ART TODAY
BUSINESS ÂŁ6.50 October 2014 fineart.co.uk
SEO tweaks for artists _ closing a sale _ customer service paper conservation _ business tips _ trade shows in China
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BolognaFiere, 6 - 8 March 2015
After its successful debut in 2014 with more than 1,200 trade visitors, 40% of which international operators, FAMAART - the picture frame, equipment and graphic arts tradeshow organised by BolognaFiere in collaboration with Fama Europe - is gearing up for its second edition. FAMAART 2015 will be held from Friday, 6th through Sunday, 8th March - three days for international and Italian operators to get a broad insight into what’s new on the international picture-frame manufacturing scene.
FAMA EUROPE ASSOCIATED COMPANIES
ABITARE S.R.L. - ITALY ADHISA ANTONIO DIAZ E HIJOS S.A. - ESPAÑA ALBOR S.P.A. - ITALY ALESSIA CORNICI SNC - ITALY ALFAMACCHINE S.R.L. A SOCIO UNICO - ITALY BOLOGNI ARREDA - GEST.IBO2 S.R.L. - ITALY C.C.C. DE CONCILIO S.R.L. - ITALY CORNICI DI MARCA S.R.L. - ITALY DECOR S.R.L. - ITALY FARNE’ GROUP S.R.L. - ITALY F.C. CORNICI S.R.L. - ITALY GARCIA E HIJOS MOLDURAS S.A. - ESPAÑA GINER MOLDURAS S.A. - ITALY
GOYA MOLDURAS S.A. - ITALY I.COR. S.R.L. INDUSTRIA CORNICI - ITALY I.P.L.A. S.R.L. - ITALY LOPEZ MOULDINGS - ESPAÑA L.P.M. S.R.L. - ITALY MANFREDINI INDUSTRIA CORNICI SPA - ITALY MARKESTIL S.L. - ESPAÑA MOLGRA S.L. - ESPAÑA MOORMAN KARTON WEESP B.V. - NEDERLAND NOUESTIL ARTESANIA S.L. - ESPAÑA PROVASI LUCA - ITALY RINALDIN S.R.L. - ITALY SAN. COR. S.R.L. SMAC CORNICI - ITALY VALIANI S.R.L. - ITALY
Contents Art Business Today, October 2014, Issue 5
BUSINESS
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First published June 1905 as the Fine Art Trade Journal
COVER
32 Are you being served? How to provide excellent customer service, by Steve Burke 36 A busman’s holiday John Ranes CPF GCF visits framers and retailers across the USA
ART 44 11 dead easy SEO tweaks for artists Helen Aldous reveals how to get to the top of internet searches 48 Preserve and protect In discussion with paper conservator Louise Vaile
FRAMING
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52 Building customer desire Jared Davis MCPF GCF on motivating customers to buy 58 Caught on film Jonathan Gooders GCF frames TV, film and music memorabilia
REGULARS 8 Trade news 24 Comment and letters 29 Face to face: JJ Adams 30 Product news 42 The art of good business 51 Business tips for artists 56 Pete Bingham’s agony 62 Trade secrets 64 B2B: classifieds 66 Last word: Garry White GCF, Wessex Pictures
32
COVER The Valiani Mat Pro Ultra V computerised mountcutter cuts, scores, embosses and draws. It can be used on materials including corrugated board, PVC, foam board and mountboard and is equipped with a camera for crop mark detection. Valiani’s UK distributor is D&J Simons, djsimons.co.uk valiani.com ART BUSINESS TODAY
48 October 2014 5
Letter from the editor The world is full of people who will do things cheaply, so focus on doing things well
Art Business Today Published by the Fine Art Trade Guild Unit 2, Wye House, 6 Enterprise Way, London SW18 1FZ T: +44 (0)20 7381 6616 info@fineart.co.uk www.fineart.co.uk Publisher Louise Hay louise@fineart.co.uk Editor Annabelle Ruston annabelle@fineart.co.uk Advertising manager Kasia Szkolnicka kasia@fineart.co.uk Subscriptions Moira Sanders moira@fineart.co.uk Contributors Helen Aldous; Emma Bell; Pete Bingham GCF Steve Burke; Jared Davis MCPF GCF Jonathan Gooders GCF; John Ranes CPF GCF Alan Reed; Louise Vaile; Leszek Wolnik Publication dates Art Business Today is published five times per year: January, April, June, August and October Subscriptions 2015 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
Guild CEO Louise Hay Master of the Guild Steve McKee GCF Adv Like us on Facebook facebook.com/artbusinesstoday Follow us on Twitter twitter.com/abtmag
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recent interview with Tim Wilson, founder of The Ginger Pig minichain of artisan butchers, in The Times, provided me with food for thought. 20 years ago Tim, who had filed for bankruptcy, spent his last £60 on three Tamworth pigs.Today, he has six upmarket butcher’s shops in London, which are supplied by his 3000 acre farm in Yorkshire. He employs 130 staff and has 5000 pigs, sheep and cattle. Here’s Tim’s advice to people starting their own business: ‘The world is full of people who will do things cheaply; just concentrate on doing things well. You may have to charge more but the end product will be worth it.’ His first job was working in his father’s antiques shop, which is where he says he learnt to appreciate the idea of perfection, ‘It gave me the eye for quality. That’s why Ginger Pig works - because if it isn’t the best or done properly then I won’t bother doing it.’ The Ginger Pig formula is surely the key to success for artists, gallery owners, printers and framers too? We can buy pictures and frames cheaply online, so independent businesses should focus on promoting their expertise, personal service and quality products. People understand that these ingredients will cost a little more. And importantly, as Tim implies, doing things properly is satisfying and enjoyable. The welfare of The Ginger Pig’s animals has always been the priority, ‘It is very important that they are fed well, allowed to run about and that they aren’t taken on a lorry to who knows where to be killed.’ It’s uplifting to believe that businesses built on integrity and enthusiasm, rather than just an overriding desire for profit, can thrive. I think that customers sense integrity, just as they sense deception, so businesses built on the former are much more likely to last the longest. Like houses built on proper foundations and made from quality materials. If you work at The Ginger Pig you can honestly tell customers that the meat is hormone-free and the animals were humanely reared. Just as gallery owners can talk about their artists, framers about their design choices and printers about their knowledge of colour and paper. This type of sincerity and knowledge is far more effective at clinching sales than any type of foot-in-the-door hard sell. We all receive too many ‘marketing calls’ and spam emails now, and we’re too familiar with deliberately misleading sales messages. Buyers are cynical and unimpressed by duplicitous sales techniques. We are tired of this approach. I conducted an informal survey this summer and asked framers and retailers for their top sales tips. ‘Rubbish out, rubbish in’, said one framer firmly. Apparently she meant that if your frames are poor quality you will attract poor quality customers, which is an excellent point. ‘Remember that you are there to serve customers. Don’t see them as an annoying interruption, but as the core of your business,’ was a sentiment that cropped up quite often. Here’s another sagacious bit of advice: ‘Never ask ‘Can I help you?’ unless you want to hear ‘I’m just looking thanks’. Avoid yes/no questions altogether and ask a focused question about the products the customer is looking at. If the customer is keen to discuss his or her needs, be sure to ask questions as this shows that you care and helps you choose the right designs. So long as you ask them in the right way, and aren’t pushy, most people will be flattered.’ Annabelle Ruston
6 October 2014
ART BUSINESS TODAY
News Please email news stories to annabelle@fineart.co.uk
Italian trade show dates confirmed for next year THE FRAME Accessories Manufacturing Association (FAMA) have announced the dates for the first full-scale FamaArt show, which is to be held from 6 to 8 March 2015. The event, which is primarily a showcase for mouldings made in Italy and Spain, will be held in Bologna, Italy, a location that has long been popular with visitors and exhibitors alike. 2014 saw a smaller inaugural FamaArt Preview event, which ran over two days and included 50 exhibitors.
However, though this year was the first event for the current organisers, there has long been a framing trade event in Bologna. SACA, which later became QuadrumSACA, folded five years ago, then different organisers hosted an Italian show, taking it to Rome and Milan. When it became clear that a 2014 show would not take place, FAMA hurriedly put together plans for FamaArt Preview, which was deemed a successful event. famaart.it Business being carried out at FamaArt 2014
No discrete art and framing sector at Spring Fair 2015 FOR THE first time, there will not be a dedicated art and framing section at next year’s Spring Fair International. Framing suppliers, publishers and artists wishing to exhibit will mainly be located in Hall 1, which is branded ‘Home’. Businesses that have committed to the show so far include Buckingham Fine Art, Fujifilm, McDonald Ralph, Gunnar, Kerry Darlington, Ready Made Picture Framing Company, Daryl Davies Fine Art, The Art Group, Chantry Fine Art and Collier & Dobson. The Fine Art Trade Guild will have a stand, but there will no longer be a dedicated training area. The Guild’s training opportunities will now be focused on the Art & Framing Convention in May and at Making Pictures events around the UK and Ireland. The number of art and framing exhibitors has been steadily decreasing. In 1990 there were 300 companies and competition for stands was fierce, but this diminished to around 50 exhibitors this year. Thanks to technology, there are now many more ways for companies to allocate their marketing budgets than when the Spring Fair was founded in the 1970s. Overall however, the fair has continued to grow each year, but visitors now hail from a wide variety of businesses and there are less framers and gallery owners than there were. springfair.com 8 October 2014
Collier & Dobson’s stand at this year’s show
ART BUSINESS TODAY
NEWS
Qualified framers will earn CPD credits. Taking part in a hands-on workshop is likely to earn the maximum five points, watching a demonstration could earn the framer three or four points, while attending an event such as Making Pictures might earn you one point From left: Louise Vaile presents a talk on conservation mounting; demonstrating how Mandev’s new stretcher bars work; Pete Bingham GCF teaches a hands-on workshop
Below: Roy Rowlands GCF (left), who was the first person to qualify as a GCF 20 years ago and one of the first examiners, and Mal Reynolds GCF Adv, the current chair of the Framers’ Committee
Changes to the GCF qualification: an update IN THE June 2014 issue we announced that 20 years after its launch, the Guild Commended Framer qualification is to be updated (GCF: 20 years ushers in the changes, page 11). The Guild’s Framers’ Committee has now revealed further details. ‘The GCF exam itself won’t change,’ emphasises committee chairman Mal Reynolds GCF Adv, the driving force behind the initiative. ‘The requirements for the exam and its format will remain the same. What’s changed is that framers who qualify from 2015 will commit to a programme of continuing professional development (CPD).’ GCF certification will last for two years, after which time framers must show that they have undertaken CPD if they wish to retain this badge of honour. ‘This will ensure that GCF retains its credibility in the eyes of the public,’ says Mal. ‘CPD is in line with other professions. Conservators, medical professionals, teachers and others have to demonstrate a commitment to learning throughout their careers.’ Framers have two years in which to gather 20 credits, some of which will be verifiable and some nonverifiable. A maximum of five nonART BUSINESS TODAY
verifiable credits are permitted, which might be awarded for demonstrating that one has read professional articles, or written notes on a museum visit. Verifiable credits will be given for attending training sessions and networking events. Value for credits has yet to confirmed, but taking part in a two-day frame finishing workshop may earn you the maximum five points, watching a demonstration could earn you three or four, and attending a supplier’s open day might earn you one credit. Framers attending a lecture or exhibition, and unclear whether it counts towards their CPD, should get in touch with the Framers’ Committee
through the CPD Talk forum (see below). ‘The flagship event for gaining CPD credits will be the Art & Framing Convention, which next year takes place on 16 and 17 May in Harrogate,’ explains Mal. ‘Guild Branch evenings and Making Pictures events will also play a big role, but framers who attend lectures at museums, needlework exhibitions or similar should enquire whether these sessions count. In addition, we plan to hold training days at the Guild’s new south London offices.’ The Guild website includes a forum dedicated to discussing and developing CPD, which is moderated by the Framers’ Committee. You don’t have to be a Guild member to comment, but you must register. Visit fineart.co.uk, then go to the bottom of the home page to ‘Quick Links’, then click on ‘CPD Talk’. On the CPD Talk forum there are ‘read, reflect and learn’ documents to download. More will be added. Framers are encouraged to read these, then answer the questions. Those who register that they have read a particular document will be awarded two CPD credits. A random selection of framers may be contacted and tested on the content. fineart.co.uk October 2014 9
NEWS
Britannia Mounts closes its doors FRAMING SUPPLIER Britannia Mounts Company has merged operations with its sister company, Crescent Europe GmbH, which is based in Germany, and has closed its UK operation at Huddersfield. Peter Royle, who was MD of Britannia for 28 years, has left the company. UK customers can buy both Britannia and Crescent mountboard from Wessex Pictures, as they were able to do in the past. As well as Wessex, Corri-Cor® back board is available from suppliers including Ashworth & Thompson, Renaissance Mouldings, KC Glass and Welsh Framing. Wessex Pictures are handling all Britannia’s orders for cut-to-size mounts, including volume orders. crescent-europe.com wessexpictures.com
Submissions invited for Guild exhibition THE FINE Art Trade Guild invites submissions for the 2015 Guild Artists’ Exhibition from all members. JPGs and submission fees must be with the Guild by 15 March and framed artwork should be delivered to the venue, The Old Swan Hotel in Harrogate, in time for hanging on Saturday 16 May. Register your interest at fineart.co.uk, at the Awards & Convention tab, then Convention 2015, to receive full details
10 October 2014
Colourbyte launch system for producing film MOST PRINTING is now digital, precluding the need for film, but there are specialist printmaking studios that want to use film to create multi-media images. Falling demand for film has made it hard for studios to find a cost-effective supplier, but now Colourbyte Europe has launched the Colourbyte Inkjet Imagesetter Solution. The system uses Epson inks and printers to produce colour film separations with 2880 dots per inch, ultra-fine lines and perfect solids. The process is chemical-free and does not require use of a darkroom. Epson printheads ensure accurate placement of dots, while their UltraChrome UV-resistant pigmented inks ensure excellent colour density. Jealous Print Studio, London, specialises in fine art screenprints and large format giclée prints on paper. The studio, which creates prints for galleries and museums and collaborates closely with artists, uses the Colourbyte Solution along with an 11-colour wide-format Epson printer, Wasatch RIP and PosiPrint™ film. Printmaker Peter Bennett of Lazarides Editions is a specialist in relief and intaglio printing, and is known for his expertise in manipulating screen and digital processes. The Colourbyte Solution and Epson Stylus Pro 9800 are used to help create photo etchings,
aquatints and photogravures. A recent project carried out for artist Antony Micallef involved three photo-etched intaglio plates, 17 screenprint separations, thermography, carborundum and 22carat gold leaf. ‘Digital prints won’t displace hand-made prints,’ explains Peter Bennett, ‘But digital, in particular the Colourbyte Solution for producing films, has a place in enabling the production of fine art prints.’ colourbyte.co.uk Below: I Shit Diamonds by Antony Micallef, a multi-media print made at Lazarides Editions in collaboration with Peter Bennett, utilising Colourbyte technology Bottom of page: Matthew Rich of Jealous Print Studio outputting a PosiPrint film for screenprinting a black separation onto a giclée print, produced on an Epson printer, to add tone to gold leaf which was applied using a screenprinted glue layer using the Epson machine
ART BUSINESS TODAY
NEWS
Exciting new contemporary gallery in the north west ALEX SHARP, owner of Watergate Street Gallery in Chester, has opened a second shop in the city. ART AT 41, a striking contemporary space in the vibrant Hoole area, will be the only gallery in that part of the country selling work by Sir Peter Blake and Sir Terry Frost. Others artists whose work will be available through the gallery include Lhouette, Christine Comyn, Donald Hamilton Fraser and Kerry Darlington. artat41.com
New ready-made frames from Kenro THE CHLOE and Madison frame ranges are new from Kenro, which distributes gift frames and albums. Chloe frames feature white enamel flowers and crystals, while the Madison series is available in classic and modern designs. kenro.co.uk Selective Prints closes AFTER MORE than 20 years Selective Prints has ceased trading. The company, which won the Art & Framing Industry’s Independent Publisher Award in 2006 and 2007, distributed prints from artists including Margaret Clarkson, Jeremy Paul and Elaine Cooper. The Shropshire-based business was founded by Des Machin, then taken over by Andrew Whyte upon his retirement. Christmas cards from Online Paper ONLINE PAPER’S value packs of Imajet pre-scored fine art cards are ideal for Christmas. A pack of 50 A5 cards that fold to A6 are priced at £12.98. Online Paper started in 1999 selling fine art papers online for Hahnemühle, Innova, Fotospeed, PermaJet, Canson and more. As a special offer to readers, quote ABT11 in the checkout code for free UK p&p on all orders until 30 November. onlinepaper.co.uk
The launch party held at ART AT 41
Wildlife Artist of the Year entries invited for 2015 BOTH AMATEUR and professional artists are invited to enter the Wildlife Artist of the Year competition, which is now in its eighth year. There are nine categories, so all styles are catered for, plus a £10,000 prize purse and the chance to be included in the exhibition at London’s Mall Galleries. The competition is organised by the David Shepherd Wildlife Foundation, and all profits are donated to the charity. The closing date for entries is 13 February. Visit davidshepherd. org for entry information and to see the 2014 winners. ART BUSINESS TODAY
Sword of the Desert by Stefano Zagaglia was this year’s winner in the Wildlife category
Painting courses in Italy THERE ARE still six free places on Alan Reed’s painting holiday in Italy, from 9 to 16 May 2015. Guests will stay at the luxurious Chiesa del Carmine in Umbria. Painting tuition will be offered to students of all ages, from beginners to advanced, and non-painters are welcome too and are invited to enjoy the food, wine, golf, sun and sightseeing. alanreed.com October 2014 11
NEWS
Artexpo Berlin will go ahead
Rainer Helbing, founder of Artexpo Berlin
FOLLOWING THE report in Art Business Today’s August e-newsletter, it is confirmed that the inaugural Artexpo Berlin now has the 50 bookings required for the show to go ahead. Show organiser Rainer Helbing issued a plea to trade suppliers to support his show, as in August he was a few exhibitors short of the 50 he needed to run the event. More than 50 exhibitors are now already booked to take part in Artexpo Berlin, which will run from 25 to 27 September next year. Having achieved this critical mass, the organisers have launched an English language website and are marketing the show to international visitors. Artexpo Berlin will include framing supplies and equipment, as well as artworks. It is a trade only show and entry will be free. In 2016, Artexpo Berlin will be divied into three shows running at different times in the autumn. Framing suppliers will exhibit at the ‘business’ show; art dealers and gallery owners at the ‘gallery’ event and artists at the event branded ‘artist’. The public will also be admitted to the last two events. artexpo.berlin
12 October 2014
A small selection of the boards available from Sunbow
Chinese mountboard manufacturer looks to the west CHINESE COMPANY Sunbow Arts & Crafts Manufacture Co Ltd, based in Guangzhou, 120km north west of Hong Kong, is looking for UK distributors. Sunbow have been making mountboard and photoframes since 2000, and now export to more than 30 countries. Their extensive mountboard range includes collections in a number of
finishes, including pearl, linen and suede. The rainbow collection features boards in 40 bright hues, while the classic series showcases Sunbow’s 30 best-selling colours. Sunbow exhibited at Guangzhou’s Art & Frame Expo trade show this September. sunbowart.com
Ilford brand in safe hands ILFORD, ONE of the oldest photographic brands in the world, is being re-launched. At the end of last year Ilford Imaging Switzerland closed its factory and declared itself insolvent, but the company’s trademarks and assets have been purchased by a partnership
