Picture Framing Magazine - December 2019 by PFM Publishing

EQUIPMENT FOR THE MODERN FRAME SHOP â&#x20AC;¢ CORRECTING MAT CUTS EFFICIENTLY

Contents

PFM is a member of:

Volume 30, Number 12

PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders

On the Cover Wishing you health and happiness this holiday season, from all of us at Picture Framing Magazine and the West Coast Art & Frame Expo. We look forward to seeing you at the 21st WCAF Expo in January! Cover art by Jin Dong

Features 18 New Equipment & Technology 24 Your Shop: A Solution Center 36 Successful Retailing Panel Part 5

Columns

12 Mat Doctors 30 Mastering Mounting 46 Design of the Month

Departments 8 10 40 42 43 44

Editor’s Note Industry News Product Showcase Distributor Spotlight Crossword Puzzle Index of Advertisers

Picture Framing Magazine® (ISSN 10529977) is published monthly, plus one issue by PFM Publishing, LLC, 83 South Street, Unit 307, Freehold New Jersey 07728; phone 732-536-5160; fax 732-252-2270. Subscription Office: Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612; phone 888-238-0049. Subscription: $20 per year U.S., $40 U.S. Dollars per year in Canada and Mexico, $60 U.S. Dollars per year for all international. Single copies, $5.95. If a paid subscription magazine is returned by the U.S. Postal Service as non-deliverable, Picture Framing Magazine will maintain the subscription for one year. If after one year a new address is not provided, Picture Framing Magazine will cancel the order. No refund will be available for that account. Periodicals class postage paid at Freehold, New Jersey, and at an additional mailing office. Entire contents © 2019 by PFM Publishing, LLC. Printed in U.S.A. Picture Framing Magazine registered in the U.S. Patent and Trademark Office. Postmaster: Send address changes to Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612 Agreement Number 1691910 Disclaimer The opinions and information in this magazine are not necessarily those of the publisher and are therefore not to be viewed as such. No part of this magazine may be reproduced without the expressed written consent of the publisher. PFM does not knowingly accept false or misleading advertising or editorial, nor does the publisher assume any responsibility for the consequences that occur should any such material appear. PFM and PFM Publishing assume no responsibility for content, text, or artwork of advertisements appearing in PFM except those promoting PFM. The Publisher reserves the right to review all advertising materials submitted for publication and to not accept any such material deemed inappropriate for any reason.

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PICTURE FRAMING MAGAZINE www.pictureframingmagazine.com Bruce Gherman • bgherman@pfm-group.com • 848-444-5202 Kimberly Biesiada • kbiesiada@pfm-group.com • 848-231-3510 A RT D I RE C TO R Jin Dong • jin@wcafexpo.com • 848-231-4082

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CONTRIBUTORS

Jay Goltz • PRE S E RVATI O N E D I TO R Hugh Phibbs • M O U N TI N G E D I TO R Chris A. Paschke, CPF, GCF M AT D O C TO RS Tim Franer, CPF • John E. Ranes II, CPF, GCF • Brian Wolf, CPF William B. Adair • Ken Baur • Jared Davis, MCPF, GCF Paul MacFarland, MCPF, GCF • James Miller, MCPF, GCF

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CONTENTS

E-mail to editor@pfm-group.com

AD INDEX Letters may be edited for space and clarity

6 PFM December 2019

PFM PUBCO • BOOK DIVISION BOOK SALES COORDINATOR

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PFM PUBLISHING, LLC PRE S I D E N T

Bruce Gherman

Visit us at WCAF Expo Booth 1027

FROM THE EDITOR’S DESK

World-class education, networking opportunities, special events, product demos, and more await you at the 2020 WCAF Expo & The National Conference. CONTENTS AD INDEX 8 PFM December 2019

t seems that once fall blusters in, followed on its heels by winter, our lives start to speed up and don’t slow back down until we emerge from the holiday haze into a new year. As you rush to fill those last job orders and, hopefully, plan for some quality time with the important people in your life, all of us at Picture Framing Magazine would like to wish you a joyful holiday season. December here means everyone is hard at work putting the final touches on the 2020 West Coast Art and Frame Expo and The National Conference, which is slated this year for Jan. 26-29 at the Rio All-Suite Hotel and Casino in Las Vegas. If you haven’t signed up to attend yet, it’s not too late! Go to www.wcafexpo.com to register for the trade show and reserve your seat at the conference sessions and workshops that are most beneficial for you. With the industry’s top instructors covering a wide array of subjects, you will undoubtedly build a full schedule for yourself in no time by choosing from the extensive conference lineup. The trade show, meanwhile, will feature hundreds of exhibitor booths for you to explore. You will

get a first look at the new products of the new decade and have the chance to connect one-on-one with company representatives and find solutions to your business needs. Once again, the WCAF Expo will host the PPFA Annual Convention, featuring the International Framing Competition, a Welcome to Vegas reception, and much more. Since its inception 21 years ago, the show’s purpose has been to provide continuing education, showcase new products and vendors, and offer networking opportunities that help attendees succeed in the framing business. That means whether you’re seeking new equipment and supplies, new business and marketing ideas, or new frame design skills and concepts, you will benefit from a trip to the Expo. I am excited to experience the show with you in our first year at the Rio. Please don’t be shy: stop by the PFM booth, say hello, and bring your feedback. See you there!

Kimberly Biesiada Editor

Visit us at WCAF Expo Booth 1517

INDUSTRY NEWS Special Event a Big Success in Washington, D.C.

Framerica Announces Social Media Contest Winner

Professional Picture Framers Association members explored

Jim Perna of Long Island Picture Frame was recently named the

American frame history, toured galleries, and connected with

first-ever social media contest winner for Framerica, receiving

their peers during a special weekend-long event in Washington,

1,000 feet of free moulding. The contest selected a

D.C., Oct. 26-27. The event, organized by

random winner from those that

the PPFA, started at Gold

followed the company. “It was

Leaf Studios with a session

fun, and hopefully it was a good

led by frame history expert

way to increase followers,” says

William Adair. Adair present-

marketing

ed “An Introduction to the

Ferrara. “We’ll have more win-

History of American Frames”

ners.” For more information, visit

featuring highlights from his

framerica.com.

private collection. Attendees

director

Corinne

Perna and Framerica’s

learned the basics of Ameri-

Fletcher Business Group Appoints New CEO

can frame history from Colo-

Fletcher Business Group, a leading global provider of solu-

nial, Federal, and Empire to Victorian, Modernism, and more,

tion-driven technologies for a wide range of industries, has an-

with examples of frame styles that included Charles Wilson

nounced the appointment of Jim Welch to the position of chief

Peale, Stanford White, and Georgia O’Keefe.

executive officer.

Attendees explore Washington, D.C.

Later in the afternoon, attendees toured the National Por-

FBG Past President and CEO Blair Tomalonis will see

trait Gallery and visited the Lunder Conservation Center with

Welch through the initial transition before retiring from his 22-

conservator Martin Kotler. Sunday’s agenda included a hands-

year tenure with the company at the end of the year. Ben Pa-

on gilding demonstration with Adair followed by a pasta par-

harik will continue to serve as FBG’s executive vice president

ty and tour of the Anderson House, Society of the Cincinnati’s

with a renewed focus on expanding operations through new

historic headquarters and a National Historic Landmark since

business opportunities. Both Tomalonis and Paharik will contin-

1938. Visit the PPFA’s Facebook page for more event photos.

ue their roles as FBG shareholders and members of the board.

Pietro Wins Kate Neisser Award

ness Group team,” says a board representative. “His breadth of

Kevin Pietro, CPF, owner of The Great Frame Up in Schaum-

experience in building and leading small to mid-size businesses

burg, IL, and Oak Park, IL, was recognized for his work in youth

will enable FBG’s continued growth and create new opportuni-

arts education when he was named the 2019 recipient of Snow

ties for both our employees and customers.”

“We’re excited to have Jim Welch join the Fletcher Busi-

City Arts’s Kate Neisser Award.

“I am thrilled to join Fletcher Business Group at such an exciting time in the company’s history,” says Welch. “With FBG’s

City Arts’s annual gala at the Art

ongoing strategic acquisitions, expansion into new product cat-

Institute of Chicago on Sept.

egories, and talented team, FBG is a true global market lead-

27, is given to individuals who

er with limitless potential. I am excited to take the helm and

“share Kate’s passion for the

look forward to working alongside our talented employees and

importance of arts education for

customers to continue FBG’s trajectory to be a leading solution

children and youth while they are

provider.”

CONTENTS

The award, which was presented to Pietro during Snow

in the hospital,” according to the

AD INDEX

Pietro at the Snow City Arts gala

organization. Pietro has worked

Carney Celebrates 15 Years

with Snow City Arts for 17 years.

