Picture Framing Magazine - January 2019 by PFM Publishing

KEEPING UP WITH DESIGN TRENDS INVESTING IN YOUR BUSINESS â&#x20AC;¢ OPTIMIZING YOUR PRINT COLOR

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Contents

PFM is a member of:

Volume 30, Number 1

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

On the Cover

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

Top and Middle Mats: Crescent Select Pebble Beach Collection: Silver Sand #5698 Bottom Mat: Crescent Select 8 Ply: Before Dark #229598

Features 18 Antique Map Reframing 28 Keeping Up with Trends 34 Restoration vs. Conservation

Columns 12 24 46 62

Digital Imaging Goltz on Business Mastering Mounting Design of the Month

Departments 8 10 56 57 60 61

Editor’s Note Industry News Distributor Spotlight Classified Ads Index of Advertisers Calendar of Events

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.

PFM GROUP

83 South St., Unit 307, Freehold, NJ 07728 • Phone 732-536-5160 • Fax 732-252-2270

PICTURE FRAMING MAGAZINE www.pictureframingmagazine.com Bruce Gherman • bgherman@pfm-group.com Kimberly Biesiada • kbiesiada@pfm-group.com

E X E C U TI V E PU BLI S HE R E D I TO R

CONTRIBUTORS B USI N E S S E D I TO R

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 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

M AT D O C TO RS

ADVERTISING SALES

sales@pfm-group.com • 732-536-5160 ext. 222 Ellen Blatt • ellenhobbypub@cs.com Bruce Gherman • bgherman@pfm-group.com Rob Gherman • rgherman@hobbypub.com Sean Kliemisch • sean@wcafexpo.com CIRCULATION D I RE C TO R O F A U D I E N C E D E V E LO PM E N T

Maureen Robertson • maureen@wcafexpo.com

SUBSCRIPTIONS TOLL FREE: 888-238-0049 pictureframing@omeda.com

WEST COAST ART & FRAME EXPO • NATIONAL CONFERENCE www.wcafshow.com Deborah Salmon • dsalmon@wcafexpo.com BU S I N E S S M A N A G E R Mindy Gruenbaum • mindy@wcafexpo.com E X HI BI TO R S E RV I C E S Maureen Robertson • maureen@wcafexpo.com TRA D E S HO W C O O RD I N ATO R Gary Coughlin • gary@wcafexpo.com C O N F E RE N C E C O O RD I N ATO R Alan Pegler • alan@wcafexpo.com A S S O C I ATE E D I TO R Sara LaPonte • sara@wcafexpo.com M A RKE TI N G A N D C O M M U N I C ATI O N S C O O RD I N ATO R Alexis Orlacchio • alexis@wcafexpo.com TRA D E S HO W D I RE C TO R

WCAF EXPO SALES

sales@wcafexpo.com

PFM PUBCO • BOOK DIVISION BOOK SALES COORDINATOR

pfmpubco@hobbypub.com

CONTENTS

PFM GROUP STAFF PRODUCTION

Gary Coughlin • gary@wcafexpo.com Jin Dong • jin@wcafexpo.com C O O RD I N ATO R Jin Dong • ads@pfm-group.com

A RT D I RE C TO RS A D V E RTI S I N G

AD INDEX

PFM PUBLISHING, LLC PRE S I D E N T

PFM PFMseminars PICTURE FRAMING MAGAZINE

6 PFM January 2019

Bruce Gherman

Excellence in Art and Framing Education

WEST COAST ART & FRAME

EXPO & THE NATIONAL CONFERENCE

FROM THE EDITOR’S DESK

Change can be downright uncomfortable, but it’s critical to meet consumers’ changing habits and preferences.

CONTENTS AD INDEX 8 PFM January 2019

here is every reason to feel positive as a retailer heading into 2019. According to Forbes, the US retail market reported year-onyear growth every month last year (note: data was not available for December at the time of this writing). That good news comes on top of record-setting 2017 numbers. Of course, custom picture framing isn’t just “retail;” this industry is a niche one, offering hand-crafted goods from skilled professionals. As such, it’s important that framing retailers adapt to changing consumer habits while upholding the unique, custom nature of the business. A recent Forbes article,“5 Trends That Will Redefine Retail In 2019,” details the trends they say will shape the market this year. Two of them— making e-commerce shipping faster and a rise in subscription e-commerce—don’t apply to most frame shops upon first glance, but I contend that framers are well-positioned to meet consumers’ underlying desire for goods that are tailored to them and delivered directly to their door. Custom framing is tailored to your customer by nature, but do you offer delivery? What about installation? If

not, it might be time to look into adding these services to your repertiore. It’s also time to think seriously about your business’s brand. “More and more, consumers are shopping with their emotions instead of their wallets,” says the Forbes report. “Companies will have to consider the image their brand conveys to the world.” Good service and selection are key, but when people in the area Google you, do they learn more than just your address and hours of operation? Develop a distinct voice and culture that comes across in your store, on your website, and on your social media accounts. As we dive headfirst into a new year, it’s worth taking some time to step back and look at all the components of your business. Once you’ve identified areas in need of improvement, set a clear action plan and follow through. As consumer preferences change, so must retailers; this kind of change pays dividends.

Kimberly Biesiada Editor

INDUSTRY NEWS Decor Moulding Releases ‘Extreme Savings’ Brochure for Winter

No Shave November Contest Won by Framerica’s Milano

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werewolf!” For more information, call Framerica at 800-372-6422 or visit www.framerica.com.

Framerica Welcomes Diana Byrne Diana Byrne has joined Framerica’s customer service team. Byrne, a bi-lingual cooking enthusiast, brings more than a decade of experience to the position. “Diana has been a wonderful addition,” notes Lisa Olsen, the company’s head of customer service. “She acclimated to our team instantly and has already become a terrific advocate for our customers.” For more information, call 800-372Diana Byrne

CONTENTS AD INDEX 10 PFM January 2019

6422 or visit www.framerica.com. PFM

DIGITAL IMAGING

by Sal Passanisi

Optimizing Your Print Color, From Input to Output Create breathtaking prints for your clients by understanding color.

hat should my settings look like in Adobe Photoshop, Adobe Lightroom, and on my computer to get

the best results when I am editing or outputting images for fine art digital printing? This is a question I have been asked since the first days of color image capture and giclée printing. It seems like only yesterday when artists like Graham Nash were pushing the boundaries of input, application, and output, from the early 1990s with Iris printers through the early 2000s

a better understanding of how to chart an optimized course to your destination. The goal is to

with Epson printers. Today, an even greater

have what you see on your screen closely repre-

range of high-tech printing options is available

sent the look of your final output.

to us from market leaders like Canon and Epson. I mention printers as a component of the

Output

RGB equation because the destination always

On page 14, there are two gamut maps. They

determines the journey; in this case, your desti-

are based on the ink-set of the printer and the

nation is the printer.

medium on which you are printing. For these

You know your final stop, so now you must

examples, I used both an expanded gamut

chart a course to get there; and to do that, you

printer and an extended gamut printer, as well

must first have an accurate map. I like to sep-

as matte and glossy metallic media. All four of

arate the map into three different segments:

these color gamuts are in RGB color space.

CONTENTS

input, application, and output. While your re-

You will also see a comparison between

al-life workflow (or “journey”) starts at input,

two different Epson printers and ink-sets on the

moves through application, and ends at output,

same matte medium. This illustrates the differ-

I’m going to reverse the order here to give you

ence between expanded gamut and extended

AD INDEX

Sal Passanisi is a color workflow analyst for X-Rite/Pantone who is charged with configuration, setup, and production benchmarks for multi-million dollar grand format and dye sublimation/dye fixation systems. Sal has run the gamut in the inkjet/photo fine art industry, working for manufacturers such as Barbieri (Spectrophotometers), Mirage, EFI, and Colorburst Digital and reselling output systems based on Epson, Canon, and HP inkjet printers. As a fine art printer, he strives to find the most cost-effective methodology to produce high-quality prints. Sal will give you the “truth from the trenches,” not a “pitch from the podium.” 12 PFM January 2019

This three-dimensional arrangement of colors is called the Munsell color space. Neutral colors are placed along a vertical line. Hues are displayed at various angles around the neutral axis. The chroma scale is perpendicular to the axis, increasing outward.

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Comparison of two different Epson printers and ink-sets on the same matte medium

Comparison of two different Epson printers and ink-sets on the same glossy medium

gamut. Expanded gamut involves add-

and green expands the area of color

software has the measurements, it cre-

ing light cyan and light magenta as well

you can produce.

ates the data which forms the profile.

as a series of black inks to the normal

In the second image, you can com-

Profiles can be accessed in any

CMYK ink-set. Extended gamut adds

pare two different Epson printers and

number of software programs like Pho-

light cyan and light magenta as well as

ink-sets on the same glossy medium.

toshop or in a printer-specific plugin or

a series of black inks and orange, green,

As you can see, the gamut of both ink-

application that acts as a go-between

and violet to the ink-set. As you can see

sets is larger on the gloss stock than on

with your monitor and printer. Think

from the outer outline, adding orange

the matte stock, as the matte absorbs

of it as having a professional guide on

more ink when it is being printed. You

your journey, assisting you in selecting

can get more gamut by changing the

the most efficient route as you travel.

Common Terms Cheat Sheet Gamut: the subset of colors which can be accurately represented in a given circumstance, such as within a given color space or by a certain output device. Color space: a specific organization of colors. Output device: a piece of computer hardware equipment which converts information into human-readable form, such as text, graphics, audio, and video. Monitors and printers are output devices. ICC profile: a set of data that characterizes a color input or output device or a color space, according to standards set by the International Color Consortium (ICC).