consisting of Chugai Photo Chemical Co, Japan, and CR Kennedy & Co, Australia. A new business, Ilford Imaging Europe GMBH, has been established by the two companies. The range will continue to be exclusively distributed in the UK by Tetenal Ltd, with shipping due to commence at the end of August. The range includes old favourites such as Ilford Gold Fibre Silk, Smooth Pearl, Smooth Gloss, Gold Mono Silk, and Prestige Metallic Gloss. There are also two canvas products. Pricing is competitive and product codes and packing remain unchanged. In 2015 customers can expect to see new complementary products, swatch books and marketing material. tetenaluk.com ART BUSINESS TODAY
NEWS
State of the art facilities at Irish Art Courier LIMERICK-BASED fine art shipper Irish Art Courier have expanded with the purchase of an additional climatecontrolled lorry and two refurbished art stores, one for storing artwork for up to two weeks and the other for long-term storage. The 64,000 cubic foot facility stores work in museum quality conditions and is monitored 24 hours a day. They have simultaneously launched a new art delivery service, which includes taking down artwork, packing it, delivering it then re-hanging it at its final destination. Custom-made crates are part of the service. Packing materials include Glassine or Tyvek Bubble-Guard Plus, Jiffy-Guard and double-wall cardboard. Made to measure
polystyrene travel frames are supplied for unframed paintings and ornate frames. Irish Art Courier regularly ship artwork around the world, and their impressive list of customers includes the Royal Academy of Art, Christie’s, the Mall Galleries and Waterhouse & Dodd. They also work for private collectors who need artwork moved, or looked after while building work is carried out. In the words of artist Declan Marry, ‘Hail, rain or snow, Joe Murphy and his team at Irish Art Courier are simply the best value, the most punctual, as well as the safest and friendliest art courier around.’ irishartcourier.com
Updated eco-flo system from PermaJet IMAGING SUPPLIER PermaJet has launched an improved Eco-Flo System for the Epson R3000 printer, which is priced at £249. The system uses automated ink resetting software, which makes refilling used cartridges easy and can reduce printing costs dramatically. permajet.com
From left: Eunice Knott, The Frame Studio; artist Anne Corless; Pete Bingham GCF; artist and photographer Peter Drought; Sue Webster, owner of Blue Moon Contemporary Art Gallery & Framing
Networking in the north west ART AND framing professionals in the north west of England enjoyed an informative and social event held at Blue Moon Contemporary Art Gallery & Framing in Heswell. The evening, organised by the Fine Art Trade Guild’s branch master Anne Corless, featured a demonstration of frame finishing techniques by ABT columnist Pete Bingham GCF. fineart.co.uk ART BUSINESS TODAY
October 2014 13
NEWS
Retailers stocked up at Autumn Fair
16th mouldings catalogue for LION LION PICTURE Framing Supplies has published its 16th mouldings catalogue. The full-colour 164-page brochure is also available in an unpriced edition, designed to be shown to customers. Sales Director Lee Tandy comments, ‘Framers should really appreciate the creative presentation of the catalogue, which includes 16 new ranges.’ New collections comprise Driftwood,which is distressed and chalky, and Navarre, which is made up of subtle, earthy colours. lionpic.co.uk
AUTUMN FAIR Birmingham consolidated its position as the number one place to stock up on gifts and home accessories in time for the Christmas market. The show brought together 1400 exhibitors and 30,000 buyers. Exhibitors were divided into 11 sectors, including: Contemporary Gift & Home; Greetings, Gift & Craft; Body, Bath & Home Fragrance; and Fashion, Jewellery & Accessories. Suppliers of frames and framed pictures tended to exhibit in the Home Interiors & Furniture hall, while artists with prints and 3D products tended to be in the Contemporary Gift &
Home hall. Frame and picture suppliers included Art Marketing, The Art Group, Artko, Camelot Pictures and HHJ Trading. ‘Because the fair is the last big push before Christmas we’re able to source key items that are on trend and will draw people into our shops,’ says Steve Tyler of CW Tyler. ‘There’s a huge variety of wholesalers at Autumn Fair,’ says Kevin Bellwood, Roobarb Retail, ‘If you are a retailer I don’t think you can afford not to be there.’ ‘It’s the perfect timing for finding top-ups for the Christmas rush,’ says Occasion Retail’s Mark Jones. autumnfair.com
RAM Gallery at Bloodstock VISITORS TO music festival Bloodstock this summer enjoyed the tranquility of the first on-site Rock and Metal Gallery. This featured original festival artwork by founder Paul Raymond Gregory, who is a well-known fantasy artist. Also on show was a range of Paul’s album art and Tolkien paintings. Following postive feedback from music lovers, it has been announced that the RAM Gallery will be a permanent addition to the festival. bloodstock.uk.com studio54.co.uk
14 October 2014
2015 FRAMING & ART TRADE EVENTS West Coast Art & Frame 25-28 January, Las Vegas USA, wcafshow.com Paperworld 31 January-3 February, Frankfurt Germany, paperworld.messefrankfurt.com Spring Fair International 1-5 February, Birmingham UK, springfair.com FamaArt 6-8 March, Bologna Italy, famaart.it Shanghai Art and Frame Expo 20-22 March, Shanghai China, cafexpo.net The Photography Show 21-24 March, Birmingham UK, photographyshow.com PAMA Frame & Art Show TBA March, Mumbai India, pamaindia.org China Beijing Art & Frame Expo 1-3 April, Beijing China, afaexpo.com Artexpo New York 23-26 April, New York USA, artexponewyork.com The Art & Framing Convention 16-17 May, Harrogate UK, fineart.co.uk Art & Frame 14-16 August, Sydney Australia, theframingshow.com.au Art & Frame Expo 24-26 August, Guangzhou China, afaexpo.com Autumn Fair International 6-9 September, Birmingham UK, autumnfair.com China Art & Frame Expo 18-20 September, Yiwu China, cafexpo.net Artexpo Berlin 25-27 September, Berlin Germany, artexpo.berlin Art & Frame Expo Forum, TBA October, Moscow Russia, artframeexpo.ru ART BUSINESS TODAY
NEWS
2014: a great year for Making Pictures THIS YEAR has seen well-attended and diverse Making Pictures trade events all over the UK and Ireland, at venues including Bristol, Glasgow and Bedford. As this magazine goes to press, Making Pictures Dublin will be held at The Copper House Gallery, thanks to sponsorship from Valiani, and Making Pictures Yorkshire will take place from 6.30pm to 9.30pm on Tuesday 4 November. The show in Belfast this summer boasted exhibitors including Abbey Glass & Framing Supplies, DW Framing & The Village Gallery, D&J Simons and Steve McKee GCF Adv. The latter demonstrated conservation framing and mounting techniques, which pulled in the crowds and generated an animated discussion about the role of the framer in conserving artwork. Making Pictures Yorkshire, to be held at The Lodge at Leeming Bar, is sponsored by Fujifilm and Wunderbars. Peter Hayward and Tim Jones will be discussing how Fujifilm can meet visitors’ imaging needs and will be demonstrating how Wunderbars work. Framers Corner’s Sam Cook will be creating inspirational mounts using a Wizard computerised mountcutter, while Wessex Pictures’ Steve Goodall will be impressing guests with his mounting and laminating skills. Also on hand from Wessex will be Chris Draper, who will be showing the
Frinton Mouldings range, including their new tulip wood unfinished mouldings. Ken Turner and Lauren Worsley from the Oldham branch will display a comprehensive range of products, including specialist glass and acrylic. There will be conservation framing demonstrations from Mal Reynolds GCF Adv. Maxwell Roberts, owner of Headrow Gallery in Leeds, will offer advice to artists and gallery owners. Artists will also benefit from marketing and PR ideas from Anne Corless. First Data will be available to discuss credit and debit card processing, and Fine Art Trade Guild CEO Louise Hay and membership secretary Stephanie Winn will be at the event too. To book tickets for the Yorkshire show, visit fineart.co.uk and go to the ‘events’ tab, then ‘Making Pictures’. Tickets are £9 to members and £14 for non-members when booked in advance, or £10 and £15 on the door.
Images from Making Pictures Belfast
Making Pictures Yorkshire is sponsored by Fujifilm and Wunderbars
Visitors to Making Pictures Yorkshire will see demonstrations presented by: Sam Cook of Framers Corner (left); Steve Goodall of Wessex Pictures (centre) and Tim Jones of Fujifilm and Wunderbars
ART BUSINESS TODAY
October 2014 15
NEWS
Guild visits AFA Expo Guangzhou THE FINE Art Trade Guild exhibited at Art & Frame Expo, which was held in Guangzhou, China, this September. CEO Louise Hay and Master’s Warden Maxwell Roberts manned the stand, with the help of an interpreter. This is the second time this year that Maxwell has visited China on Guild business. He managed a stand at the China (Shanghai) Art & Frame Expo this spring, an event hosted by rival organisers. ‘All the visitors were desperately seeking information and eduction. There is a strong focus on raising standards,’ reports Louise. ‘Everyone who came to our stand wanted to find out about training and qualifications. Very few people speak English, though we sold out of books. They are so hungry for information that people bought books with a view to asking friends to translate the contents.’ ‘Though China has a long history of creating artwork, the framing industry is only 20 years old,’ explains Louise. ‘Training material, premium products and established standards are hard to come by or non-existent. The Chinese have the skills, but don’t understand the concept of conservation. There was artwork on exhibitors’ stands that was buckled or slipping thanks to a lack of understanding.’ ‘There were only a handful of westerners at the show, with most visitors from China, Hong Kong, Singapore, Malaysia, Thailand and the Philippines. Nearly all exhibitors were from China and Hong Kong. There were less than 1000 visitors, but they were good quality buyers.’ ‘The brand new exhibition venue is 16 October 2014
in Wende Road, an area dedicated to selling art, art materials and framing. That’s how shopping is organised in Guangzhou; for example you would find a whole street devoted to selling wedding dresses. Though the venue is super de luxe, the exhibition display stands and furnishings were a little run-down. It is not yet the custom for exhibitors to invest in high-quality graphics or stand design, and the organisers share this approach. Most stands were very simple.’ ‘There were just one or two publishers at the show. Most exhibitors were selling framing equipment and materials, particularly mouldings. Wizard were there with their computerised mountcutters, and there was a Chinese CMC brand, but there was a lack of premium products. The market is still evolving. The organisers are keen to attract more publishers and are aware that western publishers shy away from China due to fears about copyright infringement. They have formed the Wende Road Association to help fight infringement and attract overseas publishers.’ ‘The cost of hotels and food in Guangzhou is reasonable. Companies marketing premium framing products and western art could expect to see a lot of interested customers at the show. It would be a good event to visit if you are looking to source framing products from China.’ Maxwell Roberts compares the Guangzhou show with the Shanghai event. ‘This show is small with around 30 exhibitors and it’s only in its second year. The owner of AFA Expo, Ken Zong, used to work for Cafexpo, which has been organising art and
From left: Delegates attending the seminar; Maxwell Roberts and Louise Hay present Ken Zong, owner of AFA Expo, with their Guild membership certificate; visitors to the Guild stand; the art and frame seminar
framing shows for ten years. Cafexpo’s Shanghai show is much bigger and I’m told that the biggest of all the Chinese trade shows is Cafexpo’s Yiwu event, though I haven’t visited it.’ (See a report on Cafexpo Yiwu on page 21.) ‘The exhibitors at Guangzhou and Shanghai were similar, with few publishers at either event. The attitude to trade shows is different than in the west; exhibitors routinely pack up and leave before the show has closed and stands often just include a table and a few baskets of samples.’ ‘There’s tremendous interest in standards and qualifications in China, combined with a lack of understanding about what these entail. The Chinese are aware that they need recognised industry standards if they are to be taken seriously by international markets, but they often struggle with concepts such as the GCF exam, mountboard standards or the Guild’s print standards.’ afaexpo.com/en en.cafexpo.cn ART BUSINESS TODAY
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Joanna Kosek booking details
New Wishbone artist’s prints sell out WISHBONE PUBLISHING enjoyed record sales with the inaugural collection from Katy Jade Dobson. ‘The response from galleries has been incredible,’ says MD Glenn Hardman. ‘Three limited editions sold out within a few days and 13 of the 16 originals sold on the first day.’ The collection of animal images is fully endorsed by the Born Free Foundation, with ten per cent of sale proceeds going to the charity. The Born Free logo and registered trademark appear on all certificates of authenticity.
The collection comprises seven limited editions of 75 copies. Katy’s originals come with a framed signed paintbrush which was used to create the work. Originally from Yorkshire, Katy has remained in Lincoln following her time at the University of Lincoln. She is a self-taught artist, inspired particularly by the ethereal qualities of Odilon Redon and his use of vivid colour. Kay began painting iconic women before finding fulfilment with her opulent wildlife studies. wishboneart.co.uk
Wessex Pictures takes over Framers Xtras WESSEX PICTURES has taken over the stock and distribution of Essexbased wholesaler Framers Xtras. The company, which was founded in 1987, ceased trading due to the retirement of the owners. Wessex Pictures MD Ashley Younger comments, ‘We are delighted to be offering customers in Essex a much wider range of products and services than before. Framers Xtras was a great family business, a father and son team run by Jim and Michael Kelly, just as Wessex Pictures was founded by myself and my late father Len Younger. We want to assure their customers that we will continue the excellent values of our friends at Framers Xtras.’ Deliveries are now made from Wessex Pictures’ Dereham and Leatherhead depots and the Framers Xtras site has closed. Deliveries are made five days a week. wessexpictures.com
Wessex Pictures’ MD Ashley Younger with their special glass delivery lorry
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DETAILS OF training sessions to be delivered by world-renowned paper conservator Joanna Kosek are announced. The British Museum conservator and author will be providing training at the Art & Framing Convention in Harrogate on Saturday 16 May 2015. There will be an hour-long seminar entitled The History of Museum Mounting at 11.30, which costs £21.60 to Fine Art Trade Guild members and £27.60 to non-members. From 2.30pm until 4pm there will be a hands-on workshop called Conservation Mounting and Hinging, at which Mal Reynolds GCF Adv will be assisting Joanna Kosek. This session costs £36 to members and £55.20 to non-members. (Prices include VAT). Conservation by Design have generously donated materials for the workshop. Joanna trained in paper conservation at Camberwell College of Art, London, and began working at the British Museum in 1989. Her area of specialisation is is the conservation of western prints, drawings and watercolours. In 1994 she worked at the Victoria Memorial Hall in Kolkata, India, as part of the conservation team of the Calcutta Tercentenary Trust. Areas of special interest to Joanna, on which she has lectured and published papers, are: conservation history; pastel and oil on paper techniques; washing techniques for paper; mounting and housing works on paper; and the effects of macro- and mirco-environments on paper. Numbers at both of these training opportunities are limited, so early booking is highly recommended. To book, visit fineart.co.uk; go to the Awards & Convention tab at the top; go to Convention 2015 on the left; click the ‘book now’ button. October 2014 17
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New anti-reflective panel from Tru Vue and Kaymounting TRULIFE™ IS a new anti-reflective single-sided acrylic for facemounting and printing, devoped by Tru Vue and Kaymounting. ‘It’s been our biggest wish to offer Diasec® with an anti-reflect finish for a long time,’ says Dean Brown, joint MD of Kaymounting. ‘Although we often use acrylic with a diffused surface, we wanted to offer an equivalent to museum quality antireflective coated glass. Diasec® already contains UV filters and anti fungal agents’. ‘We experimented with Optium AR Acrylic from Tru Vue, but the end product didn’t really work, as we had to bond directly onto the antireflective coating, which is on both sides of the material. Now, with the launch of Tru Vue single-sided antireflective acrylic, we moved forward with our plans. Developed exclusively for face-mounting and direct print applications, trulife™ really is a marvel. The clarity and sharpness are absolutely stunning too.’ TruLife™ contains anti-static and abrasion resistance properties, as well as 99 per cent UV filtration and the high gloss finish which is synonymous with Diasec®. It is shatter-resistant and lightweight, and can be cleaned like ordinary glass, without the use of special acrylic cleaner. After producing a number of successful test panels, and thanks to the generous support of TruVue and Wessex Pictures, Kaymounting manufactured a number of sample panels which were unveiled at Photokina. ‘Visitors were amazed by the vibrant colours, depth and clarity,’ says Dean Brown. Kaymounting are offering custom made TruLife™ panels in any size up to 2440x1220mm in 3mm thick acrylic, while the 4.5mm version can is available in panels up to 2440x1830mm. A 6mm version is also available. kaymounting.co.uk tru-vue.com 18 October 2014
Canson® Infinity announce new paper, canvas and storage products CANSON PHOTO Lustre Premium RC 310gsm is a new instant-dry alpha cellulose paper. Compatible with dye and pigment inks, and available in rolls and cut-sheet configurations, the product is ideal for black and white or colour images. Four new canvases from Canson® Infinity offer a choice of matt or lustre finishes, as well as water-resistance. There are two 100 per cent cotton and two poly-cotton otions; all OBA-free. Canson PhotoArt Pro Canvas is 395gsm, while Canson MuseumArt Pro Canvas is 385gsm. Canson Archival Photo Storage Boxes, available in two sizes, are designed for stroring printed images and documents. They are sized to hold 25 sheets up to 8.5x11” or 13x19”, depending on paper thickness. Each box contains a neutral ribbon for improved handling, plus 25 sheets of protective glassine. The boxes are made from archival board, covered with black Wibalin® Buckram paper. cansoninfinity.com
Children’s classics from Towngate TOWNGATE PUBLICATIONS is pleased to announce the release of further limited edition prints by Eric Kincaid. The artist, who trained at Gravesend School of Art with Sir Peter Blake, worked as a comic strip artist creating artwork for publications such as The Eagle. In the 1970s he began working as an illustrator for Brimax Books; over 30 years he drew pictures for titles including The Jungle Book, Oliver Twist, Aesop’s Fables and many
books of children’s poetry. Eric travelled the world signing books and attending book fairs. His titles have appeared in 14 languages and sales exceed eight million copies. Prints available from Towngate Publications include illustrations from children’s classics such as Peter Pan, Wind in the Willows, Alice in Wonderland and Alice Through the Looking Glass. erickincaid.com towngate-gallery.co.uk The Mad Hatter’s Tea Party (left) and The Alchemist
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NEWS
Clockwise from left: Kasia Szkolnicka, Fine Art Trade Guild, with PermaJet’s Joseph Reiner; Ben (left) and Toby Herlinger represent Fotospeed; Stephen Finney GCF (left) with a customer on LION’s stand; a visitor looks at Hahnemühle paper; buyers look at Arqadia mouldings
Packed aisles at Photokina PHOTOGRAPHIC AND imaging show Photokina, which takes place every other year in Cologne, boasted 185,000 visitors from 160 countries. The Fine Art Trade Guild’s Kasia Szkolnicka was there, ‘It was a massive show, but it was easy to get around and find the companies I wanted to see. There were some extremely lavish stands and companies sent key personnel to the show. Everyone I spoke to was having a good show and planned to come back in 2016.’ UK framing supplier Arqadia was one of only three mouldings companies to exhibit (the other two, one from Turkey and the other from China, sold polymer mouldings). ‘We took along finished frames as well as moulding chevrons, as these are of interest to photographers,’ says Arqadia’s Marketing Manager Pauline Hutchinson. ‘We were surprised how many visitors were from the Middle East and Asia. We saw many new customers, particularly print studios wanted to diversify into framing.’ Gunnar’s Lars de Tomasi also reports a busy show, ‘We found new customers, both photographers who are branching out into framing and framers going into photography.’ LION Picture Framing Supplies’ stand was dominated by a ‘frame what you print’ banner. ‘Our aim was to encourage photographers to think about framing,’ says Martin Harrold. ART BUSINESS TODAY
