Picture Framing Magazine - June 2019

AWARD҃WINNING FRAME DESIGN Valuable Mounঞng Techniques • Going the Extra Mile for Customers

Contents

PFM is a member of:

Volume 30, Number 6

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

On the Cover

12

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

26

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.

It takes creativity and craftsmanship to win the PPFA International Framing Competition. Joseph Boutell, CPF, wowed judges in this year's PRINT Category with his visually striking, multi-frame design.

For the full story about the making of the winning piece, see page 26.

Artist: James Burghardt • Published by Studio EL

Features 26 Urban Design Wins 2019 PPFA PRINT Competition

Columns 12 18 30 36 46

Sales Strategies Mat Doctors Mastering Mounting Retailing Success Style Snapshot

Departments 8 10 37 42 43 44 45

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

18

30

Have a question or comment?

Tell PFM what you think.

PFM Publishing

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 A RT D I RE C TO R Jin Dong • jin@wcafexpo.com

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

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

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

B USI N E S S E D I TO R

ADVERTISING SALES

sales@pfm-group.com • 732-536-5160 ext. 222 Ellen Blatt • ellenhobbypub@cs.com Bruce Gherman • bgherman@pfm-group.com Rob Gherman • robgherman77@gmail.com Sean Kliemisch • sean@wcafexpo.com CIRCULATION

Call (732) 536-5160

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

A D V E RTI S I N G C O O RD I N ATO R

Jin Dong • ads@pfm-group.com

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

WEST COAST ART & FRAME EXPO • NATIONAL CONFERENCE A division of Hobby Pubco • www.wcafshow.com

Fax to (732) 252-2270 Attn: PFM Editor

Deborah Salmon • dsalmon@wcafexpo.com 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 BU S I N E S S M A N A G E R

WCAF EXPO SALES

CONTENTS

sales@wcafexpo.com

PFM PUBCO • BOOK DIVISION

editor@pfm-group.com

pfmpubco@pfm-group.com

AD INDEX

E-mail to

Letters may be edited for space and clarity

6 PFM June 2019

BOOK SALES COORDINATOR

PFM PUBLISHING, LLC PRE S I D E N T

Bruce Gherman

FROM THE EDITOR’S DESK

L

“Even if you’re on the right track, you’ll get run over if you just sit there.”

-- Will Rogers

CONTENTS AD INDEX 8 PFM June 2019

ast month, author and LendingOne CEO Bill Green penned a column in Inc. magazine titled “3 Simple Ways to Keep Your Business Growing and Improving Over Time.” His three rules are good ones: invest in mentoring your employees, put the most work into the aspect(s) of your business you least enjoy, and master all the facts of your business (if you aren’t willing to do this, he bluntly suggests you “go get a job”).

But what stuck with me the most from that column was Green’s assertion that owners should train themselves to look at their business as a whole, not just a series of tasks. Part of that is admitting what isn’t working well as opposed to only focusing on the positives, and making an action plan to improve upon those weaker areas.

Maybe for you that means brushing up on social media, or selling premium products, or knowing if, when, and how you should discount. Whatever you’re looking for, we strive to cover a broad range of topics each month in this magazine, from sales and marketing strategies to the technical aspects of frame design.

This month we take a closer look at mounting, with a column from Chris Paschke on the wet/dry mount technique (page 30) and a column from Ken Baur about how to correctly price mounting and stretching services in your point-of-sale software system (page 36). Knowing the best mounting solutions to use in a variety of situations, and having confidence in what you are charging for them, can be hugely beneficial to your business.

In his latest column, Jared Davis gives a comprehensive overview of how you, a framing retailer, can go the extra mile for your customers, earning you repeat business and a reputation that stands out from your competition (page 12).

Green says in his Inc. column that he believes a business’s success often comes down to the commitment level of its founder. I encourage you to keep learning, keep growing, and keep trying new things—and you will see positive results!

