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APRIL 2017 fineart.co.uk

Encouraging and promoting the best in art and framing

TODAY

Inside: The Retail Business Resource Book Guide to artistsâ&#x20AC;&#x2122; materials Float mounting

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As seen on the coverâ&#x20AC;Ś

Bright & beautiful For over 35 years, Slater Harrison have been manufacturing ColourMount for the art, graphics and picture framing markets. Typically, the colours are traditional, subtle and often drab, especially for framing, but due to persistent requests from customers, ColourMount decided to buck the trend and introduce 10 new colours, 8 of which are BRIGHT. These look stunning when combined with Mediterranean prints, Disney images and sports memorabilia, both as full mounts and as inner mounts, which enhance the subject, giving a 3-dimensional effect when combined with more traditional colours. The results are spectacular, bringing modernity to wall decoration which has been well received by designers and specifiers. Over 10 years ago, Slater Harrison were successful in winning a much-coveted Innovation award at the FATG annual awards evening for Gold, Silver and Bronze coated ColourMount that contained no metal and therefore did not finger-mark. For 2017, Slater Harrison extended the range of Metallic colours to 12 BEAUTIFUL shades, incorporating very fashionable Rose Gold, White Gold, Solar Gold, Copper and Bronze. Again, these boards look great as full mounts and also as inner mounts, when a specific shade of moulding can be enhanced by combining it with one of the new CenturaMetallic mountboards. This development goes hand in glove with the work Slater Harrison are doing with environmentally friendly coatings and laminations for the packaging industry. The boards are totally re-cyclable. We hope you like them!

slater-harrison.co.uk 01625 578900 sales@slater-harrison.co.uk

The new ranges on show at FamaArt 2017

contents Art + Framing Today, April 2017, Issue 6 First published June 1905 as the Fine Art Trade Journal

News

16 Product news 18 ArtSure news

Retail Business Resource Book

19 Artist interview Annie Drew

20 Comment 58 Last Word

Sam Cook of Framers Corner on taking her Wizard CMC on the road.

Contemporary ideas and advice to invigorate your retail business Sponsored by

BUSINESS SUPPLEMENT

25 The Arqadia-AFT Retail Business Resource Book

Sixteen pages of ideas and advice for retailers on how to thrive in an ever-changing commercial environment. Sponsored by Arqadia.

ART 41 Making the professional choice

Great Artâ&#x20AC;&#x2122;s Louise Rose addresses the quality differences in types of paint.

45 Art Talk FRAMING 47 All about float mounting

Steve Hible GCF(APF) presents some clever and practical ways to overcome the technical challenges of ďŹ&#x201A;oat mounting.

50 Preserved for posterity

JG Braticius GCF(APF) Adv explains how he goes about preserving and restoring an oil painting with a weakened gesso layer.

54 Frame Talk

41 4 April 2017

ART + FRAMING TODAY

Tru Vue ® Acrylic & Glass Solutions: Trusted By Custom Framers For Over 45 Years.

Optium Museum Acrylic®

Museum Glass®

UltraVue®

Conservation Clear®

For over 45 years, Tru Vue has worked closely with custom, independent framers to deliver proven and affordable glazing solutions that meet the needs of your customers and your business. As a global company, we offer a full range of innovative glazing products, industry-leading support and an extensive library of marketing resources, including point-of-purchase displays, to help you grow your business. See the Tru Vue® difference at Tru-Vue.com.

Contact your local distributor and ask for Tru Vue® products by name. Bantry Glass & Glazing Ltd

Cami n.v.

bantryglass.com

cami-nv.com

Bantry Ireland

Oostende Belgium

Phone: +353(0) 27 51132

Phone: +32 59 708 666 InterArt AS

Farne Group S.R.L.

Glashandel Wybenga B.V.

farnegroup.it

glashandelwybenga.nl

interart.no

Bologna Italy

Franeker Netherlands

Rud Norway

Phone: +39 (051) 787405

Phone: +31 (0) 512 33 16 44

Phone: +47 6 717 6440

NeoArt

Wessex Pictures

neoart.ru

wessexpictures.com

Moscow Russia 117587

Hampshire United Kingdom

Phone: +7 (495) 721-90-94

Phone: +44 (0) 1590 681681

letter from the editor

The resources you need to build your business

Published by the Fine Art Trade Guild 2 Wye House, 6 Enterprise Way, London SW18 1FZ T: +44 (0)20 7381 6616 info@fineart.co.uk www.fineart.co.uk Editor Lynn Jones lynn@fineart.co.uk Advertising and marketing sales@fineart.co.uk Subscriptions Moira Sanders moira@fineart.co.uk Publication dates Art + Framing Today is published five times a year: January, April, June, August and October Subscriptions 2017 UK Europe World One year £33 £39 £48 Two years £57 £67 £80 To subscribe, call 020 7381 6616 or visit our website, www.fineart.co.uk, and click on the ‘go to Art + Framing Today magazine’ button Liability © All rights reserved. Art + Framing Today is intended to inform but no liability can be accepted for action taken, or not taken, in reliance on it

This symbol next to an article refers to the number of CPD points framers earn from reading that article. See fineart. co.uk/about-cpd.aspx Master of the Guild Ian Kenny GCF(APF) Guild managing director Louise Hay

Like us on Facebook facebook.com/ artbusinesstoday Follow us on Twitter twitter.com/abtmag

6 April 2017

‘‘

Your mobile can help you to reinforce existing customer relationships and gain new ones

It is a pleasure as ever to present in this issue our annual business supplement, sponsored by Arqadia. This year, the AFT-Arqadia Retail Business Resource Book focuses on ways in which retail businesses in the art and framing industry can address the problems of the modern commercial world and remain prosperous and sustainable in a fast-changing environment that can often seem bewildering and hostile. Steve Burke highlights the importance of customer experience from the perspective of in n nt ig t t tai an i nti t issues you need to address to meet your customer’s expectations. There’s no need to jump through ﬂaming oo ut an un utt ig t an environment and friendly, helpful staff are a must. It’s also important to send the message with your shop front that you are welcoming and affordable. Pricing frames can be a conundrum and many framers lose money by inadvertently pricing their work too low or too high. Mark Wilson of Framiac explains clearly what your priorities should be. Have you got a mobile phone in your pocket? You almost certainly have, and so have your existing and potential customers. This friendly gadget is all you need to break into the world of mobile marketing, reinforcing your relationship with existing clients and gaining new ones. Finally, unless you’re lucky enough to be the only framer in town, you probably worry about how much business you are losing to your competitors. We ugg t a to ai ou o in a t an minds and hopefully build relationships that will last for years to come. Elsewhere in this issue, Steve Hible GCF (APF) Adv ain om ing niou m t o of ﬂoat mounting and Louise Rose untangles the sometimes confusing experience of choosing art supplies. We are all looking forward with excitement to the Guild’s Art & Framing Convention on 13-14 May, and it’s not too late to book your place. We’ll be enjoying a fabulous dinner dance, catching up with old friends and taking in the Guild Artists Exhibition and amazing framing competition entries over a convivial glass or two. It’s huge fun and we hope to see you there! Lynn Jones, Editor ART + FRAMING TODAY

cutting machines

NEW

Three heads are better than one. A new cost effective machine that lets you cut bevel/cut straight & draw simultaneously - without interruption Maximus - Now available in the UK

Three independent heads Fold away button clamps Available in 3 sizes, also with Vaccum option For UK sales: D & J Simons & Sons Ltd 122 - 150 Hackney Road London E2 7QS

www.djsimons.co.uk joe.adepoju@djsimons.co.uk Tel: 020 7739 3744

/Valianisrl

news IN BRIEF

IN THE PRESENCE OF THE PRESIDENT

The joint MD of Lion Pictures & Frames India, Manish Gourisaria, was invited by the President of India, Shri Pranab Mukherjee, to the ‘At Home’ Reception on Republic Day on 26 January at Rashtrapati Bhavan, New Delhi. Mr and Mrs Gourisaria were the first and only couple from the picture framing industry in India to be invited to the occasion. Indian Republic Day is celebrated every year on 26 January to commemorate the day on which the Constitution of India came into force. lionindia.com

ART & FRAMING ROADSHOW 2017

This year’s Art & Framing Roadshow kicks off on 25 April at Wetherby racecourse in West Yorkshire. See pages 14-15 for full details. artandframingroadshow.com

NATIONAL LIVING WAGE TO RISE

The Government's National Living Wage was introduced on 1 April 2016 for all working people aged 25 and over, and is currently set at £7.20 per hour. In April 2017 it will go up to £7.50. The current National Minimum Wage for those under the age of 25 still applies. n £7.50 per hour: 25 years old and over n £7.05 per hour: 21-24 years old n £5.60 per hour: 18-20 years old n £4.05 per hour: 16-17 years old n £3.50 for apprentices under 19, or 19 or over who are in the first year of apprenticeship. 8 April 2017

Send your stories to lynn@fineart.co.uk

FRAMING

Arqadia scholarship enters second year

AFTER A HUGELY successful initia a a ia scholarship for candidates preparing for the Guild ti am amination is open for applications for t t oa i ion of its second year. The scheme will provide n t fo fou an i at in t oming a following the four chosen since April 2016. Two successful candidates will be announced in August and a further two in January 2018. o a in t t year of the scheme were Keith i on onat an i an Pardoe and Nicole Wall. The scholarship is aimed at i ting f am oa a a o a oo ing to a o ning t i o n u in . i ting on ition regarding GCF apply: candidates must be members of the Guild and must commit to Continuing Professional Development. The scholarship will in u t amination an amin f

LEVELS ADDED WITHIN GCF The FSQC has agreed to introduce three levels of pass within the GCF qualification. These are as follows: DISTINCTION: for those candidates achieving the very highest of attainment within all disciplines of the examination. CREDIT: for those candidates demonstrating the highest achievements within all disciplines of the examination. PASS: for those candidates demonstrating a satisfactory

tu ui an f access to selected study a o o in t ui of att n an is applicable during the scholarship period only. Attendance at any of these mina o o i an t a ai a it t ua i o not. Attendance on a basic framing course offered

knowledge of all disciplines of the examination. 0e new levels came into effect on 1 April 2017. Candidates will be issued with a certificate indicating the level of pass that they have achieved. The aim of this introduction is to reward those candidates demonstrating the relevant level of knowledge to achieve a particular level, and for them to be able to use this additional recognition in advertising their skills to customers.

by a GCF(APF) accredited trainer will also earn CPD credits (see application form for listing). Applicants should contact GCF manager Moira Sanders in the Guild of fo tai an t application form: email moi a n a t. o.u on o go on t web to bit.ly/23689m0.

Colourmount unveils brights and metallics COLOURMOUNT has introduced a new range of mountboards in vibrant a ign to gi ig im a t to mo n i ua strong subjects such as sports m mo a i ia i n imag and Mediterranean prints. They can be used as a full mount or an inner mount alongside more traditional shades to give a threeim n iona ff t a o ing to the company. There are eight bright colours in the range: am o m a im ua mon ang in and Geranium. Also included in the lineup are

t o a a in an on . The company has also t n it ntu a ta i range of metallic mountboards. The new a a it o a i n o a o oa o o o o an on . All its coated metallic mount oa a m ta f ot o not ng ma . The boards are fully recyclable in line with parent om an at a i on commitment to developing environmentally friendly coatings and laminations. slater-harrison.co.uk

Colourmount recently teamed up with E Anthony Orme Gallery to show off its new ranges at FamaArt Expo in Italy ART + FRAMING TODAY

news

AWARDS

Shortlists announced for Guild Art & Framing Awards AFTER SOME of a deliberation and vigorous discussion among the u ging an fo ui t aming a the shortlists for each category have been anounced.

AWARDS FINALISTS 2017 Best Selling Published Artist, sponsored by Arqadia n Kealey Farmer n Catherine Ingleby n Samantha Morris n au n u itta a Up and Coming Artist, sponsored by Daler-Rowney n iffan u n Zombie Dan n Danielle Davis n Garry Floyd n Diane Marshall Art Business Website, sponsored by e-mango n a t a t . o.u n tu iou . om n eanthonyorme.com n MrSmithWorld Photography.com n parrotprintcanvas.com

Art Retailer of the Year, sponsored by Besso Ltd n Hepplestone Fine Arts n om in t n The Frame Gallery New Business, sponsored by Tru Vue n o a ing t n Hang My Art n u itta a a n Toporas Online Art Gallery/ Fine Art Moldova Best Mount Design, sponsored by Framers Corner and Wizard n t an ma of ma i t nma i n Ann Carroll of Picture This Art & Framing n i ta o of a oo a i n in i i of ag a n mma ig t of am t Guild Challenge framing competition, sponsored by Valiani n t an ma of ma i t nma i n a mina ati iu GCF(APF)Adv n at i n of m a Frames

The theme for the framing competition is ‘Magical Mystery Tour’

n o t a of t Framing n in i i of ag a n Sarah Trenchard of Fellows Framing Customer Service award, given by the Guild on behalf of its members n a ia n ion i tu aming Supplies n i tu

Digital Printer of the Year, sponsored by ArtSure n Dstudio n JAK Fine Art Printing n o in t n am t Jorge Aguilar-Agon Student Artist of the Year n anna u anan ni it of n oni at a ona ni it of a ing n ama in i iam ni it of t of ng an .

Book now – and don’t forget your dancing shoes IF YOU HAVEN’T oo a a t i ti tim to secure your place for the in t a ui Art & Framing Awards and Convention. a a n i t ig ig t of t ui year and an unmissable celebration of the best in our in u t . t t f t tim to catch up with friends and colleagues in the industry o in an inn . Our dinner dance will be on atu a a. ta ing g at a o ART + FRAMING TODAY

the seating arrangements an i ta ui m nt to ma u on a a wonderful time. no i o g am it u if t at ou t o a at you feel comfortable and a in. a t it m nt of the awards presentation t o ti t a o you will also be treated to an u i t i ing of t ui ti t i ition an framing competition. i a t nt

i on again ta ing a at t u u iou o n a a fo m t Holiday Inn) in Stratford on on. a it an ning in on t ot ig tfu i i t a or grab the opportunity to oa u om u tu an see the sights. ou an n out mo about the awards on the Guild it at fineart.co.uk. o oo ou oom at t o n a a a uoting in t Trade Guild Awards. April 2017 9

news

Send your stories to lynn@fineart.co.uk

BUSINESS

Permajet launches Mono Gloss Baryta Following several months of research and development, this year’s Photography Show welcomed the release by PermaJet of FB Mono Gloss Baryta 320, an inkjet paper produced with the intention of creating incredible monochrome prints. An addition to PermaJet’s popular Fibre Based range, Mono Gloss Baryta will excite darkroom printers with its barium sulphate layer, which emulates traditional silver halide papers – right down to the smell. Although aimed at monochrome, PermaJet assures readers that Mono Gloss Baryta is just as beautiful with colour work. Its unique appearance opens up a whole new way of presenting the best qualities of a printed image, bringing the excitement and beauty of the darkroom into the digital world.

New members bring Guild fresh expertise ONE OF THE n t of becoming a Guild member is t n t o ing an t a ing o o tuniti off oft n at preferential rates. a om o n of new members since the ta t of t a ut a couple of the more unusual newbies that may be able to help you out with very different services

EXCHANGE EXPERT

u n n a a specialist international payment and foreign u n ang o i it igni ant i n in the international art and anti u ma t. The company offers a comprehensive range of global payment and foreign ang i i not only save fellow members a igni ant amount of mon ut ma t whole process of paying an

S/R Labs: world’s only animation art conservation centre

overseas bill much simpler. mai sandeep.dugg@ currencyindex.co.uk or call 01923 725 725.