‘We’ve taken big orders, in particular from Far Eastern companies.’ Bilingual framer Stephen Finney GCF, MKV Creative, was on LION’s stand speaking German to customers. US glazing company Tru Vue launched trulife™ at the show. This anti-reflective acrylic offers 99 per cent UV protection and images can be both facemounted and printed ont it. Framing consultant Keith Hewitt was at Photokina. ‘I saw a number of interesting block mounting methods and hardly any canvas at all. Images were mounted on either acrylic or aluminium, many with frames.’ Belgian imaging company ChromaLuxe were promoting their vibrant aluminium photo panels. Charles Henniker-Heaton says, ‘We want to raise awareness among photographers of this amazing substrate.’ US paper manufacturer Legion Paper were publicising their Moab range of museum papers, says Marc Schotland. ‘Our papers already have a loyal base of devotees in Europe, but we are seeking to develop our market share over here.’ German paper manufacturer Hahnemühle had a huge high-profile stand. ‘This is an incredibly international show,’ explains UK general manager Simon Waller. ‘We don’t see many UK customers here.’ UK imaging supplier PermaJet came prepared for a global clientele and
staff were giving away catalogues in five languages. PermaJet launched their P3 Matt Canvas 380gsm, which is designed specifically for printers with medium output requirements. Imaging company Tetenal UK, which distributes Ilford paper, was showing a range of photographic and printing supplies including darkroom chemicals and a new 310gsm baryta paper with a barium sulphate layer. First-time exhibitor International Graphics were one of very few publishers who took part. ‘Our art light collection, a way of displaying images over a lightbox, was especially popular,’ says Lawrence Walmsley. ‘We were also looking for new artists. We made many contacts and met both professional and amateur photographers.’ UK digital media company Innova Art showcased their major re-brand at Photokina, as well as products including their FibaPrint® papers, which replicate the feel of traditional darkroom images, and FibaPrint® Baryta, which has the look and feel of silver halide photo paper. October 2014 19
NEWS
Clockwise from top left: Paul Frederick being photographed by his friend Ansel Adams with the new Polaroid SX-70; Paul in his art supply shop in Los Angeles in the 1950s; Paul on the cover of Decor magazin in 2000; the cover of one of Paul’s books
The father of modern framing dies AMERICAN PICTURE framer, author and teacher Paul Frederick CPF has died aged 98. Paul is known for his three best-selling books - The Framer’s Answer Book, The Framer’s Book of Materials & Techniques and More Answers for the Framer - as well as being one of the founders of US trade association, The Professional Picture Framers’ Association. Paul started the world’s first school for professional picture framers in 1973. His first book was published in 1976 and was the first modern framing manual. Paul was born in Paris of Russian émigrée parents. He began training as a jeweller, his father’s profession, but switched to drama school. His dreams of Hollywood were interruped when he was called up to fight in World War II. Paul was eventually captured and taken to a German prisoner of war camp; his captors did not shoot him as he spoke German and French and they needed an interpreter. He was made to work as a translator in German factories until he escaped to Paris, then to New York, where members of his mother’s family lived. Paul went to Hollywood as soon as he could, but his acting career never really took off. His most notable achievement was singing the theme song on Danny Kaye’s show On the Riviera. He worked in an art supply shop in 20 October 2014
Los Angeles for a while, where he found some old framing equipment, which he practiced using. Paul moved to San Francisco to work as a picture framer; he worked for several framers, learning valuable lessons from each, before finally opening his own shop, The Atelier, in 1952. The photographer Ansel Adams was a long-standing customer and friend of Paul’s. Museums all over the world would get in touch with him when they needed advice about the display and conservation of Adams’ work. One night, when working late, Paul opened the door to a lady sheltering from the rain. This was Valentina, a proof-reader from Ukraine, who became Paul’s wife for 41 years, and mother to his son John Christopher. Paul ran The Atelier for 22 years, but found time to help set up the PPFA and work as technical consultant on Decor magazine. Sections of Paul’s books became the basis of the certified picture framer exam (the US equivalent of GCF). Paul planned to retire when he sold the business, but he ended up setting up the Picture Framing Academy, a school which trained over 1300 framers before Paul’s second retirement in 1993. In 1986 he was presented with the Award of Recognition by the PPFA. In the words of his son, ‘The fame and recognition that my father sought
as an actor came to him in a very different form. Her performed before thousands of people in his role as a picture framing educator and lecturer.’ On his 90th birthday commemorative video Paul comments, ‘All my life I’ve learned things by watching people and applying the lessons elsewhere. You can always learn and apply. You can never know enough.’ Robin Gentry, president of the Professional Picture Framers’ Association, pays tribute to Paul, ‘The framing community has lost one of its greatest members. Paul’s vision brought framers together. He tirelessly served his fellow framers throughout his career. Paul shared his knowledge and experience generously, not only by writing one of the first books for framers, but also with his endless willingness to help, to answer questions and to provide guidance. Right up until the final days of his life, Paul continued to be deeply involved in the framing industry, and even sent a note of congratulations to the Southeast Chapter of PPFA shortly before their Frame Fest event, which was held in September. Paul was a remarkable man, and he will be greatly missed.’ Paul and John Christopher were working on updating his three books and re-publishing them in digital form. The books will be available in November. ART BUSINESS TODAY
Record attendance at Cafexpo Yiwu
CAFEXPO YIWU, an alternative Chinese trade show to AFA Expo Guangzhou (see page 16), achieved record attendance figures. On the opening day alone 8600 buyers visited the show. Overall, attendance was up 30 per cent on last year, with a higher number of international visitors too. There was a hall dedicated to framing equipment and machinery, with many Chinese factories
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showcasing their wares. Some exhibitors arranged for shuttle buses to take buyers to their factories. There were 400 stands in the art hall. There was a wide array of original Chinese artwork on show, including sculpture, ceramics and glass. The next event from the organisers of Cafexpo is Shanghai Art & Frame Expo, 20 to 22 March 2015. cafexpo.net
Framing competition print confirmed
FRAMERS ENTERING next year’s award for Best Mount Design are asked to frame the print illustrated here. It will be 150 years since the publication of Alice’s Adventures in Wonderland, so both framing awards will commemorate this and its sequel, Through the Looking Glass. Those entering the Guild Challenge Framing Award will frame images or 3D items on the Alice theme. Prints for the Best Mount Design category were produced by the winner of this year’s Digital Printer trophy, Art4Site. ‘Many thanks to Art4Site and Michael Setek for producing these wonderful high quality prints,’ says Framers’ Committee chairman Mal Reynolds GCF Adv. There will be an alternative print from Towngate Publications by illustrator Eric Kincaid. Framers can register their interest on the Guild website, to ensure that they receive entry details as soon as they are finalised. Frames must be delivered to the Guild office by March 2015, a shortlist will be announced in April and the winners will be revealed at the Awards Dinner on 16 May. fineart.co.uk
October 2014 21
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Taken at this year’s convention, Anna-Marie Bartlet GCF, The Framing Lady, with Master of the Guild Steve McKee GCF Adv (centre) and Joe Davis, D&J Simons
Open show for printmakers THE EASY Squeegee annual affordable print exhibition will take place from 15 November until 10 January in Hull. Organised by Artlink and supported by Arts Council England, this is an open exhibition with no selection process. The deadline for entries is 4pm on Saturday 1 November and artists can submit original artworks in any printed medium. Artists can exhibit up to five prints each with a fee per artist of £20. artlink.uk.net
Register for Art & Framing Convention MAKE SURE that your business doesn’t miss out and register your interest in the 2015 Art & Framing Convention. The event takes place on Saturday 16 and Sunday 17 May at the Old Swan Hotel, Harrogate. 2015 highlights include training sessions, with a conservation framing workshop led by the British Museum’s Joanna Kosek. Guests can enjoy the Guild Artists’ Exhibition
and a display of the winning frames from the framing competition. After the awards dinner and presentations there will be dancing to a live band. To register, visit fineart.co.uk, go to the ‘Awards and Convention’ tab at the top, then click on ‘Convention 2015’ and fill in the simple request form. You will be emailed details as they are confirmed.
150 attend open day at LION Art Service, Moscow OVER THE same weekend as the Art & Frame Expo Forum in Moscow (see report on page 23) was an open day at LION Art Service’s shiny new warehouse on the edge of the same city. LION arranged free shuttle buses so visitors could visit both venues. ‘People come from all over Russia for the Forum show,’ explains Martin Harrold, of UK partner company
22 October 2014
LION. ‘To persuade even more to travel to Moscow, we arranged a complementary event at our warehouse to encourage them to make a weekend of it. The team at LION in Moscow were pleased to welcome 150 visitors from 40 cities.’ LION’s open weekend offered special discounts, raffle prizes (including an underpinner), training
sessions, equipment demonstrations, a buffet and three seminars that ran in rotation. This allowed all visitors to attend each seminar. One of the seminars focused on making velvet cases for Russian icons, while the other two were more general. frame.ru
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New magazine from Art on the Street COMMUNITY INTEREST company Art on the Street is working with Lifestyle Magazines to produce a free magazine for visual artists, which will be launched at the Art on the Street event in December. Artstyle magazine will be distributed in Berkshire, Buckinghamshire and Oxfordshire and will cover news, artists’ issues, studio interviews and tutorials. It will have a print circulation of 8000 copies, which will be distributed via independent retailers and local businesses. artonthestreet.org.uk Delegates at Steve McKee’s masterclasses
Russian trade show grows THE FOURTH Art & Frame Expo Forum took place in Moscow, Russia, in early October. The event, held for the first time at City Hall Moscow, included a discussion forum entitled ‘The Framing Business in Russia’ as well as around 50 training sessions and equipment demonstrations. Attendees came from across Russia and the CIS countries, with over 700 visitors walking the aisles. Master of the Guild Steve McKee GCF Adv ran training sessions at the event, ‘It was a really good show. Attendance at all seminars, workshops and masterclasses was well up on the previous two years I’ve been involved.’ Steve ran two fully-booked fourhour masterclass on each day of the show. There were two sound-proofed rooms set aside for the masterclasses, plus an open area where there were ongoing seminars and workshops. Masterclasses included sessions on: basic to advanced mountcutting; frame design using multiple frames; mount design; handling and mounting photographic artwork; box framing memorabilia; and conservation hinging. ‘It was a truly international show. There were exhibitors from China, ART BUSINESS TODAY
Italy, India, Turkey and of course Russia,’ reports Steve McKee. ‘The big players were Sunbow Group, Huahong Holding Group and Wangbin Frame from China; Caneva and Scappi Cartoni from Italy; Dortdivan and Ozdortivan from Turkey; and Oxford Mouldings and Parmawood Mouldings from India. Some of the major Russian suppliers, DecoMaster, Design Inter Trade and Inter Quadrum also had stands. The show was fully booked for exhibitors.’ ‘It was obvious that visitor numbers were up on last year, and there were more exhibitors than last year too. The show continues to grow year on year, and is now the focal point of the Russian framing calendar. The organisers, Art Industry Group, are working hard to develop the event and they were very proactive in their marketing efforts.’ Around 40 exhibitors took part, some of them imaging companies such as Kunstanstalten May AG from Germany. There were thousands of mouldings on display, as well as mountboard sourced from around the globe. Visitors also enjoyed a range of machinery demonstrations. artframeexpo.ru/language/en/
JJ Adams collection sells out URBAN ARTIST JJ Adams and his publisher, Wishbone Publishing, are celebrating the fact that all 16 pieces of original work in the artist’s autumn collection sold within two hours of the collection being released. All limited editions sold out within seven days, which is around 1400 signed prints. ‘It’s been incredible,’ says MD Glenn Hardman. ‘During my 20 years in the business I’ve never witnessed anything like this before, and this sentiment has been echoed by dozens of the galleries we wholesale to.’ See our interview with JJ Adams on page 29. wishboneart.co.uk Dance with the Rainbow by JJ Adams sold out within seven days of its release
October 2014 23
Comment LESZEK WOLNIK chooses fine art paper
Leszek Wolnick taking delivery of a roll of fine art paper
Artist Alan Reed gets ready for Christmas
24 October 2014
he moment I sat down to write about printing and fine art paper, a big lorry arrived with a huge roll of over a mile of gorgeous four foot wide cotton rag paper. Fine art paper is the one real variable for us; inksets and printers are more or less fixed in operation. Which paper to use and where to get it are pressing questions. We print dozens of types of images; each must be matched to the paper that will suit it best. We use Hahnemühle papers almost exclusively, as they offer a terrific range, realistic pricing and superlative quality. Substrates and coatings provide a range of base colours and ink absorbancies. These determine how a paper takes up ink, which affects colour and tonal range. Fine art printers should always choose pH neutral papers, to avoid print and image degradation, so you must besure to check specifications with your supplier. Our paper options include resin coated stock, which has a polyethylene coating containg a microporous receiving layer, combined with a very white base colour. These papers dry extremely quickly, provide a measure of water resistance and are a great choice for photography and artwork where bright, saturated colour is required. The inks sit within the microporous layer and can’t migrate into the substrate.
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Other classic options for photography are Hahnemühle’s Photo Rag Baryta and Fine Art Pearl papers. The Baryta is coated with clay made from barium sulphate, which gives a lovely whiteness without the use of optical brightening agents (OBAs should be avoided like the plague by fine art printers). The surface has a slight texture which is reminiscent of traditional fibre-based photographs. The Fine Art Pearl option is terrific when your require a deep saturated lustre finish. Our mainstays for limited editions are Photo Rag and German Etching. The fine smoothness of Photo Rag provides impressive depth and saturation, coupled with an accuracy of reproduction that is awesome. We use German Etching when working with drawings or watercolours, as the texture is gorgeous, and the paper is a dead-ringer for the Arches paper that many artists make their originals on. There are dozens of papers, each worth experimenting with, as they are all slightly different, and we need to offer clients the most informed choice possible. This is my last column, as my year’s invitation has run its course. Thank you for the opportunity to spend time together, and, most importantly, happy printing. Leszek Wolnik is curator and strategist at The Copper House Gallery, Dublin. leszek@thecopperhouse.ie
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in November is a terrific way to get folk into the Christmas mood and make sales. October is too early for a show, but it’s important to have the invitations printed in October so you can hand them out at networking events, fairs and social occasions leading up to your main event. I design my invitations as cards, A4 folded to A5, with a new painting depicting a Christmas scene on the front. Dates and venue information are printed inside, but I ask my printer for further cards which are blank inside, that can be used as Christmas cards. Sales of Christmas cards tend to cover my printing costs. My Christmas exhibition doesn’t just feature my own work, but also
et’s hope our diaries are full of exhibitions, fairs, Christmas markets and open studios, so we can promote the work we created during the summer months. These seasonal events are great opportunities to reach out to new customers and make sales. If fairs are well organised you should be able to more than recoup the exhibition costs and gain long-term customers too. It’s important not to rely on the organisers’ marketing and advertising, but to use social media, blogging and e-newsletters to make sure that your customers, Facebook fans, Twitter followers and LinkedIn contacts are aware of what you are doing. Putting on a Christmas exhibition
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Comment A pleasing retail environment is key, says EMMA BELL t is tempting to take a lofty attitude to sales in the art business. After all, it’s a luxury market, so we can’t really steer people into a purchase, can we? It’s subjective; we can promote artists, but paintings sell themselves, right? Wrong. Galleries are in the retail business, like all high street shops. It’s our duty to our artists and customers, to have their interests
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Using furniture and home accessories in your displays helps draw customers into the lifestyle you are selling
complementary work by other artists and craftspeople, to give visitors more reasons to attend. Items such as handmade glass coasters and tree decorations add to the Christmas feel of the show. We put up a tree and decorate the room with lights. Offering mulled wine, mince pies and fresh coffee also helps folk to get into a seasonal mood. It’s helpful to have a few things for small children to do, like a bran tub with hidden sweets, so that their parents can concentrate on shopping. More and more people are buying Christmas presents online. It’s prudent to give your website an overhaul to make sure it is fully ART BUSINESS TODAY
in mind at every stage of the selling experience. Let’s start with first impressions: your window display. Retail experts describe your windows as the ‘eyes of the store’. A display should tell a story, communicating the identity of your business and giving a taster of your merchandise. Use a strong colour scheme and avoid clutter. We often choose the work of a single artist to display in our shopfront, then we put their work into the context of a home. An old armchair, a dresser, some cushions or a sheepskin rug can be simple, visual ways to draw potential buyers into the lifestyle we are selling. These suggestions of home life also give us the opportunity to include ceramics, glassware and stationary in our displays, communicating that there’s more than two-dimensional art on offer. Consider the view from the threshold. A friend told us she found the experience of entering our gallery overwhelming. When we looked afresh, it was obvious why. With stock brimming over in the store room, we’d let the shelves fill up so that it was hard to take in what was on offer. Add to that the life and emotion humming from the artwork on the walls, and the gallery becomes an onslaught to the eyes. People need time to acclimatise, so we’ve tried to push things away from the door, giving customers space in which to arrive. It may seem an obvious point, but art needs to
be looked at, so there must be enough room for people to stand back, consider, discuss and decide. In retail, space equals luxury. So we’ve resolved to declutter and rotate stock regularly, rather than try to show everything at once. This costs us nothing more than our time, but it keeps the gallery looking fresh and ensures that regular customers find something new every time they visit. Another tip is to avoid ‘bottom bumping’. Our client base is predominately female, so we need to keep their preferences in mind. Research shows that women avoid entering areas where personal space is lacking, so we’ve moved things around to create a more spacious environment. People shop in a remarkably uniform way: in countries where we drive on the left, we move left on entering a shop, in the US and on the continent, they go right. So for us, sales ‘hotspots’ should be on the left. At the heart of all this is a straightforward point about who our business is for. We love it, we created it, we choose what to sell, but it’s all for them - the customers. So when selling to them, we have to give them what they want.