Kimberly Biesiada Editor

INDUSTRY NEWS Fletcher Business Group Acquires Frameware Inc.

tions, automation-ready applications, and market crossover

Fletcher Business Group—a leading provider of solution-driven

products,” adds Paharik.

technologies for a wide range of industries, including custom and OEM picture framing, signs and graphics, hardware, woodworking, and float and glass fabrication—recently announced the acquisition of Frameware Inc., a leading picture framing hardware and supplies manufacturer.

Established in 1986, Frameware is a second-generation company that specializes in the manufacturing and reselling of security and hanging hardware. Through its Profiles by Frameware line, the company also provides a range of metal moulding options and services. Frameware’s products are widely used across multiple industries.

Frameware joins FBG’s roster of globally-recognized brands as a wholly-owned subsidiary and will continue managing its day-to-day operations from its New Jersey headquarters.

Frameware’s 25,000 square foot manufacturing and warehousing facility increases FBG’s total manufacturing and operations footprint to 110,000 square feet, significantly enhancing FBG’s global manufacturing and distribution capabilities. Dean DeLuccia will remain as business unit manager of Frameware, LLC. The acquisition of Frameware represents another step forward in FBG’s continued commitment to be a globally-leading, solution-driven technology provider. With significant crossover into some of FBG’s core markets, Frameware’s product offerings help strengthen the company’s ability to leverage its total value as a process solution partner.

“We are excited to welcome Frameware to the Fletcher Business Group family,” says Ben Paharik, executive vice president of FBG. “Frameware helps strengthen our overall hanging and display product solutions and complements our bestselling Picture Perfect No-Wire Hanging System.

“This acquisition also represents a key step in FBG’s business growth strategy, allowing FBG to stay uniquely positioned in a changing marketplace, offering expanded process solu-

CONTENTS AD INDEX 10 PFM June 2019

Dean DeLuccia, business unit manager of Frameware, LLC, says, “Frameware is thrilled to now be a part of the Fletcher Business Group. Joining the Fletcher Business Group was a natural next step in the evolution of our second-generation company. Our hanging and display products are complementary to their existing line, and we are proud to share FBG’s commitment to customer service and innovation.”

Gilman Brothers INFINITY® Foamboard is Now UV Resistant The Gilman Brothers Company recently announced that its INFINITY® Styrene Faced Foamboard is now UV resistant.

“The retail markets have been demanding a UV-resistant, styrene-faced foamboard, and The Gilman Brothers Company has met that demand today,” says Bill VanHorn, director of sales.

Independent testing performed by Q-Lab Testing Services of Homestead, FL compared INFINITY alongside the original and a competing styrene-faced foam board. Test results demonstrated that INFINITY performed better than the other test subjects.

“The graphics and packaging industries continue to evolve at lightning speed,” says VanHorn. “We are not only keeping up but also getting ahead of trends.”

Framerica Taps Goksin to Head Sampling Efforts Ferhat Goksin has been named Framerica’s Sampling Manager, a position the company calls critical to successfully servicing its customers. Goskin, a longtime member of Framerica’s marketing team, understands his role and its importance.

“Ferhat gets it,” notes Josh Eichner. “Many times the entire design and sales process starts

Ferhat Goksin

with a corner sample, and he is the perfect person to make it happen.” For more information, visit www.framerica.com. PFM

SALES STRATEGIES

by Jared Davis, MCPF, GCF

Going the Extra Mile How do you stand out from the rest and win repeat customers?

L

et me start by asking two questions.

Who won the men’s 100m final at the last Olympics?

Who came in second?

It’s sad to acknowledge, but history gen-

erally only remembers those who came in first. It may seem harsh, but in business, it’s even harsher; there is no silver medal for second place. In business, you either win or you

and share some ideas for going that extra

lose.

mile—which can help give you the boost you

When it comes to training for a race, it’s

need to win gold.

all about running those extra miles—they can make the difference between winning and

Presentation

losing on race day. Likewise, in business—un-

You only get one chance to make a first im-

less you’re lucky—only doing what you need

pression. When a customer walks into your

to do won’t win you that next job. Going that

store for the first time, much of their silent

extra bit more to give yourself an edge is what

judgment about your business is made with-

will set you apart from your competition and

in the first five seconds. This is largely based

win you consumer loyalty. What are you do-

on what they see and how you present your

ing in your business right now to go the extra

store layout.

mile for your customers?