ADVENTURES IN CELLULOID

Another recently-joined m m i a o ato i in a ifo nia i i the only animation art conservation centre in the world. n on ta off an array of services designed to m tt n of ga i mu um tu io a

an o to an oo forward to helping Guild members with any animation a t u i t at om t i way. a it a a a t of o n oa a a Notes on vital areas of interest ating to t o ting conservation care and display of animation art. It also produces replica cells using original paints an t ni u un t Courvoisier Galleries label www.srlabs.com ron@srlabs.com

Upcoming artist societies’ events at The Mall Galleries

June Berry Royal Institute of Painters in Water Colours 205th Exhibition 6 to 22 April 2017 10am to 5pm (closes 1pm on final day) Closed all day on Sunday 16 April 2017 for Easter Sunday 10 April 2017

Showing the best in contemporary watercolour painting since 1831.

tenth anniversary wildlife art exhibition and sale in aid of wildlife conservation.

Royal Society of Portrait Painters Annual Exhibition 2017 4 to 19 May 2017 10am to 5pm (Open until 7pm on Tuesday 9 and 16 May) This fascinating exhibition always attracts some well-known faces, both on and off the walls.

Mall Galleries Mall Galleries is operated by the Federation of British Artists, a major visual arts charity established in 1961. The Federation (FBA) comprises eight of the UK’s leading art societies, specialising in oil, portrait, marine, wildlife, watercolour and pastel. Each holds their annual exhibition at Mall Galleries. A unique national resource, the FBA has over 600 practising artists and is home to the largest life drawing society in London (the Hesketh Hubbard Art Society). mallgalleries.org.uk

New English Art Club Annual Open Exhibition 2017 16 to 25 June 2017 10am to 5pm (closes at 1pm on final day) A vibrant and diverse group of visual artists whose work is based principally upon direct observation of nature and the human figure

Michael Whittlesea Wildlife Artist of the Year 2017 28 June 2017 to 2 July 2017 28 to 30 June, 10am to 5pm. Saturday 1 July, 10am to 4pm. Sunday 2 July, 10am to 1pm. The David Shepherd Wildlife Foundation is proud to host its

ART + FRAMING TODAY

news

FRAMING

Gunnar mount design contest inspires transports of delight GUNNAR UK’S annual mount design competition at Spring Fair attracted some stunning entries on the theme of mounting and framing a model vehicle. The winner was Gavin Dutton of Artyfacts in om g o fo London Underground. a i i i of i ton Framing had two entries – F1 Ferrari and Art Deco Bugatti. The other entries were: Bugatti Radiator Grill from in i i of ag a a a ton 007 Aston Martin f om a n o in on of i to oot to n an Mountains and Trees by at a a of ount tu io i to . gunnar.com

Competition entries by 1) Gavin Dutton; 2) Heather Barclay; 3) and 6) David Wilkie; 4) Lawrence Robinson; and 5) Kevin Nihill

Lion introduces virtually speck-free Munken Mountboard LION PICTURE Framing Supplies has introduced Munken mountboard – a product that is virtually speck-free. Dark flecks in white or cream mountboard often go unnoticed until the end of a framing job, leaving a disappointing finish and making it necessary to re-do the mount. Made in Sweden, Munken mountboards are produced in one of the most ART + FRAMING TODAY

environmentally-friendly paper mills in the world, making only white and pale cream papers Mills that make a multitude of colours make white papers first, gradually working through the rainbow and ending with dark colours. They then clean the whole machine out and start all over again. It’s impossible to clean out all the dark fibres, so some remain and end up as specks on the surface and in

the core of lighter papers. The complete Munken manufacturing process is on one site and the boards are trucked from there to Lion’s warehouse in Birmingham. The boards are FSC-certified, PAT tested and Guild Conservation standard. With Munken Conservation you can choose from a 0.7mm barrier card, and 1.4mm and 1.7mm mountboards in Pale Cream. Munken Duo is Pale

Cream & Off-White in 1.4mm, 1.7mm and 2.0mm mountboards. lionpic.co.uk April 2017 11

news

Send your stories to lynn@fineart.co.uk

ART

Artists throw open their doors to the public for must-see event THE ARTISTS Open Houses f ti a t ag t nt of it in in t i ta a in ig ton o an on o fou n of a ta ting on atu a 6 May. Around 200 houses and studio spaces across the city o n t i oo to i it t o of o a ti t an ma . a t a mo t an o i it the festival. Artist Open Houses (AOH) helps artists connect with au i n in f u at non-traditional art spaces. This usually means visiting a ti t o n om off ing f ti a go an u i snapshot of how creatives live in this vibrant and creative city. om autifu g n t o ti to ui an

Fran Slade, Chactonbury Ring

o ou fu ottag man of the houses boast stunning gardens creatively landscaped by their owners. AOH also offers the an to u a t o directly from the artists and

ma t m . i a hugely diverse selection of at o on o in u ing o igina ainting int g af ti a t ami t ti otog a u tu crafts and jewellery.

Gift wrap as art with a cause The Big Issue commissioned three famous artists to create 1500 printed sheets of wrapping paper for Christmas 2016 to sell along with their magazine on the streets. Unfortunately, they were not legally able to sell it on the street so John at Brandler Galleries bought up their stock. The three artists are passionate about helping to improve the lives of homeless people in the UK. Pure Evil has done a huge amount for charities over the years and believes strongly in putting money back into society. John Dolan shows at several galleries and became famous along with his dog, George, who became his best friend while they begged on the streets of London together. John rekindled his love of drawing 12 April 2017

L-R: designs by Pure Evil, Magnus Gjoen and John Dolan and is now an internationally acclaimed artist who has not forgotten his past life. Magnus Gjoen is an international artist, presently based in London, whose art is shown worldwide. he has worked for Vivienne Westwood as a designer. The wrapping paper was

folded at the time of printing to be sold in packets. John Dolan has mounted a sheet of the paper to great effect. The wrapping paper is not signed but each pack comes with an original card about the artist, along with a certificate of authenticity. www.brandler-galleries.com

The houses are grouped into 14 trails around different a a of t it an on a it it o n uni u character and atmosphere – f om t m n ou of Hanover to the urban warehouse spaces of the o t ain an ottag of the South Downs village of Ditchling. Past Guild Master o in uff a n an enthusiastic supporter of the Open House events for 28 years and now shows i o a ong it if Fran Slade at their daughter ama o n ou on t Seven Dials trail www.aoh.org.uk Open Houses take place around the country – search Artists Open House and your town or county

Buy art from a machine THE VENDING Machine Art Gallery is a concept that brings art to new and accessible locations by selling art through a n ing ma in . t machine appeared as a show consisting of 40 artists from a o uo . i o was sold as limited edition prints from a machine in The o u in a t on on. In its debut jaunt outside on on t n ing Machine Art Gallery III will be hosted by seafront music nu an o tai a att n in ig ton f om i to a. n i ition and affordable art project focused on bringing art out of traditional gallery spaces and ma ing it mo a i prints will be on display and available to buy from the machine from just £20. thevendingmachineartgallery.com ART + FRAMING TODAY

news

ART

A great way to learn from a professional Charlotte Napier joined artist Colin Ruffell for an all-day demonstration of his painting skills at Great Art in Shoreditch at t ďŹ&#x201A;ag i to in o ton on on o t ui ti t o in uff fo a demonstration of acrylic painting on 21 January. Colin has been a full-time professional artist for over a u ing i tim he has painted thousands of o igina ainting an printed thousands more limited edition and open edition prints. His styles have been varied and include iconic it a of on on o ni ong ong an ig ton u ng i and Scottish landscapes and Mediterranean views. He has also painted abstracts and t a itiona ti if it subjects ranging from cats an it n n to o a i in a nai i at inspired style.

GIANT STORE

at t to i n in u i t t on of it in in t . o ing o ua f t on t o t to is a treasure trove of art and framing supplies. After tting u in at t o ia u u tom an sit and help themselves to t a an off o in at two pieces throughout the a o t a ing om fami ia on on n . o

TRADE SECRETS

i ing i an a Colin let us in on one of his ta t to aint t g of a an a a fo a better aesthetic effect when hung on the wall. At one point ART + FRAMING TODAY

we all outwardly winced as he daubed a brush clad with bright yellow paint onto a u o ou i of . Such a bold move! He said that many times during his o of ating a ainting would he go in and totally uin it t n a ag it m it u again an t n it in the end. The format of the day was a info ma o a ti t were able to sit and watch o a u tion . n i u raised was the intention of t ing o a to ma o oo i t t ing t a trying to represent. Colin emphasised the importance of ma ing a ainting f i t u t matt rather than focusing on the meticulous details.

TAKING STOCK

o oft n o in ou ta a t a f om i o an on on it fo a moment â&#x20AC;&#x201C; another trade secret is to have a mirror an o ou an oo at ou o f om a iff nt perspective. He emphasised the importance of being able to a i it a f min i ot o ou ou o . a t a a instructive. I certainly learned a thing or two about painting it a i an o ta ing a ot of int t in t ui m fo a ti t t igina t gi t . a at in 2016 to document original designs and provide proof of ownership of your images. colinruffell.com. April 2017 13

Art & Framing Roadshow

EXHIBITORS FOR 2017 INCLUDE… Arqadia Ashworth & Thompson Chantry Fine Art Collier & Dobson Crescent Fine Art Trade Guild Framers Pricing Program Frinton Mouldings Graphistudio Hot Press Jorgensen Albums Kaleidoscope Framing Midas Mouldings

We’re on the road again The Art & Framing Roadshow 2017 kicks off on 25 April at Wetherby Racecourse in West Yorkshire. Steve Goodall outlines the exciting new additions and trusty favourites that will be visiting a venue near you this summer THE ART & FRAMING ROADSHOW is entering its third year and will be hitting the streets again in April, May, June and September. The roadshow events were born in 2015, when several like-minded companies banded together to create a new type of show that “comes to a town near you”. These new-style trade shows are a great opportunity to meet suppliers in a relaxed and friendly atmosphere. There is no admittance charge and no need to register. With no seminars to dash off to, you can arrive

ART & FRAMING

ROADSHOW 2017 when you want and stay as long as you need. With the demise of suitable national shows, there has developed a need for something to take their place. Sometimes you really need to see a product “in

t ﬂ to tou it f the quality, compare it with other products. Also the chance to chat with a “real person”, face to face, is often far more illuminating than just browsing a product spec online. With this in mind, all you need to support these shows are your questions and plenty of nt u ia m t oa o exhibitors will do the rest. If you have visited one of the roadshows in the last couple of years, don’t assume you have seen it all before. New exhibitors are coming on

Ocean Publishing PermaJet Ready Made Picture Frame Co Sim Imaging Wessex Pictures Wizard Computerised Mount Cutters Above: come and visit the Guild’s stand at a roadshow near you

Find out more about the events at 14 April 2017

ART + FRAMING TODAY

Advertorial

board all the time and trends are constantly changing. Chantry Fine Art is a new addition to the Art & Framing Roadshow for 2017, though as a company it has been supplying a diverse collection of limited edition and original artwork to the art trade for over 25 years. The company’s Mark Prince comments: “We look forward to showcasing our collection of new releases at this year’s roadshows.” Artists represented will include: Kay Johns (Wildlife Art), Jamie Boots (Wildlife Art) Jeff Murray (Modern Maps), Colin Brown (Original City Scenes), Ray Goldsbrough and Stephen Doig (Sporting Art). Framers Corner will be showing the latest version of the Wizard Frameshop software. t m am Cook explains: “Building on their reputation for having the best software in the industry, Wizard are continuing the development of their Frameshop software. It remains the most user-friendly software, keeping simple mount jobs easy to produce, while giving customers a huge range of creative options, both in terms of template designs and also decorative tools”. Doug Morgan from PermaJet is enthusiastic about the roadshow’s style. He says: “The Art & Framing Roadshow has provided PermaJet with great regional opportunities to meet old and new customers alike in a relaxed environment to discuss individual needs and product applications, as well as the opportunity to showcase new products. All this without the hurly burly of a major exhibition. “We look forward to visiting more towns across the UK in 2017.” Ashley Younger from Wessex Pictures, one of

ART & FRAMING ROADSHOW VENUES FOR 2017 25 APRIL

Wetherby Racecourse

26 APRIL

Southwell Racecourse

23 MAY

Kettering Conference Centre

24 MAY

The H Suite – Birmingham

13 JUNE

Westpoint Centre – Exeter

14 JUNE

Carrington House Hotel – Bournemouth

19 SEPTEMBER

Kingsgate Conference Centre – Peterborough

20 SEPTEMBER Chelmsford City Racecourse

Above: scenes from last year’s Art & Framing Roadshow events

the roadshow’s founder members, expressed his delight at the success of the shows: “The picture framing industry deserves a proper showcase and these roadshows are providing it.

With support from multiple wholesalers and a great selection of art, the Wessex Group are very proud to be part of what is turning into something created by the in u t fo t in u t .

Each show runs from 10am to 4pm and on behalf of all the exhibitors, we look forward to seeing you there. Full information can be found at www. artandframingroadshow. com

www.artandframingroadshow.com ART + FRAMING TODAY

April 2017 15

product news Arqadia

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

Colourmount

Lion Munken mountboard that is virtually speck-free Dark flecks in white or cream mountboard can mean a waste of time and money for framers. Often these flaws go unnoticed until the end of a framing job, leaving a disappointing finish and the need to re-do the mount. Lion Picture Framing Supplies can help alleviate this problem with the introduction of Munken mountboards to their range – in their new Lion 53 trade catalogue. Visit lionpic.co.uk

Linea The new Linea range from Arqadia presents a whitewashed, bevelled profile which is 23mm in width. The ivory moulding is available with a feature line, which appears on the back edge, in seven subtle colours – brown, rust, yellow, green, grey, light grey and orange. A simple, yet effective range. Prices for the Linea range start from £4.99 per metre. For further information visit www.arqadia.co.uk.

Fletcher Business Group

Alfamacchine, a Fletcher Business Group brand, introduces its new AG 2000 Auto Gauge Cut System. The AG 2000 automatically measures moulding lengths and precisely cuts 45° mitre joints with its T-400 Double Mitre Saw. The AG 2000’s quick job changeovers benefit both custom framers and OEM production operations with the need for mass customisation. Visit www.fletchervision.com

Colourmount has launched a new range of mountboard colours, including eight bright shades. The vibrant colours look stunning with Mediterranean prints, Disney images and sports memorabilia, both as full mounts and as inner mounts. The colours include Shamrock, Emerald, Lime, Aqua, Sky, Lemon, Tangerine and Geranium. Visit slater-harrison.co.uk

Valiani

Wessex Pictures

Valiani’s largest CMC ever built! A Great Success! Introducing the Gladius 260:

The UK’s leading supplier of Specialist Glass

After Gladius’ premier at the WCAF Las Vegas show in January 2016, the largest mat cutting machine ever produced continues with its amazing success worldwide. With a massive cutting area of 1530x2650mm (60x104”) that can handle even the largest sheets of mountboard with speed and accuracy, opens new possibilities for any custom framers. For further information visit valiani.com or djsimons.co.uk

We stock the UK’s largest range of Specialist glass from the following companies:

Reflection Control Ultra Vue Ultra Vue UV92 Conservation Clear Conservation Reflection Control Museum Ultra Vue Laminated

Artglass Clearview Artglass AR Preservation Clear 99 Artglass UV 90 Artglass UV 99 Artglass Laminated

Mirogard Water White AR Mirogard Daro Mirogard Plus Mirogard Protect Mirogard Protect ULTRA For more information please visit wessexpictures.com 16 April 2017

ART + FRAMING TODAY

product news

Valiani

Arqadia

Valiani extends its leadership in producing mount cutting machines.