CONTENTS

RGB color space: any additive color space based on the RGB color model.

AD INDEX

sRGB: an RGB color space that HP and Microsoft created cooperatively in 1996 to use on monitors, printers, and the Internet. The most commonly used color space. Adobe RGB: an RGB color space developed by Adobe Systems, Inc. in 1998. Improves on the gamut of sRGB color space. 14 PFM January 2019

media on which you are printing.

Most printer manufacturers supply ICC profiles that they sell alongside

Application

their printers. These profiles are fairly

Now that you know the ink-set and the

good but aren’t as good as a custom ICC

media can both affect the RGB output,

profile created for your printer, in your

you want to make sure you are getting

work environment, with your specific

the most optimized amount of gamut

media. Having a custom profile is like

for the ink-set and media you are using.

having a GPS that knows the conditions

This is done in the application process

or the terrain and plots your course

prior to printing. I call this part of the

based on current conditions.

process “application” because you are

I use my “guide” or print applica-

usually applying printer-specific set-

tion to see how my files are going to

tings to the document before you out-

print on the printer before outputting,

put the document from screen to print-

and I apply my settings to the prints;

er. These settings become critical when

crop, sizing, borders, and so on. I then

trying to achieve optimized output and

apply my custom ICC profile to the

a good screen-to-printer match.

print and preview before outputting

This is where ICC profiles are ap-

the file. Having the settings all in one

plied. To make a custom ICC profile, you

spot gives you a final checkpoint so you

need a profiling package. This normally

can ensure you have the correct output

includes a measurement instrument,

settings before printing.

a test target, and a software program

Not

only

does

this

process

which can read the measurements

help you achieve an output that is

and generate the profile. For an output

optimized for your printer, but it

device, color patches are displayed or

also minimizes labor and material

printed and then measured. Once the

waste as it leads to fewer mistakes.

Input Now that you understand how to enable the settings for the output you are trying to achieve and you also understand where to apply these settings, let’s talk about optimizing the input settings when you are preparing and editing files. LED and 4K monitors are high-quality and affordable, and work

X-Rite i1iO Automated Scanning Table: for color profiling on various substrates.

well when you are outputting RGB files

er screens or CRT displays, then you

to expanded/extended gamut devices.

should use sRGB as your color space

However, not all RGB is created equal;

from start to finish. If your final output

there are multiple color spaces you can

is a high-quality output device like an

choose from when editing image files,

extended-gamut inkjet printer, then

including Adobe RGB and sRGB.

you should use the Adobe RGB color

So, which color space is right for

space. As always, this is dependent

you? The answer truly depends on

on the quality of the monitor and its

your project’s final output (or, to stick

ability to be calibrated to display the

with our analogy, the destination of

full color space. This calibration can

your journey). Monitors have pixels to

be done through monitor profiling

display color depth; 24-bit color depth,

with a validation tool to make sure the

which is used by most computer and

monitor can display the color properly.

phone displays, gives 16.7 million color

If you are working with both the web

variations. New monitors have better

and print, you should work in Adobe

technology behind them, and as such,

RGB as your primary color space and

offer more color depth. When in the

then convert copies of those images

market for a new monitor, you may

from Adobe RGB to sRGB for the web.

read that it can display “99 percent of

If you really want to get an accu-

the Adobe RGB color gamut”—meaning

rate picture of “WYSIWYG” (“what you

that if you are working in the Adobe

see is what you get”), think about in-

RGB color space, you will be able to see

vesting in a wide-gamut RGB monitor

the full gamut on your monitor.

and a color profiling solution for your

Here’s the rule of thumb: if your

monitor and printer; this way you

final output is the Internet, or old-

will have a complete color-managed environment. At today’s price/performance curve, a total solution can be implemented for around $1,300.

CONTENTS

To become a good navigator, you need a map, compass, and guide. As you navigate your digital imaging journey, equip yourself with each of

AD INDEX

these components to create stunning images your clients will love. PFM Want to learn more about fine art digital printing? Sal will lead several Choosing the right color space depends on what your final output is going to be. 16 PFM January 2019

seminars at The National Conference in Las Vegas this month.

10 WAYS TO IMPROVE YOUR BUSINESS 10

STRAIGHT TALK ON HOW TO SUCCEED IN BUSINESS FROM JAY GOLTZ

EXTENSIVE FRAME HISTORY FROM WILLIAM ADAIR

PROVEN SALES STRATEGIES FROM JARED DAVIS, MCPF, GCF

who started Artists Frame Service in 1978 fresh out of college. Artists Frame Service now employs 120 people at its main location, a 35,000 square foot showroom and production facility in Chicago, IL.

who worked for the Smithsonian National Portrait Gallery for 10 years as a frame conservator, and now owns Gold Leaf Studios in Washington, D.C., and is founder of the International Institute for Frame Study.

who serves as the business development manager for Larson-Juhl Australia as well as a consultant for Gunnar International. He is also the author of the book “Getting the Most Value From Your CMC.”

PRESERVATION FRAMING KNOWLEDGE FROM HUGH PHIBBS

MAT CUTTING DESIGNS AND EXPERTISE FROM BRIAN WOLF, CPF, GCF

GILDING AND DESIGN TECHNIQUES FROM ERIC MICHAEL TOLLEFSON

whose extensive experience both inside and out of the museum environment has made him one of North America’s leading experts in the field.

who has developed several distinct techniques of mat decoration over the years. He is currently director of standards and training at Wizard International, where he creates designs for computerized mat cutters.

who works at Gill & Lagodich as studio director and operations manager. Eric is an expert in the technical aspects of custom frame design and fabrication, gilding, and restoration.

FRAME SHOP DIVERSIFICATION IDEAS FROM JOHN RANES, CPF, GCF

who co-owns The Frame Workshop of Appleton, WI, with his wife, Sarah. Their shop, which opened in 1978, has expanded into a gift, Christmas, and home decor shop and has won over 100 framing awards.

CONSULTING AND SELLING TIPS FROM KEN BAUR

who is president of KB Consulting, which helps framing businesses adapt to the challenges of a changing market. Ken also owns Framing Concepts, a full-service, national award-winning framing company with three locations in northwestern Indiana.

MOUNTING AND MATTING CREATIVITY FROM CHRIS A. PASCHKE, CPF, GCF

who owns Designs Ink in Tehachapi, CA, offering commercial custom framing, fine art and graphic design, and industry consulting. She is an artist, educator, and has authored four self-published books on mounting. She brings over four decades of experience to PFM.

#1 - SUBSCRIBE TO PICTURE FRAMING MAGAZINE $20 will give you the best source to stay informed and up to date. It’s the best investment you can make for your business.

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PFMAD119

ANTIQUE MAP BRINGS IN THIRD-GENERATION CUSTOMER

By John Ranes II, CPF, GCF hen a returning customer comes in with

she saw it on his wall.

a new framing project, I am elated as a

With the framed map now in need of repair, she

business owner to hear that their first expe-

wanted the job done “right”—so despite being ad-

rience was positive enough that they elected to place

vised to take this to one of the well-known big box

their framing needs into my care for a second time.

framing stores, she elected to Google “custom fram-

Having a returning customer means that person was

ing.” Google returned a customer review that stood

happy with the framer’s design and, equally, with the

out to her; the reviewer said one nearby shop (ours!)

way they were treated in the store. This kind of repeat

was the place they took anything of value, trusting us

patronage is a crucial component of any successful

with our preservation methods and professionalism.

framing retailer; it not only helps us maintain confi-

After reading the review, here Van Camp was at our

dence and positive attitude, but it is also fundamen-

design table with her own valuable item.

tal in keeping our business in business.

I happened to be in the shop at the time, as-

CONTENTS AD INDEX

We recently experienced repeat business in our

sisting one of our framing designers at the selection

frame shop, with a bit of a twist. A young woman ap-

table. The first thing I noticed was the intricate and

peared at our design table, having carried in a large

graduated French matting on the map and how nicely

frame of an 1852 Wisconsin state map. The glass had

it was executed. Curious to know where the framing

broken and the frame needed a little touching up as

had been done, I turned to the back side to discov-

well. The woman, Missy Van Camp, proceeded to tell

er that it was our own work, completed in 1988; the

us that this framed map belonged to her grandfather,

frame displayed one of our 10th anniversary labels.

who worked for the City of Appleton and had since

We’d been the original framers 30 years ago! The cus-

passed away. Before departing, he had delivered this

tomer had no idea she had brought the piece back to

piece to his granddaughter as a gift, knowing that as

where it had first been framed. I was excited to get

a young girl she had always talked about it every time

the chance to reframe the historical piece that held

18 PFM January 2019

Missy Van Camp (right) is the granddaughter of Eugene Rush, who gifted her this antique map.

such sentimental value to Van Camp.

be seen by 5-15 percent of your customers without

We replaced the broken glass (Regular Clear)

boosting. As a retailer, your time is valuable, and

and upgraded it to UV Conservation Clear. The map

reaching an audience that miniscule isn’t worth the

was already mounted to conservation standards. The

time spent crafting the post. A strong retail shop will

only other change we made in refitting the 30-year-

have about 4,000-7,000 likes, with each post reaching

old piece was to upgrade the hanging hardware and

a respectable number of people. If a post is boosted,

change the hanging wire to stainless steel. In 1988, we were still using galvanized wire. The piece was finished off with a new sticker next to the original. The cherry on top was that our sticker at the time of the reframing (in late 2018) announced our shop’s 40th anniversary; now it sits beside the 10th anniversary label on the back of the map’s frame. Having the granddaughter of a customer return is, indeed, a compliment to our business, but there is no denying that it does make one feel a little older! We decided to share this story on Facebook, Instagram, and Pinterest back in November; after all, social media, like custom framing, is all about relationships. As framers, we dig into the mechanics, the

CONTENTS

correct materials, and the best and most appropriate design, but at the end of the day, it is truly about taking care of the customer’s needs and building a relationship with them. We also decided to boost the

AD INDEX

post on Facebook to reach the maximum number of people and grow our followers. I visit many retail frame shops on Facebook that have approximately 100-500 likes. The problem with having a small following is your posts might only

20 PFM January 2019

“Colton’s Township Map of the State of Wisconsin – 1852”

The map was first framed in 1988 during The Frame Workshop’s 10th anniversary, then reframed in 2018 during our 40th anniversary.

it will reach an even wider audience. Here are some

ty. Play with this depending upon the message

small tips to succeed in this arena.

in the post. • Be sure to follow up with converting people who

• Boost for a period of 7-21 days depending upon

like your post and people who like your picture

time of year; and I’m not talking about a $5-15

by asking them to like your page. If you do this

boost, but rather a $75-125 boost. Think of Face-

within 24-72 hours after they liked the post, you

book and social media expenses as marketing

are much more likely to convert them to busi-

and advertising, replacing newspaper ads and

ness likes.

the Yellow Pages. It’s not a game, it’s a tool!