Think about what you can do to make

CONTENTS

There is one simple guideline that can

your store rate highly within those first five

help you understand which extra mile you

seconds. Aim to inspire with beautifully

need to run: what matters most to your busi-

framed examples, eye-catching displays, dec-

ness is what matters most to your customer.

orative props, and professional signage. This

With this in mind, let’s break down some of

all needs careful curation, and remember,

the customer-centric areas that matter most

less is more. If you have too much going on to

AD INDEX

Jared Davis has 25 years of industry experience and is the business development manager for Megawood Larson-Juhl in Australia as well as a consultant for Gunnar International. In addition to writing for PFM, Jared also travels extensively as an educator and speaker, teaching at many industry shows and seminars around the world including The National Conference. Jared also serves on the PPFA Board of Directors and is the author of the book “Getting the Most Value From Your CMC.” He leads several sessions at The National Conference in Las Vegas every year.

12 PFM June 2019

Exceeding your customers’ expectations will help foster a longstanding relationship between them and you, their framer.

WEST COAST ART & FRAME

More Than Just a Trade Show!

• Over 100,000 sq.ft. of Art and Framing Exhibits • New Product Launches and Equipment Demonstrations • Industry Professionals From Around the World • Home of The National Conference–With Over 100 World-Class Seminars Designed for Your Success

www.wcafexpo.com NEW SHOW HOTEL

SAVE THE DATE

RIO ALL-SUITE HOTEL & CASINO

TRADE SHOW: January 27-29, 2020 CONFERENCE: January 26-29, 2020

3700 W Flamingo Rd Las Vegas, NV 89103

Quality In the eyes of today’s custom framing consumer, quality is a given. You’re no longer going the extra mile by offering this. How does your product compare to mass-produced

or

imported

products?

A good barometer is to look at your hanging hardware. Do you use cheap cord and staples for hanging the backs of your frames, or do you use high-quality hanging wire and metal fittings? If you’re not already delivering a high-quality product,

Scott Dawson of Dawson’s Framing on the Gold Coast, Australia, stands out from his competition by having an “unveiling” for his customers when they pick up their finished piece for the first time.

then you’re likely not going to win in the long run.

visually digest in five seconds, then it can lead to confu-

Service

sion. Successful businesses understand that good mer-

Picture framing is a service industry. You don’t just pro-

chandising requires continual effort and is not some-

vide a finished product; you also provide an overall ex-

thing you can work on occasionally.

perience. The difference is made in how you make your

Comfort

customer feel. Considerate gestures such as carrying the customer’s artwork to their car or even delivering an

How does your customer feel in your store? What can

oversized framed item to their home add to your overall

you do to help improve their comfort? Do you offer com-

level of service.

fortable chairs or stools for customers to use while they

Being able to meet or beat a given deadline when

are designing or waiting? Even a simple cushion on a

it matters—such as those rush-job, “his birthday is to-

chair can make a difference. Could you offer a compli-

morrow” scenarios—also sets you apart from the rest.

mentary bottle of water or even a coffee while they are

A successful business owner once told me, “Whenever

waiting? For example, capsule/pod coffee machines are

you go the extra mile for your customer, they’ll drive an

an inexpensive, quick, and convenient way of providing

extra mile to come back again!”

a coffee to help bring comfort to a consultation or a wait.