Chantry II

NEW Maximus running 3 heads simultaneously!

Following on from our popular Chantry range, which launched back in April 2016, Chantry II offers the same striking and contemporary design in a range of four new metallic colours – gold, silver, pewter and iron. The foil finished mouldings are 50mm in width and provide a unique and eye catching finish to interior design.

The new Maximus joins the Valiani Family of computerised machines reaching the largest range of CMCs in the world with 11 different models! After its premier at the Spring Fair show in 2016, the Maximus continues with its big success worldwide. Available in standard sizes 1630x1230mm, 820x1230mm and an oversize version 2520x1230mm. Maximus is equipped with two independent heads and a permanent penholder. The wide selection of working table sizes, combined with the button clamps system and the optional Vaccuum table (Maximus V), allows the user to trim material right to the edge, optimizing yield and minimizing waste. For further information visit valiani.com or djsimons.co.uk

Chantry II is priced at £5.99 per metre. For more information on these new products or Arqadia visit www.arqadia.co.uk or call our team on 01234 852777.

Wessex Pictures

Colourmount

Designed in Italy by David Sartori, one of the world’s most famous designers of picture frame mouldings, this latest range is available in five colours. It is 60mm wide and prices start at £10.14/m.

As well as its exciting new range of bright mountboard colours, Colourmount has extended its range of metallic products with 12 new shades, including Rose Gold, White Gold, Solar Gold, Copper Gold and Bronze. Like its existing metallic shades, the new products contain no metal, so they do not finger-mark.

Please contact Wessex Pictures on 01590 681681 or visit www.wessexpictures.com for more information

Visit slater-harrison.co.uk

Arqadia Mono Simple, classic and striking. The black and white mouldings of the Mono collection come in two size profiles and have shape to them, offering something slightly different to other black and white ranges. Prices for Mono start from £1.99 per metre. For more information on these new products or Arqadia visit www.arqadia.co.uk or call our team on 01234 852777.

Lion Say “hello” to KESWICK Subtle tones of heritage colour embossed with wood grain texture for core contemporary styling. Made in Italy. Available in 62mm Mushroom, Brown and Slate.

For more information visit lionpic.co.uk/moulding Image: “Sherlock” by Lesley McLaren, courtesy of edinburgharts.com. Framed using L2508 in Slate.

ART + FRAMING TODAY

April 2017 17

Gallery director and framer Christopher Orme has found the ArtSure scheme quick and easy to use, with registrations via the website taking as little as five minutes I HAVE FOUND the ArtSure Scheme has had the desired effect of presenting a professional image to customers visiting my website and gallery. When I began building the website with Hive in Manchester, it gave me the opportunity to take stock of the images I have been publishing for the last 20 years. At the same time, the Fine Art Trade Guild launched its ArtSure Scheme, which is designed to define a high standard in printing for art reproductions and photography. After inspecting the Guild’s website I found my printer, an Epson 9800, and my inks, genuine Epson UltraChrome K3 inks, listed in the section that identifies approved printers, inks and substrates. I then contacted Colin at PermaJet and he called round with samples of papers and canvases that are ArtSure approved. PermaJet sent samples in the post for me to print a test chart on to and then, after they scanned them, I was emailed my own ICC profiles. This means that the colours remain the same when printed on different substrates. The Guild’s list of approved printers, inks and substrates covers many well known manufacturers and you may find the substrates and equipment you are already using are listed.

BENEFITS

The annual membership for two artists is £35 plus VAT and the benefits have outweighed the cost. First, I can register as many images as I like for my two artists ( I have registered over 500 so far ). Second, I can use the ArtSure logo on my own website. I also use the logo in marketing and advertising, and I add it to the bottom of the print with the publishing information. Finally, every registration is given its own certificate to download with a unique reference number. All this helps when I am selling fine art prints and photographs. I tell customers that the prints are registered with the Fine Art Trade Guild’s ArtSure Scheme and this assures them that the printing process meets with high standards for quality and longevity. The ArtSure certificate contains information on the title, publisher, artist, substrate (pH level was automatically added), weight (gsm), image size/sizes, edition size, and there is a section for other uses too. The other uses section is very useful, and with my open edition prints I usually add that the image has been used as a greetings card, mug, coaster, etc. Once I familiarised myself with the registration process it became very simple. I started my resizing the jpeg of the image I was registering to be less than 1.5 megabytes and added a watermark. A lot of the information needed is selected from drop-down menus and this saves time having to retype most of the details.

E Anthony Orme, Saturday Morning: ArtSure registered print

The whole process can take less than five minutes and a certificate is ready to download immediately. Most publishers, self-publishing artists and photographers have their own approach to how they publish. Mine is a mixed bag and the ArtSure Scheme registration covered everything. The limited editions were easy – they are registered as being printed on one substrate (if you use two substrates then you can add this detail as transparency is important), at one size and then the edition number was entered as well as the title. The open editions were registered as printed on paper, with a canvas version added to the ‘other uses’ section and then registered again as a canvas print, with the paper version added to the other uses section.

ARTSURE IN ACTION

Visitors to my website can view the ArtSure logo and see the unique reference number under each print. This can be cross-referenced with the Guild’s website. An open edition print on paper and canvas from the same image have separate certificates. All my registered prints, whether sold retail or trade, framed or unframed, are dispatched with an ArtSure certificate. Visit eanthonyorme.co.uk and see for yourself how the ArtSure Scheme promotes high print quality, while the logo strengthens my brand. Christopher Orme is a director of E Anthony Orme Gallery and Framing in Manchester and the North West Branch Master for the Guild. He is happy to answer your questions about ArtSure. Email enquiries@eanthonyorme. co.uk or phone 0161 766 9991

artist interview

Annie Drew The wildlife artist has a passion for fine detail that equals her love for animals – and a fun website that’s well worth a visit How did you get started as an artist? Tell us about the trajectory of your career so far I decided to pursue art as a career when I was 16, and enrolled in a local college. Art had always been a part of my childhood, and the thought of taking it to a more professional level was exciting. However, a year into the course there was a very memorable lesson, during which we were told that painting from nature is a useless talent. Nature was the inspiration for my work even then, so rather than disregarding all of this as useless, I decided to leave. I discovered wildlife art through the books of David Shepherd and Christophe Drochon, beautiful life-like work, and it struck a chord. I wanted to paint realistic, highly-detailed oil paintings, so life became all about teaching myself to paint. The greatest portion my time and effort went into learning to correctly and accurately mix colours – an invaluable skill. I self-publish my prints, managing each stage of the process. This involves working with a great printer, who scans my originals and puts up with my endless tweaking to get the prints just right. I then mount each piece myself. Tell us about your art practice My technique developed out of a desire for detail. It has continued this way, and so I’ve n t o into at works for me and produces the best possible work. Thankfully I can’t have a tiger come and sit for his portrait, so it begins with excellent reference material. My work is all about capturing that moment, that tiny pause, before an animal leaps into action. You can see it in their ART + FRAMING TODAY

The design was a joint venture between myself and my Dad, though as a website designer by trade, a lot of the best features are his lightbulb ideas. He was more than willing to build it for me as well – so I have been very lucky in that department.

Rhino by Annie Drew

eyes – either they’re watching prey, or watching a potential hunter. It’s the quiet before the storm. I can’t express enough admiration for the photographers I’ve worked with – their art is the backbone of mine. Working in oils and using a watercolour brush – the only brush I’ve found up to the job of painting all the intricate hairs and feathers – I paint on boards built by John Jones in on on. u an a at t but it became apparent quite quickly that the surface is too t tu it g t t tai . I use the wet-on-wet technique, and complete the painting a small section at a time. I always begin with the eyes – the most important feature to get right. Where do you sell your work? For the past several years, my originals have sold exclusively in White Sails Gallery in Dartmouth – a town famous for its art galleries, and bursting with art enthusiasts. But recently I have expanded into Bath and now also sell originals in Red Rag Gallery – a long-established gallery in a wonderful city.

Where do you get your originals framed? I get all my originals framed at The Framing Lot in Dawlish. I an a a tota on nt that my work will be framed to the utmost quality. Jo and Alec, the owners, are a fount of knowledge and never too busy to impart some. It was through them that I learned about the value of the Guild and applied for membership. Your website is really impressive and has some innovative and fun interactive features. What inspired you to go the extra mile (and more) with your site design? Going the extra mile is a bit of a theme throughout my work! I’m always striving to make each piece better, to achieve more detail or a more striking pose. So my website is an extension of that. I think it’s a feature that some artists undervalue. I’m not looking to sell originals through my website. Art is one of those things that has to n in t ﬂ . ut ou an ma a m mo a t impression and stand out from the crowd.

Does having a good social media presence have a positive effect on your business? A social media presence is extremely important. In today’s world social media is the go-to place for information, and if your business can’t be found there, you’re in danger of not being found at all. I use it as a platform for showing what I’m currently working on, by uploading progress pictures each week. I’ll then publicise which gallery this piece is going to and if there are limited edition prints available. It’s also a great place for me to promote the photographers I’ve worked with. Social media gets my work out there, available to view by anyone, anywhere, with the freedom to ask questions and leave comments. In what other ways do you publicise your art? I don’t publicise it anywhere else at the moment – a gallery might run its own publicity for a painting. But supplying two galleries and self-publishing my prints keeps me pretty busy! What are you excited about doing in the coming year? I’m excited to expand my work into Bath – it’s my fa ou it it an m t time exhibiting pieces outside of Devon. It’s going to be a thrilling learning curve. anniedrew.co.uk April 2017 19

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Busy season for art and framing globetrotters

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Guild MD Louise Hay

I saw Guild members from 18 countries and qualified GCFs from more

’VE BEEN out and about on my travels again at the various fairs and expos that regularly occur at this time of year. You’d think I’d get tired of reporting on these, or that you would tire of reading them, but there’s always something new to learn at every single fair, seminar and workshop. We started the year with West Coast Art and Frame Expo in Las Vegas. See page 23 for the report of the show by Members’ Warden Jo Palmer GCF(APF). A big Guild thank-you to organiser Hobby Publications for providing us with a booth, which gave us the opportunity to meet framers as well as exhibitors. Our friends at the Professional Picture Framers Association were especially welcoming and we all took the opportunity to discuss both common ground and differences. To Spring Fair Birmingham in February, where art and framing was represented across the Home, Greetings and Gift sectors of the show. Member exhibitors all reported good returns on their investment in the fair, and there was plenty of art to be seen around the halls. It was great to see New Artists signposted in their village of tiny booths. I enjoyed admiring the Gunnar mount design om tition nt i in t ﬂ (see page 11) and seeing new products and services from members around the fair. And off again in March

20 April 2017

Stephen Finney GCF(APF) draws a large crowd to his demonstration of lacing on the Guild’s stand at FamaArt in Bologna

to FamaArt at the Bologna Exhibition Centre. The fair is now organised by BolognaFiere with the support of FamaEurope, the European association for frame producers. The number of professional visitors during the three days of the event reached 3000, with an increase in the number of those from abroad of 10%. I saw Guild members from ount i an ua i GCFs from more. I was idly wondering with our member from Azerbaijan what her customers knew about the logo, but she explained that if they didn’t know about the Guild on the way in to Q Gallery, she made sure they did by the time they left! Stephen Finney GCF(APF) did a great job of attracting visitors to the stand with demonstrations of mountcutting, wash lining and lacing, which was especially well received. It’s not a technique seen much on the continent but the comments of: “It’s too expensive, my customers wouldn’t pay for that” soon died down when framers saw just how quick

Stephen was, and more so when he explained that if something ever went wrong it could be quickly corrected without any risk to someone’s hours of needlework. FSQC Chair Mal Reynolds GCF(APF) Adv delivered a number of conservation framing seminars on the Rinaldin booth, again to rapturous crowds, and John Ranes GCF CPF provided education on behalf of the Italian Association of Professional Framemakers, as well as supporting the Picture Framing Magazine booth and helping me out with Guild news and views throughout the fair – a very international team indeed. Stephen Finney laid his head i ﬂ at om in man before setting off for China to represent the Guild at the AFAExpo fair, and to lead framing training and GCF exams to another group of eager framers from all over that vast country. He’s still there as we go to press, so look out for an extended report in the June issue. Chinese framers now take the GCF(APF) accreditation in line with

UK requirements and we’ve undertaken to provide them with the necessary Continuing Professional Development opportunities, thanks to massive support from AFAExpo organiser Ken Zong and his team. On the subject of CPD, I also took myself off one afternoon for a training session with the Institute of Association Managers, where the opportunity to share and learn with other sectors has given me loads of ideas for CPD provision from the Guild. n na oun off a busy month with some really positive and action m ting of t ou t of the Guild (board), Fine Art Committee and Framing tan a an ua i ation committee. The enthusiasm and support of this group of volunteers working on your behalf is always inspiring to see and is much appreciated by everyone on the staff team. We look forward to seeing them, and you all soon at our art and framing convention in May. n ou e fineart.co.uk ART + FRAMING TODAY

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Adapt to survive and thrive We need to be ‘Learners’, not ‘Learned’, for our individual businesses and our trade body to stay successful and relevant in a fast-changing commercial environment

Guild Master Ian Kenny In times of change, it is the Learners who inherit the future, while the Learned find themselves perfectly equipped to deal with a world that no longer exists. Eric Hoffer

VERYONE who works for themselves, and even those who work for forward-looking employers, will recognise the statement: ‘If we’re not growing, we’re going backwards. There’s no such thing as standing still in business.’ No matter what sector of the fine art industry we work in, it’s becoming increasingly competitive. Business is very much like nature: it is not necessarily the strongest that survive, nor the most intelligent, but the ones who are most responsive to change. As the world and everything in it changes, we have to be willing to change with it by learning and adapting. If we choose not to, if we choose to resist and remain ‘the learned’ instead of ‘the learners’, the world will change without us and our knowledge will ART + FRAMING TODAY

become useless as the world we learned about gradually disappears.