• Keep your posting varied and interesting. What

• Target your boost to friends of friends, or geo-

have you framed that is totally off-the-wall?

graphical with other parameters. You can choose

What new artwork have you discovered? Any-

interests and mileage radiuses of any communi-

thing that relates to family and relationships is powerful. Stay away from politics and generic promotions; keep it fun, personal, dramatic, funky, unusual. When it comes to social media, remember that you are telling a story about a problem solved and a relationship, like this one about Missy Van Camp and her grandfather’s old map from 1852. It’s real and grounded in emotion. When I shared it, she shared it; when she shared it, others shared it, and so forth. Showcase what you do best and use that to build new relationships. PFM Want to learn more about creating stunning custom frame designs? John will lead several seminars at The

CONTENTS

National Conference in Las Vegas this month.

John Ranes II

AD INDEX

Close-up detail of the French matting on Rising Rag board. Graduated panels and ink lines were executed with Mat Magic Inks and Powders, mimicking the coloring in the map border detail.

22 PFM January 2019

John is an instructor of framing workshops and seminars worldwide. John teaches for the Professional Picture Framers Association and consults for The Fletcher-Terry Company and Tru Vue. John was awarded the PPFA Lifetime Achievement Award in 2015. John, with his wife, Sarah, own The Frame Workshop of Appleton, WI, a frame shop and gallery which has won over 100 framing awards, including two successive awards from the Fine Art Trade Guild in the UK and a National Australian Framing Competition award. His shop opened in 1978 expanded in 2009, and has diversified into gifts, Christmas collectibles, and home decor.

GOLTZ ON BUSINESS

by Jay Goltz

Investing in Your Business When it comes to growing your business, you have to spend money to make it.

location. Of all the types of retailers, a picture framing shop clearly has customers that are more “discerning.” That’s why they are looking for custom framing, and that is why they walked into a professional frame shop. The

ost shop owners I know want to grow their business. They add new mouldings to their selection;

they work hard to give good service to the customers; they sweat the details of every frame job; and they hope to gain new customers through referrals, advertising, the Internet, and people passing their store. Will this result in growing the business? Maybe. This is generally called working in the business, versus working on the business. But there is more you can do. As the owner and Chief Evolution Officer, there are other things to consider. We are operating in an environment that requires turning all dials, looking under all rocks, and pulling out all the stops. The

question is, does the look of the store match the design expectations of the customer? I can tell you with great certainty that most don’t; and the customers don’t complain, they just don’t come back. The flooring material, lighting, and store fixtures are usually old and frequently worn out. I understand why. It is expensive to redo a store’s appearance, and as I said, it isn’t like most frame shop owners are so profitable that they are looking for ways to spend more money. This is a chicken or egg problem. Do you spend the money first and then get more profitable, or do you wait to be more profitable in order to spend the money? I can tell you this; “waiting to be more profitable” could end up like waiting for a bus that never comes. Being

business world continues to change at a rapid

successful in business is about taking action

pace, hence the need to evolve. In my opinion,

and making things happen. It is also about un-

the easy days of just “showing up” are over. As

derstanding money and how it works.

a matter of fact, they have been over for about

It all comes down to exchanging one word

10 years. It is more important than ever to work

with another. When it comes to buying fixed

on the business. That means finding ways to

assets, redoing a store, or buying equipment, it

improve the business beyond what you do ev-

isn’t about spending money; it is about invest-

ery day.

ing money. And when you invest money, it is

CONTENTS

The bar for successful retailing has been

about getting a return; or in accounting terms,

raised. If you look around, you will notice that

Return on Investment (ROI). The question is not

the most successful retailers have beautiful

whether you can afford to redo your store, or

stores, whether it is a Starbucks or a Nordstrom

buy new equipment; the question is whether

AD INDEX

Jay Goltz is president and founder of Artists Frame Service, Inc., the world’s largest custom picture frame shop, and Bella Moulding. With more than 40,000 square feet and 50-plus employees, this facility is more than 20 times the size of the average picture framing company in the U.S. He also owns Chicago Art Source and Jayson Home, located adjacent to his framing business in Chicago. Jay has received numerous business awards and is a frequent public speaker. Artists Frame Service was featured in the book "Small Giants-Companies That Choose to Be Great Instead of Big" by Bo Burlingham (editor of Inc.). Jay is also the author of "The Street-Smart Entrepreneur." 24 PFM January 2019

Please visit us at the WCAF Expo booths 305 and 301

it will pay for itself in either higher sales, new capabilities,

it off in five years, the monthly payment will be about $400.

or more efficiency. If you don’t have the money to do so, in

The $20,000 you invested should generate at least another

business, that is a financing problem. A good ROI is when

$400 per month in profit. After five years, that extra income

something you spend money on is going generate profits to

is all profit. In a better scenario, the extra income will be

pay for itself in a few years, and then just continues making

higher than the $400.

you more profit after it is paid for. I will show you how the math works.

There is another short-term gain to be found in doing this. There is a tax provision called Section 179 of the federal

Let’s assume that you look around your store and real-

tax code which says you can write off the entire purchase

ize that it is time to buy new flooring, a new counter, new

price of most fixed assets used in business in the first year.

LED lights, and some new shelving units. Or, you decide you

Talk to your accountant. If you are paying taxes in the 24

could make good use of a new computerized mat cutter, and

percent range, you will actually save $4,800 ($20,000 x 24 per-

a new frame-joining machine. Or, maybe you decide you

cent) the first year in taxes. If you financed the $20,000, you

could benefit from a new sign out front. What you spend the

actually made the payments for the first year from the tax

money on doesn’t matter, so long as you believe it will either

savings. If your household income is higher and your tax rate

generate more business or save money in efficiencies.

is higher, the savings are even better.

Let’s say the bill for these new fixed assets is $20,000.

See, the government really loves you; they want to help

You could either have the cash, lease the equipment, or take

you make more money and pay more taxes! Instead of work-

out either a business loan or home equity loan. If none of

ing harder, have money do some of the work for you. Do the

those are options, you should probably stop reading this

math! PFM

and go finish that frame job you were working on. If you can come up with the $20,000, you are on the road to more prof-

Want to learn more about growing your business? Jay will

its! If the cost of borrowing the $20,000 is 8 percent (it should

lead several seminars at The National Conference in Las

be lower if you have good credit and collateral), and you pay

Vegas this month.

Visit us at the WCAF Expo Booth # 639

CONTENTS AD INDEX 26 PFM January 2019

KEEPING UP WITH HOME DESIGN TRENDS By Kimberly Biesiada

or today’s framing retailers, it can be difficult to stay

inspiring design. Readers can purchase a print or digital sub-

up-to-date on the latest interior trends. Finding spare

scription, or an all-access subscription which also includes

time between hiring and training employees, ordering

full online access and an e-newsletter.

materials and equipment, consulting with clients, and de-

United Kingdom-based publication The World of Interiors,

vising ways to grow the business is challenging at best, but

published monthly, also available for subscribers in print and

knowing what’s popular in the market is an important part

digital formats; and Interior Design, which serves the interior

of a good frame designer’s repertoire. PFM asked industry

design, architectural, and facility management audiences,

experts which resources they turn to for trend knowledge

uses its website as a digital companion to the print publica-

and how framers can leverage that knowledge at the design

tion, posting real-time content for readers between monthly

counter. Using some or all of these resources to your advan-

issues.

tage means you’ll be able to pair your trendy customers’ home spaces with stunning custom framing.

In addition to these staples, Beauchemin says publications like Traditional Home or House Beautiful “relate to the current styles of many homes” and have great web presences.

COMMERCIAL AND TRADE PUBLICATIONS

Steve McKenzie, owner of McKenzie Design LLC in At-

For those in the interior design business, there are sever-

lanta, GA, and former chief designer and CEO of Larson-Juhl,

al mainstay publications which help them stay sharp on

also recommends Veranda as a source for trend insight. The

current and forecasted trends. “Great staples include ELLE

lifestyle magazine, which offers digital and print versions,

DECOR, Architectural Digest, Dwell, The World of Interiors, and

covers the latest trends in fashion, beauty, and home; edi-

Interior Design,” says Daniel Beauchemin, owner and CEO of

torial content showcases leading designers and fascinating

Chelsea Frames in New York City.

interiors from around the world, among other topics.