Consider the human senses. It’s not just sight, but

Competitive

CONTENTS

also sound and smell. What type of music can you play

Being competitive doesn’t mean being the cheapest.

to make customers feel comfortable to want to linger

It’s easy to be pressured into reducing your price, but

longer in your store? Could you burn some essential oils

consider this: when a consumer is appreciating their

to make a pleasing smell (and overpower the potential

framed memory on their wall for years to come, they

smells of sawdust and glue)?

don’t remember the “great discount” they got from their

AD INDEX

Lighting is another commonly overlooked aspect of

framer. They remember their memory and, hopefully,

customer comfort. As humans get older, their eyesight

the overall positive experience they had when they went

becomes weaker. Therefore, department stores employ

through the process of buying it. You can be competitive

directional track lighting on their products to help them

in meaningful ways that don’t revolve around price. For

stand out with brightness and clarity. When it comes to

example, offering ready-made frames is one good idea

lighting, consider dedicated directional lighting for your

to appeal to consumers of all budgets.

consulting area and your moulding sample display wall.

14 PFM June 2019

Consider alternative ways to add value without

What makes your business unique and special? This comes down to engaging the customer. Consider the ways you connect with your customer; every interaction you have with them, from initial greetings to the final “thank you for choosing us!” In an age of declining customer service in retail, a welcoming and sincere smile, comfortable eye contact, and respectful conversation is all it can take to help you stand out.

Personalize your customer’s experience. Use their name where possible, and direct your conversation toward ways you can help them tap into their emotional motives for framing their piece. Find ways to relate to Anita McNab of Design Framing in Melbourne, Australia, adds a personal touch by gifting her customers a self-branded microfiber cloth with every frame sold in premium glass.

them, and show the best sides of your personality.

Scott Dawson of Dawson’s Framing in Gold Coast, Australia provides his customers with a unique unveil-

compromising price. For example, offer a $30 gift vouch-

ing experience when they come to pick up their artwork.

er instead of a $30 discount. Not only will this cost you

When possible, Scott prepares their finished framed

less in lost profit, but it will also encourage an extra sale.

piece in advance of their pickup and mounts it on a display easel in his showroom with a black satin cloth over

Exceeding Expectations

it. When they arrive, he conducts an “official unveiling”

The best way to make a positive impression is to sur-

for them; the result is always an “oh wow” response!

prise a customer with something special that they may

“It’s something they’ll remember about my busi-

not have expected. There are plenty of opportunities for

ness, and it’s definitely better than just partially reveal-

this in custom framing. One example is having a job fin-

ing their framed artwork wrapped in shrink wrap and

ished sooner than expected. Another is simply providing

cardboard corners,” Dawson says.

some complimentary wall hooks to hang their item. You could choose to enhance a framing job by upgrading a

Follow Up

single mat to a double mat when they may not expect it.

Some framing businesses actively reach out to each of

Liz Barker of Kenmore Gallery in Brisbane, Australia

their customers a week or so after they’ve picked up

selectively offers customers a complimentary upgrade

their item to ensure they are delighted with their frame

to anti-reflective glass over plain glass. This not only

and service. This is usually by email or text. It’s also a

makes them feel great when they pick it up, but it also

great idea at this time to request a positive five-star re-

sets a higher standard for this level of glazing for future

view on social media or Google (include a direct link).

jobs as well.

You could even offer an incentive to come back and

Anita McNab of Design Framing in Melbourne, Australia, provides her customers with a complimentary,

frame something else again soon.

CONTENTS

self-branded microfiber cloth with every frame sold in

Conclusion

premium anti-reflective glass—which is both a handy

Coming in first place in business doesn’t just come down

cleaning solution and a great marketing tool.

to what you do; it’s also how you do it. Going the extra mile is about staying hungry in business. Keep trying.

AD INDEX

Be Memorable

Keep changing. Don’t become complacent, and don’t al-

Being memorable is the magic X factor in business suc-

low yourself to drop back in the race, and you will reach

cess. People remember great experiences more than

your goals. PFM

great prices. Great experiences develop return customers, who want to tap into the inner child’s voice that says, “do it again!”

16 PFM June 2019

THE MAT DOCTORS

By John Ranes II, CPF, GCF

Fabric Mats: To Cut or Hand-Wrap?

There are unique benefits to each; either way, these mats will set your framing apart

F

abric mats: a fantastic alternative that come in suede, linen, silk, or any other fabric choice. A picture framer looks to

these as an option to add a subtle or dramatic textural appearance in the matting presentation—a change that variations in paper matting simply cannot achieve.