Susan Carney recently celebrated 15 years

During that time, he has curated

with Framerica as a key member of its

children’s artwork for its Gallery

customer service team. “Susan is terrific,”

Night and other public-facing events.

notes VP Josh Eichner. “She is incredibly

Snow City Arts, a Chicago-based organization, brings one-

knowledgeable and cares deeply for cus-

on-one learning opportunities to the rooms of pediatric patients

tomers and colleagues. We’re fortunate to

at its hospital partners. To learn more, visit snowcityarts.org.

have her.” PFM

10 PFM December 2019

Susan Carney

CALLING ALL PROFESSIONALS!

YOUR INDUSTRY CONFERENCE IS AN EXCLUSIVE OPPORTUNITY Where else can you network, make valuable connections, and learn from industry experts all in one place? Identifying new trends and market opportunities will allow your company to adjust and stay ahead of competitors. It’s a great training opportunity to discover new tools, strategies, and mentorships for you and your employees. Conferences create the conversations that are important and help stimulate new ideas. The National Conference at the WCAF Expo is an investment in yourself and your business. Join us in Las Vegas for a few days – the rewards will be long-lasting.

www.wcafexpo.com

WEST COAST ART & FRAME

EXPO AND

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THE MAT DOCTORS

By Brian Wolf, CPF, GCF

Making Corrections to Mat Cuts Understand problem areas so you can skip some “wild guessing.”

very time you see an article about drawing designs cut with a computerized mat cutter, you will see

this sentence: “And make a test cut to make sure it looks good.” The implication here is to make any necessary corrections, but it is easy to misunderstand and overlook several problematic design situations. Let’s follow a drawing project through its stages to see what these design situations are, how they are created, why they are problems, and how they can be corrected.

Starting Your Drawing The project you see here is a two-layer scene of old buildings. The buildings themselves will be rendered as positive shapes of matboard

the blade may chatter on its path around the curve. Spaces between openings should be about

3⁄16''

wide. If these strips of matboard

between the openings are narrower, there

connected to the inside of the rectangular

may be only a sliver of the mat’s surface pa-

opening. Begin by drawing outlines of the

per showing between the bevels. Angles are

buildings with little concern for cutting ques-

not important to measure, but sharp angles

tions—but begin with your final size in mind.

require very long overcuts on the back of the

This scene will be 7'' or 8'' high.

mat to render the bevels. These long overcuts

CONTENTS

As the drawing takes shape, the first

can slice into nearby elements in the design.

checks are for the sizes of the curves, the

Beyond these beginning checks, there

widths of the spaces, and the sharpness of

are several details in this initial drawing that

the angles. Arcs should be no less than ½'' in

illustrate common drawing situations that

diameter. If the curves are tighter than this,

turn into cutting problems. To render the im-

AD INDEX

Brian Wolf began framing pictures while attending Iowa State University. In 1973, he won the Janice Petersen Andersen award for outstanding design student. He began demonstrating his hand-carving technique for mats at conventions and teaching for the PPFA. Brian started his own framing business in Cedar Rapids, IA, in 1983. Since 1989, he has focused on leading workshops around the world on his matting techniques. He has authored books, appeared in videos, and contributed to trade magazines. He joined Wizard International, where he contributed his artistic touch to product development. He continues his work with Wizard through education, events, and design content.

12 PFM December 2019

Compare this final cutting test to the green drawing on page 16. Here, the problems of the initial drawing have been identified and corrected, resulting in a more precise mat design.

age accurately and artistically, these situations almost

The limits of arcs, angles, and spaces are obvious. But

always arise naturally. The arrows in the colored screen-

these commonly overlooked design situations pointed

shot of the design (below) point to the question areas, be-

out here are the spots that cause the most cutting prob-

ginning at the top.

lems. The first test cut will answer all these questions.

1.Will the circle on top cut correctly? One important initial test is to make sure the diameter of the circles and arcs are not so small that the bevels are rough. Another potential problem with small curves is that the bevel may cut smoothly, but the path through the matboard may shift the blade out of its intended angle, causing the cut to be too shallow. 2. Is this appendage of matboard too narrow? Will it be cut off? Will its connection be too weak to keep them in place? Will it look proportionately correct? There are several spots in this design with narrow appendages: the vertical strip of matboard holding the circle atop the cupola at the top arrow, the spire on top of the circle at the left, and the horizontal elements near the bottoms of the windows. The real problem is best observed on the back of the mat. The overcuts on the back need to be a specific length to render the bevels, but if the appendage is too narrow, the overcuts will be almost continuous across the appendage and only the surface paper of the matboard will hold the appendage in place. This connection will be too weak. 3. Is this decorative element too small? This is an example of a delicate element that is crucial to identifying the building. It must be included and it needs to be proportionately small. It raises all the concerns so far; the size of the arc and the width of the appendage.

Analysis of the First Test The initial drawing passes the test for arcs, angles, and spaces. The image in the design software looks reasonable. However, the photo of the first test cut shows that all these questions about common problematic design situations (left) have problems that need to be corrected. The circle at the top right cut terribly; the spire at the left is far too narrow; the detail on the side of the dome is far too small; and all three diamonds were cut free. All the appendages remained attached, but several of them need to look wider, and some of the attachment points are tenuous. Though the separations between the windows are not real cutting problems, they look much too thin to be convincing architectural elements. It is easy to be fooled by good-looking images in the drawing program because the line on the screen is the bottom of the bevel. The top of the bevel is a parallel path 0.05'' away (the thickness of the matboard). This may sound insignificant, but a

½'' diameter circle on the bot-

tom of the mat becomes a 0.4'' circle on the top of the matboard. A strip of matboard 0.17'' wide at the bottom of the mat is only 0.07'' wide on the top of the mat. The drawing with the red and black lines (page 16) illustrates the cutting problems fairly accurately. The black

4. Will the diamond shape remain attached? Angled cuts are a special case for appendages. The overcuts required to render bevels of acute angles are longer than the overcuts of right angles. The points of attachment for all 3 diamonds in this design are 0.17” wide—only 1/64” less than the 3/16” guideline. This size is an experiment to see if they can be a tiny bit smaller. 5. Is this strip of matboard separating the window from the wall wide enough? There are three considerations here. First, if a long strip of matboard like this is too narrow, it will be flimsy, it will not remain straight. Second, if the strip of surface paper on top of the matboard is only a sliver, it may delaminate as it is cutting. Third—and most importantly—it needs to look proportionately correct so that the architecture looks good.

CONTENTS AD INDEX

6. Will the overcuts at the angled ends of these appendages be so long that they nick the bevels of the vertical sides of the windows? The situation where one element needs to be close to an adjacent element is common in most designs. Just as the overcuts of an appendage can damage the structure, overcuts can damage adjacent elements and make the design look less finely crafted. 7. Will the transition from the line to the arc at the tops of the windows be too abrupt? Even if arcs are large enough to cut nicely (the arcs at the tops of the small windows are 0.52” in diameter), there is often a disturbing change in the bevel width (or angle) at the transition point when a line suddenly joins an arc. 14 PFM December 2019

line is the line that was drawn—the line at the bottom of the bevel. The red line is created in the drawing program 0.05'' away to approximate the line at the top of the bevel. Look at the spire at the left to see how narrow the red section is. It even crosses over itself at the top. On the right, the narrow column holding up the circle is equally narrow. See that the diamonds are all closed at their bottoms, indicating that they will be cut free.

Drawing a Second Version The drawing with the black and green lines (page 16) shows the design with the improvements. The black line is the line that will cut, and the green line is an illustration of the line at the top of the bevel. The green line is only on half the drawing so that it is easy to see the black line alone. Note how coarse the details appear with the black line alone. None of the appendages or spaces look delicate. But see how all the details appear much more precise

along the green line—the line at the top of the bevel.

the wall was an experiment in delicacy, but it was neither structurally sound nor good-looking. It was 0.16'' wide. In

Identifying the Corrections

the final design, it is 0.3'' wide.

The seven arrows in the illustration on page 14 pointed to

6. The concern was whether the overcuts from the

areas of question in the design. Here are the changes that

angles at the ends of the horizontal elements at the bot-

were made to improve both the cut quality and the artistry

toms of the windows would nick the bevels at the vertical

of the design.

sides of the windows. To eliminate these nicks, the angles

1. The circle on the top of the building at the right was 0.46'' in diameter. In the final drawing, it is 0.55'' in

are notably less pointed and 0.03'' farther away from the vertical sides of the windows.

diameter.