CONTENTS

ELLE DECOR, which offers both print and digital subscrip-

“A magazine that I feel is cutting-edge for trends is Ca-

tions, showcases insights, ideas, and innovations by today’s

bana from the UK; it only comes out twice a year,” McKenzie

preeminent tastemakers, as well as the emerging talents

adds. “A trade magazine I love that is always up on trends

AD INDEX

who will shape tomorrow. The magazine’s affluent audience

is Designer Today. Furniture Today is another great trade mag-

looks to it for inspiration as they design their homes. Archi-

azine that is always doing trend articles on categories of

tectural Digest offers constant coverage of the interior design

goods.”

and architecture worlds. Print subscribers can access its digi-

Framers need not scour every one of these publications

tal edition, which includes interactive floor plans, videos, and

to pick up what the trends of today are; Beauchemin recom-

more. Dwell is an inspiration and collaborative platform for

mends choosing the magazines or websites you most relate

architects, designers, and enthusiasts to share and discover

to. Reading just one good monthly magazine that’s reflective

28 PFM January 2019

THE PERFECT LINEUP

2019

The National Conference offers wolrd-class education specifically for art and custom framing retailers. With over 60 industry experts and 125 seminars designed for your success, 2019 will be your best year in business yet.

TRADE SHOW: JANUARY 28-30, 2019 • CONFERENCE: JANUARY 27-30, 2019

THE NATIONAL CONFERENCE AT THE WEST COAST ART & FRAME EXPO

Paris Las Vegas Hotel & Casino, Las Vegas, Nevada • www.wcafexpo.com

of your customers’ socioeconomic level and sense of style will give you an advantage at the design counter. Learn who your customers are and understand the design trends they’re seeing. Are your clients older, affluent, and lovers of luxury? Pick a magazine that targets their demographic. Do you have a lot of young, trendy millennials? Read something that serves them.

SOCIAL MEDIA

Beauchemin says that the “industrial chic” aesthetic will be going strong in trending interior design ideas this year.

A quick, on-the-go way to get a glimpse of the latest trends is by visit-

“Trade shows like High Point Mar-

the field,” says McKenzie. “You can use

ing the leading social media platforms.

ket are another great source” for trend

that knowledge to help your client un-

Beauchemin recommends Pinterest as

information, says McKenzie. The High

derstand the finished framed piece in

a great source for what’s hot in inte-

Point Market is the largest home fur-

the context of their space.”

rior design. “I type in ‘trends,’ ‘color,’

nishings industry trade show in the

‘design,’ and ‘furniture,’” he says. “I use

world and holds two major shows

proper industry terms at the counter

it daily, and have created many boards

per year in the spring and fall. Other

lets your client know you’re an expert

that reflects certain styles and ideas.

major design events in North America

right off the bat. “Ask clients if they

When I was designing for Larson-Juhl,

include:

prefer contemporary or stylized, mod-

Beauchemin

says

that

using

each new moulding collection had a

• New York Design

ern or period,” he says. “Based on their

board telling the story behind it.”

• NeoCon (Chicago)

answers, you can hone in on a style.”

Many commercial and trade magazines have Pinterest accounts, on

• The International Contemporary Furniture Fair (New York City)

Beauchemin also cautions against using unfamiliar terms. “If clients start

which they curate boards based on

• Design Miami

digging and realize we have used lan-

their print content. It’s an easy way to

• San Francisco Design Week

guage we don’t really understand, we

get a dose of what the leading indus-

• The Toronto Design Offsite Festi-

lose credibility,” he says. “I also encour-

try voices are saying, without having to dedicate time to reading an entire

val (Toronto Design Week) • SIDIM Design Show (Montreal)

age my young designers to avoid saying things are ‘pretty,’ ‘nice,’ or ‘cute.’

Organizations like Designer So-

Rather, state with determination that

ciety of America aggregate design

the frame really complements the art-

TRADE SHOWS

events online so you can find a show

work or suits the style of the room that

For those who are highly interested

near you.

was discussed. I always use the knowl-

digimag or print publication.

in enhancing their trend knowledge

edge I have to speak about the artist,

CONTENTS AD INDEX

and are able to travel, trade shows are

USE WHAT YOU KNOW

the period, or the specific style. For

a great avenue for getting to see the

Whether you keep up with interior

example; ‘This artwork is such a great

most popular home trends firsthand.

design trends through social media,

Art Nouveau piece! The frame has

Attendees at the 2019 West Coast Art

websites, print publications, or trade

these gentle carvings which reflect

and Frame Expo in Las Vegas will get a

shows, it’s crucial to showcase what

that style so well. Notice how the lines

chance to preview the year’s trending

you know to your framing customers.

of the patterns echo the artwork.’”

moulding styles, colors, and artwork.

“I think it is important to have enough

The interior design industry also holds

knowledge about what is trending to

SO, WHAT’S TRENDING?

many trade shows around the world

help interject it into your conversation

You may be wondering what experts

which showcase the most popular

at the design counter, both to help

are saying the hot trends will be in the

home trends.

guide the sale and also to create an

stylish interiors of 2019. According to

understanding of you as an expert in

ELLE DECOR, The Washington Times, and

30 PFM January 2019

other news and design industry sources, green will be an ‘it’ color this year. McKenzie agrees: “From mossy green to deep forest green, I am seeing everything from upholstery to walls and accent fabrics in greens,” he says. McKenzie says color in general is getting stronger in interiors. “Wallpaper is still going very strong, including the trend of wallpaper on the ceiling,” he adds. “I think brown antiques and a traditional look are re-emerging as well. I think we are looking back to a more comforting time, and that is showing up in decor.” The Times’s forecast report also lists natural fibers, mixed woods, statement art, and vintage, ethically sourced, and sustainable items among the year’s interior trends. In terms of style, Beauchemin predicts industrial chic will be hot among the trendy homes of 2019. What are your favorite ways to stay up on interior design trends? Let us know which platforms are most helpful to you as a custom framing retailer. Email editor@pfm-group.com to share your tips. PFM

CONTENTS AD INDEX Green—like this dark shade used on an accent wall—is expected to be a hot color in the stylish homes of 2019, according to interior designers. 32 PFM January 2019

Visit us at the WCAF Expo Booth #125

SIX DEGREES OF RESTORATION By Eric Michael Tollefson

Knowing when to use conservation methods over restoration methods is key when working on antique frames and artwork.

recently had the opportunity to employ both res-

Proportionately, “conservation” is more occupied

toration and conservation methods when a pair

with preserving the current state of the object (thereby

of frames came in for treatment. Both frames sur-

protecting it from further damage) and undoing previous

rounded antique watercolors on paper, were similar in

campaigns of treatment that were perhaps not well suit-

size, and required minor treatment and glass replace-

ed for the care of the object. The term denotes stillness,

ment. This project became a case study on when to put

stabilization, assessment, and a careful sensitivity to the

restoration and conservation methodologies into prac-

original surface.

tice—in other words, when a frame can be “brought back

Restoration is often used as a blanket term to cover

to life” versus when a frame can be “left well enough

a wide range of treatments; therefore, it is essential to

alone, with some dignity.”

specify what actions will be employed and why. It may help to view the treatment of an object as a visible spec-

CONTENTS AD INDEX

Restoration vs. Conservation

trum. On the left end of the spectrum, we have the orig-

Before going into detail on the pair of frames I recent-

inal surface; which, in perfect condition, would demand

ly worked on, let’s explore the definitions of these

to be preserved through conservation. On the right end

often-misunderstood terms. “Restoration,” in its most

of the spectrum is the same object in an entirely worn

basic definition, is to return an object to a previously

condition that will require a full restoration. (In either

assumed state. This method usually employs actions

case, the object should undergo thorough documenta-

which alter the object’s current state significantly to a

tion and assessment with a condition report.)

more “acceptable” form. The term denotes a specific di-

Most reasonable frame treatments will employ dif-

rection, change, or replacement; and can often, without

ferent degrees of both methodologies, but objects with

proper guidance, be too aggressive a method for the proj-

cultural or important historical significance must have

ect at hand.

a treatment plan drafted with a focus on conservation.

34 PFM January 2019

You can see the cracked, loose corner of this Roman gilded frame. Additionally, the entire surface of the frame was delaminating on the edges.

Although there are times when an ob-

vation treatment?

and in-gild a finish to match the period

ject has no real monetary, cultural, or

Simply using age as a factor is not

surface. But in the former, you have re-

historical value (a “junky” frame found

enough. Clients have brought me plen-

moved a rare piece of history, while in

in a relative’s attic, for instance), it may

ty of old frames over the years which

the latter, you have honored the integ-

have extreme sentimental value to the

I recommended not be conserved be-

rity of the skill, labor, and knowledge

client, which prompts the more care-

cause they either were not of the quali-

that went into making the object—the

ful approach of conservation. It should

ty to merit saving in and of themselves,

likes of which are becoming harder and

be noted that conservation methods

or the artwork would be better suited

harder to find. If we refinish every great

are associated with a higher price tag,

to a more historically appropriate peri-

thing for economy’s sake, we not only

as the cost comes in exchange for the

od frame (or replica frame in a correct

lose the beauty of the original object,

conservator’s time and skill.

period style, if cost is a factor). The em-

but we also lose the ability to know

phasis here is on the proper application

what separates bad objects from the

Choosing the Right Method

of a frame style which is suited harmo-

good and good objects from the truly

Determining which treatment to em-

niously to the artwork, as opposed to

exceptional.

ploy as a primary method is not always

keeping a frame simply because it is

straightforward. Does a frame need

the same age as the artwork.