HOW WE WORK

As our Guild AGM approaches, it’s good to remind ourselves of just what the Fine Art Trade Guild really is, and how we all have a part to play in keeping our Guild both relevant and successful as a standard-setting body for the n a tt a . No matter if we are bespoke framers, commercial framers, a ti t n a t int photographers, or indeed suppliers to the above, we o it in t n at to . None of us could do what we do without our friends, the artists and photographers. However, our trade is a very small sector of industry as a whole. In such a small sector of industry, it is unity, not fragmentation, which is a strength. The strength of our Guild family comes from representation and

membership drawn from across our industry. Our Guild is owned by each and every one of its members and, along with a handful of paid staff, is run and managed by a team of volunteers, each of whom is a professional it in t i a ti u a . These volunteers are elected to their position at the AGM by their peers and fellow members of the Guild. We have the Master of the Guild (the Chairperson), who has overall responsibility for the running and direction of our Guild. He or she is assisted by the Master’s and Members’ Wardens as deputy chairpersons, and the Treasurer. This executive Committee of four volunteer directors is joined by the Managing Director, who is tasked with (among many other things) ensuring the Guild runs smoothly on a day-to-day basis. We then have the Court – the main body of the board

of directors – who are also voted into their position at our AGM. They too are volunteers, and are full-time professional representatives of different trade categories. Most will know about this structure already, but what may be less commonly known is that there are also two main sub-committees – the Fine Art Committee, and the Framing tan a an ua i ation Committee. Both of these committees are also staffed voluntarily with professional people from their respective areas of our industry. Over the years, these two committees have been responsible for the conception and development of various projects and programmes which we take so much for granted today. These committees, and indeed the board of directors, need to be inhabited by Learners – those who are not afraid of progress and change. Everyone in our family of members can ask themselves: ‘Am I a Learner’? If the answer is yes, the next question should be: “Well, how can I help?” If you think you can, either now or in the future, please get in touch. We might already have your area of expertise covered, but it’s always good to have a reserve. As a volunteer, you won’t get paid for your time, but there is a lot of satisfaction to be had from taking part and making a difference, no matter how ma am on nt t at t effective, far-sighted behaviour of ‘Learners’ involved in the Guild will help to secure our long-term success. Ian Kenny GCF(APF) is Master of the Guild Feel free to contact him: Telephone: 01698 420979 Skype: ian..k April 2017 21

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Art & Framing Industry Awards 13-14 May 2017 Holiday Inn, Stratford Upon Avon The Guild event of the year The Guild’s Art & Framing Industry Awards are a celebration of the best in our industry, offering a chance to meet with friends and colleagues in a beautiful, relaxed setting.

Awards dinner dance Our dinner dance event is friendly, relaxed and inclusive – we want all of our guests to have the best time ever. We take care over seating arrangements and dietary requirements to ensure your comfort and enjoyment.

Guild Artists’ Exhibition This prestigious exhibition exclusively features works from Guild members and is a fabulous showcase of the talents of our artists. The 2017 exhibition will be unveiled at the convention, after which it will travel to the Guild’s London exhibition space, where it will be shown from 25 to 29 May.

Framing Awards The theme for the 2017 Framing Awards is ‘Magical Mystery Tour’. Come and see the entrants’ amazingly diverse and imaginative interpretations of this vibrant subject.

Book now! To book rooms, call the Crowne Plaza, Stratford Upon Avon on 0871 279988, quoting Fine Art Trade Guild Awards.

Find out more at www.fineart.co.uk To help celebrate their 40th anniversary, Lion Picture Framing Supplies are pleased to provide table wine for our guests at this year’s event.

Awards and event sponsored by ®

ArtSure ™

Digital print quality you can trust

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What happens in Vegas… …Includes some of the best classes to be found anywhere and an unmissable chance to meet framers from all over the world. Jo Palmer GCF(APF) reports on WCAF 2017

EAVING DEVON on Thursday and arriving on Friday night in Las Vegas was quite some culture shock – but after years of never n ing t tim a na made it to the West Coast Art & Framing Show. WCAF is the largest show of its type and is a combination of the National Convention and the PPFA Annual Convention. Framers visit from around the world to take advantage of the trade show and unsurpassed education on offer. With over a on u in ign an f aming oi t for choice and each signed up fo a man a ou t in to the four days. My husband Alec focused on gilding and to ation i mi a and design classes with talks on ation inging an mounting techniques.

TOP EDUCATION

a ing to t n o i o n of i in u in realised that our reasons for att n ing a mo t a t t am . ai i t o a ago t at n to go ut tim a n on m i o u t ma a an to attend in 2017 and stick to it – otherwise something would always get in the way. “The draw was the education – there isn’t anything like it in u o . t i to ta in a man a a ou in a o t a of tim fo u on design and technique type classes. Some of the classes i iant an an oa ut ot i n t uit live up to their descriptions.” One of the overriding things we heard from other attendees was how good it was to meet up with friends and people you’d only known from forums and Facebook groups. Stephen ag a n ta ing to ART + FRAMING TODAY

Clockwise from top left: Jon Ranes GCF teaches a mountcutting class; Triple House Gallery, winner of the Larson Juhl Design Star Competition; Francine Hackerott (right), winner of the Tru Vue Framing Award, with Jennifer Gramm (centre) and Carolyn Hays; Guild MD Louise Hay with Keith Hewitt; visitors admiring the Larson Juhl room

om o on in fo i o seven years but met them for t t tim in ga .

SOCIAL LIFE

We attended the Aussie inn o gani a a i i n a fu on a ga uff t an a o went to the PPFA President’s inn i a a a g at ning of fun aug t an ingo. on t t afﬂ prize of the night – a PPFA i t of m oi i caused much laughter from those in the room who realised am u nt t m Warden of the Guild. Speaking to some PPFA m m it a a t ning to learn they were very keen to an t i o n no g base and looking to take our o n am an t Advanced levels to add to their ua i ation . Being at WCAF also gave me the chance to put on my

ui at an oin oui Hay on our booth between a . t a g at to a the opportunity to share no g of t n t of membership from a member’s point of view and speak to f am f om fa an i . t was enlightening to hear how many of us deal with similar i u no matt a located in the world. We signed up some new m m man of om were interested to hear how membership and gaining our ua i ation a im a t on how customers see our u in . t a o ga m the chance to talk to current and former members to get their feedback on the Guild and the programmes we are promoting. Attending the show is an investment of time and mon ut it a o t penny. The overwhelming im ion a oming a a

from Vegas was the generosity of the educators with their i an no g an how well the whole event was organised – from booking the classes online in the autumn to t unning of t fou a event itself. Some of the classes a on mation t at were doing things the right a ut a ga u new knowledge and a deeper understanding of what we do and why we do it. The American framing community is incredibly fi n o n an oming an ou omm n a i it to the WCAF to any framer. As Stephen said: “The biggest n t fo m a a ning t at ou on nt in m o n a i it t at at am oing i ig t an t at am not the only one who has the same struggles in this industry.” We are already saving up for ou n t i it an on u for WCAF 2019? April 2017 23

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Send comments and questions to lynn@fineart.co.uk

Guild experts answer your questions

Can resellers change use of my products?

I have a query regarding people buying my greetings cards – featuring images of my artwork – and then framing them to sell on commercially. If people do this, are they infringing my copyright? If so, what can I do about it? Lucy Pittaway Artist

You own the copyright in the images and, by selling them as greetings cards, you are essentially ‘granting a licence’ for their use as greetings cards only. By framing and then selling them on as decorative items, the person involved would be changing the use of the cards, thereby negating the ‘licence

A Cheeky Little Outing (detail): one of the images by Lucy Pittaway that the artist publishes in the form of a greetings card

granted’.You would therefore have a case to claim damages from the unauthorised use of your images. I don’t know if the value of any legal action would be worthwhile, but you do have

right on your side. A cease and desist notice should be enough to knock this on the head. The Guild’s legal helpline will be able to give you further advice. You couldn’t stop the products from being sold on

as cards, and you wouldn’t get much joy against an individual consumer who goes on to frame a card for their personal enjoyment. You wouldn’t have a claim against the framer in this case, either. Notably, publisher Washington Green puts a legal statement on the back of its cards to warn off would-be abusers of its products. Also, you could consider adding a greeting to the cards, or put a big signature across the front so that they are obviously ‘commercial products’, rather than mini-prints. They would still make great greeting cards but would be less attractive to anyone intending to frame and sell on your work. The advice given by the Art Copyright Coalition (see below) in cases such as this is to aggressively pursue infringements, so you develop a reputation for doing so. This helps to deter people from trying to sell your work in ways that infringe your copyright. Louise Hay

Coalition tackles copyright infringement Among the events at this year’s West Coast Art and Frame Expo was a meeting of the Art Copyright Coalition. Guild MD Louise Hay reports on the proceedings Twenty-four members of the Art Copyright Coalition met over off an muf n in a Las Vegas. We were joined by IP lawyer Joshua Kaufman, representatives of Art World News and Amazon Marketplace Business Development. ACC President John Chester of Wild Apple Graphics opened the session by thanking host West Coast Art and Frame Expo, which kindly provided breakfast. Members expressed their frustration in dealing with infringing copies on sale in Amazon stores. They asked for access to a dedicated IP team at Amazon to assist with disputes and called for harsher penalties for persistent infringers, such as removal of an Amazon storefront. The current regimen simply removes the offending 24 April 2017

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Members expressed their frustration in dealing with infringing copies on sale in Amazon stores product, often only temporarily. One member produced a very inferior product he had ordered from an Amazon store – the infringer had used the genuine product listing to procure sales, which then reverted to the infringer’s storefront on

purchase. An unexpected and frustrating side effect of the current Amazon solution is that the publisher’s own product may be removed at the same time as the copies because infringers also copy the SKU. Amazon representatives thanked the Art Copyright Coalition for inviting them to the meeting, and for the opportunity to hear their concerns in person. They undertook to carry the meeting’s recommendations to the appropriate team. John Chester announced the launch of the new Art Copyright Coalition website and thanked the team for a job well done. The site now features an ACC Black List. Despite repeated communications from members of the Coalition, these companies have refused

to cease their illegal use of copyrighted art and design. Buyers should be aware that they risk offering counterfeit products if they buy from these companies. See http:// artcopyright.net/acc-black-list. Joshua Kaufman gave a brief presentation on his interpretation of a recent US court case regarding costs awards on attorney fees in cases of IP infringement, and advised on the basis of overheads calculations when negotiating compensation with infringing companies. In essence, awards ou a u on n t o t on the sale of the infringing items, without consideration for business overheads. The meeting ended with the re-election of John Chester as President of the Art Copyright Coalition. ART + FRAMING TODAY

Retail Business Resource Book Contemporary ideas and advice to invigorate your retail business Sponsored by

Retail Business Resource Book

INSIDE 27 DOWN TO EXPERIENCE Customer experience is more important than ever for local retailers, advises Arqadia’s Steve Burke.

Welcome to the Arqadia-AFT Retail Business Resource Book Inside you’ll find a wealth of ideas and advice to help art and framing businesses thrive in today’s rapidly changing retail environment. In this supplement, Arqadia’s own Steve Burke explains why no retailer can ignore the importance of customer experience. Setting the right price for your frames can seem complicated and bewildering, and many framers are inadvertently selling their work more cheaply than they should. In his article, Mark Wilson cuts through the confusion of frame pricing. Mobile marketing is no longer the preserve of big companies – it’s cheap and increasingly easy to do. We explain how you can do it – and why you should be doing it. Finally, we suggest 10 ideas to give your retail business a boost and get an edge on the local competition. It is a given that Guild members deliver work of the highest quality. When we add to the mix a commitment to put the customer at the heart of everything we do, and embrace the opportunities of the online world, we have a recipe for ongoing prosperity.

31 ARE YOU CHARGING THE RIGHT PRICE FOR YOUR FRAMES? Mark Wilson provides expert guidance on maximising your sales an o t .

34 GET MOVING ON MOBILE

Mobile marketing is no longer exclusive to multinationals and trendy PR agencies. The gadget in your pocket is a powerful marketing tool.

38 AN EDGE ON THE COMPETITION

Ten simple ideas to give your retail business a boost.

Pauline Hutchinson, Marketing manager at Arqadia

31 26 April 2017

27 ART + FRAMING TODAY

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Down to experience I ‘‘

The days of dim, drab interiors and surly staff are well and truly over. No-one can survive in a modern retail business environment without paying close attention to customer experience, advises Arqadia’s Steve Burke ART + FRAMING TODAY

T IS REASSURING to know that in a retail world that’s ever-changing, with an increasing amount of business being carried out digitally, there are many elements of our industry that remain resolutely analogue. The picture framer’s shop, which has long been a bastion of high streets up and down the UK, is still, for the vast majority of framers, the single biggest driver of their revenue. No-one needs reminding of the various threats to our industry. Whether it’s from

Our profession needs to work harder than ever

massive out-of-town houseware stores (no names!) or from poster and art print sites selling pictures with dozens of frame options available at the click of a mouse, our profession needs to work harder than ever to encourage customers to pay what is often only a small premium to make use of the unparalleled skill, counsel and personal service of a bespoke framer. We know that what we do is artful, impressive and certainly worth paying for, but how do > we convince people in our April 2017 27

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communities to agree with us? In my many years of working in the framing trade, I have come into contact with businesses of all shapes and sizes. Some of them stick in the memory for the right reasons, but I have also seen my fair share of frame shops with mouldings piled up so high that you couldn’t even get in t oo t a on n t at required to get to the framer and talk to them. What this article is trying to do, therefore, is point framers towards a few strategies that will give their shops the best chance of generating sales, and also to suggest some ideas for promotions and community engagement that I know have yielded good results for many framing businesses that have tried them. Let’s begin with the

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The first rule of commerce is to make it clear what you are selling

framer’s shop itself, and a few suggestions that may appear o iou at t ut ou ou be surprised how frequently I have seen mistakes made in this area. o ntu i t t u of commerce has been to make it clear what you’re selling. If you’re a butcher, then hang sausages in your window. If ou a o t n ou display with shoes. Our modern high streets, however, are dominated by national chains to the extent that WH Smith, for example, can get away with advertising very little of its stock in its windows because everyone knows what it sells. But this brand association doesn’t apply to framers, so you should make sure that your window makes it completely obvious what you do. If you’re a framer, make sure

your window displays feature not u t ni o ut a o explain some aspects of the process involved. How about a sign that says something as straightforward as: ‘Come in and see how we can help you frame your memories’? You can also use your window display to counter the assumption that bespoke framing is going to be expensive by having a few priced examples on display. Also, stand outside and look at the window, and ask yourself if the display gives all the information you need it to. Is it welcoming? Is it well laid out? You could even ask passers-by for their thoughts. After all, it’s the passing trade that you most need to entice inside. Many framers operate their business out of a small gallery, and again this should be made

How would your customers rate the experience of using your business? The answers matter more than ever in today’s retail climate 28 April 2017

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CASE STUDY VLASTA ORME E Anthony Orme Gallery, Manchester www.eanthonyorme.com Creating a positive customer experience is crucial if you want to attract repeat business and also to boost your word-of-mouth referrals. We have put a lot of thought into customer experience at our gallery and framing shop, and it seems to be working as we have had a lot of positive feedback. n n n n n

n n

We keep moulding displays within customers’ reach. We keep the retail area clutter-free. We often have fresh flowers on display to give the gallery a feeling of warmth. We offer seating and refreshments for customers. We have toys for children to play with and on the odd occasion when child won’t part with the toy when leaving, we give the toy to the child to take home. We use printed catalogues for customers to view our extensive range of fine art prints by E. Anthony Orme. We have a browser section with mounted and shrink-wrapped prints so that customers can see the full size image. We offer an express framing service. We find that the fireplace in the window is very appealing to customers and can even stop them in their tracks. Hanging a picture above the fireplace in the window display helps customers to envisage how it may look in their home. The fireplace glows red like a real fire and looks especially appealing on cold winter nights. We have been experimenting with different-coloured walls and have found that this reflects people’s homes and gives the gallery a cosy look.

obvious in the window. Assign half of the space for the gallery side of the business and half for framing. It’s easier for a framer to be mistaken for a gallery than the other way round, so have this in mind when designing your display. Another important factor in maintaining an effective window display is to keep it refreshed and up to date. Instead of just adding a few bits of tinsel in December, why not have a complete redesign with each change of season? Ensure you have a sign promising that you are ART + FRAMING TODAY

The gallery provides a comfortable, welcoming environment, with seating, flowers and even toys for children. The fireplace in the window helps customers to visualise how a framed work would look in their home

child-friendly: there’s sometimes a perception that our businesses are not suitable places for young children, when in fact the opposite is true. Striking up a good relationship with the parents of young children can result in many years of repeat business. The inside of the framer’s shop is equally important for generating sales. Make sure your space is light and airy – remember where we live and how many sunny days we have in the average year! Your shop should feel full of light, regardless of the weather or the

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Your shop should feel full of light, regardless of the weather or the season

season. Avoid dingy corners or piles of materials cluttering up the place. Customers should feel welcome and your work should be clear and accessible. Don’t overdo it, but use hanging space from ﬂoo to i ing an n ou ag customers to handle the frames. Take the opportunity to show off. Most people assume that frames are just for pictures, so demonstrate the full range of what you do: golf balls, a child’s shoe, grandad’s pipe, a keepsake from a wedding; anything that suggests the value > in preserving moments from April 2017 29

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KEY POINTS n

Make it clear what you’re selling. Use your window displays to explain in an engaging way what you do.