2. The concerns of appendages

are

The

between

their

side

transition

the

and

vertical

the

semi-

attachment and their

circle at the top was the

appearance.

ap-

concern. It cannot be

pendage of matboard at

seen in the photos, but

the bottom corners of

the bevel angle of the

the cupola on the top of

semicircles appears to

the building on the right

be different from the

was 0.17'' wide; now it is

bevel

0.22'' wide. The strip of

lines. At the point of

matboard that holds the

transition, there is an

circle was 0.13'' wide; it

unattractive blip in the

is now 0.25'' wide. The

bevel. Though not ev-

spire on top of the cir-

eryone would find this

cle of the building at the

disagreeable enough to

The

left was 0.13'' wide at its base. It was clear that this was simply a trial to see if a spire this narrow

The red line is the path of the top of the bevel, 0.05'' away from the black line. Note the places where the red line crosses over itself and where appendages are too narrow or cut off.

This drawing shows corrections for the cutting problems. The green line shows the appendages look better and the details are more precise, despite the look of the black line.

was possible. Now it is

the

vertical

change, one proposed fix (despite the objections

from

architec-

tural purists) is to use a smaller portion of a

0.2'' wide. The horizontal elements near the bottoms of

more relaxed arc (0.65'' in diameter) that joins the verti-

the windows stayed barely attached at 0.17'' wide; they

cal sides at an angle. This way, there is no transition and

are now 0.19'' wide to strengthen their connections.

no bevel angle change.

CONTENTS

3. Remember that this element is representative of a

The promise of the CMC was that any imaginable fig-

critical detail in any figure: curves, lines, and spaces that

ure could be drawn and cut in a mat. This remains true,

might be too small to cut. They are such important details

but keep in mind that the machine is dragging a wide

that they cannot be changed during the initial drawing

blade at a 45-degree angle through material that is rather

process. The arc was 0.28'' in diameter; now it is 0.42'',

thick. Cutting problems are bound to arise if the details

and there is less of it. The spike at the side was 0.17'' wide

are too small. Every correction in this example was to

at its base; now it is 0.24'' wide.

make the element larger, after all.

AD INDEX

4. The attachment point at the diamonds’ bottoms

With a better understanding of the problem areas

was 0.17'' wide. Though this width works fine for append-

and a checklist of things that can be measured, a few

ages connected at right angles, it is too narrow for ap-

rounds of “wild guess” drawing and testing can be elim-

pendages with angles like these diamonds. The overcuts

inated. Drawing projects—and adventurous parameter

were too long and all the diamonds were severed from

settings in decorative opening shapes—can become a

the building. The attachment points are now 0.22'' wide.

pleasure rather than a chore. PFM

5. The strip of matboard separating the window from 16 PFM December 2019

Visit us at WCAF Expo Booth 1109

Picture Framing Equipment for the 21st Century Shop By Kevin Meath

ver the past decade, improvements in tech-

fect recall, matching your designs time after time with no

nology have enabled manufacturers to deliver

additional setup.

new, dynamic options once thought to never

Newer machines cut thicker boards with ease, al-

be available to our industry. If you haven’t upgraded the

lowing for upselling your designs and producing aes-

backroom equipment in your shop or factory in the last

thetically pleasing, higher-value products. Many of these

10 or more years, you are most likely missing out on a

machines use zero-waste matboard clamping systems,

great deal of productivity and quality improvements.

while others use vacuum to hold the board to the cut-

As you will see, the many manufacturers who spe-

ting surface. This can save up to 1 1/2'' of waste in every

cialize in our industry have made great improvements to

board cut and allows much larger mats to be cut from

just about every piece of equipment your company uses

standard-sized boards. In addition, most machines have

or could use. We now have computerized mat cutters,

drastically improved blade changing and holding sys-

computerized saws, and computerized V-nail joiners.

tems. Some machines allow for debossing, decorative pen

Many of these new machines can read bar codes or QR

lines, vinyl embellishment cutting, and even signatures

codes and allow self-setup for absolute accuracy. These

to be “signed” in pencil or pen from a file stored in the

machines let you, the owner or manager, concentrate on

computer. This gives you the freedom to add a high lev-

sales and business improvements rather than chase ac-

el of customization and personalization to your projects.

curacy and productivity issues.

Machines available today allow for nesting and tiling, re-

In addition, manufacturers and distributors offer

sulting in maximum matboard usage and minimal waste.

purchase, leasing, and/or rental programs that allow you

With many newer, large CMCs, you can also choose a

to find the best financial solution for your situation and

“cut other end” option and work through production or-

start improving your bottom line right away.

ders twice as fast. With COE, the machine will cycle back

Let’s take a look at some of the major areas of equipment in your frame shop and what the latest machines

and forth between ends, cutting two matboards each cycle. One operator can become twice as effective!

on the market can do for you.

COMPUTERIZED MAT CUTTERS CONTENTS

The latest generation of CMCs are considerably more effective at creating your products. The new machines are available in larger bed sizes that can cut much larger boards—up to 104'' x 60''. Design capabilities have grown exponentially, and their ease of use can allow you to stand

AD INDEX

out from your competition. With a new CMC, you can create multi-layer mats; cut letters, numbers, and logos; and design matting that replicates traditional, hand-carved mats. The operator can store an array of designs, from basic to extremely complicated, in the machine’s software to allow for per18 PFM December 2019

The AF-500 Frame Joining Robot from Fletcher Business Group

VISIT US AT WCAF EXPO BOOTH 1529

WALL CUTTERS Today’s wall cutters offer a much higher production level and are far higher quality than previous iterations. New models have better bearing systems that hold the cutting heads to stop the flex and wander problems that have caused inaccuracies in the past. They have interchangeable cutting heads that allow for consistent, accurate cutting of a wider variety of rigid substrates. The latest versions of wall cutters will cut acrylic, aluminum composite, cardboard, corrugated plastic, foamboard, Gatorfoam, glass, matboard, MDF, polystyrene, and PVC, making your design possibilities almost endless. You can purchase a machine that will cut up to 96'' vertically. There are both fully manual and pneumatically powered machines on the market. None of these machines require electrical power. They now come standard with production stops that allow for quick cutting of repeated measurements. Finally, most machines can be set up for a wall-hung configuration or stand alone, although some do require an optional stand.

The DY104 pneumatically operated underpinner from Universal Arquati

trol setup and allowance amounts for any profile. Many of these saws can be equipped with vertical or horizontal hoppers feeding the moulding to the saw. These saws are extremely quick and valuable in the labor they save. Additionally, there are machines available on which the operator pulls the blade through the moulding for complete control of the cut. These machines are especially useful for very wide mouldings, giving very nice cuts

SAWS

with no adjustments needed for a perfect miter.

The latest generation of saws offers many improvements

UNDERPINNERS

over their predecessors; most noticeably in dust collection and measurement quality. We can now enjoy much cleaner working conditions with saws that are safer than ever. The clamping systems are mostly hands-free, which allows the operator to be safe and control the saw’s action. Today’s saws use blades from 12'' (294mm) to 14'' (343mm), allowing very wide moulding to be cut with great accuracy. There are machines that use auto measuring tables that allow user input or are set up by scanning a bar or QR code. These machines are quick and extremely accurate with complete repeatability. Shop management can con-

Today’s underpinners are better at joining frames, easier to set up, and faster to use than those in the past. Some current models can be automatically set up using bar or QR codes from a work order, so the shop owner or manager has complete control over where V-nails are placed in the moulding and the quantity of nails used for every corner. The machines can store data for up to 5,000 different profiles and nail placements. This is a huge time saver and potentially saves product and rework by preventing mistakes and bad joins due to poor placement of V-nails or using incorrect V-nails for your moulding. Several machines are available that have a “turret” nail system, allowing the operator to select up to five nail

CONTENTS

sizes and locations, programmable for up to 5,000 different profiles. These machines allow the operator or manager to select the best possible combination of V-nails to correctly join the frame. By storing the data, the operator can recall accurate information every time for that

AD INDEX

profile. This guarantees the profile is successfully joined, even for the most difficult profiles. There are also machines offered by several manufacturers that operate on a “joystick” system. Your moulding The CS 200 CART pneumatic underpinner from Cassese 20 PFM December 2019

(up to 6'' wide) is clamped in a separate operation than the firing of the V-nails. This allows the operator to place

as many V-nails as needed in unlimited locations. These

changing V-nail sizes and nail heads. Frame size adjust-

machines can also be set up to have stops for front and

ments are programmed through a 10'' touchscreen panel.

back V-nails.