Treating Two Period Frames

conservation if it’s not very old? Or even

Yes, it is easier, faster, and cheap-

if a frame is genuinely antique, has no-

er just to strip down the remaining 40

As you may recall, the opportunity to

ticeable wear, and has evidence that it

percent of the finish and re-gild the en-

use both approaches came about when

was produced by hand with some skill,

tire frame to what you think it looked

a pair of antique framed watercolors

does it always deserve a costly conser-

like than it is to lightly clean, stabilize,

belonging to a private collection came

CONTENTS AD INDEX 36 PFM January 2019

Visit us at the WCAF Expo Booth # 639 | www.fletcher-terry.com

Cracked, cross-nailed miter cut with a hacksaw blade, removing nails

Corner re-cut by hand and re-joined with spring clamps; old holes filled with wood prior to wood filler

Finish applied; toner being applied to the surface

in for treatment. The first was an early nineteenth-century watercolor in an early twentieth-century Roman gilded frame with what looks like its original glass. The second was a late eighteenth-century watercolor in (probably) its original Neoclassical frame, with its glazing replaced in the nineteenth or twentieth century. The first frame was a perfect candidate for the full restoration methodology. The frame had no real value to justify its preservation; it was factory-produced en masse in length moulding, inexpensively finished with cheap materials that were delaminating, and had oxidized throughout the surface. The right treatment was, of course, to discard it and reframe in a historically appropriate period frame, but this took some

CONTENTS AD INDEX Router with straight-edge guide for cleaning gouged-out rabbet to make room for new offsets 38 PFM January 2019

PLEASE VISIT US AT THE WCAF EXPO BOOTH 1013

the remaining two corners. The calculated loss of sight edge was acceptable; the rabbet was widened slightly with a router; and a back-frame was applied to increase the rabbet depth for the inclusion of a buffered offset strip, which kept the watercolor separated from the Museum Glass. The large holes left by the excessive number of nails were best filled Full offset strip being glued in place to offset artwork from the glass

with wood first. Toothpicks are a good use for this; golf tees work great, too. I sanded off the finish where it was delaminating and applied a light rabbit skin glue coat throughout to stabilize. Then a shellac layer, gold-colored paint, and a light umber patina were used to get this frame back to a usable state. The second frame, which was an original, needed more scrutiny than the first. Even from a cursory inspection, a novice can see that a skilled craftsman made this frame; beauti-

New offsets being glued in. Notice that the offsets do not meet but are pulled back from the miter as to not be seen from the open corner from the front.

fully carved laurel leaf ornament on the top edge and careful resolution of cast ornament in the corners. Careful use of the materials was evident. Al-

time to source. In the interim, we de-

though there were ornament losses on

cided that the corners needed closing

the back edge and gesso losses on the

and a new finish was applied to suit its

tips of the carved running top edge, the

surroundings as a placeholder until we

gilded surface was in good condition.

could source a new period frame.

There was a significant loss of gilding

Even this â&#x20AC;&#x153;simpleâ&#x20AC;? treatment had

in only one major area of the soot edge.

its complications. The frame, being cheaply made, had some noticeable warp and bowed to the rails, which made re-cutting the miters a challenge.

CONTENTS

Not to mention the miters were crossnailed, which required cutting with a thin hacksaw blade. Once cut apart, the frame was carefully kept together

AD INDEX

as to keep track of which corners went together. The re-cutting of these miters was all done by eye on the chop saw and not at an exact 45-degree angle, due to the irregularity caused by warping. I cut and joined two corners at a time, left them to dry, and then cut and joined 40 PFM January 2019

Overview of prepped area for regilding, with test finish sample for comparison

The cove was masked with blue tape to protect the remainder of the frame from any “over-gilding.”

It is common for frames of this period to have this one edge regularly wiped clean of soot, taking the precious gold with it. But I was so confident that the original gilding had been finished with such skill that I merely cleaned the soot edge of any remaining dirt, polished it, and applied gilder’s liquor to reactivate the over 225-year-old bole formula which originally produced such a brilliant surface. It worked beautifully! Once you flipped the frame over, it was a bit of a different story. I’m assuming someone in the last 100 years replaced the glazing and had used a piece of glass that was close to fitting the frame size. So rather than the glass being trimmed to fit the frame, the secondary integrated rabbet (that was designed in the original frame as an offset for glass) was gouged out on two edges in an irregular way. This scraggly mess needed to be evened out with a router and straight edge, and a new offset strip was glued in

CONTENTS

place that matched the original one; it was toned with ocher watercolor to match the aged look of the frame. Once I sealed the rabbet with a barrier

AD INDEX

tape and cleaned the back (being careful not to remove any original labeling, stamps, writing, or other frame-identifying markers), I re-fit the piece with Museum Glass and hung it back in its place. 42 PFM January 2019

The remainder of the surface

standing that this is an object made

method to use as your primary guid-

frame treatment consisted of some

by hand, showing signs of a life well

ing principle. To put it another way,

minor stabilizing with consolidating

lived.

understanding the methods and the

medium and painting the ornament

When approaching an antique

overall frame package makes the dif-

and gesso losses with earth-toned

frame for repair, it is important to

ference between getting it done and

watercolor. The corner cracks were

remember that you are not work-

getting it done right. PFM

examined and left alone. The cli-

ing on this object in a vacuum; the

ent (rightly) appreciated what these

frame is in service to a greater whole

corner cracks represent; an earned

which, when understood, will help

place in history. They had the under-

you

determine

which

treatment

Want to learn more about frame restoration? Eric will lead several seminars at The National Conference in Las Vegas this month.

Eric Michael Tollefson

Detail of ingilding in the cove.

CONTENTS AD INDEX 44 PFM January 2019

Eric is an expert in the technical aspects of custom frame design and fabrication, gilding, and restoration. He has supervised production, finishing, and custom frame design and fabrication for a number of companies in the Midwest and New York. He has been a regular writer at PFM and has taught courses in gilding, ornament application, frame finishing, restoration, and conservation at PFM seminars throughout the country. Since joining Gill & Lagodich as studio director and operations manager, Ericâ&#x20AC;&#x2122;s specialized expertise has proved invaluable in providing creative framing solutions and correct historical applications for numerous museums, artists, and collectors.

MASTERING MOUNTING

by Chris A. Paschke, CPF, GCF, CMG

Pinning: An Important Mounting Solution Pin mounting can be a useful solution that also satisﬁes design needs.

n this column, I have mentioned pinning as a mounting solution in several different framing scenarios. After working on

this handkerchief artwork—which required pin mounting to remove difficult creases and align into a proper square while also protecting the ink—I am now officially adding pinning to the list of techniques every framer needs in their everyday repertoire. It is a useful solution that satisfies the framer’s design aesthetics and preservation concerns while also creating a pleasing presentation for the customer. The artwork shown here was fairly straightforward: a white handkerchief with renderings

stretching was needed to remove the wrinkles.

of various American Indian symbolic imagery, drawn with a ballpoint pen. It had been fold-

Pinning vs. Stretching

ed and stored for some time, resulting in hard

There were two pin mounting options for this

¼''

artwork: the first was stitching the handkerchief

rolled hems on all four sides. Because there

to a larger backing so it could be stretched, and

was no information on what kind of pens had

the second was flat-pinning the existing hand-

been used for the artwork, it could not be safely

kerchief to a foamboard backing surrounded

dampened for fear of the ink being water-solu-

by a sink mount. There was not adequate edg-

ble. Dry-pressing with a household iron did not

ing to pull this handkerchief and staple or lace

remove the creases, and light steam pressing

around the edges, and whip-stitching or sewing

(carefully applied) lessened their appearance

to another equal weight cotton sheet for lac-

but did not eliminate them. More aggressive

ing and stretching did not prove to be a viable

creases. The only borders were the narrow

CONTENTS AD INDEX

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 Artist’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. 46 PFM January 2019

Larson-Juhl Foundry Iron frame 18 СИ x 18 ПИ, Crescent 1184 Sable top mat, Bainbridge 8669 Shadow bottom mat. Completed with Museum Glass.

The handkerchief had hard creases both vertically and horizontally.

Padding is used for both smoothing and toothed support.

option, either. Attaching to another

3⁄16'' acid-free foamboard. To help with

stretched fabric from shifting, stretch-

sheet would require the two layers—

the creases and to achieve a smooth-

ing, or sagging with gravity; and,

handkerchief art and backing—to be-

ly stretched presentation, a sheet of

sometimes, to color tint the backing

have as a single sheet when squaring,

white polyester padding was placed

when then the textile is very sheer.

attaching, and pulling aggressively

behind the handkerchief to slightly

In this case, the polyester helped sup-

enough to remove the wrinkles; this

lift and pad it. Padding is used for a

port and eliminate the folds.

didn’t seem possible unless the two

number of reasons when mounting

Since the edges of the handker-

layers could be fused.

textiles: lifting, to help soften and cre-

chief had been commercially folded

Since the hard creases would

ate more visual dimension; to help

and stitched, they were reinforced

not press or steam, the final decision

smooth hard to stretch art; to create

and strong enough for aggressive

was to flat-pin the handkerchief to

a toothed surface to help prevent the

pulling to square and remove visual

48 PFM January 2019

(Left) The gray mat is too cool to match the ink and deadens the ink and feels very flat. (Center) A second rag mat, Sable brown, was added to the design. (Right) The top mat was spaced away from the bottom with ПМ reverse bevel cut spacers applied in the standard pinwheel.

creases. Having marked 2'' margins on

all four sides. A 4-ply, dark gray sink

stretching and pinning. The clients un-

the foamboard with pencil, I aligned

mount was added surrounding the

derstood the need for mats, but did not

¼''

pinned art to lift, support, and level the

want them to overpower their 15

top window mats.