Fabric mats have been around for many years, and while they seem to fluctuate in popularity with time, they also fluctuate in popularity among different framers who The top mat of this four-mat deep wrapped bevel presentation is a linen mat cut on a computerized mat cutter. The white bevel was exposed on this design due to the white elements in the four images.

find that “the look” suits their style or not so much. Some framers sell fabric matting regularly if not every day, while others never really consider fabric as an option. With that thought in mind, it is important to recognize that when creating a selection at the design counter, offering some texture with fabric might be as important as offering dimensional components like deeper 8-ply mats, floating elements, fillets, or reverse bevels. When

CONTENTS

we consider matting options on a piece of

Fabric mats can be more expensive, and

artwork, we are typically looking for the right

sometimes more labor intensive to produce.

color and texture; fabric often will give us the

However, as with any other premium compo-

perfect design solution, unattainable with

nent, it’s an additional sell to the client and

any other paper mat product.

requires completed framed examples to illus-

AD INDEX

John Ranes II 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.

18 PFM June 2019

a wrapped edge, you are preserving continuity. It also fulfills the custom, handcrafted aspect of our craft. Larger-production big box stores are probably not going to tackle this skill and add it to their framing designs. Some advantages of learning this skill is that it can give you some greater options when dealing with oversized matting, as one is typically only limited to the fabric roll width and not its length.

We have some great suppliers for fabrics to be used in creating wrapped fabric mats like Frank’s Fabrics in Van Nuys, CA and Framing Fabrics in Los Angeles, CA. These suppliers are high-quality, reliable, and have been longtime sources for our industry.

They can provide you with samples, techniques, and design inspiration.

A variety of adhesives can be used to wrap fabric mats, including Frank’s Fabric Adhesive, United Fabric Adhesive, and a variety of dry mount tissues. Framers develop their favorites based on experience, but all of them can work well. Producing clean, crisp corners and an even application of the fabric is the result that we all want. By experimenting and taking the hands-on matting workshops ofThe classic look of a hand-wrapped linen fabric is combined with a fillet and two other paper mats in this presentation. Fabric can a premium edge to your overall frame design, whether you handwrap or buy pre-wrapped mats.

fered at The National Conference at the WCAF Expo, you can master this skill and get the results you’re after.

At some point, the question of bevel direction with

trate the design to your customers.

wrapped fabrics will arise. Typically, when framers are

CONTENTS

One question that may arise is: do you buy pre-cov-

using a fillet and a paper mat, a reverse bevel is pre-

ered fabric matting in sheets, or do you opt for pur-

ferred so the fillet will sit more closely to the edge of the

chasing loose fabric and mounting it yourself, typically

cut. However, with fabric-wrapped mats, I have seen

with a wrapped edge? They both have a different look

framers opt for either a reverse or a standard bevel with

and appearance. They both have pros and cons, and the

equal favor; both can work well.

AD INDEX

truth may be that neither is better than the other—just different.

Hand-Wrapped Fabric Matting One argument for those in favor of this look is that with

20 PFM June 2019

In addition to the wet mounting techniques touted by many fabric suppliers, traditional dry mount adhesives like Fusion and Colormount and their equivalents also work for many fabrics. We have used both mechanical presses and vacuum heat presses and achieved

One distinct advantage of hand-wrapping your own mats is that you can attempt an embossed mat, as shown here. This technique uses multiple layers of fabric heated in a dry mount press, creating a very unique and distinctive look.

very satisfactory results mounting linens, silks, and satin fabrics to matboard.

Fabric Matboards This is another option to add fabrics to your repertoire, regardless if you cut mats on a tabletop mat cutter or if you use a CMC. If you own a well-calibrated manual, tabletop mat cutter and have a new, sharp blade installed, you can achieve a clean and excellent beveled edge (or reverse bevel) with great results. Of course, you will have to adjust blade depth and measuring stops to accommodate the greater thickness of a fabric mat, but it can be achieved.