Expected production rates for the Robot are 720 to 900

One breakthrough machine is the AF-500 Frame

joined frames per hour; this closely matches the output

Joining Robot from Fletcher Business Group (FBG). This

of six to eight workers using dedicated joining machines.

machine is suited for high-volume production with au-

From added customization of products to overall

tomatic frame joining of moulding and canvas stretcher

production improvements, todayâ&#x20AC;&#x2122;s picture framing equip-

bars. The Joining Robot system consists of a vertical feed-

ment and technology gives you choices you could not

er that automatically positions the moulding into four

otherwise make on older models. The 2020 West Coast Art

individually controlled joining stations, each simultane-

and Frame Expo taking place next month in Las Vegas will

ously inserting V-nails in one or multiple positions per

give you an opportunity to see all these machines in op-

corner. The cut frame legs can be supplied via the convey-

eration, talk to vendors, and connect with fellow framers.

or system directly from a double miter saw. The automat-

Find out how you can start seeing the margin improve-

ic joining process uses a unique vertical clamping design

ments new machines can yield for your business. PFM

for maximum joining performance, increasing production through-put and yield rates. Average cycle time for four-corner joining is four to six seconds, depending on required V-nail positions. The system is also capable of stacking V-nails. The Joining Robot handles frame sizes from 8'' x 8'' up to 30'' x 47''. The average setup time for changing frame sizes is less than one minute, excluding any needed setup time for adding V-nails to the storage trays and

CONTENTS AD INDEX 22 PFM December 2019

Kevin Meath Kevin is a framing professional specializing in operations, sales, and management. His skill set enables him to consult in all areas of frame manufacturing, from small, low-volume, extremely high-quality shops to very high-volume OEM factory production operations. He has extensive experience in plant layout and lean manufacturing practices, design, and product sourcing. Kevin is currently a consultant working with manufacturers who want to improve productivity, cut costs, and improve yields. His clients range from small companies looking to expand their offerings to larger operations with needs to control costs and improve productivity.

SEE US AT WCAF EXPO BOOTH 1017

Turning Your Shop into a Solution Center By Sean Kogan

ave you recently caught yourself saying to

part of all of us that values speed, efficiency, and conve-

someone, “I am just so busy?” It seems we have

nience in our transactions? A 2018 Pew Research Cen-

less time than ever to check everything off

ter study found that 85 percent of Gen Xers (ages 38 to

our to-do lists. In today’s hyper-connected world, our

53), 67 percent of baby boomers (ages 54 to 72) and 30

smartphones, tablets, computers, apps, and internet

percent of the Silent Generation (ages 73 to 90) have

service captivate our attention, but that isn’t an alto-

adopted the use of technology and smartphones and

gether bad thing. The brilliant fusion of apps and ser-

view them favorably.

vices (Amazon, Venmo, and Starbucks mobile pickup,

The upward trend of technology adoption by all

to name just a few) enhance our lifestyles, save us time,

age demographics continues because technology pro-

and allow us to be more productive.

vides convenience and solutions that ultimately save

I must confess: I am a millennial. Stay with me! I

us time—our most finite resource. While we can cre-

am considered a “cusper,” born on the edge of the gen-

ate stunning designs and manufacture quality custom

eration in 1983 (those born between 1981 and 1996 are

framing, today’s consumer wants more than that. They

widely considered to be millennials). As a millennial

want the experience and solution your business pro-

who has been marketing to millennials since joining

vides to be convenient, enjoyable, and fulfilling.

CONTENTS

my family’s framing business full-time in 2007, I can

How do we as framing retailers become more of a

relate to the challenge of constantly having to trans-

solution center for our customers? Let’s examine some

form your business model to accommodate a genera-

ways you can modernize your business for the 2020

tion stereotyped as entitled, poorly prepared, lacking

marketplace and truly become a one-stop shop for your

loyalty, and tech-obsessed.

customers.

Do these consumer characteristics only apply to

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the millennial generation? I don’t think so. Millennials

LET CUSTOMERS FIND YOU EASILY

get a bad rap as the consumers who want it fast, want it

To start, can your business be easily found by potential

now, and want it for the cheapest price, but isn’t there a

and returning customers? Regardless of whether or not

24 PFM December 2019

YOUR BEST YEAR IN BUSINESS YET Whether your goal is to build your brand, expand your online marketing presence, or increase your sales efforts, The National Conference has the seminars you need to succeed.

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INSPIRE CUSTOMERS WITH DESIGN IDEAS Every sale in front of you is the perfect soil in which to plant the seed of your next sale. To do this, you also need help from your store layout. Beautifully laid out moulding walls will tell the customer what frames you sell, but it doesn’t tell them what kind of solutions or magic you can create with those frames. How do you show what you can frame, how you frame it, and the endless variety of design techniques available? What “finished framed (or unframed) solutions” do you offer, if any? Outsourcing installation services or offering them in-house can hugely improve your customer’s overall experience with your shop.

you have a website (which I believe to be critical), is your business visible on Google? Google accounts for roughly 92 percent of all searches conducted worldwide; for small businesses who want to be found by users, Google offers free business profiles through its application Google My Business (GMB). Go ahead and Google it (no pun intended). If you haven’t claimed your business yet, it will take you just a few minutes to enter the products and services you provide, your store hours, and the ways you can be reached (phone number, website, directions, etc.). It is an amazing tool. It is also a necessary tool, as Google prioritizes local listings from GMB over organic search results. I must also emphasize that it is critically important to maintain your business hours online, including holiday hours. The searching consumer doesn’t always want to call you to find out; they prefer to see online that you offer said product/service, appear reputable, and that you are open for business. There is no worse experience than searching for a frame shop, thinking it is open, and transporting art to the store only to find that it is closed.

Creating an inspiration area specifically dedicated to displaying techniques and custom finished products with clearly defined labels can be your best tool. You want your customer to say, “I want that,” or “Oh, I didn’t know you could do that!” An inspiration area is the perfect way to show that you also offer printing and laser engraving on various substrates, for example, in addition to framing artwork, sports jerseys, and family heirlooms.

EXPAND YOUR OFFERED SERVICES The next step is to make sure you have external sources and internal procedures in place to procure any outsourced products and services you offer. The last thing you want to do is send a customer to Costco to print their pictures; they will most likely pass two other frame shops on the way! Part of being a solution center is acting as a one-stop shop to your customers. You want your customer to feel that their experience with you was a convenient one. If someone brings in a wrinkled jersey or other garment to be framed, offer to steam or iron it, or offer the services of a reputable dry cleaner. If you offer laser engraving, don’t make your customer drive to an award company 10 miles

MAKE A PERSONAL CONNECTION Whether it’s the first, second, third, or 20th time doing business with your customers, try getting to know them.

CONTENTS

Strike up a conversation about the item being framed: why are you framing this, what is the story, where is it going to be hung, what is your home’s style? Not only does this ensure the customer is getting the best possible finished

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piece, but people also love to talk about themselves and their possessions. This provides guidance and value to the customer, and can open the door to a future sale, an upsell, or a product they need that you can provide.

26 PFM December 2019

Imagine being able to tell your customer that you can print their family photo onto the substrate of their choice, then frame it for them!

Visit us at WCAF Expo Booth 1335

any sale is the one you may not be able to be there for, hanging it on the wall. Beautiful framing is exciting and gratifying. It helps make a home a home. That excitement shouldn’t be diminished in the final moment because the hanging system has no instructions. It’s all about instant gratification these days, right? Do you offer delivery and/or delivery and installation when a piece is too large to fit in a customer’s car or is too heavy to be hung by one person? I understand that those can be difficult services to offer. You may be a oneDelivery is a great service to offer your customers. Don’t want the hassle of DIY? Partner with a contractor experienced in handling art.

away; facilitate that service for them. If you have a customer who wants to frame their mirrors, partner with a local glass company to remove their existing mirrors. I understand that it is not always possible to offer things like printing or laser engraving in-house, which is why I encourage you to partner with other local businesses that do provide these services. Having a network of partners allows you to build a toolbox to solve whatever challenges your customers bring your way. Make sure with all these outsourced services that you include facilitation costs in your price. However, I recommend that you avoid breaking out any courier or delivery fees on your customers’ receipts. For example, let’s say you framed a photo for a customer and you outsourced the photo’s printing. The print itself cost you $5, but the delivery cost you $15. Rather than showing your customer this breakdown—which could leave a negative impression—simply list on the receipt that their 8'' x 10'' photo print cost $20. If you are concerned about charging higher prices for outsourced products and services, don’t be. You are providing an added convenience for your customers. Look at the food delivery app industry; according to research conduct-

or two-person crew and can’t leave the shop or can’t afford a vehicle large enough to transport oversized art. Don’t worry—that’s okay! Delivery and installation comes with a host of complications regarding qualifications, licensing, and insurance requirements. If these services are unrealistic for you to offer in-house, I recommend partnering with a local contractor who has experience in handling art and is licensed, bonded, and insured to do so. You can also ask local moving companies, who commonly offer the service. Last but not least, check into apps like Thumbtack that offer local professionals for all sorts of services. Within the app, contractors have star ratings and are insured under the Thumbtack umbrella. Ultimately, your relationship with a customer is a creative marathon, not a sprint. You don’t need to feel pressured to implement drastic changes all at once. In the wise words of Confucius, “It does not matter how slowly you go, so long as you do not stop.” Don’t stretch yourself or your business too thin trying to offer the “perfect” solution. Focus on what you do well, and when you have found one new solution that works for your brand, try to add another, and then another. It will ultimately make your business—and your customer’s experience—that much better. PFM

ed by Allied Market Research, the global market for food

CONTENTS

delivery mobile apps was valued at $3.12 billion in 2016, and is estimated to reach $16.6 billion by 2023. That’s significant growth for an industry that charges an average of $2.99-$7.99 plus tip to deliver your food. Consumers are

