing tom.hopper@daler-rowney.com

Due to failing knees I have a Morso F complete with all guards, right-hand metric scale and left-hand support arm in excellent condition plus a CS79 underpinner purchased in 2011 – as new. Email for details: graham@villageframer.co.uk. Please phone: 07858 126 427 Mounts4You. Online web based mount cutting service. www.mounts4you.co.uk Hardwood wedges for stretched canvases.

Over 50% of 19th and 20th century stretched canavases have broken or missing wedges. We manufacture eight different size/thickness combinations of replacement hardwood wedges, £5.50 per set of ten plus £3.50 p & p per order. Try the Studio Selection:10 each, 4 useful sizes, £23.50 post paid and save £2. Tel 01603 743374 with credit/debit card details. Leveton Studio, Orman House, 17a Grove Avenue, New Costessey, Norwich, NR5 0JD Play and display art vinyl album flip frames.

White and black. Single item £12+VAT, triple set £25+VAT, limited stock. Carriages cost.

Contact framearound@googlemail.com or 01204 397707 Sale of complete workshop equipment including - 48" Fletcher 2100 mountcutter, large 44" Ideal-Werk guillotine (with spare blade), Morsø MRI mitre with extension guide bed/scale, and three sets spare blades, waste shute and guard. Cassese CS88 underpinner, small air compressor, and Clarke 5/8" bench drill. Plus full range of tools, and framing equipment supplies, including specially adapted benches. Total cost £2,850. Stock (reduced and optional) £1,000. 0161 924 0220 or 07790 019466 (Manchester area) Stretcher bars and canvases made to measure in the UK. Fast turnaround.

Softwood and hardwood bars. Any size from 200mm to 3000mm. Print stretching service.

Made by the UK’s leading manufacturer.

For a catalogue call us now on +44 (0)121 2480030. www.harrismoorecanvases.co.uk ART BUSINESS TODAY

To advertise here email info@fineart.co.uk

BUSINESSES FOR SALE Major west Kent town gallery and framing business for sale. Established 30 years with excellent client base and major artists displayed. For more information please call 07834 159303 For Sale Off The Wall 24 Hill Street, Corbridge NE45 5AA Gallery of Contemporary Arts & Crafts, Long Established Business, Beautiful Market Town, Leasehold £149,950 Ref F541

Call 0191 2120000 www.rookmatthewssayer.co.uk TRAINING Applegarth Framing, Derbyshire. Individual framing training, beginners to advanced, courses tailored to suit students’ requirements. Contact Mary Evans GCF Adv on 01283 703403 or mary@applegarthframing.co.uk Art of Framing Training School. www.fringearts.co.uk or call Lyn Hall GCF Adv to request prospectus. Flexible training to suit your needs. Accommodation available. Based outside Guildford/Farnham.

Call (01483) 810555 Atkin Framers Ltd – Individual/joint tuition on all aspects of picture framing offered to new and experienced framers. Fine Art Trade Guild and ILA Scotland accredited.

Call Richard 07821 918 476 www.atkinframers.co.uk Down School of Picture Framing. ALL courses accredited by the Fine Art Trade Guild. Call Steven McKee GCF Adv 028 9269 3807 / 07834 787487 downschoolofpictureframing.co.uk

Hedgehog Art & Framing is a Fine Art Trade Guild accredited trainer. Basics to advanced, worldwide training on your premises. Over 500 students to date. Roy Rowlands GCF 01527 876293, training@hedgehog-art.co.uk In a Frame - Individual framing training by a qualified GCF (Hertfordshire/Essex borders).

Courses fully accredited by the Fine Art Trade Guild. Call Richard Williams GCF on 01279 260069, www.inaframe.co.uk Northern Framing School, Sheffield. Run by trainer and author Pete Bingham GCF. All aspects of framing, including GCF refresher courses and 4-day beginner course. 0114 245 1547 or pete-bingham@hotmail.co.uk Royall Framing (Bristol). Individual or joint tuition is offered by Mike Royall who's been a GCF since 1994 and is the only framing trainer in the UK who’s also a qualified adult education teacher. All courses are fully accredited by the Fine Art Trade Guild.

For more information visit www.royallframing.co.uk or call Mike on +44 (0)1454 617022 Sophie Brown Conservation Framing.

Registered GCF tester in Australia. Individual tuition from basic to advanced framing. The emphasis is on conservation. www.conservationframing.com.au +61 2 9518 0624 Sports Framing offer training from basics up to GCF standard. I day engineering courses on the Morsø. Oldham, Lancs. www.sportsframing.co.uk UK School of Framing. A range of courses available at a pace to suit each level to allow students to enjoy and absorb what is taught.

Courses take place at venues all over the UK and are accredited by the Fine Art Trade Guild. www.ukschoolofframing.com, 01494 459545 Wessex Pictures Framing School (est 1987) offers training to novices and experienced framers. It is recognised by the Fine Art Trade Guild. The 5-day course in Leatherhead is £395 + VAT. Phone Garry White GCF, 0845 456 9970

GILDING COURSES Harlequin Frames, Lincolnshire. Individually tailored textile framing workshops. Contact Mal Reynolds GCF Adv to discuss details 01673 860249 or e-mail mal@harlequin-frames.co.uk

ART BUSINESS TODAY

B2B AD BOOKING AUGUST 2013 DEADLINE Please send coupon and payment by 17 July to: Art Business Today, 16-18 Empress Place, London SW6 1TT, UK ■ CLASSIFIED (TEXT ONLY) 30 words: £35 + VAT (FREE to Guild members). 50p per word thereafter.

Box number £10 + VAT, Guild members £5 + VAT ■ BOXED CLASSIFIED Box: £55 + VAT per 60mm (£40 + VAT to Guild members) + £5 for picture or box no YOUR LISTING ________________________________ ________________________________ ________________________________ ________________________________ ________________________________ ________________________________ ________________________________ NAME

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PAYMENT By cheque (payable to Art Business Today) By credit card/debit card (please tick) ■ Mastercard ■ Visa ■ Maestro ■ AmEx

A practical introduction to water and oil gilding in an intensive 3-day course with an optional 4th day covering antique frame restoration.

Courses held in London, Oxford, Salisbury, Newark, Hastings and Scotland.

_❘_❘_❘_❘ _❘_❘_❘_❘ _❘_❘_❘_❘ _❘_❘_❘_❘ _❘_❘ Issue no _❘_❘_❘_❘ Start date _❘_❘_❘_❘ Exp _❘_❘ _❘_❘ CC security no _❘_❘_❘ last 3 digits on back

www.gildingcourses or call Jan Pike on 01424 754104 or 07973 732184

Or email details to: sales@fineart.co.uk NOTE: NO BOOKINGS CAN BE ACCEPTED WITHOUT PAYMENT IN ADVANCE OF PUBLICATION

of card, or 4 for Amex

June 2013 65

NEW B2B

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