Broadcast the fact that you are a child-friendly business. Parents with young children are potentially regular customers for years to come.

Create a light and airy retail space and keep it clean and tidy – don’t allow materials to clutter up the place.

Stand outside and thoroughly scrutinise your window display. What could be improved?

Have guide prices on items in the window so people can see that a bespoke frame doesn’t have to cost a fortune. Give a £20 price range rather than a fixed figure.

Take the opportunity to show off your skills by putting framed projects on display that demonstrate what you can do. For example, it may not have occurred to many customers that they can have three-dimensional objects framed. Send the message that bespoke framing is not an indulgence but an appropriate way of doing justice to the objects that have significance in people’s lives.

Update your website frequently to maintain potential customers’ interest, gather data and keep your position on Google search results from slipping.

family history. You should be trying to educate customers that bespoke framing is not an indulgence but an appropriate way of doing justice to the o t t at a igni an in people’s lives. Include indicative prices on as many frames as possible but give a £20 range, rather t an a amount. ou customers won’t necessarily understand the effect that a choice of mountboard or glass will have on price, so by giving a guide price, you’re reassuring them about affordability and also ensuring that there are no surprises when you come to give them a quote. Talking of mountboard, make space in your shop for a demonstration of the variety of mounts you have available and the effect that different styles can have on a piece. The same goes for glass. Someone walking into your frame shop may well have no idea of the different styles available, so use your display to educate them and be on hand to answer any questions they may have. Once you’re happy that 30 April 2017

‘‘ Display a wide variety of mounts to show the effect different styles can have on a piece

your shop is looking its best, you will want to draw as many people inside to see it as possible. I have worked with framers over the years who have devised numerous schemes to increase visitor numbers and, in doing so, have gone a long way towards establishing their business, not just as a service to their local community but as an integral part of it. A good starting point would be to write to a local primary school and offer them your shop window to exhibit children’s work. You could even offer to frame the best examples as part of the prize for a competition. This is a great way of drawing parents and friends to the frame shop to proudly look at the work on display. You might be framing a child’s work one day and, before you know it, you could be framing their g a uation ti at Another simple idea is to take advantage of notable days in the year by running special offers for Valentine’s Day, Mother’s Day and so on. Invest a small amount of money to host an open day to tempt

people inside with snacks and drinks and then give a discount voucher to everyone who walks in. Run a competition on the day where, in return for their name and contact details, customers are entered into a draw to win your time and materials to frame a piece of their choice (see also ‘Get an edge on the competition’ in this supplement for more tips). Some framers have made a deal with local estate agents to frame items for their window, in return for giving out their card to everyone buying a home. This is a smart idea, given how likely a new homeowner is to ma a igni ant in tm nt in decorating their rooms. If your website is updated only once every few months, ou nit mi ing an opportunity. Keep it up to date with the latest examples of your work and, again, take the chance to collect data from potential customers in return for discount vouchers that they can spend in your frame shop. However, do ensure that you are following the law when it comes to customer data: a quick Google search will give you the answers you need in this respect. Sadly, there is no single ‘magic’ suggestion that I can make that’s guaranteed to send sales soaring, and I’m sure there are plenty of framers out there who are already doing some brilliant things to increase the number of customers in their shops and galleries. However, I do think that, as an industry, we are often slow to change and we can get stuck in a way of doing something simply because it’s the way we have always done it. This isn’t necessarily a bad thing, but I do set great store by the words of automotive pioneer Henry Ford, who said: “If you always do what you’ve always done then you’ll always get what you’ve always got.” With that in mind, maybe it’s time to try something new in your business? Go on – be brave! Steve Burke is sales director of Arqadia arqadia.co.uk ART + FRAMING TODAY

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Are you charging the right price for your frames? Charging too much or too little for your work creates both clear and hidden costs for your business. Frame pricing expert Mark Wilson of Framiac cuts through the confusion

HAT SHOULD you charge for a picture frame? Should the price be the same as your competition’s? Should it be based on a formula of multiplying materials by a factor? Or should it be what the customer believes is the right price? And if so, which customer should you listen to? There is no doubt that pricing causes a good deal of stress to many framers and that they may be tied into a pricing model that o nt ﬂ tt ig of service they offer. Or, worse still, the price falls below what their customers would expect to pay. With that in mind, how do ou on nt o out at i the correct selling price?

Framers may be tied into a pricing model that doesn’t reflect the high level of service they offer

n Should the price be the same as my competition’s? We all worry about whether we are losing sales to the competition due to price, and this can seem to be a genuine concern, but the reality is that customers are far savvier than >

£?

£? ART + FRAMING TODAY

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n Know what it cost to produce the frame t t ing ou ou no i at it i o ting to ma ou frames – not just the material cost but the cost of manufacture. n no ing at it o t to manufacture the frame can you no at i ou n to it at to ma a o t. f ou ant to no at it o t to ma a f am ou an n t info mation at www. pricingaframe.com.

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KEY POINTS n

First and foremost, you need to know how much it cost to manufacture the frame. See www.pricingaframe.com for help

Customers judge the value of a product on more factors than just price. Consider the following: Store appearance Attractiveness of your design area Customer service Appeal/quality of frame designs Consistency of service

Pricing formulae fail to take into account key factors, such as the skill of the framer and the overheads of the business.

If your customers are paying your prices too readily, it could be time to raise them. But if your conversion rate is below 70%, there may be an issue with your prices or your customer service.

that. Customers judge the value of a product on more fa to t an u t i . yourself these questions... n What is my store appearance like? There is no doubt that store presentation has a direct effect on the customer’s perception of price. A clean, well-presented store with good lighting and nice displays creates desire and builds on n t at a of iona service will be offered. n Is my design area appealing? This is where the magic happens. It’s where you create desire in your customer to have t a t o f am . ou recommend that the area be large enough to support a t o un utt an it. Samples should be attractively displayed and undamaged, with enough choice to meet most customers’ needs, but also without the confusion of too much choice. n Do I offer a good level of customer service? In these days of super stores, customers get used to an indifferent level of customer service. When they do come across someone who delivers service above the norm, they i it n ta ing a out 32 April 2017

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Store presentation has a direct effect on the customer’s perception of price

it among their family and friends. As a small business, framers have the ability to offer exceptional service, to listen carefully to the customer’s needs and respond accordingly, and to offer professional no g a on t i expertise. n Are my frame designs more appealing? In most cases, customers buy design over everything. If ou a t ign i to deliver more beautiful frames, you have a huge advantage over your competition. n Do I offer consistent service? Customers are grateful for consistent service, that they will be greeted cheerfully each time, that the frame will be completed on time, that it is manufactured to the same high level of quality – and, importantly, that the price is consistent. These are just a few factors that can separate you from your competition and convince customers that you are the better choice, even though you may be selling at a higher price point. n Should it be based on a formula of multiplying materials by a factor? This process of pricing has been around for a long time and therefore it is often thought

to be the correct guide for calculating a price. Because pricing frames is om an t t of o that comes in is so variable, a formula was created so that a price could be calculated on the spot. While this offers a solution for pricing, I believe it raises a number of concerns. One of my biggest concerns is t at it o n t ta into a ount the fact that one framer may offer a much better experience than another, as discussed above. If one framer is offering a much better experience than another, why should they price using the same formula? Where is the reward for doing it better? It goes further than this, however. Businesses have different overheads and a greater or lesser output of frames. This means the cost of manufacturing these frames is going to vary from business to business. Unfortunately, applying the same fo mu a o not a no g that it may cost one framer more than another to produce their frames. Multiplying materials by a factor is a fairly rigid pricing model. Over the years, I have found that it increases the i i oo of ma ing f am un o ta at on n an affordable at the other. A pricing model based on a ing a ma u to ot labour and material costs gives a better understanding of your pricing. It also ensures that you are not selling below cost on some frames or pricing yourself out of t ma t on ot . n Should it be what the customer believes is the right price? Yes… but which customer, and is the customer always right? First of all, if your customer t in t i ou o the cost of manufacture, there is a problem – either with the customer, the product or the service. Or all three. So which customers should you listen to? Well, all of them, but not individually. Varying your prices based on individual customer reaction is a sure way to create inconsistency in ART + FRAMING TODAY

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i ing aff t o ta i it an leave you feeling uncertain of the correct price to charge. It’s best to gauge your overall customer reaction to price by monitoring your conversion rate from quotes to orders. This is on ing t a of o man m uot ou gi an what proportion of these were converted into orders. If everyone is happy to go ahead with the job (100% conversion rate), you can assume that there is room to lift your margins. There is a rule of thumb that an ou to g t ou ma u ig t if on in u tom doesn’t hesitate at the price, then you may be too cheap. No-one complaining about the price is a fair indicator that you have room to increase your prices. ART + FRAMING TODAY

a a oo t oug a t month’s quotes. Perhaps on in u tom ou have told you that you are too expensive and not gone ahead with the job. At most, you may expect 80% of your quotes to be converted to orders. If you are falling below a 70% conversion rate, there may be an issue with the price, or even the level of service that the customer is receiving. Remember, it’s not always about the price. Customer reaction to price is the best tool we have for determining ma u an monito ing t i o your whole customer base is the best way to create consistency and fairness in pricing. Have a system to monitor your conversion rate from quotes to orders. This will help you to

‘‘ If one in five customers doesn’t hesitate at the price, then you may be too cheap

Your skill and experience should be factored-in to the prices you charge for your work

ma a u at i ion a out your pricing based on solid, indisputable information. n What should you charge for your picture frames? You obviously need to price above the cost of manufacture; after that, though, it’s whatever the majority of your customers t in i t o t i . o you get them to believe your frames are worth more is up to you and how you present your frames to them. n Mark Wilson is the owner of Framiac, UK distributor of FramR frame pricing software, and a FramR developer. He has published a free online frame pricing guide at www.pricingaframe.com www.framiac.com April 2017 33

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Get moving on mobile

Mobile marketing is not just the preserve of multinationals and trendy PR agencies. You can do it – and you should be doing it. Lynn Jones explains how and why

N A YEAR characterised so far by ‘fake news’ and ‘alternative fa t it an if u t to no at to i . ut i a fa t u ot u aft u t a t ma o it of o o o u ation no o n a ma t on . o ing to oitt ma t on o n i in t a t f om of t o u ation in to in . a u in t i a o a oun . o a of t n uo t gu i ata f om tati ta . ou an tt u t at t in of u tom ou ant to att a t fa m it in t o o t of ma t on u . It is no wonder, then, that mo i ma ting a om o im o tant. ot ntia of ing a to a o i u tom on a device they carry everywhere it t m an a oft n g u to

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n o i i o iou . ut at i mo i ma ting o ou a to i n i ma ting on u tant an o o ta gi i o ou a to in ta an of ia ui m nt o ou n to a a i of oo o ta a o g ou o. o om t nt ou a o a a a ngaging in mo i ma ting. uming ou a a on an ou no o to u it ou on t n an fu t ia no g o ui m nt. o i ma ting an m an a o ang of iff nt t ing f om t ting ou u tom to ui ing a fo o ing on it u a a oo an int t to a ing afﬂu nt n au i n with a desire for handmade and o it m . t ta t it ain o t t.

Assuming you have a phone and you know how to use it, you don’t need any further special equipment

49 China

49 Argentina

64 Mexico

65.5 Canada

68 Italy

69 Russia

73.1 Spain

77.5 France

80 Germany

80 Australia

81 US

81 UK

83.2 Finland

86.7 Sweden

Norway

97.6

PERCENTAGE OF POPULATIONS USING SMARTPHONES 2016/17

Data: eMarketer

34 April 2017

SIMPLY TEXT

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SOCIAL LIFE

at of t t a n written here in AFT and elsewhere a out t im o tan of ngaging it ou u tom on o ia ART + FRAMING TODAY

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m ia. t a oun o a o o t ff ti o ffo t . a it fo ma u in a oft n n i a ointing. am in u ing o ia m ia au i it i not u i to mo i it i optimised fo mo i u an t a t ma o it of u a it ia t i on . o timi m an t at t i n of u ing t it an atfo m u a n tag am a a i ign to a goo a it an on a mo i device, in terms of how they look an o a t a to u a an int a t it . ag an imag oa ui an i tu an oom in on to i tai . a igation an ag tion a ui an a to un tan an u . i ua anguag of na igating t on in o i oming im an mo u i uitou a t tim . o ou a a u in o n t i not on m an ou ot ntia au i n a a a ut t at it i a i t an fo ou to manag u at a ont nt an int a t it ou onta t . at t an a ing to n tim to it o n at ou an o ou o ia m ia at a ou mig t o ou a ount ou an access it instantly at any time, add u at an u tom u i u oa i tu an an t ing ou ant to o. o i t igg t ma ting u a of t a tf a in on ai t at ing on social media alone is not noug i am int g ation . ut at o it m an ia fo a ma u in it no o ma ting of n a i a it m an a i go on to o t at a t igita i mo i o int n t ann i it o o ta a in a ing in a . i i goo n on t . t m an fo am t at ou an o t a i tu on n tag am an it i a o a a on ou itt an a oo f o ag . f om on i ou on a oo an t a o a an n tag am a ount t i t at ou a o t a i tu to n tag am i t a on a oo . i ot ntia a ou a ot of tim an ffo t. ut a ti it i on t ing an ART + FRAMING TODAY

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Optimisation means the experience of using these sites is designed to be as good as it can be on a mobile device

m aningfu a ti it i uit anot . t im o tant not to o ig t of at ou ma ting goa a an o ou a ta g ting. fun tion of o ia m ia i to i ot ntia u tom to ou u in in a a t at i m a ua . t a ti ing mant a go at i an m a u an im o . in a out o ou an off in nti to ou o ia m ia u . ff on in i ount ou o o t at t an m in ou o . un i a an ot om tition . im o tant t ing i g tting o to on au t n ou an i ntif an uantif a t o i int t in an ngag it ou u in n if t a nt oug t an t ing t. u tom if ou an o t i tu of t i ni ommi ion an tag t m if t a o ia m ia u mo t o i a it of fam and admiration.