Emma Bell is a director of The Mulberry Tree Gallery
optimised for the search engines with regards to Christmas gifts. Paying somebody with knowhow to go through your website could reap dividends in the weeks to come. Every year I receive commissions to paint specific scenes for somebody’s Christmas present, so I make sure I keep a few painting days free in my diary so I can fulfill any last minute There’ll always be a Christmas scene on the home page of alanreed.com during the festive orders. season, such as Grey Street, Newcastle in a Flurry of Snow October 2014 25
Comment Staying safe on LinkedIn The article entitled Establishing Worldwide Connections (August 2014, page 30) is of particular interest to me. I learnt a lot from James Potter’s piece and it opened my eyes to what can be achieved through the correct use of LinkedIn. But I have a question, and I would value input from your readers on this. A fictitious person from Malaysia is asking to link with me. I say fictitious, because I've checked this person’s credentials with some of the many contacts I have in the Malaysian moulding industry. The person does not exist, neither does his company, though he uses a name similar to that of a well-known business. No one recognises his photograph. However, several of the contacts to
whom I'm linked on the site have already accepted this person’s invitation. I imagine this is how he found me in the first place. I can only assume that someone is using LinkedIn to harvest the names of potential customers in Europe. LinkedIn is being used in a misleading way to generate credibility and build up a customer database. The fact that this person is using an alias concerns me. I am interested to hear the views of readers who understand LinkedIn better than I do. Keith Hewitt EC Mouldings, Belgium keith@keithhewitt.co.uk
LinkedIn user Steve Goodall, Wessex Pictures, replies: I seldom link with anyone I don’t actually know, but I have had several persistant invitations, which can be stopped in a couple of easy ways. You can report an invitation as ‘I don’t know this person’, which pops up as an option if you simply ignore an invitation for a few days. The other thing I have done, with people I know but would prefer not to be linked to, yet whom I don’t want to offend (I am a nice person really), is to accept their invitation and then un-link them a few days later. This won’t stop a malicious linker from data mining, but it does save upsetting someone you know but have no need to be linked to.
Problems mounting custom made Ordnance Survey maps
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ave other readers encountered problems mounting custom made Ordnance Survey maps? We’ve framed OS maps for years without problems, but these new ones which people order online by typing in a postcode are printed using ‘toner crystal point technology’ and are printed on very fine paper. The paper is so thin that it is not really fit for purpose. There are disclaimers on the website and also with the maps, telling you not to laminate or heat the maps or apply any adhesive - our normal framing methods. OS suggest hinging their maps, or dry mounting them using a cold process. Conservation mounting expert Barry Leveton GCF Adv says he wetpastes these items, but cautions that it takes two or three people, plus considerable expertise, to position them. If you avoid coating the back in adhesive and hinge them, they ripple badly. After a short time they look unacceptable. I tried subcontracting the task of cold mounting to a local mounting and laminating business, which has 25 years’ experience in this field. The map showed quite pronounced ripples soon after my customer collected it. Having bought a new OS map, I 26 October 2014
Left: The map that was cold mounted by Alan Watt’s subcontractor
returned to my subcontractor, whose solution was to laminate two sheets of display board together, eliminating any movement, before bonding the map. We have now reluctantly taken the decision to decline any future orders for framing OS maps made using toner crystal point technology, due to the risk and time factors. This is regrettable since maps are popular and framing them can be profitable. I would value advice from readers who have light to shed on this
Above and right: This OS map was featured in our August 2012 issue, soon after the introduction of toner crystal point technology. The map at the top was dry mounted using heat, so the colours bled and darkened
problem. I have written to OS and they are sending me a map to experiment with, but they put the full burden of responsibility on the framer. Alan Watt GCF Belvidere Gallery mail@belvideregallery.com ART BUSINESS TODAY
Comment Should I hand the artwork and documents to the police?
I
would greatly appreciate your printing this dilemma, so I can assess the response from your readers. I recently purchased, from Sweden, a collection of minor pieces by Andy Warhol and Keith Haring, all of which carried the appropriate authentication. I consulted two experts about the collection, and both confirmed that they are genuine, albeit relatively low value items. Subsequently, I found out (thankfully before offering any for sale to clients) that in fact the authentication was forged and the artwork was not genuine. Very reluctantly the seller gave me my money back. The worrying thing is that the seller is continuing to advertise similar pieces for sale as genuine. He has been selling globally and has defrauded at least one of my friends, another dealer. Now he is demanding
his pictures back. This man has committed fraud. I strongly suspect that if I return the artwork he will continue selling these pieces as genuine, duping other purchasers. I am not sure if I should return his property. If I do, and he sells the pieces fraudulently, am I complicit? Could he advertise them as ‘coming from Brandler Galleries’, implying that I sold him genuine artwork? Technically, if I send them back, they have come (back) from Brandler Galleries. I would hate him to use my name alongside these pieces. This artwork is pure fraud, unlike works by Tom Keating or Hans van Meegeren, where the artist created original artwork, leaving clues to encourage the viewer to jump to conclusions about the artist’s identity. This vendor has manufactured fraudulent authentication documents. Should I hand the artwork and all
the paperwork to the police? What would you do? John Brandler Brandler Galleries john@brandler-galleries.com
This painting by Tom Keating encouraged the viewer to jump to the conclusion it was by Cezanne, but there was no fake paperwork accompanying it
All your picture shipping problems solved Further to your article entitled All Wrapped Up (August 2014, page 36), on the subject of shipping framed pictures. As well as framing, I run an online business specialising in providing shipping boxes for framed pictures and packaging solutions for the art industry. I was interested to see how other framers are shipping their artwork and frames. Contrary to what it says in the article, there are a number of suppliers who sell single, reasonably Protective foam corners are fitted
priced boxes, including my company, Pack a Frame. Customers are not always required to purchase in bulk. We are happy to sell any quantity and to provide a bespoke service. Based on conversations with many framers and gallery owners, I believe that people tend to use far more packaging than is necessary. Your article did little to dispel this idea. It is often down to chance that frames arrive in one piece, as so many are not packed properly.
Our Pack a Frame boxes provide maximum protection while using the minimum amount of packaging. They comprise a sturdy doublewalled outer box and an innner double-walled protective wrap, with strategically placed foam pads. Unfortunately cost prohibits us from supplying sample boxes, but anyone who buys a sample can expect to have the cost deducted from their first order over £25. Vicky Whitlam packaframe.co.uk
The packaging indicates where foam pads should be fitted
The inner wrap is fitted into the outer Pack a Frame box
ART BUSINESS TODAY
October 2014 27
Comment Guild CEO LOUISE HAY looks through the Guild archive
P
reparations for the Guild’s move entailed a trawl through years and years of archive materials. It’s been quite a challenge to assess the historical value of some of the information carefully stored away by our predecessors, balanced against the cost of storage and the ease of archiving. Reams and reams of thermo-printed faxes that are no longer legible served as a valuable lesson in how technological changes can render even the most careful archive useless. I found out loads of interesting things about the history of the Guild; about relationships between key industry figures (sometimes quite fiery), and changes in means and styles of communication. One thing I found fascinating was the connection between the Fine Art Trade Journal, the Printsellers’ Association and the Fine Art Trade Guild. I had always believed that there was a smooth
transition between the Printsellers’ Association and the formation of the Guild, but this was not the case. The Guild was formed in 1910 with strong support and encouragement from the editor of the Fine Art Trade Journal, an independent magazine. The Printsellers’ Association existed from 1847 until 1920, overlapping with the Guild by ten years, and between 1914 and 1920 both organisations were offering rival print stamping services. The Guild’s proved more popular with the trade and the Printsellers’ Association was absorbed into the Guild in 1920, with the announcement made in the Fine Art Trade Journal, now known as Art Business Today. Any Guild members who come across prints stamped by either the Printsellers’ Association or the Fine Art Trade Guild can access the services of our wonderful archivist John Hughes of Bracebridge Fine Art. John
has built an extensive database of registered prints and will provide information on original registration, size of prints, edition number, original price and much more. This service is completely free for Guild members, and is charged at just £10 +VAT to non-members. There is an online form to apply for information at: fineart.co.uk/buying/ Stamp_of_Authenticity.aspx We’re gradually getting the Guild’s new office building into shape. Any members who wish to come and look through our archive, use the boardroom for a meeting or even just call in for a coffee are welcome to visit, though do please give us call to make an appointment first. I hope to see you soon.
Acid free: misleading? Most framers are aware of the term ‘acid free’, but do not understand precisely what it means. The Guild’s GCF Study Guide states, ‘Acid free is an imprecise and frequently misleading term, not used in this guide’. It is an established fact that when acidic paper is exposed to heat and/or light, it will break-down, the rate of degradation being dependent upon exposure. In the early 1900’s, measures were taken to improve the quality of paper, as both written materials and artwork were deteriorating. A few decades ago mountboard was manufactured from plain wood pulp that had a pH value in the acidic range below 7, typically 4.5 to 5.5. The Guild’s mountboard standards, published in 2004, define three qualities of mountboard. Throughout the document it is stated of the term acid free: ‘Its use in product specifications must be avoided’.
28 October 2014
Where did the term originate and what precisely does it mean? Acid free is a marketing term used to describe products with a pH reading greater than 7. However, this does not mean that the product is necessarily free of acid. Board may be rendered ‘acid free’ during manufacture if buffered with calcium carbonate (CaCO3), the aim of which is to increase its longevity. When added to pulp, CaCO3 increases alkalinity by attacking free acids with a pH value below 7, thus increasing pH values to between 7.5 and 9.5. Further, an alkaline environment may be created adding small amounts (two to five per cent, dependent upon manufacturer) of extra CaCO3. This is known as an alkaline reserve and its purpose is to ward off the formation of acid through ‘off gassing’, which refers to the absorption of airborne pollutants such as sulphur and nitrogen oxides. An alkaline reserve of two per cent may
increase the longevity of paper for at least 100 years. Board described as acid free is not necessarily suitable for Conservation or Museum Level framing. Mal Reynolds GCF Adv Harlequin Frames This document forms part of the Guild’s continuing professional development (CPD) programme for qualified framers. The associated questions are obtainable via the CPD Talk forum (visit fineart.co.uk, then go to the bottom of the home page to ‘Quick Links’, then click on ‘CPD Talk’)
The acid free paper symbol
ART BUSINESS TODAY
ARTIST INTERVIEW
I feel a great attachment to England and British icons, possibly similar to how Andy Warhol felt about American artefacts and personalities. It sometimes feels as if our culture might be submerged by the scale and force of US imagery, which is the impetus behind my new piece featuring Danger Mouse battling Mickey Mouse.
JJ ADAMS
‘Working digitally allows me to backtrack and experiment with layers and opacity’
Did you go to art school? I studied graphic design in South Africa and I also trained as a tattoo artist there. After working at a tattoo studio in the UK, I returned to college and studied commercial printing at Plymouth College of Art & Design. I set up a graphic design and sign writing business, but I eventually realised that I wanted to be a full-time artist.
How does your style evolve? My work is commercial, as is all Pop Art. I create for myself, but part of the creative process is thinking about the visual impact of the finished piece on someone’s wall. My background in graphic design means that I consider how a piece will look in relation to the interior and architecture around it. It takes a long time to create each picture. For example, the image of Lady Diana with tattoos involved about three weeks’ work. I’m often surprised by what sells, though Glenn has pretty clear ideas on the matter. I get so close to each piece during the weeks it takes to create it that I lose perspective.
Do you have an agent? Wishbone Publishing handle the business side of my life, leaving me free to create artwork. I do a little promotion via Twitter and Instagram, but that’s it. I worked with an agent in the past who wanted complete creative control, which was awful. Glenn Hardman, MD at Wishbone, is great for sharing ideas with; he makes suggestions and we discuss my work, but he understands the delicate balance between art and business. Glenn saw my work in a gallery and got in touch with me. He took work on a trial basis and it sold straight away. We got on well together from the outset, so I signed with Wishbone 18 months ago and since then interest in my work has spiralled. ART BUSINESS TODAY
What about cultural influences? Humour is important to me. I like Morecambe & Wise, Monty Python and Fawlty Towers. Art can be serious and funny at the same time. I enjoy mixing incongruous images for comic effect, such as in Britannia Row, where the Queen and her corgi wait at the bus stop along with a punk rocker, a mod, a pensioner and a school boy. Each character’s shadow hints at their alter ego, reminding us that people aren’t always how they seem at a particular moment in time.
Tell us about the creative process... I use six programs to create artwork, including Photoshop. Working digitally allows me to backtrack and experiment with layers and opacity. Some software dates from my sign writing days; my techniques and colour palette have evolved over the years. I take a lot of the photographs that feature in my images. For example, if I want to sample graffiti I often start by spraying graffiti on my studio wall then photographing it. If you create graffiti digitally it looks too clean. I photograph models in the studio too, and might use their arm or shoulder in an image. I also paint on canvas and photograph the results. I go out and about in London taking photos; I took the shot that forms the basis of Tower Bridge and I also captured graffiti from that area of London that is included in the image. Any advice for artists starting out? My first gallery promised me the world and I believed it, but they ended up taking advantage of me financially and creatively. The best way to avoid this is to speak to other artists and ask about their experiences with particular publishers or galleries. Only agree to work with someone who has a good track record. When you’re starting out it’s tempting to say yes to the first person who approaches you, which can be a mistake. If you invest time and do your research properly, you will learn to identify the right people. If you get your work out there people will start to approach you. Use social media and sites such as saatchiart.com for publicity. ■ wishboneart.co.uk jjadamsart.com See JJ Adams’ work on page 30 October 2014 29
PRODUCT NEWS Wishbone Publishing
Arqadia
Artist: JJ Adams Title: Helter Skelter Edition: 95
Arqadia has launched a new range of canvas box mouldings as part of its popular essentials collection. Bari is a range of Lshaped mouldings with a stepped feature, making it easier to lay down your canvas. Bari is 54mm wide and comes in six colours to suit a variety of interior design schemes: black stain; black paint and gold foil; white paint; black paint; black paint silver, as well as a barefaced moulding. Prices start from just £3.09 per metre.
01268 683470 wishboneart.co.uk
01234 852777 arqadia.co.uk
Framiac Software
Marialuisa Marino
Anna-Marie Bartlett GCF from The Framing Lady has this to say about FramR software: ‘Framiac is easy to use, very accurate, and one of the best features is that you can customise it easily. Creating templates is simple for tasks like needlework, football shirts and frames with spacers and fillets. I like the price breakdown sheet, where I can see my hourly rate applied to the different framing tasks. I can see the actual material and labour costs and also a markup for my profit. An updated price list of my favourite suppliers is easily imported into the system and I have confidence when I quote that it is a reasonable and fair price each and every time. No more guessing and inconsistency . . . FramR makes my day!’
0117 904 7153 07938 508 343 framiac.com
Compo Mouldings
The 9th Symphony (illustrated) is inspired by the music of Sir Malcolm Arnold CBE. Artist Marialuisa Marino can be
contacted at marialuisamarino@live.co.uk, or facebook.com/fantesise or look for her on LinkedIn.
07770 553787 marialuisamarino.com
Toni Watts Illuminated letters in both contemporary and traditional designs. Commissions welcome: see toniwattsartstudio.com > shop > commissions.
Compo Mouldings now supply Eco 15 tape in three widths: 35mm, 50mm and 75mm. See the website for more details 01268 573473 compomouldings.com 30 October 2014
toniwattsartstudio.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)
Valiani
PRODUCT NEWS
D&J Simons The Minnesota range, new from Simons, features a rustic driftwood design which can be used in both modern and traditional settings. Two profiles are available: 63mm wide x 20mm high, priced at £7.38 per metre (£2.25 per foot) and 42mm wide x 20mm high, priced at £4.93 per metre (£1.50 per foot). Minnesota mouldings are supplied in black, brown, grey and white.
2014 is a year to celebrate; a year to celebrate ’40 Years of Innovation.’ 40 years during which Valiani has developed a wide range of mountcutters, including nine CMCs, which have provided custom framers with innovative and intuitive cutting solutions. Valiani is especially proud that a business started in 1974 by Franco Valiani remains a family concern, dedicated to providing an outstanding level of support for its customers. valiani.com
020 7739 3744 djsimons.co.uk
LION Picture Framing Supplies
Alfamacchine
LION introduces a new EZ Runner ATG tape dispenser system Framers often find the fiddle of re-loading the dispenser tiresome. The concept of the new Danish-made E-Z Runner from LION is quite different. The ATG tape is supplied in a quickchange cassette which simply clips into the dispenser case and is ready to go. The adhesive has cuts every few mm so rather than having to squeeze a trigger and tear it away, you simply lift the dispenser leaving a neat end. The tape is 8mm wide and 45m long, much longer than most current types. The E-Z Runner dispenser comes complete with a starter cassette of tape at £8.20 + vat. Refill cassettes are £4.15 each.
Alfamacchine’s MP/Multi- Channel unit is a highly advanced frame joining machine for the picture framing and woodworking industries. Balancing sophistication and operating flexibility for joining picture frames, window and door frames. With data storage of 5000 different frame profiles, the operator can easily recall any frame profile either alphabetically, numerically or scanned using the barcode reading option. This machine is ideal for medium type production facilities requiring flexibility for different sized V-nail fasteners or a common mm size through the use of a market exclusive configurable channel magazine feature.
0121 773 1230 lionpic.co.uk
sales@alfamacchine.com
Arqadia
PermaJet
The Anvil range by Larson Juhl includes five profiles in aged steel and oiled steel finishes. There are two large profiles, a choice of wider flat angled profiles and an H-beam inspired cube moulding. The two classic mouldings can also be used as slips, and the added back edge groove makes these mouldings simple to lock together with other profiles. The Anvil range has chain of custody certification from the PEFC (Programme for the Endorsement of Forest Certification). It is available from £3.79 per metre length, and is also available via the chop service.
PermaJet have launched a new canvas for print labs. With global demand for inkjet canvas rising year on year, the P3 Production Matt Canvas offers its users a material which resembles the look, feel and print quality of an artist's stretched canvas where higher volume printing output is required. The 380gsm base is highly water resistant with a bright white, fine textured matt surface giving it a wide tonal range, large colour gamut, ultra image sharpness and a high D-max rating. It works exceptionally well for both colour and monochrome reproductions and is designed to be used with either dye or pigmented aqueous and latex inks, and is non-cracking when stretched around bars or frames. The canvas is available as 18 metre length rolls in widths of 24” (610mm), 36” (914mm), 44” (1118mm) and 60” (1524mm) formats.