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willing to pay for convenient solutions. Speaking of convenience, how do you facilitate the process of getting finished framing in the hands of your customers and, ultimately, on their walls? Do you provide picture hanging instructions (printouts or videos) with courtesy hangers? Your final solution and interaction in 28 PFM December 2019

Sean Kogan Sean is the VP of marketing for Arizona-based Hall of Frames. Growing up in the family framing business, Sean worked throughout high school and college, learning just about every trick of the picture frame trade. He attended the W.P. Carey School of business at Arizona State University and earned degrees in both marketing and business management. Since joining Hall of Frames full time in 2007, Sean has creatively paired his knowledge of picture framing with business development strategies to develop new revenue streams, increase online engagement, and re-tool much of the in-store custom framing experience.

Visit us at WCAF Expo Booth 1513

MASTERING MOUNTING

by Chris A. Paschke, CPF, GCF, CMG

Invasive Mounting: A Better Understanding Which methods are considered invasive and when do you use them?

nvasive mounting sounds aggressive, so letâ&#x20AC;&#x2122;s begin by defining the difference between invasive versus non-invasive

mounting. Non-invasive mounting uses only reversible preservation techniques, leaving no adhesive residue on the art when removed. Invasive mounting refers to any technique using an adhesive that alters the art from its

commercial adhesives are considered inva-

original state, so there will always be adhesive

sive. Invasive mounting creates a bond that is

residue remaining if the bond is broken via

never fully reversible. Permanent bonds may

heat or solvent removal. Invasive mounting is

be dissolved by chemical solvents, while re-

not necessarily harmful to the art, it is just not

movable bonds are broken by the re-applica-

preservation.

tion of heat. In either case, there will be some

Mounting adhesives used in framing are neutral pH, inert, and stable, meaning they will not react with anything else to create a new chemical reaction. It is the saturation of the adhesive (its non-reversibility) and the pH of the carrier, mount board, materials, or surface papers that make a mounting method invasive, not the adhesive itself. Any time an item is glued to a substrate, the conservation

CONTENTS

concept of an archival presentation has been violated, as it may never truly be returned to its original, unmounted state. All non-preservation methods involving

degree of adhesive residue remaining in the art once removed.

Archival Versus Non-Archival Archival treatment refers to the relative permanence of materials used, their ability to remain stable over time, and their ability to never alter the artâ&#x20AC;&#x2122;s original state. Thus, any non-invasive mounting procedure or material used in conservation framing must also be of archival quality and, more specifically, no procedure should ever be done that is not fully reversible. (Removable does not mean reversible!) The procedure of removing an item once

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Chris A. Paschke, owner of Designs Ink in Tehachapi, CA, is a professional picture framer with over four decades of experience. She is an artist and educator, has authored numerous magazine series, including The Essence of Design, Design Concepts, and Digital Directions for PFM, and has four self-published books on mounting. She currently writes the Mastering Mounting column for PFM and is a contributing writer to The Artistâ&#x20AC;&#x2122;s Magazine, The Pastel Journal, and Watercolor Artist Magazine. She was honored with the PPFA Award of Distinction for Leadership 2008, the Vivian Kistler Recognition for Innovation Award 2010, and the PMA Distinguished Service Award 2012. 30 PFM December 2019

Laser color copiers have a heat sensitivity that shows up at 150F and above. Either low-temp 130F HA board or pressure-sensitive adhesives should be used.

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Here are a few very common mistakes and some possible remedies for them: Digital sensitivities. Color copiers began with light-sensitive, heat-sensitive, dry toner. Digital printers began with water-based dye inks that were also water- and light-sensitive. As technology has improved, inks have become pigmented, lightfast, and water-resistant; however, a framer Both photos are mounted to 8'' x 10'' 2-ply rag board. Left mount is warped from surface stress; right sample has been countermounted with the same scrap image on the verso side, resulting in a flat image.

mounted always leaves traces of adhesive residue behind. Even a tiny amount of adhesive soaked into the paper or fabric has altered that artwork from its original state, rendering it non-archival.

Disasters Versus Mistakes A mounting disaster is an irreparable result in the selection of the wrong adhesive or technique. A mounting mistake is an error caused by lack of skill, not paying attention, limited knowledge, or bad judgment. Most mounting mistakes involve poor selection of adhesive type, cost cutting, or simply not thinking prior to proceeding. Newspapers mounted wrong side up, warped mount board, adhesive saturation, ghosting, or using the wrong mounting technique could all be avoided if mounting is fully thought through and researched first. Generally, mounting is very much a study in common sense.

INVASIVE MOUNTING METHODS

HA Dry Mounting HA Roller Laminators Cold Mounts Cold Rollers Vacuum Frame Commercial Wet Glue Commercial Paste Spray Adhesive Manual Applications Commercial Wet Glue Pressure-Sensitive Films & Boards Spray Adhesives

must always remain aware of sensitivities regardless. Wet glues could saturate, run, or fuzz ink edges of water-based images; solvent inks are fine when mounted with wet glues, but not solvent-based spray adhesive. Dry mount heat will damage the toner used with laser copier prints at temperatures over 130 degrees Fahrenheit by mottling the surface gloss, so the best adhesive for an unidentified digital might be a pressure-sensitive or preservation hinging. Solvent photographs may also surface damaged at heat over 150 degrees Fahrenheit. If placed in a mechanical press for less than 30 seconds, it may be fine, but in a hot vacuum press with a draw plus dwell time of three to five minutes, the longer duration could damage the image. Wrong side down. This sounds silly, but it happens. The quickest solution to this dilemma is to obtain a new clipping if available and start over. If it is an irreplaceable heirloom clipping, it should have been preservationally encapsulated between Mylar sheets or in a recto/verso mat. Irreplaceable items should always be treated as any original artwork would be treated. Depending on the mounting technique selected (quite often dry mounting), even a removable tissue will have adhesive saturation in the removed newsprint paper that is irremovable, rendering it unusable. Counter-mounting. Warped mount boards are often the result of using a substrate that is too thin for the art being bonded, resulting in surface tension created by the absorption of adhesive. The only way to compensate for fiber expansion and stresses placed on the surface of the mount board is to mount the same type, weight, and adhesive to the back of the mount board—a technique called count-

CONTENTS

er-mounting. Mounting to the verso side counters the tension created by the front mounting, equalizing and flatten-

NON-INVASIVE MOUNTING METHODS Natural Starch

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Hinges Kozo Backing Cold Alternatives Edge Strips Corner Pockets Mylar Encapsulation Sink Mounts Static Mounts Lacing and Pinning HA Reversible Boards 32 PFM December 2019

ing the warped board. There are basic guidelines for substrate thickness based on mounting size. The following thicknesses are suggestions for standard mountings: • Up to 8'' x 10'': 4-ply matboard, x board, or equivalent • 8'' x 10'' up to 16'' x 20'':

⅛'' foamboard, 2x board, or

equivalent • 16'' x 20'' up to 32'' x 40'':

3⁄16'' foamboard, ¼'' heavy-

VISIT US AT WCAF EXPO BOOTH 1100

PFM December 2019 33

ed to a 4-ply matboard for color with no additional window mat, the simplest solution is to charge for mounting to both the front and the counter-mount to compensate for the stress. Discussion at the design counter should include counter-mounting as part of the mounting charge, which both educates and allows for alternative design possibilities. Adhesive Kraft on Kraft honeycomb panels are wonderfully rigid for their thickness but will also warp if too much surface tension is created without countermounting.

duty foamboard, Gatorfoam, or equivalent • Over 32'' x 40'':

½''

foamboard, Gatorfoam,

¼''