INTEGRATING YOUR WEBSITE

not going to go into ign . t a o a t u t in it o n ig t. ut it i o t m ntioning in t ig t of im o ing ou igita int g ation. f ou an g t ou a oo itt n tag am int to ot f in ing automati a to ou it . i i tt a

if ou it i a on a atfo m u a o an i on a ing ug in . n a antag of a ing t f i t at ou it i ontinua o ing n ont nt om t ing t at i to oo t ou o ition on oog . oog a a go it m o n t like websites that haven’t shown an ang fo a a . n if ou on t a mu tim t to a to an u at t ont nt of ou it fai oft n. a a o ia m ia f ou ou a a og an f t at a to ou o ia m ia f . u taf o an i tu no an t n i to oo t ou a o ition. n it go it out a ing t at ou o u t i an u in tai ou a a u to at . f ou it i u tom ui t in tm it i mo if u t to ma u at of t i o t. f ou a in a o ition ou a iant on a ai ma t to ma o t ang to ou it o ou ma t i un ia an ou it i t fo o fu out of at it a n ou mig t on i ting a ont o an ui ing a n it on a atfo m u a o . o a out t i in t i i u of AFT . f ou ou o igina omain nam an a a a t amount of ont nt April 2017 35

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it n ont nt a on a fai gu a a i ou oog a o ition ou im o a a u t.

THE RISE OF THE VISUAL

o i i in o u a it of in i ationa it u a n tag am an int t o t at t i ua a t of ma ting i mo im o tant t an . o ing fo om an if t in i ation i a a t entertainment channel in its own ig t an mo t of it i ing on ia mo i on . o ot f am an a ti t t i an on goo n . i is, after all, the sea in which ou im. in of it t i a almost everything you produce is a marketing asset. ou u t n to a i t a antag t i onf an nt it in t ig t a . fo go fu t it u ia to g a on fa t o goo ou o i oo n nti on t ua it of t imag ou at . t o o it ag for advice and ideas on how to im o t ua it of t i tu ou ta an a on in . n tag am ma on a n aa t i i t ta ing i tu of t i inn an int t m i an o mom inning u t i a oo ing o t ut ot it a g o n fa on t i o igin . f at ou i in t a m of t i ua an t in i ationa ou ou n t f om a n on t it . it o ia m ia t it 36 April 2017

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Browsing for home and lifestyle inspiration is a vast entertainment channel in its own right – and most of it is being done via mobiles

o ann a o timi fo mo i an t a ign to link seamlessly with social m ia mai an m aging.

FROM INSPIRATION TO DIRECT SALES t a

tan a f aming o ut i t at a i to in i i an a tu t i imagination a a a ua ing too . f o can instantly and effortlessly onta t ou t oug t it an a m int t in on i t i ut in i it a m ta i t ni on t f am ou a ot ntia a goo a to a ma ing a a . natu of t on in ma t a m an u f mo omfo ta a out ma ing an n ui t an t ou on o mai . not n t of ma t a u a t i t at t i o om of ou mo i ma ting fo ou. f om on a fo o ou o fa ou it on of ou nt i fo am t i email them or alert them via o ia m ia n ou ut u om t ing n . fo t it a nt an a ommi ion of . on a a t an a tion f on a a ag a at a a fo am . not a antag i t at it i t u int nationa o it i a g at a to a o a ma t . t i t u t at not t ing on t i ig ua it g nuin an ma o o a uta n o . ut it i n t a i ou of i ning ot ntia u tom oa a ing fo om t ing autifu an uni u an fo om o i i not t o i ing on n. i n u an t t tu t ot a a t f om t tat . f it i a t at ou a an ta i uta u in ia on ou a a umu at om g at i f om a u tom an a ong a ou gi g at u tom i to n ui t u t ou not a ti ing oint. ina on t fo g t to ou a ou ui m m i an if ou a it ou ua i ation.

t ing u tom o u at ou ant ut un ou o t m am of at ou an o t i a a a tim imagining t o i i iti fo t i o n homes and artworks. Etsy has g at ot ntia a a ma t a t at ot ntia u tom to n t ing t o an t n directly make the connection to u tomi ing t o in i ationa i fo t m . t a um ou a at a autifu i of o fo a u tom a it an m i o unu ua f am an a o at mount. oug it u a t ou an not on o a ou o ut it again an again. ou n ig ua it oto f a o ing a a i t of tai a a t o a i . oto iting oft a to it out t o igina i nt a t o . oa ou oto an a u at an a o iat i fo a fai CONCLUSION a tan a i u a . o i ma ting i not om tt i a t i fo t it m. t i i n t at ui doesn’t matter if the work in the o i n i on u tant an oto i igg . tat a in ou no g of a t at t t n . nt i o n i fo i . o a a a ngaging a onta t u fo u tom o . ou a in it. it a itt imagination an u tomi ou o an anning ou an t an fo m o ou ant. t ga g t in ou o t into a iou t i not mu o fu ma ting an a too . oint utting u imag of ain an

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Ready for your close-up?

Examples of great product photos posted to social media by (three images on left) JG Braticius GCF(APF) Adv; and Haddon Galleries

IT’S AMAZING how many people spend their professional lives crafting beautiful work and then take absolutely terrible photographs of it – low resolution, too dark, no contrast, blurry, distorted, taken from bizarre angles and with a background of ugly, random clutter. First and foremost, if you have a good camera (one that at least produces higher quality images than your smartphone), use it. You do not need to spend a lot of time and money setting up a home studio. You just need a big enough, uncluttered space and something to use as a neutral backdrop (you can buy a burlap dropcloth for about £12, or use a plain wall, or even sheets of mountboard). Use a couple of desk or worklamps to light your subject. Experiment with moving the lamps to different positions and angles, but not too close to the subject – you don’t want ominous dark shadows. You don’t even need a tripod. Steady your camera on a pile of books or a sturdy item of furniture and use a remote shutter app or the camera’s own timer if camera shake is a problem. If you only have a smartphone to work with, you really need a fairly modern one or the camera quality will be pretty poor. If your phone is on a contract, perhaps it’s time for an upgrade. Every new generation of smartphones has better camera optics and imaging software than the last, driven by the ever-increasing importance of the visual. Technical advances that have been propelled by teenagers’ quest for the perfect selfie can benefit your business.

ART + FRAMING TODAY

You need to be able to take high resolution images (with a file size of, say, four to six megabytes each in jpg/jpeg file format). A clip-on macro smartphone lens can be bought for about £6 and could enhance your close-up pictures . One reason why you need to be able to take large (high resolution) images is that you need to stand back a bit when you take a picture. Standard smartphone camera lenses fall into the wide-angle category, usually with a focal length of 24-30mm. If the subject is too close, it will be distorted, and this really shows on a subject with straight edges, such as a picture. The sides will appear to bow outwards. Images of the whole subject need to be taken straight-on. Don’t take pictures from the side, above or below. They look awful. ADVENTURES IN PHOTOSHOP If you still struggle to take great photos of your work, help is at hand. Once upon a time, Photoshop was the preserve of design studios and publishing houses. You had to buy the software outright for an enormous price. Now, anyone can ‘hire’ it for about £11 a month. In the long run, Adobe makes more money this way, but there are advantages for customers too: £11 a month seems a much more acceptable outlay than a grand up front for a non-core business investment. If you don’t like it or don’t use it, you can simply cancel without penalty. Best of all, your software is always up to date. You are alerted to updates and install them for free via Adobe Creative Cloud.

The best way to learn is to tinker around and look up how to do what you want to do online. There are huge numbers of free learning resources, including Adobe’s own user forums. If Photoshop is really not for you, there are many other photo editing programs on the market, though they may not be as comprehensive or as easy to use. It needs to be said that Photoshop can do a lot, but it cannot work miracles. If your original images are really awful, nothing will make them look like the work of a professional photographer. You can lighten your images, improve the contrast, use a variety of sharpening algorithms, straighten out distorted edges, adjust the colours and much more, but the information needs to be there to begin with. If the image is very small, blurred, dark (or excessively lIght), or the colour balance is dramatically off, the information about what should be in the picture will simply not be present. Photoshop has all sorts of clever algorithms that can try to guess what should be there, but the less information it has to work with, the worse the result will be. In other words, you may not be Annie Liebovitz but at least try to make sure that in your original photos, the subject can be seen clearly, is as sharp as possible, and that the image is as large as possible. Then you can get to work with tinkering in Photoshop. A final word: don’t be tempted to apply ‘arty’ Instagram filters. They are a bit of a cliché and obscure the subject, which may give viewers the offputting impression that there is something to hide.

April 2017 37

R Retail Business Toolkit

Get an edge on the competition Little things can mean a lot, and taking action in a few key areas could raise your profile and win you new customers. Lynn Jones suggests 10 ways to get ahead of the pack

COMPARE FOOTFALL

Get a couple of click-counters of the sort nightclub bouncers use. Enlist someone to measure footfall on the pavement past your competitor’s shop at a set time (for example, 1pm on a Saturday) for a set duration (eg 15 minutes). On the other clicker, they should count viable customers who go into the shop. The next week (or at the same time if you can get two volunteers), do the same exercise outside your shop. What have you learned? Who had the biggest footfall? Who had the most customers? What was the ratio between the two, for their shop and yours? The more samples you can gather, the more accurate this kind of data is. If your footfall is less than you’d like, you’ll need to work all the harder at marketing your business.

CHECK OUT THEIR WEBSITE…

What are they doing better than you on their site? What are they not doing as well? What can you learn from their website in terms of doing better internet business? Do they blog? Do they sell direct online? Do they update their site regularly? Is their Google search position higher than yours? How can you remedy this? In other words, do you regularly add new and updated content to your site? Are you registered with Google so that your premises appear on a map at the top of the search page, with a summary of your key contact details? If you are a high street retailer, you should be. 38 April 2017

…AND THEIR SOCIAL MEDIA

What are they doing better than you? Do they run more engaging activities, such as competitions or vouchers to pull in customers? Do they seek online feedback from customers? Do they engage socially with customers? Do they link their social media to their website and other sites, such as Instagram? ‘Like’ and follow your competitors’ business pages so you get all their updates.

GET IN THE PAPER

…Or other local news media. Get involved in local events, or at least sponsor them. Run competitions to win a piece of a t. t not t at if u t to g t exposure in local media. Keep it light, positive and fun. Oppose the out-of-town mega-market plan by all means but that is a matter of principle, not a PR opportunity. Get involved in fun runs (or walks), give surplus materials to local schools, or stage a demonstration of your skills at a seasonal fête.

HAVE A PARTY!

Choose a Saturday in, say, June, when the at i n an t school holidays haven’t yet started. Throw open your doors for the afternoon. Get out the balloons and party music. Advertise your event in advance as widely as you can. There’s always an excuse to celebrate,

‘‘

Do they blog? Do they sell online? Is their Google search position higher than yours?

such as the anniversary of your business opening or just the fact that it’s summer. Enlist friends and family to be your PR bunnies. Give out business a an omotiona aﬂ t . Offer snacks, goody bags for the kids and drinks for the adults. Most people won’t hang around long but they will go away with your contact and marketing information and a good feeling about your business. Consider ways to get their contact information too – such as a prize draw. Social media contacts are ideal if you can get people to like and follow you. They will be more willing to do so once you have broken the ice in real life. Don’t forget to tell local news media you’re staging an event. You might get some very welcome exposure. Of course, you could always stage an event in tandem with a local, national or global occasion rather than having your own party just for the sake of it.

UPDATE YOUR WINDOW DISPLAY REGULARLY

Galleries/gift shops report that they have regular customers who pop in to see what’s new every time they update their window display… and they often buy something. f ou it i if u t to come up with ideas, plan and carry out frequent display changes. At the least, make sure everything is in order and dead ART + FRAMING TODAY

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WEAR YOUR GUILD MEMBERSHIP WITH PRIDE

ﬂi an o a t immediately. Seasonal events – local and national – are a source of ideas. Embedding yourself in the life and activities of the town creates goodwill. Local history could be a rich source of ideas that are also inspirational and educational. You could even enlist local schools to help.

INVEST IN STAFF TRAINING

Staff training is an investment because it very rarely comes with absolutely no cost, once you have factored in the staff hours involved. But it is a worthwhile investment. Trained retail staff will not only sell more and perform tt in t a im o tant of customer experience, but will enjoy greater job satisfaction. And happier employees means less staff churn. See Steve Burke of Arqadia’s article on customer experience in this supplement, starting on page 25. ART + FRAMING TODAY

THINK ABOUT UPGRADING YOUR SALES EQUIPMENT

Have you been using the same till and card reader setup for as long as you can remember? When a customer pays by card in your shop, does it take aeons to process, while the client looks increasingly nervous and worried that there might be a problem with their account? This could be enough to put them off coming back. Shop at any big retail chain these days and your card transaction will go through pretty much instantaneously. This is the standard that customers increasingly expect. It might not be possible or viable for you to achieve such feats, but it’s worth considering the impact your sales equipment has on the customer experience. There are other business n t too. o ing to o m i t ata t ot ntia bonuses – in addition to faster and easier transactions –

The Guild has plenty of professional marketing material on offer to help you promote your business. Your Guild door sticker i t t of oint of onta t make sure yours is up to date and display it prominently. off a ang of aﬂ t explaining to your customers why your Guild membership is an assurance that you are a high quality and trusted trader. They reveal what the Guild’s i of aming m an t ua i ation matters (see below) and how the Guild is promoting guaranteed a ting ua it of n a t int through the ArtSure scheme. All this material is free to members – you just cover the postage.

‘‘ 10 When a customer pays by card in your shop, does it take aeons to process?

…AND DON’T FORGET TO UPGRADE TO THE GCF(APF) QUALIFICATION!

In an economy where commoditisation and price sensitivity are wrecking businesses large and small, the only sustainable answer is to go the other way: quality matters more than ever, and will always matter to customers who can afford it. Quite simply, it’s where the money is. Whatever the state of the onom t i a igni ant a of afﬂu nt ot ntia customers. They were there even in the depths of the global crash. ou ua i ation marks you as an accredited, skilled, professional craftsperson, who can be trusted to handle even the most valuable and sensitive works, and to produce bespoke commissions of the highest quality that are absolutely right for the subject. April 2017 39

From mouldings to mountboard, frames to glass (and everything in-between). Whatever you are looking for, Arqadia gives you plenty of options. Visit arqadia.co.uk to view our range.

Arqadia Ltd 2 Wolseley Road Kempston Bedford UK MK42 7AD Tel: 01234 857488 Fax: 01234 840190

Sales order and enquiry:

International sales:

01234 852777 E-mail: sales@arqadia.co.uk

0044 1234 846307 E-mail: export@arqadia.co.uk www.arqadia.co.uk

art

Making the professional choice When selecting painting supplies, choosing between a vast choice of similar products can be a challenge for working artists. Great Art’s Louise Rose helps to cut through the confusion

HEN ENTERING some art shops, artists are faced with a huge amount of choice. Whatever they are looking for, there will often be 10 or more products that all, at face value, appear to offer the same thing. These choices can be incredibly daunting for beginners, who have yet to learn what makes one product different from another, but also for professional artists, whose selections will potentially become ingredients for what will be labelled as ‘a professional work of art’ that may be sold, exhibited or possibly referred to by art students for many years to come. So for the work to be considered ‘professional’, there is a natural level of expectation imposed on professional artists to know and choose the best quality > o u t to at t i na o

ART + FRAMING TODAY

April 2017 41

art

Artist Amylee Paris and (inset) one of her paintings, Six Papillons

and pay any price necessary in order to achieve this. So what are the differences they may encounter and how might these affect their results? And, crucially, what should they value most when making their decision? This quandary applies to all types of artists, but to narrow our focus in this particular discussion we will consider the options when painting on twodimensional surfaces and look at the components needed. So to begin any work, we need X, Y, and Z. In this case: surface, colour and tools.