01234 852777 arqadia.co.uk
01789 739200 permajet.com
ART BUSINESS TODAY
October 2014 31
BUSINESS
Illustration courtesy of imagesonbank.ca
Keeping customers happy, ensuring they come back and enouraging them to recommend you to family and friends are aspirations for most businesses. Providing a great customer experience enables you to grow through repeat custom and word of mouth recommendation, but great customer service isn’t as easy to achieve as it sounds. STEVE BURKE looks at how framers can prosper in difficult trading conditions simply by ensuring that customers enjoy doing business with them
Are you being served? C ustomer service is about sending customers away happy. That is, happy enough to return, but also to pass on positive feedback about their experience of shopping with you to others. In difficult times, a business that doesn’t retain customers will not remain profitable for long, so it’s particularly important to maintain positive relationships. Today’s savvy consumers are familiar with a wide variety of experiences from many sources and their expectations are high. First impressions count; you only have a 30 to 60 second window to make a positive impact. Word of mouth referrals are often key drivers of new business. The old adage is right, ‘Do a good job and customers tell three friends. Do something wrong, and they tell ten.’ Social media places even more emphasis on word of mouth referrals. People have the means to tell everyone in their social circle about
32 October 2014
their experience in one communication at a moment’s notice. Plus shoppers are increasingly researching online and then walking into stores ready to buy, so it’s vital that retailers’ online and offline customer experiences are equally good. The good news is that with a bit of thought it’s fairly simple to get the basics of customer service right. Essentially it comes down to doing the job well, using quality materials and professional workmanship, charging reasonable prices and ensuring your staff are pleasant to deal with. Arqadia takes customer relationships seriously, and we believe that our client base should be doing the same. For over 30 years, we have been providing UK framers with high quality mouldings, frames and mountboards, and we pride ourselves on delivering a one-stop-shop approach which makes it easy for framers to achieve a positive customer experience. ART BUSINESS TODAY
BUSINESS Going that little bit above and beyond customers’ expectations can reap great business benefits. This idea is right at the heart our business, as shown by our repeatedly winning the coveted Customer Service Award at the Art & Framing Convention. More than ever before ‘the customer is king’ and businesses need to differentiate themselves by providing customers with unique and personalised experiences. Customer service is essential for clinching a deal at the point of sale, but it mustn’t stop there. Customers expect to receive good service when they are looking to buy a product or service, but even after a deal is done, there is always another step to take. It is crucial that customers never feel they’ve been ‘sold down the river’ by sales patter, only to be left in the lurch when it comes to the actual job. It’s often how the after-sales process is handled that persuades customers whether to return or make a recommendation. This presents a golden growth opportunity that shouldn’t be missed. Once a job is complete, it’s really important to follow up to make sure your customer is happy with the work you’ve done. Customer feedback is a powerful tool, not only for understanding customers’ satisfaction, but also for developing strategies to improve those services. It is the only way to really measure customer satisfaction, plus you’ll find that you can quickly resolve problems and help encourage the future recommendation of your services to others. You should never be afraid to ask for feedback. Even a negative response can prove beneficial for improving your business’s processes if recorded and handled correctly. If a query about part of your service arises, go away and research a reasonable solution. When it comes to asking for feedback, asking the right questions is paramount. Retailers have learnt that asking the right questions allows them to understand how well they are looking after their customers across a range of elements that add up to the perfect customer experience. One question gives you a top line measurement; the right set of questions allows you to understand how you are doing on the underlying ART BUSINESS TODAY
What makes great customer service? Martin Tracy GCF, The Framing Workshop “When someone asks about our best-selling products I always say customer service. That pretty much sums up how important customer service is to our business. It’s about creating an environment in which the customer is comfortable. Part of that process is educating customers, so it’s easier for them to understand and respect what we do. There is a wealth of technical knowledge in our industry that most customers don’t understand. By educating them on the right products for their needs, you build trust and earn respect, both of which are key to delivering a great customer experience.” Lucy Newport, Eastbourne Framing “It’s easy to be friendly and helpful when you are trying to secure a sale, but it’s what happens after that’s the true test of customer service. Good after care service is vital. What you do when something goes wrong is what will make the difference between an ultimately happy customer, and one who will never use you again.” Alan Carlisle, Custom Frames “Good customer service is listening and finding solutions to meet the customer’s expectations. It’s giving the client a positive, efficient and friendly experience from initial contact to point of sale, and after if required. You need a good product range and you must keep customers informed of the latest mouldings and products. Don’t up-sell for the sake of it; customers will see through that and you’ll never see them again. Having good suppliers is essential; if they let you down the client will see this as bad service on your part.” David Belford, Frame Warehouse “The main ingredient of great customer service is efficiency. Helpful and professional staff, customer involvement in the choices made and work ready on time should result in satisfaction and return business.” Angela Alderisi, AA Frames & Pictures “It’s the little things that people remember. One Christmas I offered to spray a festive cinnamon fragrance into customers’ shopping bags, which people seemed to like. A bowl of pretty sweets on the counter doesn’t cost much either. We make a point of offering to help carry pictures out to customers’ cars, and we deliver artwork to their homes where possible. Try giving a free greeting card or two featuring the artist’s work when someone buys a picture; we all like receiving something for nothing. Always acknowledge people who come into the shop, but don’t make them feel under pressure. Just a cheery ‘Good morning!’ should do it. Tell them that their children or dog are welcome. If you are busy, let them know you won’t be a moment and offer them a seat. Communication is the key to customer service.”
It’s important to give customers your full attention; they are not just an interruption to your framing work, they are the backbone of your business (photo courtesy of Fine Art Brokers)
➺ October 2014 33
BUSINESS ➺ drivers of great experience, so you can focus your limited resources on making improvements that will make the most difference to your customers. Communication between an organisation and its customers is the foundation of good customer service. It’s important that you don’t forget to keep speaking with your customers. They need to know they are special, and a priority to both you and your business. The personal touch can provide customers with a feeling of continuity and help position the company as trustworthy. Remember it’s often the little things that define the best experiences and subtle factors which separate merely good experiences from truly great ones. A key aspect of maintaining good standards of customer service is always having the right people in place. Everyone knows that engaged employees deliver exceptional customer experiences. People who are professional, knowledgeable about your business and pleasant to deal with will go a long way towards giving your customers a great experience and will act as great ambassadors for your company. It’s important to motivate and retain good staff, because turnover is expensive, both in recruitment and training costs, as well as in respect of lost experience. Employees want to feel valued, so think about ways to give them positive feedback, especially when they demonstrate great customer service. Build a sense of pride in your organisation that can be shared, and make sure that morale is maintained. Behaviour breeds behaviour and happy staff lead to happy customers, it really is as simple as that. Now more than ever it is important that retailers keep their focus on their customers in order to set themselves apart from their competitors. Focusing on the customer is harder than it seems. It’s very easy for small business owners to get bogged down with sales targets, keeping on top of orders, finance and other operations, all of which are clearly important, but will come to very little if you lose sight of the customers themselves. And you may not even know how many customers you’ve lost because the chances are they won’t tell you; they just won’t come back - ever. Once a customer has lost faith in your service, 34 October 2014
it is very difficult to restore, so you’ve got to get it right first time. Encouraging best practice in the service you offer means you’ll appear open, honest and ready for business. It’s the best way to promote yourself and your expertise, and what’s more, with a little common sense, it is really easy to achieve. Top tips for offering great customer service: • Always deliver what you say you will, on time. Be accurate with your quotes and realistic with projected timescales. • Never over promise. Don’t say you can do something to win a deal if you know you can’t deliver. It’s always better to be honest. • Keep customers informed. If there are delays in fulfilling their order, let them know straight away and explain what you will be doing to help. Customers are usually happy to accommodate reasonable delays providing they know what is going on.
Top: Eastbourne Framing’s Lucy Newport at the design desk Below: Martin Tracy GCF, The Framing Workshop, engaging with clients
• Build a rapport with customers at all stages of the job. Take an interest in their projects and what they are hoping to achieve. Remember details and ask questions; make notes if necessary. • Don’t stop talking to your customers once they’ve chosen you for the job. Follow up with them during and after the job to make sure things go smoothly and they go away happy. • If a customer contacts you with a query or complaint, acknowledge it straight away and give a timescale for your response. Take notes when you speak to them so that they don’t have to repeat themselves and agree an action plan together. • Smiling on the phone always comes across; no one likes talking to a grumpy person. ■ Steve Burke is sales director at framing supplier Arqadia, arqadia.co.uk ART BUSINESS TODAY
BUSINESS American retailer and framer John Ranes CPF GCF travelled 3400 miles, from Wisconsin to New Hampshire, across 11 US states, visiting frame, art and gift shops. His mission was to find out why some survived the recession, while others closed their doors, and to pick up inspiring tips along the way
A busman’s holiday busman’s holiday is when you spend your time away doing the same things as you would be doing anyway. I’m sure most bespoke framers venture into frame shops while on holiday; it comes naturally in an industry where people truly love what they do. We hope that we will learn a new tit bit, or see how someone solves a problem that has been on our own back burner for months. This summer my wife Sarah and I decided to take a road trip. Along the way we would visit folk in the framing industry, as well as the owners of galleries and specialist gift shops. Our plan was to connect with great picture
A
framers and excellent business people. Not just a grand day out, but a 14-day road trip of enlightenment. We glean many truths and valuable lessons from other people, especially when we compare our own experiences with theirs. Our journey included a diverse mix of business types and models. We are now entering our seventh year of recession; we hoped to identify patterns that would help explain why certain businesses flourish. After all, these are the survivors; independent businesses that still have their lights on and their doors open. What are these folks doing differently today than they did just seven years ago? How do they differ
Top: Pat and Ken Bauer of Framing Concepts Gallery play close attention to pricing Left: Tanja Von Kulajita of RSVP and Al Larson of FrameWorks run adjoining businesses, so each benefits from the other’s customers and expertise
36 October 2014
from competitors who no longer exist? It would be interesting to learn from these businesses and identify common elements. What do they perceive as contributing to their success, and what lessons have they learned during these difficult times for retailers? To gain some perspective on our journey: our final destination is about 1800 miles away, which is 40 per cent further than a journey beginning in Plymouth, stopping in London, Sheffield and Glasgow, and ending in Inverness. We got in touch with the busy folk we planned to visit well in advance. Most people in our trade will embrace a fellow framer when they come to visit, but we gave our hosts prior warning. The journey Our first stop was in Chesterton, Indiana, in the shadow of industrial Chicago. Framing Concepts Gallery, operated by Ken and Pat Baur, is in a charming setting, overlooking a city park. Ken is known in the US framing trade for his business training, and his professionalism and acumen are evident when you walk into the shop. The former movie theatre provides an enticing entrance, and the interior displays do not disappoint. There is clear signage, which invites people in, and the retail environment is welcoming. It is spacious, with dramatic lighting, and products are grouped by theme and colour. It’s an Aladdin’s cave, but a tidy and sophisticated one. ART BUSINESS TODAY
BUSINESS To offset the down economy, the Bauers offer competitively priced commercial framing. They also run various special offers, such as $69 (£42) document framing and an $89 (£55) poster framing special. They even offer ‘free framing’, which means that ten per cent of your purchase price is credited back to you via a rewards program, which can be accumulated so that you receive an entire framing project free. There’s also a ‘receive $25 (£15) if you tell a friend’ recommendation program. Ken and Pat demonstrate another key ingredient to business success that is often missed: both of them are willing to work hard to achieve their goals. Survivors recognise that long hours are part of the equation. Our journey continued to Plymouth, Michigan, where we visited gift and stationery boutique owner Tanja Von Kulajta. Her business, RSVP, shares a building with a frame shop called FrameWorks. A beautiful brick wall separates the two businesses but a common entrance and open door allows customers to flow freely between the two.
ART BUSINESS TODAY
Diversification can be an effective survival technique, and Tanja has achieved this by linking with another business, so each benefits from the other’s expertise. She has combined diversification with delegation, two killer business strategies. Many people in the picture framing industry have a hard time recognising that we are a very specialist segment of the home décor market, but these two businesses are in fact an excellent fit. Tanya has diversified in other ways too. Her core business, wedding stationery, now takes a lesser role than her gifts business, but the two obviously complement each other. This transition has happened over the past seven years, demonstrating a flexible approach to running a business. Custom framing and home décor gifts work well together, as when one decreases in demand and attention, the other will increase. Both elements of the business help to sustain the other and provide alternative traffic into the shop. Strong staff members are key to survival. Tanya’s shop and window
displays are stunning, thanks to the creative merchandising skills of a key manager. Al Larson, owner of the neighbouring frame shop, also testified to the value of having a manager for 20+ years who still approaches customers with the same enthusiasm as during her first week on the job. That kind of enthusiasm is not only priceless, but it ensures customers return. Before departing Michigan, we stopped at the beautiful college town of Ann Arbor to visit Parrish Framing & Art. The owner, Randy Parrish, operates this small shop in the Nickels Arcade, which looks just like an arcade in the UK with high ceilings, an eclectic mixture of shops and a nice blend of indoor and outdoor atmosphere. I selected Randy’s shop as one to visit as he is dedicated to the Professional Picture Framers’ Association, the US equivalent to the Fine Art Trade Guild. To give your time and effort for the good of your industry as a whole is no easy task while running your own business, particularly when you are the owner ➺
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BUSINESS ➺ Left: John Barlowe of Frame Shop Art Gallery & Gifts emphasises that he has won many awards in his marketing Inset: John Barlowe uses scrap moulding and mountboard to make creative gift frames featuring costume jewellery Right: John Ranes examines maps at Parrish Framing & Art. This specialisation gives the shop a unique identity
and only employee of that business. Randy’s business, like others we visited, moved during the recession into a better location within the mall. It became apparent that successful retailers recognise the importance of location, and they understand how this translates into sales. When visiting Parrish Framing & Art, the first thing you notice is the Michigan and US maps (many vintage) that are part of the shop’s identity. This type of specialisation makes his business stand apart from the competition; it creates a unique identity for the shop and gives people a reason to visit. Randy’s shop stocks many of the newest products, including Urban Ashes photo frames and mouldings, which are right on-trend and made from reclaimed wood from old Detroit factories and buildings. Randy is right to aggressively promote these locallysourced goods. Next stop is another one-person frame shop in Holland, Ohio. John Barlowe, a multiple award-winning framer, moved last year when a mall developer forced out small shops in favour of a large grocery store expansion. John’s business, Frame Shop Art Gallery & Gifts, sells not only creative custom framing but also a niche assortment of gifts. John sees custom framing businesses as need-oriented, and he wants to provide alternative reasons for folk to walk into his shop.
(This diversification tactic is something that I feel passionately about too.) John markets the shop as multi award-winning, which sets it apart from the others. He uses scrap pieces of moulding and mountboard to create beautiful framed jewellery pieces. These demonstrate his framing skills, create talking points and make great gifts. Gallery of Framing, an established framer in Fairlawn, a suburb of Cleveland, Ohio, was our next stop. Lori Drugan has had a gallery to complement her framing business since 2001, but last year she doubled the size of her premises. This beautiful gallery and frame shop is in an upscale location with great parking. Any picture framer
would envy the organisation and cleanliness of the workshop area. In plain view of visiting customers, the frame shop instills confidence in potential patrons. This established business, which elected to expand during the recession, has flourished partly thanks to the owner’s understanding that you need to actively promote the business when times are tough. It’s essential to ringfence your marketing budget if you want to survive. We dropped in on Ann FoleyCollins of Glee Gifts in Mansfield, Massachusetts, next. Her location in a large regional mall is high profile and she carries several key lines of gifts that are strong customer draws. In business for a number of years, Ann is keenly aware of the importance of
Left: Harry Gaston, Gaston Frame & Art, with his ‘great deals’ display Right: Amanda Schall, Framed in Tatnuck, in front of their well organised and broad selection of chevrons, which includes ‘frugal framing’ designs and upmarket closed-corner options
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BUSINESS sourcing strong lines to replace trendy hot lines that may fade in popularity. In common with other independent retailers we visited, Ann’s success is dependent upon the dedication of a key employee. As well as a good location. We then visited Harry Gaston of Gaston Framing & Art in Shrewsbury, Massachusetts. This outgoing framer and diligent business owner recently purchased an existing frame shop and converted it into a second location in an adjacent community. His advertising and marketing budget is now used to promote both locations. We witnessed one of Harry’s youth art classes. This creative marketing helps reinforce his brand and brings in families and parents who might otherwise not visit his shop or be aware of his business. Harry is known for his aggressive package pricing on custom framing: Gaston Great Deals. These include a fixed array of moulding, mount and glass combinations that are offered to customers with pricing concerns. These deals often lever first-time customers into having something
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nicely framed, while Harry retains his margins by purchasing the components with volume discounts. Fortitude and passion combined with creative pricing options retain customers at Gaston Framing & Art. Onto Worcester, Massachusetts, where we stopped at Framed in Tatnuck, owned by Cliff Wilson. Cliff ’s success is attributed to his Frugal Framing concept, which is similar to that used by Harry at Gaston’s. Cliff makes over 60 per cent of his sales in this area, and has seen an increase of sales volume every year during the recession. No small feat, but it should be noted that this success might also be attributed to a knowledgeable and passionate key employee, Amanda Schall. Amanda has successfully sold closed corner frames to multiple customers in the past year. The shop includes a wellorganized and broad selection of corner samples, from Frugal Framing to high-end closed corner frames. Another reason this shop is so productive is the great use of space and organisation. Purchasing all length and no chop, he stocks an amazing
amount of inventory in tight quarters. Clever framing displays help too. Award-winning framing designs are complemented with industry comparison samples for glass, twosided document encapsulation frames and other creative options. Key employees are an element of success, but so is passion for the core business. It is important to explore all options for your business, even if some prove unsuccessful. Harry Gaston and Cliff Wilson shared with us not only ideas that worked, but some that did not provide sales or increase traffic. You’ve got to be open minded and innovative. Middleton, Massachusetts, is home of Mason & Madison, owned by Liz White. This gift shop specialises in personalised giftware and is situated in a historical free-standing building. The building is divided into six themed rooms catering to baby gifts, jewellery, invitations, personalised engraving, soaps and lotions, and so on. One comment Liz shared resonates with custom framers as well as gift shop owners: affluent customers continue to be key to success, despite
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attempts to reach all clientele. We visited many retailers where the entrance is impressive, the interior spectacular and even the back room neat and organised. But then one visits the WC and finds it slightly less than appealing. Retailers should recognise that a pristine bathroom helps maintain your professional image and provides marketing potential. Liz White’s elegant bathroom tells customers that she cares about details, and enables her to market accessories and fragrances. Mason & Madison is the type of shop that customers will bring their friends to visit; only serious shoppers are proud to share with others the businesses that they make their own. Casco Bay Frames & Gallery is a 35-year-old business in Portland, Maine, operated by second-generation owners, Tony and Heather Cox. The multi-talented framers that work at
Casco Bay Frames are all artists in their own rights, with their work displayed throughout the frame shop. Conservation materials and techniques are a priority; these, combined with the artistic experiences of the framers, provide the shop with its image and identity. Many frame shops operate with one or two staff, but this one employs seven people. New tools such as a POS system and a computerised mountcutter play a role in growth and efficiency. At the same time, the business still values older and proven business habits such as stocking moulding by the length. This balance may explain why they have not seen one down year since the recession began in 2007. The Village Framer, in Yarmouth, Maine, caught our attention because they have embraced gifts to complement custom framing. Melissa
Cusano sells gifts and note cards, and photo frames are a dominant item. These are a key cross-over product that complements custom framing, but is sold by gift shops too, so appeals to a variety of customers. Melissa’s inventory is deep and wide, so customers who visit once will not forget that she is a destination for this staple that almost everyone purchases at some point. As we approached The Village Framer, we saw that this business had the foresight to create attractive vignettes within the shop that showcase not only her skills but the diversity of products she sells. She also created displays outside on the covered entrance of her strip mall, which are highly visible as you approach. Both of the framers we visited in Maine have embraced technology. They both have highly visible locations and dedicated staff. These are themes we have seen repeatedly while visiting businesses that have thrived in the recession. Although quite different, both framing businesses have focused on specialist areas that set them apart from the competition, create sales, promote loyalty and generate profitability. Next, we dropped in on Edith Antl of Art Etc, which is based in Cleveland’s Little Italy. Edith owned the business for 28 years in a previous location before moving into this quiet and artsy neighbourhood. Top left: The extensive array of frame designs and samples on dispaly at Framed in Tatnuck Top right: A display of gifts, note cards, candles and prints at The Village Framer Left: John Ranes (right) with The Village Framer’s Melissa Cusano and Ryan Penny
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BUSINESS At first glance the shop appears a bit cluttered and old fashioned, but a closer look reveals more than first meets the eye. Edith and I joked that she is going for the ‘We’ve been in business for a hundred years!’ look. The business certainly exudes tremendous charm. The workshop includes an Eclipse computerised mountcutter. The busy and eclectic feel of this business does not mean it is out of touch; Edith embraces the old charm of the craft of framing as well as new technology. She attributes her longevity and success to being an early adopter. Her website is positioned well on the internet and boasts excellent online business reviews. There is much high-quality framed art on display. Fine pictures can be found in every corner of the business, most framed with clean wide margins, fabric mounts or detailed mount decoration. Experience and passion can be a powerful combination. Coming home It was fascinating to see retailers’ personalities reflected in their businesses. Every one of the shops we visited is not only still in business, but is thriving. All reported a steady increase in sales and profits over the past five years. Many have expanded or diversified in this time frame. How do they do it? What sets these retailers apart from the many that have disappeared? Although each has their own unique situation, and operates within the parameters of their immediate environment, we observed key common elements that I feel play a big part of their success. The five key points – passion, change, technology, delegation and product knowledge - are discussed alongside this main article. We picked up practical tips too. We have just added an eleven-camera security system to our store, thanks to recommendations from retailers we visited. Next time you journey out and observe other shops, be sure to ask yourself what they are doing that you might borrow. Consider what you can glean from them, even if it is only the smallest of things. I invite you all on a busman’s holiday. ■ Award-winning framer and retailer John Ranes CPF GCF and his wife Sarah own The Frame Workshop of Appleton, USA ART BUSINESS TODAY
A 5-POINT PLAN FOR SUCCESS PASSION You can’t learn it; it has to come naturally. Some of us wear it on our sleeves and shout from the rooftops, sharing with the world how wonderful our businesses are and how customers cannot live without us. Others are more subtle, but passion is evident in the details, such as creative displays that change on a regular basis, powerful and eye-catching signage, and hours dedicated to doing each task well. Successful retailers are passionate about their products, their name and their business. During hard times we need to display über enthusiasm, as it is contagious to customers and employees alike. CHANGE Many successful shops have moved, remodelled or expanded their ranges during the last six years. Some have upgraded to larger facilities, or moved to a more visible location. Some have taken advantage of reduced rents during the recession and moved to previously unaffordable sites. Many shop owners recognise that by nature we are risk takers; we should continue taking business risks even if it means relocating, as that is part of the challenge of retailing. We visited a number of gift boutiques that had changed product lines, dropping poor performers and adding trendy hot items. They would add new lines knowing the benefit might be short-term. Sticking with the same old stuff can be a death sentence in retailing. Similarly, one framer abandoned the gallery portion of his business that had never held its weight in favour of a children’s after school art class. We noticed a number of frame shop owners embracing diversification by adding photo frames and home décor products. These changes keep businesses fresh and interesting. TECHNOLOGY Although a business can be run without a POS system, the growth and
organisational benefits are huge. Every shop we visited, from one-person framers to gift shops with a staff of ten, all used and embraced POS software to track customers and record sales. Smart business people recognise that their time is valuable, and technology helps makes good use of time. We visited a small frame shop in an old established neighbourhood, which looked as if it had been in business for 100 years or more. It resembled a cobbler's shop or vintage bookstore. This was a carefully marketed image that conveyed charm, warmth, and a sense of old school craftsmanship. Underneath the patina of age, the shop was an early adopter of POS software and computerised mountutters. DELEGATION This key business trait is one we found in many of the survivors we visited. Owners know that to grow their business and reach profitable volume, they can’t have their hands on every single aspect of the business. This may seem a little obvious, but many strong, creative and passionate individuals are great at starting a business, but have a hard time allowing others to maintain it as it grows. Many whom we visited credited a key employee as playing a big part in their success. When nurtured, the right people can often achieve greater sales success than owners. Sometimes delegation means sourcing services to complement the core business. PRODUCT KNOWLEDGE Retailers must keep up with the everchanging world of new products, services and popular lines. Almost every framer had a display of specialist glass, so customers could see the benefits for themselves. Awareness can be provided by competent sales reps, trade publications and visits to trade shows and events. Almost every framer we visited attends the West Coast Art & Frame Show on a regular basis.