Ryno

Board, ¼'' JetMount, ACM, or equivalent Additional rigidity of the substrate, such as heavyduty foamboard or hardboard, are suggested for projects over 32'' x 40'', especially when being mounted for non-enclosure framing, high humidities, temperature extremes, or outdoor signage. Honeycomb panels are fabulous for their rigid nature but thinner boards will still warp if enough surface tension has been created on too thin a board. When designing for a rabbet too narrow for a thick enough mount board, or when the image is being mount-

saturation. All

adhesives

saturate

po-

rous mountings; it is what creates a good bond with tear strength. When applying wet glue (PVA or EVA), controlling the amount of adhesive during application and even pressure applied during dry and cure will heavily impact that saturation. If wet glue is applied too thick or too wet, it could saturate a porous or very thin mounting. This is most often experienced when mounting thin rice paper or sheer fabric and very absorbent fabrics such as cotton, linen, or wool. Spray adhesives, as with wet glue, can soak through when unevenly applied or too thick or aligned prior to solvent evaporation. In a mounting press, the heat source is the metal platen or glass top. As the mounting package is heated to required bonding temperature, the adhesive is drawn toward that heat source up into a porous paper mounting. The longer a porous project remains in the press, the more it will saturate that paper, so proper draw and dwell times for the tissue or HA board is vital to prevent over-saturation. Higher press temperature than required for adhesive liquefaction and longer duration (dwell time) will exacerbate adhesive saturation. Correcting oversaturated material is near impossible, and often, the removal technique will do additional damage to the art. Once adhesive has soaked into the paper or fabric, it becomes translucent it will probably need to be replaced

Dots of adhesive bonding the backing board and rigid mount board behind the metal photo saturated and soaked through to the front in less than a year of completion.

rather than repaired. Sprays might be removable with heat application, as will thermoplastic dry mount tissues; but even with safe removal saturation, damage is not correctable. Ghosting. Unlike the above adhesive saturation, ghost-

CONTENTS

ing or bleeding may be repairable. Ghosting is the undesirable bleeding through or visible nature of text or images from the verso side of a mounting. The most commonly framed source of ghosting comes from mounted newspaper

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clippings or magazine articles. The paper used for printing is generally inexpensive, porous, and thin enough to readily see print from the back side through to the front. The best solution is to realize this is a mounting problem during the design process, but if the issue is realized only after the art has been mounted, the solution is to remove and 34 PFM December 2019

remount with a clear adhesive onto the same color surface as the dominant color on the back of the clipping—usually black. It’s a good idea to create a sample to keep in your shop and show it to your customers to illustrate this potential issue. One side effect is the slight graying of white paper when placed on a black mount board. Untested adhesive. Selecting an untested adhesive that claims to bond all materials used in a frame may sound like the perfect adhesive choice, but be careful! Consider a thin, dye-sublimation metal plate bonded to a

½''

acrylic sheet

painted across the back with Rustoleum, and then bonded to smooth birch plywood. Dots of adhesive were used between the painted acrylic and the plywood, which held well; but in less than a year, oil had saturated through the paint, becoming visible through the acrylic from the front. Testing would have proven the three layers fused well to each other as marketed, but the colorant in the Rustoleum paint and the adhesive may have been incompatible, which would not have been determined by a simple bond test. When using new, untested materials, every element of the frame package must be considered. A qualified framer knows their limitations, has a list of

Mulberry paper is aligned onto the stone tablet and debossed into the characters using a wooden mallet and felt pad to prepare for inking. Joseph Scheer Blog,”Ink rubbings, Forest of StoneTablets-Xi’an China-Preparing the Paper”, 10/17/13.

professional resources to call upon for advice, reads articles, attends classes, and doesn’t believe everything they see on the Internet. Continuing education is vital to maintaining your edge and your reputation in a world of nonstop technological advancements. To learn more about the elements of mounting discussed here, refer to The Mounting and Laminating Handbook, Third Edition, available at pictureframingmagazine.com (under “Library—Bookstore”). PFM Want to learn more about safe mounting methods? Chris will lead a seminar on Mastering Mounting: Challenging Items at The National Conference in Las Vegas in January.

PFM December 2019 35

SUCCESSFUL RETAILING PANELISTS

MODERATOR

CUSTOM FRAMING: A CHANGING LANDSCAPE

Jay Goltz

Meg Glasgow

Jim McNickle

Kevin Meath

Ginger Hartford

President and Founder, Goltz Group, Inc.

Owner, Finer Frames

Director of Marketing, Fletcher Business Group

Consultant to the picture framing industry

Founder, EurDesign Studio

This is the fifth and final in a series of articles from the Breakfast Panel Discussion at the 2019 National Conference. This annual event brings industry experts together to discuss successful approaches to overcoming challenges in the art and framing industry.

Part 5: Equipment Must-Haves for Shops of All Sizes Jay: The next question is: “I’m looking to get into the frame

es, there are probably mistakes in 20 of them. There are a lot

business. Where should I start? Should I buy my own equip-

of errors in handwritten invoices that the computer is just

ment or just source it out?”

not going to make.

I think it makes sense to get some equipment, but I’ll put this to the panel. What are your thoughts on which

Meg: It’s also great for keeping customer records. When

pieces of equipment are critical and which are okay to not

someone comes in and says, “I want something like what

purchase right away?

you did for me last year,” you can have it all in front of you in two clicks.

Jim: Initially, you’re going to need a wall machine for cut-

CONTENTS

ting glass, resizing matboard, et cetera. You’ll need a man-

Jay: And you won’t look like you’re in the eighteenth centu-

ual mat cutter, or you may want to jump right to a comput-

ry by saying, “Oh, I don’t have any record of that.” Custom-

erized mat cutter (CMC). You’ll also need a variety of hand

ers expect you to have it. The software isn’t only great for

tools to assemble your work. I think that’s a good place to

ordering inventory and keeping records but also for pricing.

start without an enormous exposure of cost.

Having the price for a frame job come from your computer instead of you, your calculator, and a notepad makes a

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Meg: I would add a point of sale (POS) software system to

difference to the customer. When it’s printed out from a

that list.

computer, people will more readily accept that price than if you start adding it up by hand. It’s just what people are

Kevin: That was number one for me.

used to today; in every other store, the price comes from a computer.

Jay: If you don’t have a point of sale software system and you’re handwriting invoices, if you take 100 of those invoic36 PFM December 2019

Kevin: There’s more trust there, too.

Jay: There’s another benefit to having the pricing come from

a good job. If you don’t have new or fairly new equipment,

the software; it’s pricing things objectively. I’ll never forget

you should consider investing in those things. This stuff is

an incident I had in 1986. I’d just introduced a POS software

just not that expensive, and they save time.

system into my store, and a longtime employee of mine said, “This thing isn’t nice to anybody.” I asked what she

Jim: I’d like to make one comment about selecting equip-

meant. She was single, and when a cute guy would come

ment in general. Earlier, we talked about changes in materi-

in, she’d charge him for a 30'' x 40'' when it was really a 31''

als being used in framing and what’s new on the market. It’s

x 40''. Do you think your employees have never said, ‘Oh,

important to understand that today, you want to cut glass

they’re a nice customer, we’ll just take it to the next size

on your machine. But two years from now, maybe you’ll

down?’ Those little things add up to thousands of dollars

want to get into cutting aluminum.

lost. The computer doesn’t do that; it doesn’t have eyes. It’s

Kevin: Think ahead.

pricing things properly. So, number one is point of sale software. I think you have to have a glass cutter and a backing cutter. I think once

Jim: Yes, think ahead. You want to invest in equipment to-

you get up to six or eight mats a day, a CMC will pay for

day that will put you in a good position tomorrow. You want

itself.

to be able to capitalize on new trends in materials and not have to turn down business or outsource to get it done. By

Kevin: I’d add an underpinner to the list.

having the equipment in-house, you can control your cost, quality, and lead time. That’s something to think about from

Jay: Oh, for sure. And make sure you have good equipment.

an investment standpoint; ask yourself, ‘Where do I want

There are people using underpinners today that were made

my shop’s capability to be in a few years?’

in the 80s, when they were invented, and they aren’t doing

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Jay: I want to touch on the concept

shop for the next 30 years.

they’ll buy it from your competitor.

can’t afford a better machine, but can

Ginger: Investing in equipment is

Meg: That’s the biggest myth;

you afford to lose business? It comes

also important to improving overall

“There’s no money in my town. Peo-

back to return on investment. I know

customer experience. We know ma-

ple aren’t going to spend that.” The

people like to buy used equipment,

chines like underpinners and mat

town my business is in—Eagle, ID—

but in my opinion, it’s frequently

cutters are worth the investment

has a population of 15,000, and I can

not worth the price difference. Even

because they are the tools needed

sell multi-thousand-dollar frames. I

when I started my business out of

to craft a framer’s product, but tools

can sell premium products.