SURFACE

A painter’s canvas frame is traditionally stretched with either linen or cotton. Linen is strong and durable, and naturally offers a higher resistance to decay for better longevity. Its strength means it is also less likely to become brittle or go slack. These n t m an t at in n t i a has a higher price, and the fact that it was used by the old masters would also lead us to consider linen as the professional choice. otton i mo ﬂ i o it can be easier to stretch without 42 April 2017

putting too much strain on the wooden frame, and is also more affordable so it automatically appeals to schools, students and those new to painting. But it can still be perfectly acceptable for professionals, providing you choose good raw materials and allow for the fabric’s natural differences. For example, the ﬂ i i it an m an it i ta for very large sizes, but this can be improved by choosing a very heavy ig t fa i . o frame will also aid this. When choosing paper, many factors are considered that are guided by technique and subject matter, but put simply, to ensure long term stability a professional piece would ideally be created on sheets made from durable materials such as cotton that are acid-free, as acid can cause the paper to yellow and become brittle over the years.

COLOUR

Paints and colours are an area where the professional-versusstudent quality label can be slightly open to interpretation. At face value, they present themselves as either ‘artist colours’, for

‘‘

A larger amount of binder can result in a duller version of the true pigment colour, or a larger colour shift when dry

pigments ensuring bright, stable colours, or ‘studio’ colours, which are made from the same key components, and often the same pigments as used in the artistquality product. The difference will be in the concentration of pigment. A larger amount of binder can result in a duller version of the true pigment colour, or a larger colour shift when dry, particularly when using acrylic, since acrylic binder is naturally white and dries clear. It can also affect the covering power of the colour. Pigments can be taken from a wide range of sources, including plants, precious minerals, stones and earth. Because their sources are varied, they range from plentiful and affordable to incredibly rare and expensive. Pigments can also be created synthetically from chemical reactions, and this can often be done for the purpose of replacing natural pigment shades and making the colours more permanent, affordable or safer to use. Because of their higher cost, ou i n t at om of t plentiful pigments will not be included in a student range, or they will be included but labelled as ‘hue’, which means that a number of different pigments will have been combined to create a goo o of t na o ou ut not the true pigment. A downside to this can be that when you start to mix your colours, the shades can become muddy or murky, or they may lose their brightness more quickly. The best way to retain the brightness of pigment is to use as few ingredients as possible, so single pigment colours will achieve the best results. The quality and concentration of the pigments used, as well as how precious they are, will be ﬂ t in t aint i . ti t colour ranges will always carry different prices within a single brand, typically organised using series 1, 2, 3 and so on to identify the more valuable pigments. Studio colours offer a uniform price across the full range. As well as the price, colour ranges will also indicate the permanence of colours, with a lightfastness rating for each shade. Some pigments will naturally be more lightfast than others regardless of the selected ART + FRAMING TODAY

art

paint brand, but the use of single pigments and high concentrations will offer better options. There have been vast improvements in student colours in recent years that mean affordable an an ti n a a in professional studios and make a good option for painting very large areas of colour and backgrounds. This is particularly true of colours made using a single pigment or those in Series 1.

TOOLS

When choosing a brush, the main difference – with the most obvious effect on price – is between synthetic hair and natural hair products. Natural hairs include squirrel, pig, pony and goat, and the brushes are generally organised into soft hair and bristle variations. Natural hair brushes are valued for their ability to hold colour and water effectively, and retain their shape while still being supple. Synthetic brushes have been developed to effectively imitate all the abilities of natural hair, with the supposed advantages of being more economical and durable over time. However, even with thorough cleaning, when they are used with oil and acrylic paints, the a n foun to g a ua stiffen and accumulate paint over time compared to natural hair. ot moot n of t and how well a brush cleans are criteria you should consider testing when selecting a new brush range – as well as their durability and tendency to lose hairs on your work.

THE ARTIST’S PERSPECTIVE

Amylee Paris is a professional artist, who was born in France and now lives and works near London. As a professional artist she has had solo exhibitions in Parisian galleries and has taken part in group shows in Europe, Asia and the US. She shares creative and art business tips on her website, www.amylee.paris. Because she regularly shows and sells her work, Amylee needs to consider her materials selection carefully. She says: “When I buy a canvas, I choose linen and heavy wood, I check the weight because I need a strong wooden frame, and I also check the fabric of the canvas, tai of t an if an > ART + FRAMING TODAY

Above: all colours, in any medium, are made from pigment and binder Right: natural hairs are considered desirable for their ability to hold colour and water effectively

April 2017 43

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LOGIC AND CREATIVITY

Fine Art Trade Guild member GreatArt is the retailer of the UK’s largest range of art materials, with more than 50,000 products available online. Its flagship store in Shoreditch, London, provides materials for all techniques, from traditional fine art painting, drawing, sculpture and printmaking to graphic art and illustration, airbrushing and model making. In-store services also include custom framing, ‘click & collect’ and canvas sold by the metre. Flagship store: 41-49 Kingsland Road, London E2 8AG. www.greatart.co.uk

fault – such as a bad fold on the corner – I don’t buy it. “When I’m looking at paint, I want vivid, bright and opaque colours that won’t change over time, with a strong covering power that won’t crack. I prefer a heavy body and buttery texture for my colours, and I also like to use products that simplify the process, such as good quality pre-stretched and primed canvas, or paints that won’t force me to add mediums to get the texture or appearance I need. “After looking at these qualities, I look at the price. I prefer working with excellent quality materials because I want to create excellent quality paintings for my customers and galleries. The purchase of a piece of art is like a ‘crush’, but also an investment, and collectors will want to enjoy your work for a long time. And there is always the possibility they will resell it: with a successful painting, you need to be prepared for your work to be moved, to travel and to be tough enough to withstand handling and different lighting or temperatures in one place or another. 44 April 2017

“Another person to consider in your process is the gallery owner who would represent ou on to a on n in your work.” Amylee makes a strong case for buying professional brands, but ‘studio’ brands are not necessarily off-limits for professional work, as we have seen, and it never hurts to prepare and test results before you ommit to o ing on a na i . She adds: “I often have a limited budget so I make selections from both student- and artist-quality ranges when it comes to paints, but I will always check them carefully, sometimes performing tests before committing to buying a full range of colours. When looking at any new range, I’ll often buy one or two colours or a sample set, and then I’ll mix colours, paint, and wash the brushes to check they give good results and meet my expectations. Student acrylics are still good quality and I often use them for large areas. For some products I think it is better to invest more – for example, when choosing brushes you will be using every day, studio options are not always ideal.”

‘‘ Francis Bacon argued that a painting could not be found to be truly successful until 50 years after it had been painted

But are we still discussing art? Art i oft n o n f om ﬂui motiona gestures that are not always governed by guidelines and often defy rules. So is analysing different components, testing outcomes and checking lightfastness ratings damaging the creative spirit of the work? Different artists have different opinions on this. Francis Bacon argued that a painting could not be found to be truly successful until 50 years after it had been painted, so he valued the ability of the work to withstand time and be truly permanent. But for artists such as Jackson Pollock, the creative process and act of making the work took priority over its archival qualities. For Amylee, it is important to consider all angles: “I think about the creative process, but I also think about shipping, exhibitions, presentation and my customers. To make a piece of art, we need good materials and also good technique rules. We have to follow rules to be a winner. Artists are free in creation, but they must be careful not to do just anything with materials.” This, of course, is true – different art materials will have their own staple technique rules: you shouldn’t paint on a canvas without t a ing t u fa it gesso or primer, for example. These rules come from natural limitations that must be acknowledged and will require artists to adapt if they want their work to last, even with the highest quality products. Logic still has its place in the creative process. As a professional artist, it is important to consider whether you see your work as a long-term investment when you choose your X, Y and Z. You are, of course, still encouraged to embrace the emotion in art and see your work as a potential ‘crush’ for the viewer, but in the beginning stages, when you are surrounded by the choices in your local art shop, consider the logic in the process and the longevity of the result. Knowing you can rely on the materials you have chosen at the very beginning means you can immerse ou f on nt in t ation and achieve the best results. Louise Rose is marketing executive at Great Art www.greatart.co.uk ART + FRAMING TODAY

art talk

The place to go for advice on art business issues As more and more artist customers asked framer Jo Palmer GCF(APF) for advice with legal and technical issues, the Guild was the ideal place to send them I HAVE a bad habit to which I am happy to admit: I tend to talk too much – a verbal peacock, if you will, in that you ask a simple question and you tend to get an essay in response. I can't help myself, but I try to be helpful, informative and solve problems. Becoming a picture framer, as I did 11 years ago, was a total change of career for me, which brought me into contact with a whole new range of people who wanted to ask me questions. And most questions came from artists when they brought their work in for framing. We can't be the only framers who get asked questions such as: “How do I price my work?”, "How do I approach galleries?” and “If I produce a limited edition, can I use the same image on cards?” You know the sort of thing. Four years ago at Spring Fair, I had a conversation about this with Guild MD Louise Hay. She explained that another framer solved it by selling a book, The Artist's Guide to Selling Work, by Annabelle Ruston. So we started selling the book and it worked really well, with lots of artists and art groups buying it (you can also buy a copy from fineart.co.uk).

LEGAL AND TECHNICAL HELP

But the questions kept on coming. What this highlighted is that many artists struggle with legal and technical issues – they are great at producing art but fewer are great at the business side too. The priorities for them were to n ui an a an to questions and have people they could talk to for advice and unbiased opinions. ART + FRAMING TODAY

Artist custoners of The Framing Lot who have joined the Guild include Kate Aggett (left), Jane Perkins (top right) and Annie Drew – who features in our Artist Interview on page 19

And that is where the n t of ui m m i really kicked in. The knowledge we have gained through our membership has helped us to answer a lot of queries from artists over the years. And when we don't know the answer, there is always someone within the Guild family (membership and staff) who can help us.

GUILD BENEFITS

That also got us to thinking a out at n t ui membership may have for our artist customers, so we started having conversations with them about it and what might be useful for them. The interesting thing is that because we've shown them areas where membership could be useful, we have seen a number of our artist customers choose to become Guild members over the past few years. They have joined for a variety of reasons. For some, it was the free legal helpline to discuss licensing issues;

for others it was having a simple web presence through the Guild Directory without needing to have their own website. In some cases it was the networking opportunities and the ability to enter the competitions and Guild Artist Exhibition in May each year. One artist found us via the Guild directory because the printer they used was also a member and she was looking fo a ua i f am . Even those who have chosen not to take up membership have taken advantage of Guild projects, such as the Original Art Register and using an ArtSure member printer. We make sure to take full advantage of the Guild o u aﬂ t on t programme and schemes such as OAR and ArtSure, which we give to customers when they collect their framed work. By talking about the Guild and its products to artists, we can help to inform them about schemes they may not otherwise be aware

of – in the same way that we might discuss the differences in mountboard types or the n t of iff nt g a ing options with anyone choosing bespoke framing. The Guild represents all of t ta it in t n at community – which includes artists as much as printers, publishers, suppliers and, of course, framers. It is a member-owned and -run organisation and I am proud to be part of that as the current Members’ Warden. By helping to encourage and promote membership and Guild schemes to others, we are building and strengthening the network of the Guild family, and the reward has been the extremely positive feedback we have had from our artist customers. And it all started with them asking us a simple question. o a er e er ar en o t e u an co o ner o e ra n ot n a e on t e ra n ot.co.uk April 2017 45

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framing

All about surface mounting There are various reasons why a customer might want an item surface-mounted, such as a deckled edge on a piece of art. Framers need a range of techniques under their belt for dealing with different requirements, says Steve Hible GCF(APF) Adv

‘‘

E ARE often asked to surface mount items – that is, to place them on top of the mountboard, rather than use an overcut mount. The reasons for using this method vary. It is often because the piece is on handmade paper with an attractive deckled edge, or it could be that important parts of the picture are right on the edge of the paper, or even that the item is of such historical importance that the whole surface needs to be shown. Whichever reason, we need to have a range of techniques to hand to produce a result that will last and meet the requirements of the framing standard we are working to. In the dim and distant past, I often surface-mounted a piece by hinging short lengths of pH-neutral gumstrip in the manner of a stamp hinge. This o to an t i would often come unstuck, as well a not ing ﬂat. u i i nt have many customers who wanted that done! However, gradually we were asked more and more to surface-mount items and so better techniques had to be found. Bear in mind that surface-mounted items will need some sort of spacer to keep them off the glass. This could be a further overcut mount, or narrow spacers hidden by the rebate. Because of this, there will need to be tape attached to the bottom of the piece to hold it in place against the mountboard.

ART + FRAMING TODAY

Surfacemounted items will need some sort of spacer to keep them off the glass

2 What follows is a description of the main methods we use. There are, of course, many variations and personal preferences.

QUICK AND EASY

Cut a normal mount but with the opening 12-15 mm smaller all round than the item to be mounted. Mark the inner so that

it can be re-assembled correctly with the outer. Place the inner on the back of the item, making sure an even amount of margin is showing all round, and use pH-neutral gumstrip to attach (usually at the corners). When the tape is dry, place the outer mount over the inner and the item assembly and again use pH-neutral gumstrip to join the two.

> April 2017 47

framing

IN PICTURES 1 Quick and

easy, inner attached to rear of picture

2 Inner and outer mount re-joined

3 Pass-

through hinges from front

4 Passthrough hinges from back

Notes n Because this method is quite awkward to reverse (though not impossible), it is probably best used for Commended level framing. n When joining the outer and inner mounts, I have found that acid-free self-adhesive tape (ie Ph7.70) is likely to fail after a few months. Water-activated tape is a better option. n This method raises potential problems allowing for movement as the mounted item expands and contracts.

PASS-THROUGH HINGES

Mark the position for (typically four) cuts, slightly wider than the tape to be used (preferably gummed cotton archival tape). Take a piece of tape 30-40mm long and thread it through a cut, gummed side uppermost, leaving around 10mm showing 48 April 2017

at the front. Do the same for the other cuts. Now, with a brush (using distilled or de-ionised water), moisten the protruding pieces of tape. Position the piece on top of the mount and use weights to hold it in place while the tape dries. (Obviously, make sure there is an acid-free cushion of some sort between the item and the weights.) When it is dry, on the back of the mount there will be 20-30mm of tape at each cut which will need to be held in place by another piece of tape (similar to a T-hinge). Make sure you do not cover the cut with this tape. Notes n This method is reasonably easy to reverse. Simply cut the tape at the rear just below the a t oug ut t at on

â&#x20AC;&#x2DC;â&#x20AC;&#x2DC;

Make sure there is an acid-free cushion of some sort between the item and the weights

reason to make sure the cut is not covered with tape), and then it is straightforward to (carefully) take the item off the mount. n It allows for some movement of t it m if t a t of t tape at the rear is not hard up against the pass-through cut. n This method is suitable for Conservation level framing, but m u tant to omm n it for Museum level as the tape is attached to the piece some way in, rather than at the very outside of the item.

NON-ADHESIVE

This involves making cuts in the board (either side of a corner, for instance) and threading polyester (Mylar) tape through in order to hold the item in place. Fix the tape in place at the back of the board with self-adhesive pH-neutral tape (pH7.70). ART + FRAMING TODAY

framing

Notes n This technique is good for allowing movement in the item (particularly when dealing with vellum). n You need to have a clear plan for supporting the item neatly and safely – irregular items can be quite challenging. n Using a head torch will help with handling the polyester strip.