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The art of good business Diversity is the way forward
Put customers first
My business is multi-faceted; customers who come seeking a particular service often end up buying others as well. We run three art classes each week; offer fine art printing; sell my own photographs, as well as original artwork and cards from other artists; we hold children’s photo
Keep abreast of current and upcoming trends, but stay true to your customers. For example, the current trend for graffiti, tattoo and urban images might not be for you. Artwork in these styles is everywhere, but if your target customer won’t like it, then don’t follow the trend. Listen to your customers. They will tell you what they’re looking for, but only if you ask. Your shop should have a coherent theme or look, and everything you buy should fit with this. If you try to appeal to everyone, you’ll end up appealing to no-one.
parties (they make mosaic frames and there’s a photo shoot); we provide studio, location and events photography; and we run a bespoke framing service. We market the business in as many ways as possible. Our most recent venture has been attending county shows and taking photographs of people and their pets on site, then emailing small files (defaced with our watermark) and asking if they would like to buy prints and frames. Tim Clarke GCF, Country Pictures Children’s parties bring new families to Country Pictures, who then become aware of the range of services on offer. These events are a brilliant way of getting new customers through the door
Social media is the best way of finding new business
Carmen Cazenove, Elegant Interiors xxxxxx
This framed Aston Martin attracted a lof of interest on social media
Other than word of mouth recommendation, the best way of attracting new customers is through social networking (which is, of course, a form of word of mouth recommendation). I alternate between favouring Facebook or Twitter, though I think ultimately Facebook is set up to create a stronger visual impact. My posts nearly always contain images. I post examples of interesting frames, or several shots of the same image in different frame designs. I try to respond to current issues, as that’s the best way of engaging people’s interest. For example, I posted a framed photograph of Mo Farah the day he won the 10,000 metres race at the European Championships. I post on social media two or three times a week. If I have completed a frame for a customer they often share the image with their friends, which can be a very effective way of acquiring new business. Posts can attract new people, old customers or followers who have never bought before, you never know. Cath Friend GCF, Emerald Picture Framing & Gallery 42 October 2014
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Type ‘painting of dahlias’ into Google images and this artwork by Laura Wall appears. Purple Dahlia and, inset, Laura Wall
11 dead easy SEO tweaks for artists HELEN ALDOUS, founder of art marketing website Artonomy, explains how artists can drive more traffic to their websites f you sell your art over the internet via your own website it is really, really important to ensure that you have a steady stream of interested visitors looking at your work. I can’t emphasise this enough; you can have the most amazing work in the world out there on the web, but if no one sees it nothing exciting is going to happen. You can’t just sit back and wait for people to turn up. You have to help them find you. So, one of the best ways to make this happen, and ensure that all those visitors pop their heads round the door of your shop, is to spend a little bit of time making sure that your website is as ‘Google friendly’ as
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possible. This means tweaking the site so that Google and other search engines find it easy to navigate and index. If your site is easily found via searches you are likely to get a steady stream of good quality interested traffic. Search engine optimisation (SEO for short) can seem a complex and daunting aspect of the web, but there are some really simple tweaks you can make to your site that will greatly improve its search engine performance. So here we go – some easy SEO that will give your site a head start. 1. Use keyphrases, not single keywords
Keyphrases consists of two keywords
together, like ‘abstract art’ or ‘contemporary art’. You will get far better targeted results than if you just use a big fat generic single keyword like ‘art’, which is too general. 2. Page titles. Sort ‘em out!
The page title is the short string of words that shows up in the top left corner of most browsers and describes the page. Probably the most important thing you can do on your page is to make best use of your page title, yet it’s surprising how many sites don’t. It is one of the biggest ranking factors for any page. • The most common mistake is to leave the home page titled ‘home’ or ‘welcome to my website’, or similar. ART BUSINESS TODAY
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That’s a huge facepalmtastic missed opportunity. You must actually use your page title. • Make sure your page title relates closely to the content of that page and the keyword you are trying to optimise that page for. See ‘research your keyphrases’ below to figure out what your phrases should be. • Target your home page with your main keyphrase. Every page should have a different keyphrase focus; don’t just use the same title for each page. Keep your page title short, under nine words or 80 characters, and focus your keyphrases at the beginning of the phrase. • Here’s a totally made up example for a fictional photographer: ‘wildlife photographer | Martin Smith | Nantucket’, or ‘Arctic wildlife | wildlife photographer | Martin Smith | Nantucket’ specifically for a page of shots of the Arctic. Keep a consistent format across each page, but make sure that each page title has a different keyphrase focus. (In the Martin Smith example, the phrase at the beginning of the title will change relevant to each page.)
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• The title is read from a piece of code in the HTML of your site that looks like this: <title>Title goes here</title> You may need to edit it directly if you are happy working with HTML, or if you use a portfolio service, research the help files to discover how to alter it. This is a very simple and hugely effective SEO tweak that will make a big difference to your ranking results. 3. Don’t miss out on Google image searches
Google image searches are a brilliant opportunity to show your work and attract more visitors, yet this feature is often overlooked. It works like this: someone is searching Google for images of barn owls. If you have created a painting of one and named the file correctly, there is a good chance that they will find your work via a Google image search. You can potentially double your traffic if you get this right, as searches for art-related subjects are often visual. • In order for your work to show up in image searches you need to name your image files properly. Make sure you
include the relevant keyphrases in the names of your files. For example, our fictitious wildlife photographer may name his files in the following format: snow-goosearctic-martin-smith.jpg or snow-goosewildlife-photography-martin-smith.jpg. This ensures that his images will be indexed and found easily. • Make sure you use the same words in the alt tag of your image and any caption relating to it. Always try and include relevant image caption text with your image as this really helps your picture to get picked up by Google image searches. • If possible, add your images to Flickr.com with a descriptive caption. I have found this really helps with image searches. 4. Research your keyphrases thoroughly
It’s easy to make assumptions about the keyphrases you think people will search for. You can spend a lot of time optimising those keyphrases, when a few minutes research will show you that another phrase would get better results. These tools will help you find out
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Paintings and prints by Pollyanna Pickering are easily found via internet searches. Highland Tiger is published as a limited edition to raise funds for Scottish Wildcat Conservation and can be bought at pollyannapickering.co.uk Above: Pollyanna Pickering
what people are actually searching for: ‘Google keyword tool’ provides a rough indication of keyword popularity, while Wordtracker is the industry standard keyword research tool which offers free limited searches. 5. Choose a relevant keyphrase for every page
Look at the content of each page and decide on a keyphrase that closely describes the content of that page. It’s no use trying to optimise your page for ‘bronze sculpture’ if the page content is actually about ‘abstract painting’. Make sure the keyphrase and content match closely. The key to searching is relevance. 6. Write natural text using your keywords or keyphrases
When you have chosen a relevant
keyphrase for a page, include that keyphrase and related words in your copy. This doesn’t mean cramming the words in repeatedly. Make sure you write in a natural way, but ensure that keyphrases and related words are featured say three or four times, preferably at the beginning, middle and end of the text. 7. Use keyphrases in headers
Similarly, include your chosen keyphrase in the header text on each page. This refers to the bold text that divides the body copy into sections. Words in these headers may be given more weight by Google. 8. Work on achieving quality incoming links
There’s only so much you can do to improve your site itself. A lot of what
will help your search engine rankings are so-called ‘off page’ elements. These include incoming links to your site and the important thing here is quality. It’s better to have a handful of good quality links than hundreds of spammy links from irrelevant sites and directories. You want to show Google that your site keeps good company. You don’t want your website to become the online equivalent of a dodgy shop down a backstreet on the wrong side of town with stained net curtains and a man behind the counter with no teeth. Right? Try and secure links from sites that are related in content to yours and are well respected. In the case of our imaginary photographer, wildlife photography forums or blogs would be appropriate sites to try to link with.
Left: This landscape by Rob Miller (robmillerpaintings.com) has the keyword ‘Dentdale’ in the file name, making it easy to find online when searching for images of this location Below: When searching for paintings of pug dogs, this image by Amanda Jeffries appears high up in internet searches thanks to the artist’s efforts with SEO
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You want a site that values its links and doesn’t have zillions of links per page. If possible (and this isn’t easy) try and ensure that the linking site uses your keywords in the link text, for example: ‘view Martin Smith’s Arctic wildlife photography on his site by clicking here’. Avoid links from directory-type pages that are only there to generate links and don’t have any relevant content, like massive business directories. 9. Create a signature file on forums
If you comment on forums related to your work, create a signature file with the address of your website in it. Whenever you comment, your web address will be included, possibly helping SEO (depending on the way the forum is set up) and potentially raising the profile of your site. 10. Research and use the SEO capabilities of any site you join
If you have access to a ready-made artists’ portfolio site, for example, check the documentation and find out how to best modify your page within the system to help the search engines find you. If you have a WordPress site, download and install the ‘all-in-one SEO pack plug in’.
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11. Create quality content
This is the number one most important rule in SEO. Quality content will naturally attract people. They read or see something interesting and link to it. All these incoming links are a signpost to the search engines that your site is worth bothering with, so they will increase your ranking. This is why blogs are such a great way of getting people interested in your work. Write in a natural style about topics of interest around your work, for example, techniques, history or exhibitions. Make sure your content is grammatically correct and spell checked. Use a range of keywords and phrases in order that people can easily search for your topic. Break the text into paragraphs and ensure it is well divided with headings and subheadings. Make sure it isn’t too long.■ artonomy.co is a website that provides business and marketing advice for creative people ART BUSINESS TODAY
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Preserve and protect Louise Vaile cleaning paperborne artwork in the purpose-built sink at her studio in Birmingham Museum & Art Gallery
Paper conservator LOUISE VAILE explains the challenges she faces on a daily basis, and discusses the materials and techniques that she prefers
Where did you train? I completed a two-year MA in conservation at Camberwell College of Arts, following a BA in classics. I now have 16 years’ experience as a conservator, some of which was spent working for Birmingham Museum & Art Gallery. Two years ago I was accredited by The Institute of Conservation (ICON), which was a rigorous process. ICON is a great resource. Anyone who is looking for a conservator can just type in their postcode and the type of object they want to conserve, and a list of recommended conservators will appear. You can be confident in the quality of ICON’s recommendations. Who are your clients? I work for both private clients and a range of museums. My studio is at Birmingham Museum & Art Gallery; Ogilvie Vaile Conservation is an independent business but I carry out work for the museum. Other public collections I work for include the University of Birmingham, the New Art Gallery Walsall and Warwickshire 48 October 2014
Yeomanry Museum. Being on the ICON register brings me regular new business. What work do you carry out most often? Removing artwork that has been stuck onto acidic board. I also repair tears and holes, eliminate foxing marks, remove acidic residue from tapes and adhesives, clean discoloured paper and reduce the impact of damage from smoke and fire. Work for private clients is often the most extensive, as these works are not generally stored in archival conditions. Museum pieces are stored in controlled conditions away from daylight, so they are more likely to need hinging and mounting than cleaning and repairing. How do you remove acidic board? Firstly I have to assess whether the artwork was painted directly onto the board. If that’s the case, I tend to leave it on the original board, as to remove it might put the artwork in jeopardy and this would be altering the original condition of the piece. However, if the artwork was stuck down at a later date, I remove it from
the board. Old board and adhesive are generally acidic, as little was understood about conservation materials and techniques until the last quarter of the 20th century. Paper often included metal fragments and was sized with alum, which both attack the paper fibres over time. You can’t carry out aqueous treatments on works stuck onto board, as once the board is wet acid will stain the artwork. Therefore removing extraneous backing material is the first step, then you can start repair and conservation work. What about discoloured paper? I wash discoloured paper in water. Of course I begin by testing that the colours won’t migrate or bleed in water and if there’s any risk I don’t proceed. Prints tend to be the most stable type of paperborne artwork, unless they have been hand-coloured or re-touched. Mezzotints are an exception; their rich velvety inks can come away at the most gentle touch. I don’t wash screenprints either, as water can’t permeate the oil-based inks so washing is ineffective. I never wash pastels or chalk paintings, as the pigments are only loosely adhered to the paper. 19th century watercolours can often be washed, even though watercolour is a water-based medium. You have to test each piece, but old pigments set over time so they cease to be fugitive. They need to be carefully washed so the surface is undisturbed, and they must never be blotted or rubbed. Private clients sometimes want their pictures to be lightly bleached for ART BUSINESS TODAY
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aesthetic reasons, as without this the paper may remain discoloured. I explain that this is a chemical process that carries some risks to the longevity of the piece, as chemical residues may remain. Museums do not want their artwork treated with even very mild solutions of bleach, as they are more concerned with preservation then physical appearance. I use ordinary tap water for washing paper, as Birmingham tap water is good quality. I believe that conservators in London and other parts of the country have to use filtered or de-ionised water for washing. How do you dry paper after washing? You need drying racks and a pressing area, as paper goes wavy once it is damp. You can dry paper between blotting paper, though you need to change it regularly, or the traditional material is felt. I prefer to use white liner boards from LION which suck the moisture out of the paper and don’t require changing as often as blotting paper.
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Sometimes paper comes to me in need of flattening, in which case I carefully introduce water as a fine spray of mist. I proceed with caution though; if the paper is discoloured the water will shift the discolouration and leave a tidemark. Do you use erasers to clean artwork? I use a smoke sponge for removing smoke damage and sooty deposits, which is made from soft natural vulcanised rubber. This lifts dirt from the surface of the paper if you gently dab it; you don’t need to rub. Other types of eraser might press dirt into the paper rather than remove it and they are likely to produce an uneven result. Do you see much damage caused by inappropriate framing? Yes, but most of it pre-dates the widespread understanding of conservation framing techniques. Shiny pressure-sensitive tape is a problem, as some of it is marketed as being conservation quality, which it isn’t. The adhesive becomes stronger
over time as it sinks right into the paper so it’s very hard to remove and water can’t penetrate it. I am currently working on some 20th century pieces that were taped down along all four sides about 20 years ago. The residue from the pressure-sensitive tape will never be completely removed, as it’s got right into the paper fibres. The images will always have slightly discoloured borders. What tape do you use? I use gummed linen tape for hinging the undermount to the windowmount, as this is very strong. I use gummed paper tape for making hinges, as well as Japanese paper and starch paste. LION Picture Framing Supplies sell gummed Hayaku Hinging Paper, made from mulberry fibres, which is an excellent product and very inexpensive. I normally apply two hinges, unless the artwork is very large. Paper is organic so it responds to moisture in the environment; it’s movement mustn’t be restricted or it may tear. If the customer wants the edges to
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ART ➺ show I float mount artwork using hand-made V-hinges.
repair work as it is lightweight yet strong.