the trunk of my car, I always bought

like point of sale software and de-

new. My point is not to assume that

sign/visualization software are just

Jay: And why can you sell it?

a piece of equipment is a smarter in-

as important in terms of what your

Because they want it.

vestment just because it’s used and

customers experience when they

therefore cheaper. Another tip is to

come to you. Being able to show a

take advantage of show specials.

design concept on your computer

There are big discounts to be found

so your customer understands it is

Jay: Here’s the second one. “I can’t

on many different products at shows

something you want to look for and

afford to fix up my store.” You can’t

like this one.

can really use to your advantage.

afford a new sign, but can you afford

There are amazing tools you can

to have 20,000 people drive by your

Kevin: And moving up to the next

invest in that will allow you to give

store and never notice it’s there? You

level of a machine usually isn’t a

people a great experience.

can’t afford new flooring, but can

of affordability. You may think you

Meg: Exactly.

you afford to have people walk into

huge step in terms of cost. It isn’t like you’re doubling the price of a

Jay: So, just because I don’t think

your store and think, yikes, I’m in

machine by buying the next step up,

I’ve pissed anyone off yet, I want to

1980? There’s no such thing as “can’t

and that better machine can do so

give you my two big reasons why

afford.” It’s either going to pay for it-

much more.

some people will never grow their

self or it isn’t. It’s just a question of

business, make more money, or have

return on investment.

Jim: It’s only about a thousand-dollar

happier customers.

Now you can say, “Alright, Jay,

difference between the good, better,

The first is, “I can’t sell that. My

I’m with you on that, I just don’t

best kind of deal at this point. So,

customers won’t buy that.” There

have the money to do it.” In that

you really want to look at all your

are absolutely some people in your

case, maybe you can lease a piece of

options. Don’t be cheap when buy-

neighborhood that want better stuff;

equipment. Leasing is not a terrible

ing your equipment, because you’re

they won’t buy it from you because

deal; you’ll pay a little interest. You

theoretically going to have it in your

you aren’t selling it to them, but

can also put that equipment on a

CONTENTS AD INDEX 38 PFM December 2019

credit card and pay it off over a few years at your card’s interest rate. You’ll pay a few hundred dollars in interest, but you’ll have a brand-new glass cutter, or whatever machine you need. You might have to borrow some money to buy new equipment or renovate your store, and that’s okay, too. People are conditioned to avoid debt, but there is nothing inherently wrong with debt if it’s used properly. It’s simply a tool you can use in business. “I can’t afford that” isn’t the song that successful businesses sing. Successful businesses will do a mathematical analysis to figure out the return on investment—to determine if something is going to be worth the cost. And if it is, then they go out and make it happen. That’s how it works. And I know I’m preaching to the choir here to some degree because you’re here at the trade show while your competitors are back home. You’re investing in your business—good for all of you! Are you with me on that?

Jim: Absolutely. Kevin: That’s why we’re here. Jay: We are out of time, but I’d like to again thank Bruce Gherman and Deb Salmon for organizing the trade show and conference every year. I’d like to thank the vendors for their commitment to this industry. And thanks to all of you for helping us get to 20 years. We’ll see you back in

VISIT US AT WCAF EXPO BOOTH 1442

Las Vegas next year at the Rio to celebrate number 21. PFM

Have a question or comment? Tell PFM what you think.

To learn more about the 2020 WCAF

Mail letters to PFM

Expo and National Conference, visit

83 South Street, Unit 307, Freehold, NJ 07728

wcafexpo.com.

Call 732-536-5160 or E-mail to editor@pfm-goup.com PFM December 2019 39

Equipment Product Showcase 888 Manufacturing Corporation

Fletcher Business Group

The “Key Hole Hanger” wood frame security system is 888’s newest system for securely hanging wood frames. Each set contains enough hardware to hang 100 frames. Using this hardware, a frame cannot be easily removed from the wall without the use of a T-security wrench. All hardware necessary to hang 100 wood frames included.

Now it’s even easier to create 90-degree miter joints with AMP’s new and improved, market-exclusive Butt Joint Assembly Kit. Designed to work with AMP U-500 and U-600 Underpinners (sold separately), the kit joins moulding sizes up to 1'' x 6'' with reduced breakage and improved quality and speed.

Call: 888-338-3318 www.888mfgcorp.com

Call: 800-843-3816 www.fletcher-terry.com

SEE US AT WCAF EXPO BOOTH 1511

SEE US AT WCAF EXPO BOOTH 1529

Gluefast Company

Hoffmann Machine Company

The Colonel Gluer is for mounting prints where volume is 50 or more per day. It applies a thin film of glue (available from Gluefast) at a cost of under $.05 per square foot. Available in 20'', 32'', and 42'' roller widths. A smoothing press is also available. Call: 800-242-7318 www.gluefast.com SEE US AT WCAF EXPO BOOTH 1100

Operated with pneumatic foot pedals, Hoffmann’s MU3-P and MU3-PD dovetail joining machines feature cast-aluminum bases, motor fine adjustments, and can join frame sections at any angle. The MU3-PD is equipped with digital displays for keyway locations and routing heights. A full range of accessories complements the machines. Call: 866-248-0100 www.hoffmann-usa.com SEE US AT WCAF EXPO BOOTH 1551

Hoffmann Machine Company Hoffmann’s PP2-NCF dovetail routing machine features two motors mounted on an NC-axis. The machine can rout up to three keyways for Hoffmann Dovetail Keys into the mitered ends of moulding profiles. Different routing heights can be set for each keyway for profiled stock. Over 500 different moulding profiles can be stored for quick recall and repeat accuracy. Call: 866-248-0100 www.hoffmann-usa.com

Morso Dan-List The new automatic, dust-free, noiseless Morso cuts anything from soft and hardwood to plastic and MDF and is extremely safe to operate. Cut your mouldings smoothly and effortlessly in a dust-free working environment. Remember, there is no carbon dioxide emission on manually operated Morso machines! Call: +45 8643 5155 www.danlist.dk SEE US AT WCAF EXPO AT BOOTH 1549

SEE US AT WCAF EXPO BOOTH 1551

CONTENTS AD INDEX

Universal Arquati

Valiani

The DY104 is a pneumatically operated underpinner and uses standard V-nails in the following sizes: 7, 10, 12, and 15mm, and comes with four interchangeable heads. The DY104 also has two self-adjusting clamps designed to hold the moulding in place to simply piece together your corner. You can view this underpinner, along with demonstration videos, on the web.

The Maximus V 160 CMC Cutting Machine is the gold standard of CMCs, featuring a vacuum table and button clamps. Be more creative and cut up to ¾'' with the new oscillating tool—great for cutting foam board. The patented interchangeable heads let you cut any way you want in multiple sizes up to 104'' x 60''. The Maximus can cut a wide range of materials and features m3 and m3 art for packaging. Comes with a machine stand, computer workstation, V-Studio Create software with instruction manual, dual cutting heads including “Gold” MatStylus Drawing Head, fixed pen, and more.

Call: 800-668-3627 www.universalarquati.com SEE US AT WCAF EXPO BOOTH 1517

Call: 800-323-1055 www.crescentcardboard.com/valiani SEE US AT WCAF EXPO BOOTH 1227

40 PFM December 2019

Distributor Spotlight

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VISIT US AT WCAF EXPO BOOTH 1551

VISIT US AT WCAF EXPO BOOTH 1100

VISIT US AT WCAF EXPO BOOTH 2113

VISIT US AT WCAF EXPO BOOTH 1600

VISIT US AT WCAF EXPO BOOTH 1243

CONTENTS AD INDEX 42 PFM December 2019

VISIT US AT WCAF EXPO BOOTH 1606

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DISTRIBUTOR SPOTLIGHT A complete innovative marketing section designed especially for distributors. For more information contact

sales@pfm-group.com VISIT US AT WCAF EXPO BOOTH 1511

CROSSWORD CHALLENGE Across

Down

1 Miter, for one 3 It's used to give a wooden frame a smooth surface 8 Best type of paper to use when framing artwork or photos, 2 words 10 Frame hanging material 11 Shirt 12 Container 13 Smooth 15 It's used to fill holes in wood frames 16 Appear 19 Collection 21 Time for presents 22 Cut down 25 It's a deep frame 26 Abbreviation in a book set 27 An ___ for detail 28 Expert 29 ____ core board 30 Money to the bottom line, abbr. 31 Artificial intelligence, abbr. 33 Stuck on 34 Working with

1 They sit between the art and the glazing 2 Color of many mat boards 3 Protected 4 Requirement 5 Circumference ratio 6 Tool that inserts metal arrows, 2 words 7 Movie holder 9 Retreats 10 Humor 12 Purchase 14 Jewel 17 2020 WCAF, for one 18 It sits between the art and the frame, 2 words 20 Remove, in a way- 2 words 23 Decorative trim 24 Chopper 25 Brown-toned old photo 29 Repair 31 Gold symbol 32 Exists