SUPPORTING ITEMS

While this is not strictly surface mounting, I think of it as being in the same area of skills. I have come across quite large items (old posters, for instance) that need to be framed to Conservation standard. Although they often on t n a mount t on a conservation-board undermount as well as a spacer to keep them away from the glass. Straightforward, you would think? Well, I have often come across a problem where the pressure of the f am oint again t t a ing i in uf i nt to u o t t o t which slips and cockles . The solution is to attach pH-neutral gummed tape to the top of the poster, as you would for a T-hinge. Fold the tape over the un mount an u t at t back. The poster is now supported. Just make sure the spacer which is in contact with the poster is non-acidic. Steve Hible GCF(APF) Adv rightanglepictureframing.co.uk

‘‘

You need to have a clear plan for supporting the item neatly and safely

IN PICTURES 5 Rear of passthrough hinge secured with gummed tape

5 6 Non-adhesive, using polyester tape

Are you ready to take your framing business to the next level? Leaflets, stickers and other marketing materials are available free (postage only) from the Guild to qualified members that explain to your customers all the reasons why they should only entrust their precious art and memorabilia to a GCF qualified framer.

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April 2017 49

framing

Preserved for posterity What happens when you send a painting to a restorer? Jasminas Braticius GCF(APF) Adv provides a fascinating insight into the techniques he uses to clean the work, slow the deterioration process and restore the appearance of the paint surface

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IN PICTURES

The cracks in the work probably appeared because it was hung in a place that was too dry

ASSESSMENT

Loose areas of gesso are covered with pieces of restoration tissue, adhered with 5% fish glue made from sturgeon air bladders. The pieces of tissue are left to dry and a warm iron is then used to transfer the fish glue to the loose layers of gesso on the surface of the painting. This process helps to prevent the gesso from crumbling away where the original binding adhesive has dried out. 50 April 2017

HE PAINTING, entitled Portrait of a Woman, was brought to me for restoration by a barrister who collects art in his spare time. He picked up the painting in a ﬂ a ma t fo a oun . m not u of t a ti t i ntit but the work appears to be signed o t . t a an unf am oi painting on canvas with a wooden t t a oun m in i My initial inspection of the work found no physical damage: no water, humidity or light damage, and no infestation – just thick layers of dust. The canvas itself was very thin; what appeared to be a single layer of gesso on the canvas was also very thin and smooth. The cracks in the work probably appeared because it was hung in a place that was too dry – above a radiator or a o to in atti causing the canvas to shrink. Also, the gesso had started to lose its binding abilities, creating a very weak bond between the canvas and the paint layers. Some small parts of the gesso layer were basically nothing more than chalk, where the binding adhesive had completely dried out. n tion it a ig t showed that the painting had no previously touched-up parts or details. ART + FRAMING TODAY

framing

‘‘ For cleaning, I usually use two very simple things – warm distilled water and cotton buds

CLEANING

o aning u ua u t o very simple things – warm distilled water and cotton buds. t to a oi u ing mi a as much as possible and this simple method helps in about of i tu aning ta . o mo o mati i u u ain o oug mu ion an an ut a i (PC-11). For very stiff dirt – often a ART + FRAMING TODAY

mi tu of u t g a an o a ni a into t at clean turpentine or even pure medical alcohol. The proportion of solvents used is carefully considered and is unique for each artwork being cleaned.

REPAIR

f an a t o aint a a crumbled or its gesso has lost its chemical structure – as it had on it t i a t o u t

following procedure: Gently clean the damaged u fa an ait unti it completely dry. a gu u g u ma f om tu g on air bladders. Apply the glue (on top) and cover that area with restoration tissue (very thin paper). Leave to dry out. ing a a m i on an another sheet of paper on top

Above left: the restored painting. Repairs were made to the gesso layer and watercolours are used to retouch the paint surface

1 2 3

> April 2017 51

framing

IN PICTURES A preparation of 5% gesso is made with chalk and sturgeon air-bladder glue. This is used to fill any tears. After it has dried, cotton buds are used to clean off the excess gesso. It is important to give the restored areas as similar a texture as possible to the rest of the artwork

to prevent the iron from touching t at o u fa g nt i on the affected areas. The applied glue will soak through the paint, gesso and canvas, creating a bond between them. When the damaged area is thoroughly dry, remove the tissue patches, dampening them slightly as you go. a g o it a and sturgeon air-bladder glue. t i mi tu to an t a and after it has dried, use cotton u to an off t g o. Take care to give the restored a a a imi a a t tu a possible to the rest of the artwork.

RESTORING THE PAINT SURFACE

Cotton buds are used to clean off the excess gesso. The restored areas should be given a texture as close as possible to the rest of the artwork.

This is the longest part of to ation. t a i at process that can take hours and ou of o . u at o ou an again i ti at . use Schmicke or St Petersburg watercolours, depending on the o ou ang of t a t o . u t n t gaug u o i fo am i f om in o ton an og o a in i. f n a a af o of o ga a tting ag nt for watercolours â&#x20AC;&#x201C; to the water.

FINISHING

on u tou ing a ni Winsor & Newton brand â&#x20AC;&#x201C; because in the future someone else might want to remove that varnish in o to fu t amag to t a t o . ing a a ni ign to be removed easily reduces the risk of damaging the work during future cleaning and restoration. Jasminas Braticius GCF(APF) Adv is a framer, restorer, photographer and artist http://framingdesign.london

CAUTION REQUIRED The Guild does not recommend that you attempt to carry out restoration work yourself unless you are qualified and experienced in the necessary techniques. The work should be passed on to a qualified and experienced restorer. 52 April 2017

ART + FRAMING TODAY

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Contributions welcome! Send them to lynn@fineart.co.uk

Inside the British Library Conservation Studio MAGNA CARTA, Lindisfarne Gospels, Leonardo da Vinci’s notebook and Beatles manuscripts are among the 150 million items held at the British Library. The maintenance that such a collection requires is highly interesting to many framers and artists. Once a month, the British Library in London offers a tour that gives an insight into the work in its Conservation Studio. With that in mind, I booked a place on the tour taking place in February. The tour is held on the t u a of t mont starting at 2pm. Booking is made available online or by telephone. The places go very quickly and it took me several months to get one. The cost is currently £8 to £10, depending on certain categories. The meeting place for the start of the tour is the on ation f a separate building behind the British Library. No items such as jackets and bags are allowed on the tour but these can be left in the on ation f o in the main cloakroom. No photography is allowed inside the building. There were about a dozen attendees when I took the tour. We were greeted by a senior textile conservator and her two assistants. Once the introductions had been made, we were shown into the main studio. One of the conservators showed us posters, documents and stamps being prepared for display in the library’s forthcoming exhibition, Russian Revolution: Hope, Tragedy, Myths. This session was probably the most 54 April 2017

PHOTOS: BRITISH LIBRARY

Each month, the British Library gives a tour of its Conservation Studio. When Cliff Baughen joined it recently, he was fascinated and impressed by the work he saw

A page from the Lindisfarne Gospels (left) and a 14th-century manuscript showing King John riding on horseback, both from the British Library collections

interesting to picture framers as it dealt with mounting. Questions were answered about the methods and techniques used. Moving on, the conservator showed us some work she has n oing on a ﬂag f om t East India Company, dated from about the 1780s. She described the methods she was deploying and showed us various photos of the work she had carried out on the piece so far. I think most people would not have even considered a aging u an it m it was literally in a threadbare

state (though others decide what is to be conserved, of course). It will be int ting to t na on ition of t ﬂag. The British Library and Qatar Foundation are working in partnership to digitise historic images of the Gulf region. The work for this is done in an area in the main building. We were shown how a a i t of it m in u ing books, documents and i tu a ta n t oug the processes of restoration and conservation, translation, indexing, imaging and

i ation a t oug didn’t see the latter stages). The demonstration reminded us that Arabic books and writing are very different from traditional ‘Western’ literature. The technician was highly skilled and knowledgeable, though it’s worth remembering that these are conservators, not professional presenters. The tour lasted for about 90 minutes. It is likely to vary each time, depending on current developments at the library. I learned a lot from it and appreciated seeing behind the scenes and observing the impressive skills involved. Cliff Baughen o fin out ore a out t e tour ee t e r t rar e te . .uk e ent conservation-studiosguided-tour Conservation Mounting for Prints and Drawings: A Manual Based on Current Practice at t e r t u eu , by Joanna M Kosek, is available from the Guild’s website: . n a t. o.u ART + FRAMING TODAY

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Contributions welcome! Send them to lynn@fineart.co.uk

The tusks of a dilemma… Steven McKee GCF(APF) Adv investigates the legal and moral implications of accepting commissions involving items made from elephant ivory RECENTLY I had a phone call from a prospective customer – someone I didn’t know, so I assumed he was phoning around to get prices. He asked if I’d frame a piece of ivory that he had brought back from India. It had originally been framed but it had to be taken out of its original frame to make it easier to be transported home. Trading in ivory dated after 1947 is illegal, as is the export and import of such. I asked him the approximate age, to which he replied that he didn’t actually know, but the condition was excellent. After a brief discussion about framing and mount colours, etc, I asked him if he would bring it in so that I could give him an exact price. This is where the conversation got interesting. He actually changed his mind about the piece and told me that it was camel bone and not ivory after all.

He then said that he would come in and see me once I found out if I was able to frame ivory or not. I rang the Guild Legal Helpline and spoke to an advisor, explaining the situation. A few minutes later, I received a telephone call from a helpline solicitor, and after a short conversation she explained that she had never

come across a situation like this before, and that she would consult with her colleagues that afternoon and get back to me as soon as was possible. An hour or so later, I got a call from another helpline solicitor, who explained that after research and a conference with other colleagues, they found that there was no law covering the framing of ivory,

only the sale, export and import of ivory originating after 1947. Therefore, as far as the law was concerned, a framer could frame a piece of ivory and not be implicated in any way if it were found out to be an illegal piece. We as framers are simply offering a framing service, not importing, exporting or selling the ivory. That leaves us with another dilemma: our conscience! Would you frame ivory, illegal or not? We all know the problems with ivory poaching and the methods poachers use to attain this precious material. As a framer, would you im ta t o an o t from it, or turn the job down knowing where it has come from and how it was attained? I hasten to add that the chap has not been in to my workshop, nor do I think he is likely to be. The Guild’s legal helpline is a free service to members. Go to fineart.co.uk or ca

…And a job you can get your teeth into Andrea Hatch of Cabinet of Curiosities had a monster of a task when a pair of shark jaws landed on her bench for framing. Bone and cartilage require special conditions so Andrea consulted the Canadian Conservation Institute for advice before embarking on the design elements. To create a watery depth to the shark image behind the jaws she painted layers

56 April 2017

of acrylic, stacking them in the frame rebate. Metal attachments were screwed through the acrylic sheets to support the jaws. The whole thing was protected with a sealed acrylic box, which slipped into a groove between the inner slip and the frame, encasing the delicate bone. For a copy of CCI note 6 on ivory, bone, horn and antler contact the Guild office.

ART + FRAMING TODAY

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last word

Sam Cook

Framers Corner

Framers Corner’s Sam Cook is planning an action-packed season of appearances at the Art & Framing Roadshow, where the company will be demonstrating the Wizard CMC

What have you got planned for this year’s Art & Framing Roadshow? We are really looking forward to getting back on the road for the 2017 Art & Framing Roadshows. This will be our third successive year, and we have built on the number of exhibitors joining us each year to have our biggest group so far. There is a really good mix of suppliers, appealing to a broad selection of businesses, including picture framers, galleries and photographers. We have had great feedback from visitors who have attended previously. The show is designed to provide an informal, relaxed atmosphere for people to discuss questions with industry experts and get ‘hands-on’ demonstrations. This is particularly useful with the Wizard CMC. We have a full size ‘Wizard on Wheels’ so people can come along, have a look through the software and see the machine in action. They can take the time to see how easy it is to process jobs, as well as to get more involved in the range of decorative tools. There are always plenty of samples on show to give o a ﬂa ou of at the Wizard can do for their business. We appreciate that investing in a Wizard is usually a big commitment for a business, so we want them to f info m an on nt in the choice they are making. Being able to have a coffee and a chat at a Roadshow is a great way to help customers. Deciding which locations and venues to go to can be a ig t if u t to i a you can imagine – with the large number of exhibitors travelling around, everyone will have their favourite 58 April 2017

‘hotspot’. It is also a little bit limited by the venues as we need to have spaces that are the right size for us and that are easy to access, with parking and so on. We are trying to cover as much of the UK as possible, so please do bear with us and we will do our best to get to a town near you! Did you have a good trip to WCAF? What did you see that impressed you? It was great to make the trip to the WCAF show in Las Vegas this year. The show had a real buzz about it, with lots of visitors and chatter in the halls. It’s always good to see other markets thriving. Although our Wizard distributorship is handled directly through t i u o an of it i always nice to see the guys f om t of an n out the latest tips and tricks that Wizard has to offer. Inevitably, they launch products into their ‘home’ ma t t o it i u fu to see what is happening and get some experience of products before we release them into the UK. From a frame design perspective, there are quite a few similarities between the UK and US, but I noticed there was quite an extensive use of fabric and suede mountboards on samples, which we don’t see so much of in the UK. How is the Wizard dealership business going? We are looking forward to celebrating our 40th anniversary in June this year, and that will also include 18 years as a Wizard distributor (I am now feeling old!). It has been a great achievement to get to this milestone and our

The Wizard 9000 CMC

family business looks forward to seeing what the next 40 years will bring. We have come a long way from the days when my Dad started the business, building sidepinners in the garage at night and selling them during the day. Technology has played a large part in our growth. Introducing the Wizard CMC to the UK market was a challenge initially, explaining t n t to ti a framers and how it could help their business, but thanks to the great reliability of the machines and the resources we have put into supporting and servicing our customers, we are getting new enquiries every day (and there is always a waiting list for second-hand machines). As a sponsor of the Best Mount Design award at the Guild Art & Framing Industry awards, you’ll be among the judges, and this year’s vibrant ‘Magical Mystery Tour’ camper van image should encourage some interesting and diverse interpretations. What sort of qualities will you be looking for in the entries? I am really looking forward to judging the framing competition this year, and

in particular the Best Mount Design award. We have been sponsors for over 10 years and I am always amazed and impressed by the huge range of designs that get submitted. We really do have very talented framers in the UK. The image this year is so bright and colourful that it will be interesting to see if framers have decided to ‘tone down’ the colours to let the image stand out, or just completely ‘go for it’ with a full blast of colour. There is never any right or wrong way to do it. This is a competition piece, so I would always encourage framers to just go with their instincts and let their imaginations go. What other developments have you got in the pipeline in the next year or so? We have always invested a lot of time in offering training to our Wizard customers and this is something that is still popular. After all, it’s no good having an amazing tool like the Wizard in your workshop if you don’t know how to work it. When the machines are installed, there is understandably a lot for customers to take on, so we have always offered additional ‘top up’ training to them. Once customers are familiar with cutting the gu a mount t n it a n ia to a an their knowledge so they can use the full range of designs and tools the Wizard can offer. We hold regular training a at ou of in Leicester, which are always well attended. They are free of charge and are a great way for customers to increase their skills and exchange ideas with other Wizard users.  ART + FRAMING TODAY

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