Can foxing marks be removed? Foxing, which is disfiguring localised brown staining, is caused by microorganisms and or iron particles. Humidity and damp cause foxing to flourish. The best way to remove foxing is to wash the artwork though, as discussed above, this is not always possible. A big part of my job is to assess the benefits to the artwork of any procedure, and weigh them up against possible risks. Washing tends to reduce foxing marks, rather than eliminate them completely, though the use of bleach can enhance the effectiveness of this process.
Do you re-touch much artwork? Again, museums don’t want their artwork re-touched, but private collectors sometimes do. I work mainly with ground-up pastel pigments, as these are more easily removed at a later date than watercolour pigments. I use pastel pigments to disguise foxing marks that can’t be removed. Oil painting restorers carry out more re-touching work than paper conservators. Paper is very unforgiving in this way, and re-touching tends to leap out at you. Since oils are made up of layers of paint and varnish, and tend to be larger in size, re-touching blends in better.
How do you repair holes and tears? I place the damaged area on a lightbox and sketch the shape of the repair in pencil. I then cut the shape from suitable paper, about 1-2mm larger than the damage itself. This is then carefully glued into place at the back. The secret is to find the right paper for each job; like most paper conservators, I’ve built up a huge selection of old papers over the years. I match the colour, weight, texture, grain and type of paper. Paper conservators use lots of Far Eastern materials and techniques. Paper was invented in China and their papers are traditionally made from long-fibred plants, whereas western paper is traditionally made from short fibres. Far Eastern paper is good for
Do you do your own framing? I sub-contract cutting and joining mouldings, though I mount artwork and assemble the frame package myself. I always use cotton museum mountboard, rather than board that has been artificially buffered to render it pH neutral. I buy board from Conservation by Design and I use Peterboro Museum board from LION. I also sub-contract drawing washlines on mounts, which, though out of fashion, looks great on certain historical images. I order Tru Vue Conservation Clear glass from Wessex Pictures cut to size. This is an excellent product, which blocks almost all damaging UV light rays, but I warn customers that visible
daylight can still damage artwork. I emphasise that you shouldn’t hang artwork opposite a south-facing window, as daylight causes paper and textiles to deteriorate. Do you conserve photographs? Very rarely. Non-digital photography is a chemical process, so working on photographs is a highly specialist field. I certainly wouldn’t apply water to any photograph. I occasionally re-touch non-valuable photographs, and suggest that the customer keeps the image away from daylight and has a copy made for display purposes. Photographic conservators are few and far between, but the ICON register helps people find their nearest accredited practitioner. Does paper conservation require much expensive equipment? Not really. It’s more of a labour intensive craft-based occupation, requiring lots of patience and attention to detail. You need a lightbox, magnifying glass, sinks and drying racks. I have access to a lowpressure suction table at the museum, which is the most costly piece of equipment used by paper conservators. This allows you to seal off areas of the artwork, so you can apply water or solvents to a tiny area, which is necessary when you are working on items where the colour is friable (meaning the media is easily dislodged). I mainly require water, paper and scalpels. ■ ogilvievaile.co.uk
Working on prints that have discoloured, largely due to being mounted on acidic board
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Business tips for
Artists
Don’t approach the wrong galleries
Build a rapport with gallery owners
Approaching galleries that you haven’t researched properly is a waste of time, and is likely to be very bad for morale. The internet makes checking out galleries pretty straightforward. Check that the artwork on sale is a good fit with your own style, and that the price range is roughly similar to yours. Once you’ve identified galleries to approach, send a few JPGs and a personalised letter. Make it clear that you are familiar with the gallery and its style, and address the owner by name. Don’t make your initial approach by walking into the gallery with your portfolio under your arm, as there’s every chance that you will arrive at a bad time. If you are invited to visit the gallery, take a small selection of works that sit well together. Show the gallery owner that you have a coherent style, but that you also have a good body of work.
rtists need to build a rapport with local galleries by networking and attending events. I don’t find business groups that helpful; there are too many sales people at those. I prefer targeted art-related events such as Fine Art Trade Guild branch evenings, regional photographic meetings and art group talks. It’s best to get to know gallery owners on neutral ground rather than to approach them in their galleries. Once you’ve been introduced, be sure to go to their private views and say hello to them at art fairs. If gallery owners know you personally, and understand that you are reliable and professional, they are more likely to take on your work. You just have to break down that first barrier so you aren’t one of hundreds of cold callers.
Alwyn Crawshaw alwyncrawshaw.co.uk
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Peter Drought, peterdrought.co.uk
Get out there! Ensure that your work is seen by as many people as possible. Don’t be proud; grab any opportunity. When I started, I noticed that the window of the local barber’s shop was empty so I asked to display a few pictures. I sold them all within a few days. You need to join art circles, approach galleries, take stands at craft fairs and local shows, and display work in public places such as restaurants.
Dorothy Griffiths dorothysfineart.com ART BUSINESS TODAY
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Jared Davis MCPF GCF
Time spent at the consulting table is an investment: customers tend to value conversation more than they value conservation
Consumer desire is an extremely powerful motivator that leads customers to spend money on things that make them feel good, says Jared Davis MCPF GCF
Building customer desire onsumers all have desires, and it is desire that drives sales. Selling is just a matter of building sufficient desire to make a sale happen. There are many human emotions that build desire, such as love, fear, envy, and hope. There are also different types of desire, such as for happiness, security, family, comfort, attention, prestige, and wealth. There are limitless ways desire can influence a sale, but when it comes to framing, the ultimate goal of building desire is to get a customer to feel and say, ‘I really want that!’ This inevitably leads to a purchase. This type of desire is driven by an emotional want more than physical need.
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Consumer desire is an extremely powerful motivator. Once created, it doesn’t go away, especially if you can fan the flames by reminding customers how much they want what you offer. They won’t be satisfied until they have it. And if you get it right, they’ll know it from the first moment they see it. They’ll be hooked! Customers like to spend money on things that make them feel good and enhance their lives, especially if they are meaningful to them or the ones they love. Bespoke framing is uniquely positioned to fit this criterion. But if that’s so, why does selling bespoke framing seem such a challenge? Just 15 years ago, a framing business could rely on selling the basic function of framing, and customers
would still walk through the door. However, in today’s tougher market and times, the competitive edge of selling bespoke framing goes beyond selling the basic function of framing. Selling framing successfully today relies on appealing to emotions and desires. Function versus desire Do you ever see a new car advertisement discussing engine torque or drag coefficient? No! Ads are more likely to feature elements of emotional desire such as romance, speed and pride of ownership. This is because these aspects are more important for most car buyers. Likewise, in the eyes of today’s modern retail consumer, the ART BUSINESS TODAY
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functional aspects of a picture frame are usually less significant than design, beauty, and their emotional connection to the frame. When it comes to building desire in bespoke framing, there are two approaches: visually, through product presentation, and verbally, through your personal contact with the customer. Building desire visually People see before they speak. Visually, desire can be created before a single word is spoken, and the first thing customers will see is the inside of your store. Bespoke framing is not just about making frames; it’s also about retailing. As a retailer, you have to consider the layout and design of your shop; it must be attractive and help create a tempting environment that will encourage customers to buy. Customers of luxury products aspire to a certain level of presentation and lifestyle. If you want to attract this type of customer, your retail presentation and framed examples need to provide this level of inspiration. If your shop looks or feels cheap, you won’t attract high-end customers. Creating a successful retail environment therefore requires a wellconsidered strategy that incorporates an overall style, a comfortable and elegant atmosphere, and a high level of customer service. The goal is to create an exceptional overall experience that is beyond your customer’s expectations. Bob Phibbs, also known as the Retail Doctor, has created a list of key ingredients for developing a retail environment that is desirable to luxury consumers. I have adapted his list for the bespoke framing industry: • Create a peaceful and soothing atmosphere • Keep everything visually appealing, organised, and impeccably clean • Limit your displays and samples to create a sense of spaciousness • Use small, professionally printed signs • Play appropriate background music that enhances your shop atmosphere, makes it conducive to browsing, and suits the demographic of your target market • While natural lighting is best, use general low-level lighting throughout ART BUSINESS TODAY
BOOK NOW for training from British Museum paper conservator and world-renowned author JOANNA KOSEK
The sessions will be delivered during the Art & Framing Convention at the Old Swan Hotel, Harrogate, on Saturday 16 May 2015 THE HISTORY OF MUSEUM MOUNTING Seminar 11.30 to 12.30 £21.60 Fine Art Trade Guild members / £27.60 non-members Prices include VAT CONSERVATION MOUNTING AND HINGING Hands-on workshop Joanna will be assisted by Mal Reynolds GCF Adv at this session 14.30 to 16.00 £36 Fine Art Trade Guild members / £55.20 non-members Prices include VAT Thanks to Conservation by Design for supplying materials for the workshop Numbers are limited, so early booking is recommended. To book: visit fineart.co.uk; go to the Awards & Convention tab at the top; go to Convention 2015 on the left; click the ‘book now’ button This training and the Art & Framing Convention are organised by the Fine Art Trade Guild, fineart.co.uk
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Left: Be sure to ask customers questions about the work to be framed, in order to establish their desires
your shop so you can spotlight specific features or items • Your framed display samples should include images that relate to customers on an emotional level. Weddings, birthdays, and children are highly emotional subjects, so use them to your advantage. Your framed examples and displays are another vital aspect of creating desire visually. The most effective examples should trigger a ‘Wow!’ reaction from customers. There are many different methods of creating eye-catching frame designs, but the ultimate objective is to go beyond basic craftsmanship and function to create beauty through design and presentation. True beauty builds desire. As Plotinus, an ancient Greek philosopher, once said, beauty is not
just symmetry and proportion but rather a quality that ‘irradiates and moves us’. (A great resource to understanding how to create framing of exceptional beauty is Greg Perkins’ book, Guidelines for Great Frame Design, available from the PFM bookstore, pictureframingmagazine.net.) Building desire verbally The best mattress salespeople don’t sell mattresses; they sell sweet dreams and a good night’s sleep. When you have information about your product that you wish to convey verbally to your customers, think about whether it is relevant to enhancing their desires. There’s nothing wrong with describing the functional benefits of framing, such as using conservation
Above: Images of children generate emotional responses so should be used in displays
methods and materials, but don’t forget that the emotional aspects and benefits are likely to be more important to the customer. Try to focus on communication that allows both you and your product to connect with your customers on a human level. Remember: customers value conversation more than conservation. Asking the right questions Often it’s a challenge to discover what your customers genuinely want as they may not divulge their desires or intentions immediately. To uncover their true desires, you’ve got to dig really deep below the surface by asking skillful questions. People find it naturally difficult to express their true desires unless skillfully led. Open-ended questions using words Imaginatively framed certificates, wedding bouquets and children’s artwork can be used in your displays to generate desire in customers
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such as why, where, how, who and which are most likely to create a scenario where customers feel comfortable expressing themselves openly and honestly. For example, ‘So tell me, what’s the story behind this piece?’ or ‘Why do you want to frame this item?’ can lead to open, frank responses. Answering questions like this will likely trigger the emotional motive that led the customer to your shop in the first place. The more skillfully phrased questions you ask, combined with listening carefully and patiently to the answers, the more your customers will open up and reveal their motives and desires. Ultimately, you have to find the emotional connection between customers and their artwork. Once you’ve identified this, you can use that information to help customers identify with different frame options and choices and create a final product that matches their emotional requirement. Once desire is established at this level, the customer is ready to buy. As you work through this process,
ART BUSINESS TODAY
it is crucial to avoid making common mistakes. These include not listening to the clues a customer is giving you, talking too much, or trying to close the sale before gaining the customer’s confidence in the final choice. When you approach a consultation in this manner, ‘selling’ becomes a matter of understanding a customer’s desires and then recommending suitable options based on their desires. Discounts and desire An emotional desire for bespoke framing cannot be created by discounts. The need to offer a discount to sell a product is generally the result of a salesperson’s low selfesteem; it indicates that the salesperson doesn’t believe the product is worth the true asking price. When salespeople don’t believe a product is worth the price, they pass that disbelief on to the customer. Framing businesses that succeed in selling bespoke framing without discounts are likely to operate from well-designed retail spaces in which discerning customers feel at home, and they are likely to employ
confident design consultants. In short . . . Consumers prefer to spend money on products and services that enhance their emotional well-being. When you successfully cater to your customers’ desires, they will say ‘I really want that!’ because they want the feeling that your product offers. Charles Revson, the founder of cosmetic industry giant Revlon, once said, ‘In the factory we make cosmetics, but in the drugstore we sell hope.’ To achieve true success, you need to sell more than just your product. You need to sell the feeling, not the frame. Jared Davis MCPF GCF is an educator who specialises in sales and marketing. Based in Brisbane, Australia, Jared has 20 years’ experience in the framing industry, and has written numerous articles. He is product manager for Megawood LarsonJuhl and is a consultant for Gunnar International. He is the author of Getting the Most Value from Your CMC and can be reached at jared@jared-davis.com. This article is printed with permission from Picture Framing Magazine
October 2014 55
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Pete Bingham’s
gony Send your framing problems to: pete-bingham@hotmail.co.uk
I am new to picture framing and intend to make a full-time career of it. Could you provide basic advice on matters such as dealing with customers and setting up equipment, Pete? Kerry, Macclesfield Try this Kerry. To a customer, a picture frame is a very simple thing: four pieces of moulding fastened at the corners. To the framer, it is far more complex: a plethora of different patterns, profiles, depths, widths and purposes – all of which have to be taken into account in a very short period of time when advising a customer. Therefore framers have to be on top of their game and aware of which materials and techniques should be used for each job. Displays of moulding chevrons look attractive and underline the purpose of the shop, but they suggest to the customer that they are invited to choose. Not a good idea. Unlike car mechanics, plumbers or dentists, picture framers encourage their clients to choose the raw materials for the job. One can imagine the type of answer one might receive when telling a plumber what type of joint to use in a water pipe, or a mechanic what type of brake pads to fit. They are experts in their field, just like professional picture framers. Of course the customer must be 56 October 2014
involved in the decision-making process, and must provide information about the decorative environment in which the finished piece is going to hang, but the framer needs to act in an expert advisory role. The framer needs to consider the depth of rebate required to accommodate the artwork, the strength of moulding needed to support heavy items, and so on. As clients become regular visitors who realise that you know what you are doing, these encounters will become less involved and may develop to the point where the client breezes through the door, pops a job on the bench,
says, ‘Do something with that!’ and breezes out again. The first step when tackling a job is to sort out sizes and dimensions, then to assemble raw materials. Methods of working are down to personal preference, but for me the logical order of things is mount, frame, glass. This way you get a feel for the final appearance of the job and, if you err on the large side when deciding on mount width, it makes sense to decide the dimensions of the outer frame last. Also, it is much easier to cut a piece of glass to fit a given frame than it is to remove tiny slivers of glass to make it
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fit a frame that has been cut slightly too small. This advice is designed for professional framers, so I am not going to take into account any equipment that is aimed at hobby framers. Lightweight, limited capability and low-cost equipment is not up to the demands of a full-time framing business, where precision and speed are essential. The most widely used mitring machine is the guillotine. This is quieter and cleaner than an electric saw, and is generally more capable of maintaining consistent accuracy over an extended period of time. Mitres must be as near perfect as possible and it is a fact that the guillotine is the quickest and most accurate means of achieving that. Before you cut mitres, you need
measurements to work to. You must work out the rebate size of the moulding, which is where the glass, mount and backing will fit. When measuring this, bear in mind that materials expand and contract, so the artwork, mount, undermount and glazing must not fit too tightly. Mountboard and back board are hygroscopic, so readily soak up ambient dampness, which causes expansion. This means that back board can bow outwards, away from the artwork it is intended to support, which will in turn cause the mount to buckle. Glass does not expand at the same rate, but does so nevertheless, and in extreme cases it can shatter. So allow a healthy space when cutting the moulding. As a rule of thumb, it is acceptable for the mount/backing/glass package to touch
the inside vertical edge of the rebate on one side, and project just a millimetre past the sight edge on the other. When measuring moulding, allow a little extra clearance for errors when cutting; it is much easier, and far more economical, to cut a piece of moulding down slightly, than it is to cut a fresh piece because the measurement was a half millimetre too small. However, if you adhere strictly to the habit of cutting the longest pieces of moulding first, you can always use any mistakes to create the shorter lengths, so disasters can be mitigated to some extent. ■ Pete Bingham GCF owns Wright & Layton and the Northern Framing School, Sheffield, as well as the Everest range of decorative paints
COMMON GUILLOTINE PROBLEMS Setting the guillotine to cut to a specific size presents problems for some, so a simple explanation of how to set the machine will not go amiss. The most widely used mitre guillotine is the Morsø; made in Denmark, it has remained largely unchanged in operation for many decades. The Morsø has three scales, two for measuring and one for setting. All three scales are positioned to the right of the cutting head. The small scale, which is positioned at a right angle to the right hand support and divided in tens up to a hundred, is where the width of the moulding is measured. The measurement is taken from the back of the moulding to the bottom of the vertical measurement of the rebate. This measurement is transferred to the sliding scale on the right hand support. The fixed scale on the base of the right hand support is where the actual measurement of the moulding is set. So, let’s assume that we need four pieces of moulding to create a frame which will measure 450x300mm after allowances for clearance: ■ First set the rebate supports so that they support the moulding correctly. ■ Now cut a fresh mitre on the right hand end of the length of moulding. ■ When this is done, move the moulding along until the mitred
ART BUSINESS TODAY
end is just across the first scale. ■ Take a measurement at the point where the vertical of the rebate coincides with the scale; we will assume for the purposes of explanation that this measurement is 35. ■ Move the sliding scale along until 35 is alongside 450 on the fixed scale and tighten the sliding scale in place with the clamp fixed to it. ■ Move the mitred end of the moulding along until it butts up firmly to the end of the sliding scale. Cut the moulding in progressive bites, making sure that the mitred right hand end is held firmly against the end of the sliding scale all the time. ■ Retract the blades fully, remove the moulding and try it against the subject. ■ If the moulding needs to be cut down slightly, place it against the end of the sliding scale and move it the required amount to the left, away from the end of the sliding scale. ■ Now move the scale up to the moulding and re-tighten it in place. ■ Re-cut and try against the work. ■ If this is now correct, cut another piece at this setting, after checking what the new reading is after reduction. You know that this piece is correct, so there is no need to check it. Now set the sliding scale with what is now presumably something like 34 (after reduction) adjacent to 300, and make the cuts. Very simple and easy to remember after you’ve done it a few times.