15'' art; and each time a new frame cor-

the art and used stainless steel 1

dressmaker pins to affix the art to the backing. The pins were inserted at a

¼'' x

ner was placed on the sample during

Frame Design

designing, they kept shifting it closer to

board

Framers must consider both visual

the art, narrowing the mat. It was clear

and out the back; this also gave them

enhancement and technical elements

they wanted to mat for the technical

more strength. And by placing the pins

when creating a design. In this case, the

demands of mounting and creating

¾''

apart, there was

technical requirements included depth

distance from glazing, but they did not

consistent support and stretch along

in the frame package to accommodate

want it to be very wide.

very flat angle, preventing them from protruding through the

a maximum of

3⁄16''

CONTENTS AD INDEX VISIT US AT THE WCAF EXPO BOOTH 1005 50 PFM January 2019

Steel 1 ПИ dressmaker pins were used to stretch the art to the backing. The pinned art is surrounded by a dark sink mount to lift the mats for even support.

There are no set industry rules when it comes to mat width. Historically, ¼'' was added to the bottom of a mat to visually compensate for the lower lip of the rabbet covering a portion of that mat as it sat lower in the frame. For decades, wider mat widths have been an industry trend, along with stacked frames to help increase average sales prices, but that may not always suit what the art demands or the client wishes. It is totally appropriate today for mats to be narrower, wider, or offset, as 1

½'' mats are considered rath-

er contemporary and frequently work with abstract images, 2

½''

mats have

given way to 4'' or 5'' widths, and sometimes uneven extremes may showcase 4'' top, bottom, and left sides with 10'' right-side borders.

Color The clients originally thought about framing with black, gray, and silver tones because of the black-and-white

CONTENTS

nature of the art. The gray options were fine, but didn’t enhance or integrate the art with the framing. I pointed out the red-based black of the ink and suggested that brown and a warmer black or

AD INDEX

gray should be considered rather than

VISIT US AT THE WCAF EXPO BOOTH # 314

cooler gray tones. Museum rag mats were selected for their solid core bevel color; it also allowed us to avoid additional contrasting bevel lines or the need for reverse bevels to hide them.

52 PFM January 2019

Having

looked

numerous

moulding corners, Larson-Juhl Foundry Iron was selected because of its slight

HAVE A QUESTION OR COMMENT? TELL PFM WHAT YOU THINK.

warm tone and hint of pewter metal-

Mail letters to PFM: 83 South Street, Unit 307, Freehold, NJ 07728

lic. The visual and tactile texture of the

Call 732-536-5160, or Fax to 732-252-2270 Attn: PFM Editor

moulding worked well with the pen-

or E-mail to editor@pfm-group.com

stroke pattern and overall rustic theme of the American Indian subject matter. A second Sable brown rag mat was added to the design with a spacer between them to create drama and depth and to help sell the brown color. Use of two equally toned or shaded mats generally goes against basic design principles because the eye may have a difficult time distinguishing between the colors, making it almost appear moot from afar. The soft brown mat helped make the transition to the warmer-toned frame while picking up the warm tones in the ink. The dark gray worked with the darker, cooler tones in the ink and with the darker

Visit us at the WCAF Expo Booth 438

frame sides. The addition of a spacer added elements of drama and intensity to the design. Spacing between the matted layers or behind floated art adds physical depth and creates shadows within the frame package. With this project, the suggestion of a spacer really sold the warmer brown top mat. Sometimes, clients do not come in with a vision for the framing and give their art over to us entirely; with this piece, our clients did have design ideas, and the challenge to us was to come up with a solution that matched the clientsâ&#x20AC;&#x2122; taste while satisfying our design principles and preservation needs. In the end, our clients were thrilled with their framed artwork. Pin mounting was a crucial component of this overall framing success story. PFM Want to learn more about mounting? Chris will lead several seminars at The National Conference in Las Vegas PFM January 2019 53

Product Showcase

888 Manufacturing

Atlas Saw & Tool

See the latest addition to the Parabellum Line of chop aluminum mouldings. Made in the USA. Available in pre-cut chops up to 40'', our #805 mouldings are available in six popular colors. All chops include assembly hardware.

The hollow-faced design of the saw blade from Atlas Saw & Tool is specifically manufactured to cut polystyrene picture frame mouldings and engineered to eliminate melted burr formation and reduce blade residue buildup. Standard saw blade diameters range from 12'' up to 350mm with custom sizes also available.

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

Call: 888-484-1488 www.fletcher-terry.com

Decor Moulding Decor Moulding is pleased to announce the introduction of Mystic Burls, an eye-catching collection of very colorful real burl veneers. Natural veneers in eight beautiful stained finishes in honey pecan gloss, walnut gloss, natural, blue, red, green, grey, and brown. Contemporary in profile and finish, these mouldings are sure to find the perfect art to frame. All styles are available from both New York and Georgia warehouses. Order corner kit #CS-MYS to get these styles on your walls today.

Delta Picture Frame Co. This collection of ¾'' wide wood moulding is one of DPF’s newest releases. Featuring a washed finish over distressed wood and available in four different colors. To see all the new releases, please call our office and request a copy of our January 2019 Supplement. Call: 800-327-5482 www.deltapictureframe.com

Call: 800-937-1055 www.decormoulding.com

Fox Moulding

Framerica

New! Vintage Line Collection. This modern version of a distressed wood finish, crafted in Italy. Premiering in three soothing finishes: brown, stone blue, and grey. Available in two profiles, 3/4'' x 1 1/4'' and 1 1/2'' x 1/2''.

Framerica’s newest finish is a sibling to its hugely popular Stainless collection, which has captivated the interior design market for more than a decade. Spumante, the coloring of the Italian sparkling wine of the same name, is a soft golden metallic with subtle undertones. “Spumante is the gold finish that designers and specifiers have requested from us,” notes Josh Eichner. Spumante is a Framerica exclusive, immediately available in profiles ranging to 3''.

Call: 800-341-0101 www.foxmoulding.com

Call: 800-372-6422 www.framerica.com

CONTENTS AD INDEX

Larson-Juhl

Michelangelo Moulding

Shutter is a simplistic collection, featuring minimalist stepped profiles that can serve as a float or standard frame. A new profile also allows this collection to work well with metal and acrylic.

Michelangelo has introduced a new series of mouldings, the 752 group, in four new finishes. Available in grey, black, white and off-white colors, the 1 1/8'' wide woods are quite good options for smaller, traditional framing, or enhancing other mouldings by stacking. See them at the WCAF Expo in January. Contact Michelangelo Moulding for samples.

Call: 770-279-5222 www.larsonjuhl.com

Call: 877-422-8812 www.michelangelomoulding.com

54 PFM January 2019

Omega Moulding

Sepp Leaf Products

In hues of silver, pewter, and bronze, the Lumina Collection uses subtleties in tone to integrate metallic finishes with an array of color schemes. Its texture mixes horizontal brush lines with vertical striations in the leaf and is enhanced with wash to illuminate artwork and complement its highlights. Lumina provides elegant framing solutions for photography and graphic art prints, as well as delicate fine art works such as watercolors, drawings, and hand-tinted vintage lithographs.

Metallic Mixols can be added to many water- and solvent-based products to get a variety of metallic effects, from a subtle shimmer to an opaque metal surface. Add to glues, water-based clear coatings, stains, wood and grain filler, shellac, wax, etc. Imported from Germany by Sepp Leaf Products. Call: 212-219-0770 www.mccolluminteriors.com

Call: 800-289-6634 (US) 877-452-3799 (Canada) www.omegamoulding.com

Universal Arquati Universal Arquati is excited to present the new Maxi Cap collection by Universal. This cap profile consists of four finishes: muted gold and silver scratch tones, matte black, and matte white. The 1 Âź'' wide and 3'' tall collection is available now. Please visit booth 1025 to view these samples at the WCAF Expo in January! Samples are available upon request. Call: 800-668-3627 www.universalarquati.com

VISIT US AT THE WCAF EXPO BOOTH 1220

PFM January 2019 55

Distributor Spotlight

Visit us at the WCAF Expo Booth 342

Visit us at the WCAF Expo Booth 1005

Visit us at the WCAF Expo Booth 1105

CONTENTS AD INDEX 56 PFM January 2019

CLASSIFIEDS HELP WANTED Immediate opening for an experienced picture framer in McLean, VA, with future management opportunity. Design, sales, and production experience required. Must be knowledgeable in operating a computerized mat cutter. Familiarity with FrameReady software is a plus. No production work. Must have reliable transportation. Must have excellent communication skills. Must be reliable and dependable. Compensation: commensurate with skill level. Hours of operation: 9 a.m.-6 p.m. MondaySaturday. No Sundays. Average work week of 40 hours. Contact Charlie at 703-932-3615 or cboswell@colorwheel.net. Global Art Inc., a manufacturer/distributor of unique contemporary picture frame mouldings, is currently seeking experienced, highly motivated sales reps to call on new and existing accounts in some of our well-established territories. For information about the company, please refer to our website; www. globalartinc.com. Individuals who are interested in the position should send an e-mail to globalartmf@aol.com or call 1-866-310-4278. Skilled Sales Professionals Wanted throughout the U.S. Are you a seasoned professional who goes the extra mile for your customers to ensure satisfaction and loyalty? Do you focus on growing customer relationships by providing real value and

unexpected solutions? Do you relentlessly overcome obstacles to becoming your customersâ&#x20AC;&#x2122; supplier of choice? Omega Moulding is a framing industry leader seeking highly motivated, organized sales professionals in many uncovered territories in the U.S. and Canada. If youâ&#x20AC;&#x2122;re looking to join our growing, dynamic company, inquire confidentially to salesjobs@omegamoulding.com.

add another profitable location. Do you think this is out of reach? Here is your chance! 30+ year shop on beautiful Central California Coast with great location, lease, affluent and loyal customer base, 5-star reputation, SBA approved, profitable, possible live-in for up to 1 year, and flexible terms. Serious inquiries only to Ray Lilly at 805-796-9769 or rlilly@westchester.financial.