Perhaps it is the CMC that has made cutting pre-covered fabric mats easier than ever before. But still, I would recommend a new, clean blade for this task. I have seen even surface V-grooves cleanly cut into

CONTENTS

pre-covered fabric mats on a CMC with outstanding results. One advantage of going the pre-covered sheet route is you don’t necessarily need a heat press and it is not as “messy” when using rolled-on wet adhesives.

AD INDEX

Purists, Continue Reading Now if you really want that hand-wrapped fabric mat look but you like the convenience of purchasing pre-covered matboards, this can still be achieved. When using a CMC, simply configure the design as a double 22 PFM June 2019

mat with the “Real Opening” set as desired but only cut

Is there a downside to cutting pre-existing fab-

through 85 percent of the depth. This will cut the paper

ric-covered boards over creating a hand-wrapping fabric

core and leave the fabric connected when cutting from

mat yourself? Well, you may have a limitation on size, or

the backside. Set the “Inner Opening” about an inch

the grain may be slightly skewed. But then again, if you

more and cut as normal.

mount the fabric yourself, you may have a small piece

After pulling away the paper core and with a little

of debris caught in the mounting process that can throw

sanding, the surface fabric can be mitered and wrapped

the whole project in the dumpster. Choosing a preferred

using a spray adhesive and a little white glue (PVA). This

technique is subjective and depends on the individual

same procedure can be also achieved on a manual mat

framer. No matter what you choose, you will be adding

cutter. Both may require some practice cutting on scrap

texture to your mat designs, thereby taking them to the

fabric boards to achieve the perfect depth settings.

next level—and that is the key to success! PFM

CONTENTS AD INDEX 24 PFM June 2019

10 WAYS TO IMPROVE YOUR BUSINESS 10

STRAIGHT TALK ON HOW TO SUCCEED IN BUSINESS FROM JAY GOLTZ

9

EXTENSIVE FRAME HISTORY FROM WILLIAM ADAIR

8

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.”

7

6

5

PRESERVATION FRAMING KNOWLEDGE FROM HUGH PHIBBS

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

4

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.

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

GILDING AND DESIGN TECHNIQUES FROM ERIC MICHAEL TOLLEFSON

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.

3

2

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.

$20 $30

$40 $60

Artwork by James Burghardt

CONTENTS

Joseph Boutell, CPF, of The Source on Lake, LLC, Pasadena, CA, took first place in the 2019 PPFA International Framing Competition, PRINT Category, with his multi-frame design that evokes the urban feeling of the artwork.

AD INDEX 26 PFM June 2019

MULTI҃LAYERED DESIGN WINS PPFA PRINT COMPETITION

By Kimberly Biesiada

T

he first-place winner of the 2019 PPFA Inter-

in the 2009-2010 competition. In the past, myself and

national Framing Competition, PRINT Cate-

framers at The Source on Lake would also enter con-

gory, was Joseph Boutell, CPF, of The Source

tests at the local level. We would usually do very well,

on Lake, LLC, in Pasadena, CA. His winning piece fea-

taking first and second place often—once, we even

tured an urban, multi-dimensional design. Boutell ex-

took first, second, and third place with three different

ecuted his vision by using a custom-finished mould-

pieces we’d submitted!

ing and a unique mounting option. Final rounds of

This year, I entered the digital round of the PRINT

judging and awards were presented at the 2019 West

Competition. The challenge lies in the fact that you

Coast Art and Frame Expo in Las Vegas.

can only send three photos of your entry: one of the

In an interview with PFM, Boutell offered an in-

front, one of the back, and a detail shot. I was worried

sight into his background in the framing industry as

the three-dimensional effect of my piece wouldn’t

well as his step-by-step framing process for this piece.

translate in photos, but I made the Top 50 and the piece went on to be judged in Las Vegas in January. I

CONGRATULATIONS ON PLACING FIRST IN

later found out I took first place with all three judges,

THE PRINT COMPETITION! HOW DID IT FEEL

and one judge gave me a 98/100 score.