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Caught on film
Opposite page: Nielsen’s metalia moulding works with the tones in the artwork of this Le Mans poster to suggest the shine of the cars
JONATHAN GOODERS GCF specialises in framing TV, film and music memorabilia. Here, he shares the inspiration and techniques behind recent commissions
s well as the conservation aspect of dealing with vintage material, there are contextual and aesthetic considerations. It’s easy to be tempted to put every poster into a simple black frame, which can look absolutely right, but a more imaginative approach can bring a piece to life. The right frame can turn memorabilia into visually pleasing artefacts that go beyond their original ephemeral intent. A good working knowledge of the history of a particular field of memorabilia allows you to make informed framing choices. Talking confidently about pieces with clients helps build a rapport, which means your creative ideas are more likely to be adopted. We always recommend the best materials to protect and
A
preserve artwork (we only ever use conservation or museum board). Kiss of the Vampire Our Gunnar computerised mountcutter provides a lot of creative freedom when designing a presentation, as seen in this set of front of house stills from the Hammer film Kiss of the Vampire from 1963. Front of house stills were displayed in (or outside) the cinema at the time of the film’s release. Each of these
stills measures 8x10”. Rather than just going with a standard multi-aperture windowmount I decided to create more of a statement piece. Hammer were notorious for their lurid marketing, so with this in mind I designed a piece that not only presented the stills in an interesting way, but evoked the marketing material that would have been found in a cinema lobby of the time. The Hammer logo was created in the Gunnar software using the draw
Left: The Hammer logo and the dripping blood were designed with the draw tool in the Gunnar software Above: The double mount on this Mummy poster utillises soft olive green board that pulls from the tones within the artwork
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tool, each letter being cut individually using an inverse bevel. The dripping blood was also designed within the software; to lose the white bevel, the blood was reverse cut, which also produces a slight shadow that provides a 3D feel. The stills were hinged using reversible museum tape and presented in two ‘film strips’, which were raised with a small float. To give the whole thing more of a period feel, I opted for an Arqadia beaten metal frame and spacers were hand cut to fit the different layers. To ensure the stills remained fully protected I used UV protection glass. The Mummy This poster for The Mummy is another piece of Hammer memorabilia. Released in 1959, this was Hammer’s third gothic outing after the huge international success of The Curse of Frankenstein (1957) and Dracula (1958). This poster is a US half-sheet
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evoke a sense of history, not only referencing the time the film was released, but also the late 19th century, when the film is set. Posters of this period are very rare, so I used cotton museum board to ensure the ultimate level of protection, but also to introduce the soft, warm depth that only cotton boards can bring. I used a double mount, with a soft olive green colour accent to pull from the tones within Bill Wiggins’ original art, and to provide the poster with an edge. I selected a frame profile of a traditional shape, with a slight silver green shimmer that emulates the tones within the mummy’s bandages. Given the value of the piece, I used museum glass and pH neutral Corri-Cor backing to finish it off. (22x28”), which tends to be on heavier paper stock than, for example, a British quad (30x40”), or a US onesheet (27x41”). The poster was lightly hinged using cotton museum gummed paper tape. I wanted the frame to
Steve McQueen Posters for the Steve McQueen classic Le Mans are highly sought after. This Spanish one-sheet (39x27”) is printed on very thin paper; to bring out the
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➺
FRAMING ➺ This poster shows signs of aging so mountboard a tone lighter than the paper provides a fresh light feel
artwork. The poster had suffered some discolouration and aging, so to reduce this I opted for Bainbridge light stone conservation board, which is a tone lighter than the poster, so makes it feel fresher. The poster was framed using UV protection glass and the moulding is Nielsen’s deep gloss palamino. This gives the presentation a 1950s Formica kitsch feel and introduces an element of fun.
colours and lighten the slight discolouration, the piece was hinged with Hayaku archival gummed tape, and was mounted onto a slightly warm jumbo conservation board. The poster has some edge wear, which was concealed by the windowmount. There was slight paper loss in the image, which I disguised by applying colour matched pastel to the undermount behind the poster. Nielsen’s metalia moulding works with the tones in the artwork to suggest the shine of the cars, and to provide sufficient support for the UV glass. The Earth Dies Screaming This poster (a US insert 36x14”) harks back to the style of the classic Hollywood B movie posters of the 1950s. I wanted the framing to reflect and celebrate this. Using a triple mount, I incorporated two bright core boards to pull the black, green and orange from the poster. This creates a striking visual impact and emphasises the stepped edge that leads the eye into the 60 October 2014
dimensions required to key into our Gunnar mountcutter. Some had to be reverse bevelled, some would have straight edges and some standard bevels, so a lot of head scratching was involved. The final TARDIS model is made up of 15 individual elements. Images of each doctor, along with the space-scape, were sourced from the web. The space background was dry mounted onto conservation board and spacers were cut to continue the image around the inside of the frame. The text and ‘TARDIS 50’ logo were created in the Gunnar software in a similar way to the Hammer logo for Kiss of the Vampire. Again, these were inverse bevelled and raised with foam centred board. The police box sign, St John’s ambulance emblem and telephone panel graphics were created in Photoshop and printed onto lustre paper. As a final flourish I added small ‘handles’ to the doors to complete the illusion.
Doctor Who To mark the 50th anniversary in November 2013 of the longest running sci-fi series on TV, we decided to create a celebratory window display. It turned out to be quite a challenge. After designing the piece on paper, I had to deconstruct it into single components. This was especially difficult when it came to the TARDIS, as I wanted to create a relief model. Not only did this have to be scaled to the appropriate size, but each component had to be sized independently to provide the
This Doctor Who piece was created to celebrate 50 years of the TV show
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David Bowie The idea of this piece was to create an overview of the client’s collection in a single frame. He had numerous press cuttings, which we arranged, photographed, and then manipulated in Photoshop to create a backdrop for the presentation. This was printed onto matt paper and dry mounted onto conservation board to create the mount. The record was floated off a warm grey to push it forward, and the cards were double mounted to provide a unified feel. As with the Doctor Who piece, the spacers were carefully hand cut to ensure they married up with the background image, to provide a wraparound feel. The piece was framed in Nielsen’s matrix cube gloss profile with UV filtering glass. Santana Although this is an old concert poster with no commercial value, it holds particular personal significance for the client, so rather than displaying it in the conventional way, I wanted to create something that transformed the ART BUSINESS TODAY
Top: The background of this David Bowie piece was created by scanning press cuttings and manipulating them in Photoshop Right: Jonathan Gooders GCF Below: This is an inexpensive poster, but the luxurious hand-finished frame reflects the emotional value it holds for its owner
poster into an art object to reflect the importance it holds for my client. Working with the powerful graphics in the poster, I double mounted it using strong reds and blacks to emulate and extend the colours. The white bevel pulls from the white in the wording. Where the poster had been pinned up it has suffered corner damage, so to disguise this I opted for
shaped corners. These not only cover the damage, but they bring an extra element to the overall design. The ‘in concert’ text at the top proved especially challenging as it is not centralised and is at a slight angle. A few trial and error tests on pulp board were required to ensure that the window aperture is spot on. We opted for a hand-finished frame, which was built up with multiple layers of gesso that were sanded back to provide a glass-like surface. This was further built up with black matt spray to give a tactile feel and depth of finish. To complete the presentation, I used a small red spacer to add extra depth. As there was so much black, and to avoid losing the detail behind reflections, I used museum glass, which also ensured the poster would be protected from fading. By working with your client and thinking outside the box, it’s possible to take even a humble poster of no value, and turn it into something of beauty in its own right. Jonathan Gooders GCF owns Framers in south west London, framers.co.uk October 2014 61
Trade secrets Use the bottom of shelves too
The secret of cleaning glass without using too much elbow greace
W
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e store screws and other sundries in jars that are attached underneath our shelves, which is an excellent use of space. It’s easy to screw the plastic lids in place, and this also means that you never loose the lids. This technique makes it easy to find things and encourages us to put containers away properly too. Ian Kenny GCF, Ian Kenny Framing & Gallery
find that when buying float glass it is not always easy to check each and every sheet. There is a film on some sheets and the only way to remove it is to wash the glass, which can be a messy business, but not with the Karcher WV70 cordless window vacuum. I lay the glass flat on the bench and give it a good wash with water and glass cleaner. The cordless window cleaner picks up every drop of water very quickly and efficiently. The results are streak-free
and there are no drips of dirty water left on the glass, thanks to the powerful vacuum. The Karcher WV70 is light in weight and compact to store, and you can clean around 60 square metres of glass before you need to recharge the gadget. You can buy this excellent piece of equipment at any good hardware or electrical store. The cost is well under £100, and probably closer to £50, depending which model you choose. If you look on the internet you’ll see that all the reviews of this excellent product are resoundingly good. It makes cleaning glass so easy. Aidan Lynch GCF, University of Limerick
Florists’ cellophane is ideal for wrapping pictures We buy florists’ cellophane from a local wholesaler which we use to wrap pictures. If you use brown paper you have to unwrap the package to show the customer, whereas cellophane is transparent. We buy polka dot cellphone at Christmas, but you can buy it with all sorts of patterns printed on. We don’t use protective corners and we’ve never had a damaged picture, as this stuff is pretty thick. If a customer has ordered several frames we use Andywrap® to keep them together and stop them from sliding. Ian Kenny GCF, Ian Kenny Framing & Gallery
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Don’t miss out. Register today
Photographs from the 2014 event.
To register interest in the convention, visit www.fineart.co.uk, go to the ‘Awards and Convention’ tab at the top, then click on ‘Convention 2015’ and fill in the simple request form. You will be emailed details as they are confirmed
2015 HIGHLIGHTS: ■ Training
workshop led by the British Museum’s Joanna Kosek ■ The
The glass trophies are hand-made by Heather Power
sessions, including a conservation framing
Guild Artists’ Exhibition and display of winning
frames from the framing competition ■ The
official launch of the Continuing Professional
Development programme for qualifed framers ■
Dinner, dancing and the presentation of the awards
The Art & Framing Convention is organised by the Fine Art Trade Guild, www.fineart.co.uk The convention takes place on Saturday 16 and Sunday 17 May 2015 at the Old Swan Hotel, Harrogate
B2B
BUSINESSES FOR SALE
Framing business for sale, £30,000, for the goodwill (stock and fixtures and fittings at valuation), in historic town of Shrewsbury, close to river and town centre. Current rent £5,500 p.a. Initial enquiries 01743 249966 / 07983 344099
Full-time picture framing position, London SW11. We are seeking a diligent, enthusiastic and ambitious framer to run our established South London Studio - may suit framer seeking to branch out and gain more responsibility, whilst developing a wider range of skills. Attractive salary + bonus package. Please send CV and covering letter to londonframingStudio@hotmail.co.uk PRINTS & ORIGINALS
AGENTS & JOBS A growing photography studio in West Malling, Kent is looking for a creative framer with a contemporary approach to framing for a part-time vacancy. The successful candidate will be paid an hourly rate as well as commission. Hours and days are negotiable. Applicants should be self-motivated and organised. Experience in photography would be an advantage, but is not essential. Long framing experience is less important than communication and creative skills. Email your CV to hello@thewhitestudios.co.uk Dyson Art Contemporary Framing Specialists have a vacancy for a selfmotivated individual to join our small, highly skilled team. Applicants should be experienced in all aspects of cutting, joining and finishing bespoke fine art picture frames. Experience of spraying water based paints would be an advantage but not essential. You will be expected to manage work flow and maintain a high level of quality control at all times. Based in London SE1, our clients include Tate Britain, V&A, some of the worlds leading banks, galleries and private collectors. Our reputation for excellence is unequalled and as such we are always looking for craftsmen and women that can reflect this. All applicants should send their CV’s to dysonart@gmail.com Experienced picture framer required, for Caterham Art Gallery and Framing Company. Must be able to work on own initiative. October start. Please email CV to: jodie-green@outlook.com 64 October 2014
Claire Newell 'Nature in Pencil' - wildlife and pet artist and nature photographer. Original detailed pencil drawings and giclée prints. Commissions undertaken. For information, please email; claire@natureinpencil.co.uk or tel; 01980 622523 www.natureinpencil.co.uk 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 Jacqueline Stanhope Fine Art - original oil paintings and limited edition prints at trade prices. International delivery. Free print brochure on request. 0191 384 5343 or www.jacquelinestanhope-fineart.com Original artwork for sale. Private collector is selling paintings/sketches by artists such as Alexander Millar, Peter Smith, Paul Horton, Charlotte Atkinson, Jonathan Truss, Tony Forrest, John Wilson, BAM. For details please email shawemail@sky.com
MATERIALS & EQUIPMENT Framing equipment for sale: Euro underpinner; Morsø with five sets of blades; Keencut Rondo oval mountcutter; Rotatrim board cutter with self sharpening blade; Eltamex underpinner (needs attention); C&H Advantage 48” mountcutter. One lot, £1500. Contact 07921 588543. South Bucks area. Buyer collects 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 Morsø mitring machine including two sets of blades, LH supports and waste chute. Still in use here, inspections welcomed. Email for details/photos, art@pictorgallery.co.uk or call 0161 7908008. £495 the lot 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 Mounts4You. Online web based mount cutting service. Visit www.mounts4you.co.uk for information 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
Anne Corless Fine Art Limited Edition Prints available to the trade
Artist working in different genres of fine art including animal art, botanical art, portraiture and figurative art. annecorless.com
ART BUSINESS TODAY
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Workshop/gallery contents for sale. Guillotine, Fletcher glass cutter, Cassese 199M underpinner, air compressor, mouldings, mountboard., glass, Artbak-S, two Keencut mountcutters, chevron display boards, moulding storage system, racking, tools, prints. Call 07941273589 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 Art4site Ltd - award winning fine art reprographics, giclée printing, canvas printing and card printing services. www.art4site.co.uk 01233 811664 Designline Systems: suppliers of printing equipment and consumables to the fine art and photographic markets. Save time, money and achieve optimum results with our free custom ICC profile service. For all enquirers contact Tony: Tel: 01202 679186 | email:tony@designline-systems.co.uk Digital artwork suppliers. High volume photographic restoration and enhancement. 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.framingsoftware.co.uk or call Mike Royall GCF on +44 (0)1454 617022 Giclée and canvas printing service from Richard C O Lovesey Fine Art. Order greeting cards, keyrings, notelets featuring your artwork. No Minimum order. Mount cutting service. Enquiries welcome. (01507) 600836 www.loveseyfineart.com The Association of Animal Artists invites artists working in any media to join for exhibitionss, workshops, field trips, Art Rendezvous Days and the opportunity to work from life with the En Plein Air Group. associationofanimalartists.com TRAINING 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 ART BUSINESS TODAY
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 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.pictureframingcourses.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
GILDING COURSES An opportunity to create bespoke gilded frames. This 3-day intensive course is a practical introduction to water and oil gilding with an optional 4th day covering frame restoration. Venues: London, Salisbury, Oxford, Birmingham, Hastings & Nr Edinburgh. Contact Jan Pike 01424 754104 or 07973 732184
B2B
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, 01372 377738
Guild Commended Framer Study Guide
Published by the Fine Art Trade Guild Researched, edited and compiled by Annabelle Ruston and Fiona Ryan GCF
The GCF Study Guide The indispensable part of every framer’s training Call Moira on 020 7381 6616 to order or visit fineart.co.uk
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
January 2015 DEADLINE Please email copy to info@fineart.co.uk by 15 December 2014 COST 30 words are £35 +VAT and 50p per word thereafter (free to Guild members) Box numbers cost £10 + VAT (Guild members £5 + VAT) Boxed classified ads cost £55 + VAT per 60mm (£40 + VAT to Guild members) PAYMENT Payment must be made before publication. Please call 020 7381 6616 with your credit or debit card details REPLYING TO A BOX AD Email your contact details to sales@fineart.co.uk and we forward your details to the advertiser October 2014 65
LAST WORD
GARRY WHITE GCF The framing industry has changed substantially since Garry White GCF became a part-time framer in the 1970s. The Wessex Pictures’ general manager says that framing is no longer a cottage industry Have you always worked in framing? I took a Saturday job at Origin Framing Supplies in south London when I was 14, and I joined the fulltime staff in 1980. I started as a picture framer, then when we started supplying framing materials I managed the warehouse, ending up as sales director. John Wright sold the company to Wessex Pictures in 2002. In 2011 we moved from Croydon to new premises in Leatherhead. We also took over Glass & Mirror at that time. I’m now general manager of the Leatherhead branch. How long have you taught picture framing? Origin offered one of the first picture
framing courses in the UK, which was established 25 years ago. We received numerous enquiries about training, as lots of people were coming into the industry with redundancy packages at that time. Framing was a cottage industry back then, and the cost of getting started was enticingly low for people looking for second careers to supplement their pensions. But no one was offering formal training. We stocked all the materials and equipment a new framer would need, so we had the necessary product knowledge, as well as framing skills. Initially our training centre was run by Stan Baker, who came to us from Kent Jones, a well-known supply company at the time, and the first business to import the Morsø into the UK. I supported Stan, and when he retired I took over the training school. In 1991 we won a government National Training Award, which was presented to us by HRH The Prince of Wales. This award recognised our quality content and efficient structure and took into account student recommendations. Students still come from all over the world to attend our training courses, which are now run by Wessex Pictures. What advice do framers most often need? I answer questions about machinery maintenance on a daily basis, and people call looking for advice on how to get the most out of their equipment. Pricing is the other big one. People want to know the secret; they are looking for a five-minute answer that will mean they never have to think about pricing again. I explain that you have to start by working out what it costs to run your business, not just how much you spend on materials. If you don’t understand your overheads you can’t manage your profit margins. I also advice framers not to undersell their services and to look at the potential in selling specialist products and finishes, which will differentiate them from their competitors and help attract customers with disposable income.
66 Octobert 2014
Any other advice for new framers? A framing business based on making plain black frames won’t survive; that trade has gone to the big box superstores. Independent framers have got to emphasise their bespoke services, to focus on making frames that are a bit special and look handmade and upmarket. Customers know that they have to spend a bit more on this type of frame. You need to continually assess your geographical marketplace and look at what others are doing. Try to find niches for new products and services. Stay ahead by being the first. Look at other framers, but also retailers and interior designers. Keep an eye on fashion and trends. Framing is all about design so you’ve got to be up-to-date and offering discerning customers the looks they want. Read magazines, blogs and enewsletters. Look around you at what people are wearing, how advertising material is styled and how the top shops are designed. You’ve got to keep up with new framing products and equipment too. Take the opportunity to visit trade events where you can talk to suppliers, test equipment and handle new designs. Education is on-going; you can’t stop learning when you’ve finished your training course. How has the framing industry changed? There are less people coming into framing than there were 25 years ago. Everyone knows that these are competitive times for retailers, which puts off some people. The cost of setting up a framing business has increased too, as equipment has become more sophisticated. You can buy hobby equipment, of course, but people recognise that this is not intended for intensive use and they understand that you can’t base a viable business on hobby-level equipment. Technology has inevitably changed framing too, in the shape of pricing software, computerised mountcutters, internet marketing and POS software. These technological advances provide framers with a range of options as to how they produce frames and market their businesses. Framing is no longer a cottage industry. ■ wessexpictures.com ART BUSINESS TODAY
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