Independent sales reps for domestic custom moulding manufacturer in many open territories. Nickell Moulding Company has produced moulding for more than 35 years and is looking to expand in the picture framing industry. We offer custom prefinished hardwood moulding and wrapped MDF moulding. Our target market is OEM framers able to buy footage. Visit www.nickellmoulding.com. Not a problem if you already represent a poly moulding line. Call George Nickell at 574-264-3129.

Profitable custom picture frame shop for sale in beautiful St. Petersburg, FL. Turn-key operation. Located since 2005 in a Home Depot shopping center. Seven years remaining on lease. Sale includes Lifesaver POS, VacuSeal 4468H drymount, Wizard mat cutter, Universal double miter saw DY-AW 150, Miter Mite VN 144 underpinner, two work stations, and all existing stock at time of closing. Google 'Tyrone Frame & Mirror' for pics. Call Dan, 727-542-2000. Gross $160-$180K. Net $75-$90K. $129,900. Financing available to qualified buyer.

FOR SALE Picture framing store in suburban Philadelphia, established for 28 years, and owners retiring after 17 successful years. The store is open for 39 hours per week (no evenings) and perfect for someone wanting an established small business. $140K in sales, net $55-60K, equipment and inventory worth approximately $25K. $125K or make offer. Call Joe at 610-864-0631. Do you love framing? Own your own shop, or

A 50-year veteran Cleveland, OH picture framer/ art dealer looking to sell his business. Opportunity of a lifetime to acquire a career. Six thousand dollars down acquires a career of your own; $150,000 in sales; $50,000 of equipment/inventory; $500 weekly initial salary. Owner willing to finance the remaining purchase balance over a five-year period; willing to stay on board until you have gained his 50 years of industry knowledge. Contact artbox1@att. net for more details.

PFM January 2019 57

THE ART & FRAMING

Las Vegas

ATLAS SAW & TOOL ATTACH-EZ BEALE ASH DISTRIBUTION BEGIN HOME DECOR BELLA MOULDING BEST FINE ARTS BORAM ART BORAM CO.

CONTENTS

A-PLUS AUTOMATION USA

BORDEN MANUFACTURING

ART ENCOUNTER

CAP & WINN DEVON ART GROUP

ART EXPRESSIONS INTERNATIONAL

CANON USA

ART MATERIALS SERVICE (AMS)

CANVAS STRETCHING MACHINE

ART WORLD NEWS

CAPAX-FRAME IT

888 MANUFACTURING CORPORATION

ARTGLASS

CJ PASTE

ACTIVE SALES COMPANY

ARTISH (HANKUK ART CHAIN CO.)

CLEARBAGS

AIRGUARD PACKAGING

ARTIST SUPPLIES & PRODUCTS

CONCEPT PICTURE LIGHTS

AMCI REGENCE

ASAP MOULDING & TAPE

CORNICI PAGLIA TRADE

21ST CENTURY FINE ARTS, NV INC / ART YOU GREW UP WITH

AD INDEX

www.wcafexpo.com

EVENT OF THE YEAR

FEATURING ALL OF YOUR FAVORITE SUPPLIERS

CRAFT INC.

GEMINI BUILDS IT!

NIELSEN BAINBRIDGE GROUP

SAGEBRUSH FINE ART

CRESCENT

GIO DESIGNS

OMEGA MOULDING

SEVEN WALL ARTS

CTD MACHINES

GLOBAL ART

OOK INDUSTRIAL

SHINIL FRAME

CURVE APPEAL FRAMES

GLUEFAST COMPANY

PALM PRINT IMAGES

SMA E-DOCUMENT GMBH

D&K

GOLDLEAF FRAMEMAKERS

PENNY LANE FINE ART &

SPECIALTY MATBOARD

DAE JIN/JJ MOULDING

OF SANTA FE

LICENSING

SPECIALTYSOFT

DECOR MOULDING & SUPPLY

GRAPHIK PRINTWORKS

PETERBORO MATBOARDS

DELTA PICTURE FRAME

GRYPHON MOULDING

PFM PUBLISHING

DESIGNER MOULDING

GUNNAR USA

PI CREATIVE ART

DIGITAL TECHNOLOGY GROUP

HAHNEMÜHLE

PICTURE HANGING TEMPLATE

DORTDIVAN FRAME MOULDINGS

HANGMAN PRODUCTS

POD EXCHANGE

ENCORE PRODUCTS

HOFFMANN MACHINE COMPANY

POSTERSERVICE

ENGELSEN FRAME & MOULDING

HOUSE OF MERCIER

PREMIER IMAGING PRODUCTS

EPSON

IMAGE CONSCIOUS

PRESTO FRAME & MOULDING

EVONIK CYRO

INLINE OVALS

PROFESSIONAL MARKETING

FAST

INTCO FRAMING

FINE ART TRADE GUILD

INTERNATIONAL MOULDING

FINE ARTS

IT SUPPLIES

FLECH PAPER PRODUCTS

JACK RICHESON & CO.

QUATTRO FRAMEWORKS

FLETCHER BUSINESS GROUP

JINSUNG TECH

RHONDA FEINMAN

FOSTER PLANING MILL

KOOL TACK

FOTIOU

KOREA FRAME &

FRAME MIGA

MOULDING ASSOCIATION

STORY CO. STUDIO MOULDING SUNDANCE GRAPHICS TECH MARK TEN PLUS

SERVICES PROFESSIONAL PICTURE FRAMERS ASSOCIATION

THE FRAME MASTER THE STANDARD FRAME COMPANY THIRD & WALL ART GROUP TOP ART TRU VUE TS FRAME UNIVERSAL ARQUATI MOULDING VALIANI

CUSTOM FRAMES

VERMONT HARDWOODS

RISING MUSEUM BOARD

W.D. QUINN SAW CO.

RIZZO PACKAGING

WALL MOULDING

FRAME USA

K-RON/JJ MOULDING

ROMA MOULDING

WILD APPLE GRAPHICS

FRAMEREADY

LARSON-JUHL

ROSENSTIEL’S

WIZARD INTERNATIONAL

FRAMERICA

LIFESAVER SOFTWARE

RUSTIC CREATIONS

WORLD ART GROUP

FRAMES DIRECT

LINECO/UNIVERSITY PRODUCTS

FRAMETASTIC!

MAX MOULDING

FRAMETEK

MCS INDUSTRIES

FRAMEWARE

MICHELANGELO MOULDING

FRANK’S FABRICS

MONTXO OIARBIDE MOLDURAS

FREDRIX PRINT CANVAS

MORSO DAN-LIST

FREESTYLE PHOTO AND IMAGING

NICKELL MOULDING

2019 list as of Dec. 17, 2018

WEST COAST ART & FRAME

EXPO AND

THE NATIONAL CONFERENCE

TRADE SHOW: JANUARY 28-30, 2019 • CONFERENCE: JANUARY 27-30, 2019

Index Advertiser

Page

Advertiser

Page

888 Manufacturing Corporation .................................................................................10

Hoffmann Machine Company .....................................................................................56

888-338-3318

866-248-0100

www.888mfgcorp.com

Active Sales .........................................................................................................23, 56 800-937-2255

www.activesalesco.com

Alpina Manufacturing, LLC .........................................................................................56 800-915-2828

www.fastchangeframes.com /www.bannergrip.com

www.hoffmann-usa.com

House of Troy ............................................................................................................48 800-428-5367

www.houseoftroy.com

Jack Richeson & Co. ...................................................................................................56

Arlo Spacemaker Products, LLC...................................................................................32

800-233-2404

800-332-2756

Join Rite ....................................................................................................................56

www.reevesextruded.com

ASAP Moulding & Tapes .............................................................................................33 818-718-1022

wwwasapmoulding.com

Atlas Saw & Tool ........................................................................................................37 800-843-3826

www.atlassaw-tool.com

508-454-7477

www.richesonart.com www.joinrite.com

Michelangelo Moulding ..............................................................................................27 877-422-8812

www.michelangelomoulding.com

Beale Ash Distribution ................................................................................................16

Miter Master..............................................................................................................56

877-465-4538

800-446-6622

www.bealeash.com

Canon USA ..................................................................................................................7 Please visit our website

www.usa.canon.com

Capax-Frame It .........................................................................................................48 800-942-2729

www.capax.com

CMI Moulding ............................................................................................................56 301-476-7440

www.cmimoulding.com

www.qualitysaw.com

Omega Moulding Company ..................................................................9, 44, 50, 55, 61 800-289-6634

www.omegamoulding.com

Picture Framing Magazine....................................................................................17, 19 800-969-7176

www.pictureframingmagazine.com

Picture Woods Ltd. .....................................................................................................53

Craft Inc. ...................................................................................................................53