SEE PAGE 45 FOR THE SOLUTION PFM December 2019 43

Index Advertiser

Page

Advertiser

Page

Active Sales ......................................................................................21, 42

ITMS GROUP...........................................................................................33

800-937-2255

877-231-8060

www.activesalesco.com

www.thelibrarysupply.com

Alpina Manufacturing, LLC ......................................................................43

Jack Richeson & Co. ................................................................................42

800-915-2828

800-233-2404

www.fastchangeframes.com /www.bannergrip.com

Canon USA ...............................................................................................7 Please visit our website for more information

www.usa.canon.com

Capax-Frame It ......................................................................................35 800-942-2729

www.capax.com

CMI Moulding .........................................................................................42 301-476-7440

www.cmimoulding.com

Craft Inc. ...............................................................................................39 800-827-2388

www.craft-inc.com

Crescent Cardboard Co. .............................................................................5 800-323-1055

www.crescentcardboard.com

www.richesonart.com

Join Rite .................................................................................................43 508-454-7477

www.joinrite.com

Michelangelo Moulding ...........................................................................17 877-422-8812

www.michelangelomoulding.com

Picture Framing Magazine.......................................................................41 800-969-7176

www.pictureframingmagazine.com

Pro Tapes & Specialties............................................................................35 800-345-0234

www.protapes.com

Quality Saw ......................................................................................22, 42

Decor Moulding & Supply ................................................23, 33, 34, 38, 45

800-446-6622

800-937-1055

Studio Moulding, Inc. ..............................................................................27

www.decormoulding.com

www.qualitysaw.com

Engelsen Frame & Moulding ....................................................................42

800-262-4174

800-422-6731

Superior Moulding Corp. .........................................................................43

www.engelsenframe.com

www.studiomoulding.com

Fixons ....................................................................................................42

800-922-7914

714-526-3455

The Fletcher Business Group ....................................................................19

www.fixons.com

www.supermoulding.com/www.zelanto.com

Foster Planing Mill ..................................................................................42

800-843-3826

323-759-9156

Tru Vue ..................................................................................................13

www.fosterplaningmill.com

FrameReady ...........................................................................................42 888-281-3303

www.frameready.com

Framerica.................................................................2, 3, 4, 33, 38, 45, 48 800-372-6422

www.framerica.com

FrameTek ...............................................................................................43

CONTENTS

800-227-9934

www.frametek.com

Frankâ&#x20AC;&#x2122;s Fabrics for Framers .....................................................................42 888-332-2749

www.franksfabrics.com

Gluefast Company ............................................................................33, 42

AD INDEX

800-242-7318

www.gluefast.com

800-621-8339

www.fletcher-terry.com

www.tru-vue.com

Universal Arquati ................................................................................9, 29 800-668-3627

www.universalarquati.com

Wall Moulding ........................................................................................47 800-880-8315

www.wallmoulding.com

West Coast Art & Frame Expo ................................................11, 25, 31, 37 800-969-7176

www.wcafshow.com

Wizard International ...............................................................................15 888-855-3335

www.wizardint.com

Hoffmann Machine Company ..................................................................42

Z Hardware ............................................................................................42

866-248-0100

800-880-9315

www.hoffmann-usa.com

www.zhardware.com

International Moulding ...........................................................................35

Ziabicki Import Co. .................................................................................43

205-324-5783

262-633-7918

44 PFM December 2019

www.internationalmoulding.com

www.ziabicki.com

(Continued from page 54)

tance to the items, and the added height needed to balance

The final step was to build a wood crate that would pro-

the height of the flag. I’m always looking for ways to empha-

tect this special project on its way to Hawaii. I built it out of

size symmetry in my designs; by centering the name plate

plywood with extra foam padding to cushion the frame. The

and raising it, the overall design became more pleasing to

crate weighed close to 80 pounds, so to aid in handling the

the eye.

oversized crate, I added metal handles to each side. I was

The uniform was placed front and center. I used a form

glad I did, because it made delivery to the shipping office

made of foamcore inside the jacket to add some bulk under

much easier. Since it had to fly, I made arrangements with

the lapels. This also helped to support the medals and dog

United Airlines Cargo, which was a much cheaper option

tags. Everything was then sewn in place. For the flag, I cut a

than traditional shippers. It was easy to open an account,

triangle shape from my Wizard template, then added foam-

and all I had to do was drop it off at their cargo center near

core sides to lift the mat and hold the flag tightly in place.

my local airport.

The 6'' tall mat plate across the bottom of the shadow-

It was a great honor to create something special for Ku-

box creates the illusion of an equally balanced border and

wada. I was told this shadowbox took his breath away when

serves the important function of hiding the bulkiest part of

he removed it from its packaging and saw it for the first time.

the jacket. To help fill the space, I cut Kuwada’s name out of

I think next time, I’ll deliver the framing myself—a business

the white mat using my Wizard CMC, then I glued the letters

trip to Hawaii sounds like fun. I can deduct that, right? PFM

in place for a subtle detail that he really loved. Premium glazing finished off this oversized shadowbox.

Want to learn more about successful frame design and market-

This saved weight and offered better viewing without glare.

ing strategies for your shop? Meg will lead several sessions at The

For a shadowbox, it’s my favorite material to use: no static,

National Conference in Las Vegas in January.

no scratching, and safe for shipping across the Pacific.

Crossword Challenge Puzzle Solution

Have a question or comment? Tell PFM what you think. Mail letters to PFM 83 South Street, Unit 307, Freehold, NJ 07728 Call 732-536-5160, Fax to 732-252-2270 Attn: PFM Editor or E-mail to pfmeditor@hobbypub.com

PFM December 2019 45

DESIGN OF THE MONTH By Meg Glasgow

A Custom Shadowbox for a Veteran

his was a first for me. Not building

its side. I liked the combination of wood and

a shadowbox, of course, but using

black finishes in contrasting shapes. Since the

white suede as a background color.

frame had to be so deep, the wide sides were

I’ve always been a fan of using dark, dignified

going to become part of the design and inter-

colors for military displays; however, this proj-

esting to look at.

ect needed to be special. I wanted the design

The inside of the frame was a generous

to be fresh and dramatic, worthy of this distin-

4'' and gave me a lot of space to utilize in the

guished United States Air Force retiree.

design. I used the white suede mat as the side

I met retired Chief Master Sergeant Gar-

spacer, but separated the top and bottom sec-

rett Kuwada 30 years ago, and we have kept

tions with a ¼'' black plastic spacer. Not only

in touch through Facebook over the years. He

did it add some interest to the inside of the

spent his military career in Europe and the Pa-

frame, but it also served the purpose of holding

cific, reaching the highest enlisted rank in the

the vertical, elevated plates in place.

Air Force—quite an accomplishment!

The plates that hold the patches run the

When Kuwada retired to Hawaii, he

entire height of the frame, held in place be-

reached out and asked if I would create some-

tween the two layers of side walls. They were

thing special for his retirement. I jumped at the

made from Crescent #7180 White Suede mats

chance. Not long after, a shipping box arrived

on top at 6'' wide and Crescent #1607 Bright

packed with his uniform, patches, medals, and

White mats as the supporting bottom mat at

coins. I sorted through things, worked on a lay-

6 ½'' wide. The coins were sink-mounted in

out, and got the project underway. Here’s how

the suede mat, and the patches and pins were

I built it.

top-mounted. Foamcore strips are hidden be-

The uniform, flag, and Post Office Box (pic-

CONTENTS

tured upper left) called for a very deep frame. I

low, supporting the length of the plates and holding them up above the jacket.

chose Roma’s Ramino Steel Black shadowbox

I used the same combination of mats for

moulding (#175001) capped on top of its co-

the top center plate that elevated the nametag

ordinating frame, #174001, which I turned on

and pins. Floating it gave more visual impor-

AD INDEX

Meg Glasgow, the owner of Finer Frames in Eagle, ID, Meg is a nationally recognized consultant in the art and framing field and the winner of Larson-Juhl’s inaugural Design Star competition in 2013. She travels widely around the US presenting sales and marketing seminars for small businesses, and has recently published her second book, “Recharge Your Business.” She is a popular instructor at The National Conference in Las Vegas.

46 PFM December 2019

(Continued on page 53)

A white suede mat makes this military shadowbox gleam. Foamcore forms added bulk to the uniform jacket under the lapels.

Visit us at WCAF Expo Booth 1415

Picture Framing Magazine - December 2019

Articles inside

Picture Framing Equipment for the 21st Century Shop

Contents