800-321-6522

800-827-2388

Pro Tapes & Specialties...............................................................................................43

www.craft-inc.com

Crescent Cardboard Co. ..........................................................................................5, 41 800-323-1055

www.crescentcardboard.com

Decor Moulding & Supply ........................................................ 25, 42, 44, 52, 57, Insert 800-937-1055

www.decormoulding.com

800-345-0234

www.picturewoods.com www.protapes.com

Rhonda Feinman Custom Frames ..................................................................................6 800-297-1566

www.rhondafeinman.com

Encore Products, a division of Elmer’s Products Inc. .....................................................47

Sepp Leaf Products ....................................................................................................42

800-873-4868

800-971-7377

www.encoreproducts.com

Engelsen Frame & Moulding .......................................................................................56 800-422-6731

www.engelsenframe.com

Evonik Cyro ...............................................................................................................52 973-929-8492

www.acrylite.net

www.seppleaf.com

Ten Plus.....................................................................................................................45 888-944-8899

www.tenplusframes.com

The Fletcher Business Group .......................................................................................26

Fixons .......................................................................................................................56

800-843-3826

714-526-3455

Tru Vue......................................................................................................................15

www.fixons.com

Foster Planing Mill .....................................................................................................55 323-759-9156

www.fosterplaningmill.com

Fox Moulding ............................................................................................................32 973-778-0060

www.foxmoulding.com

Frame Specialties .......................................................................................................31 800-777-3165

www.kooltack.com

800-621-8339

www.fletcher-terry.com www.tru-vue.com

Universal Arquati .................................................................................................11, 49 800-668-3627

www.universalarquati.com

Wall Moulding ...........................................................................................................63 800-880-9315

www.wallmoulding.com

CONTENTS

FrameReady ..............................................................................................................56

West Coast Art & Frame Expo ...................................................................13, 29, 58, 59

888-281-3303

800-969-7176

www.frameready.com

Framerica....................................................................................2, 3, 4, 10, 50, 61, 64 800-372-6422

www.framerica.com

FrameTek ..................................................................................................................40 800-227-9934

www.frametek.com

www.wcafshow.com

Wire & Cable Specialties .............................................................................................36 866-219-3133

www.wire-cablespecialties.com

Wizard International ..................................................................................................21

AD INDEX

Framing Fabrics .........................................................................................................38

888-855-3335

800-832-2742

Yiwu Zhongshang Exhibition Co. Ltd. ..........................................................................51

www.nnigroup.com

Frank’s Fabrics for Framers ........................................................................................35 888-332-2749

www.franksfabrics.com

Gluefast Company ...............................................................................................50, 56 800-242-7318

www.gluefast.com

+86 579-8551-6697

www.wizardint.com www.cafexpo.net

Z Hardware ...............................................................................................................56 800-369-5970

www.zhardware.com

Hangman Products ....................................................................................................39

Ziabicki Import Co. ....................................................................................................44

818-610-0487

262-633-7918

60 PFM January 2019

www.hangmanproducts.com

www.ziabicki.com

(Continued from page 62)

at the back with a screw-on clasp made of platinum, much

tach the various elements; this also allowed us to secure the

like a stud for an earring. We opted for one of our custom

artwork adequately and safely. This is something I always

floater frames which we capped with a 4'' deep cap. The se-

discuss with our clients beforehand; in this case, the artist

lected wood essence was walnut stained a true black and

was fine with us screwing directly into the structure.

hand-finished in Black Bison Wax. We used Tru Vue’s Op-

We also gave the artwork a fairly deep float. This al-

tium Museum Acrylic for the glazing. We have purchased

lowed the stones and the piece to really be showcased and

milled hardwoods for years, and they are a staple offering

gave a sense of proportion to the finished package. The

at Chelsea Frames. This selection really helps put the “cus-

walls of the floater were also made of solid walnut, which

tom” into our custom framing.

was stained black and finished with black wax. It allowed us

Technically, the artwork offered little challenge except

to shadowbox the glazing into the 4'' deep cap (1 ½'' face x 4''

¾'' plywood

deep, custom milled for us). The companion pieces for the

and mounted to a 3'' plywood strapping. We wanted to en-

show did not have stones, so they were framed with custom

sure a secure base, which we then mounted to a strainer

floater frames using the same wood and techniques.

for its weight—the result of being painted on

bar to ensure proper support for hanging. We used vertical

Altinoz and his manager were beyond thrilled with the

three-hole D-rings with instructions to not wire the piece.

result. It brings me joy every day to help artists tell their

I specified a 2'' visible float for the artwork. That said, we

stories by protecting and enhancing their artwork with our

constructed the platform at 4'' wide to ensure space to at-

custom framing. PFM

CALENDAR OF EVENTS ABC SCHOOL OF PICTURE FRAMING (WEST ISLIP, NY) offers a hands-on, 4-day course. One-on-one and advanced classes offered. Visit www.abcschoolofpictureframing.com or call 800-810-8849. AMERICAN PICTURE FRAMING ACADEMY 2- and 4-day Basic and Advanced classes feature technical, business and design training. Call 888-840-9605 or visit www.pictureframingschool.com. ART TO BE FRAMED (MT. SHASTA, CA) is an instructional and educational custom picture framing retreat. One-on-one instruction, beginners through advanced. Visit www.artrobeframed.com or call 530-926-3609. ARTISTIC EDGE GALLERY & FRAMING offers a four-day, hands on, one-on-one class that is tailored to attendees’ individual needs. The class tackles both the artistic skill and business sides of running a gallery or custom frame shop. Call 916-482-2787 or email kathy@artisticedgeframing.com for more information. B.L. HAYMOND SUPPLY (Ukiah, CA) offers hands-on, one-on-one, 2-day Oil Painting Restoration Workshops with an experienced conservator. E-mail: blhaymondsupply@pacific.net or visit www.blhaymondsupply.com or call 707-462-4221. CHARLES DOUGLAS GILDING STUDIO (Seattle, WA) offers a 3-day intensive in

traditional water gilding with an experienced professional. Call: 206-795-8376 or visit www.gildingstudio.com. COMPLETE FRAMER’S SUPPLY, INC. (Fort Lauderdale, FL). Call 800-3303263 or 954-581-2444 to register and for class schedule or visit www.completeframers.com.frame tutor school (Alberta, Canada) offers a 3-week course (90 hours) hands-on professional training. Weeks 1 & 2 Basic; Week 3: Advanced (Design & Specialties) Call 800-268-0897, e-mail: penny@frametutorschool.com or visit www.frametutorschool.com. THE NATIONAL CONFERENCE seminars and workshops Jan. 27-30, 2019. Call 800-969-7176 or visit www.wcafexpo.com.

SEPP LEAF (New York, NY) offers 1-week traditional water gilding, glass gilding, and Kolner Gilding Method classes. Visit www.seppleaf.com or call 212683-2840. VALLEY MOULDING & FRAME (N. Hollywood, CA) offers 5-day Basic classes and 1-day advanced class. Visit www.valleymoulding.com or call 818-7695656. WEST COAST ART & FRAME EXPO sponosored by Picture Framing Magazine, Jan. 28-30, 2019, at Paris Hotel & Casino, Las Vegas, NV. PFM January 2019 61

DESIGN OF THE MONTH By Daniel Beauchemin

Diamonds are a Framer’s Best Friend

s custom framers, we have the indescribable privilege of seeing amazing artwork on a daily basis. Artists are

storytellers; their art sends a message to the viewer. My team and I strive to understand that message—that story—and maintain the artist’s narrative intent through our frame design suggestions. We take care to complement the artwork, rather than starting a new narrative with our framing. This integral part of our design philosophy is understood by every team member and is applied at point of sale. One artist we have had the privilege of working with for many years is Serkan Altinoz. He combines certain elements of Ebru (traditional Turkish paper marbling) with a more free-form, experimental style that includes

work on panel which needed to be showcased. (Other pieces were also framed by us for the initial exhibit at Solomon Arts in New York City, later shown at Scope Miami Beach 2018.) What made this central piece unique was a 5.98-karat encrusted diamond stud, which needed to be placed on the painting. These showcased a new method of faceting (cutting) a diamond—

the use of organic spores, chemical solvents,

beyond brilliant cut! We were thrilled; not only

enamel paints, and heat. He recently partnered

at the challenge, but also at the opportunity to

with Zev Weitman, an Orthodox Jewish gem

present this piece in the best way possible.

CONTENTS

cutter and inventor based in New York City’s

The piece needed to breathe visually, so

Diamond District. The fusion of their unique

we decided a floater frame was the best op-

talents, technical skills, and creative visions

tion. Of course, it needed glazing to protect the

culminated in “Rhodes to Sacrifice,” a show of

stones (about $30,000 worth!), yet have sereni-

collaborative artworks that shines a light upon

ty and a deep sense of respect for both the art

a legacy of sacrifice made by African miners in

and the subject matter. The encrusted stud

the diamond industry.

was positioned into a hole drilled by the artist

This collaboration produced a 24'' x 48''

into the central figure’s forehead and secured

AD INDEX

Daniel Beauchemin studied architecture with focuses on furniture design, art history, and interiors. After a decade of professional experience, he moved to New York City and purchased Chelsea Frames in 1995. By 2009, it had become one of the most renowned studios in the U.S. with a global client base. It was during this time that Beauchemin accepted a design opportunity in Europe with Larson-Juhl. After six-and-a-half years in the corporate world, he returned to his first love, the framing studio, in 2016.

62 PFM January 2019

(Continued on page 61)

Serkan Altinoz’s 24'' x 48'' work on panel, which was part of the collaborative art show called “Rhodes to Sacrifice.” We protected and enhanced this valuable piece—which included $30,000 in diamonds—with a custom floater frame and Optium Museum Acrylic.