TO WIN? It felt amazing and completely surprising. Unfor-

YOUR WINNING PIECE MADE GREAT USE OF

tunately, I was unable to attend the competition’s

COLOR, TEXTURE, AND DEPTH. WHAT IN-

awards ceremony in Las Vegas due to an injury, so I

SPIRED THE DESIGN?

had no idea I’d won at first. I texted a friend to find out

The selected print for the competition—“Water-

how everything went, and he sent me a picture of the

front I” a 10'' x 10'' digitally printed canvas by Stu-

winning piece, not knowing it was mine!

dio EL—has a very urban feel to it, so we wanted the frame to reflect that as well. The print also conveys

WAS THIS YOUR FIRST TIME ENTERING A

a multi-layered effect through the use of multiple

FRAMING COMPETITION?

geometric shapes like squares, so we created a frame

I have entered the PPFA International Framing Com-

with similar shapes to draw the viewer’s eye back into

petition a number of times, and I took second place

the artwork.

PFM June 2019 27

frame. All pieces were hand-finished

THE NEXT FRAMING CHALLENGE

to achieve the rust/oxidized look.

Canvas was stretched on handmade beveled stretcher bars (bevel backwards) with

¼''

round maple

doweling that we had cut a V into to fit right on the edge of the bars, allowing only minimal contact with the canvas and softening the edge of

COMPETE AGAINST TOP

the stretched canvas. The bars were

FRAMERS FROM AROUND THE

sealed before stretching.

WORLD IN THE NEW PPFA

For the matting, we chose two

INTERNATIONAL

purples: red violet and violet. These

FRAMING COMPETITION

colors were selected because they complement each other well and do The hand-finished frame conveys the look of rusted metal.

not distract from the artwork, which has a variety of purples in it. The

To achieve an urban aesthetic,

color of the matboards pulled these

we hand-finished the frame to give it

purple hues out of the art, high-

that rusted, oxidized metal look.

lighting them as well as their complementary colors (the yellow and

WALK ME THROUGH THE

yellow-green in the artwork) to the

STEPS OF THIS PROJECT FROM

viewer.

START TO FINISH.

“MAKING ART IS MY GUILTY PLEASURE” Created with a computer

by Richard Cryer.

5”x7” on 8.5” x 11” paper.

Sponsored by The Great Frame Up/ Franchise Concepts, Inc.

With the rust and dark gray/

Since the print is made up of linear

black color of the frames, all colors

patterns, we wanted to replicate that

found within the print are brought

in the framing, and we also want-

forward, allowing the art to be the

ed to achieve the rusted metal look.

main focal point. To create the rusted

To do that, we built the frame by

appearance, we used three coats of

hand using 1/4'' maple wood ripped

Valspar Black sealer paint, allowing

¼'', 2 ½'', and 2 ¾'' wide strips and ½'' maple wood ripped to a ½'' x ½'' square maple cube and ½'' x 3 ⅜'' wide maple strips. We used ¾'' to 2

moulding trim for top and lip of the frame.

CONTENTS

PRINTS AVAILABLE AT THE PPFA BOOKSTORE

WWW.PPFA.COM

AD INDEX

Winner to be featured on the cover of Picture Framing Magazine

To hold the canvas, we created a beveled float frame (sides beveled inward to disappear from sight) so the image appeared to float in the middle without that boxy feeling. Interior float frames and crossbars were cut with lap joints and then glued and pinned. The exterior frame was vised and secured with V-nails. To create a lip, the frame was vised, glued, and

Professional Picture Framers Association

28 PFM June 2019

pinned to the top of the exterior

Red violet and violet mats were used to draw the viewer’s eye to the artwork.

the first two coats to dry for one hour and the last coat to dry for five minutes. After the last coat of sealer, we applied a very heavy coat of Rust-Oleum textured paint and allowed it to dry for 10 minutes—which meant it was still very wet as we continued working with it. We used rags to hand-texture the surface, which also pulled up part of the third undercoat to make the frame look more like oxidized metal. We then scrubbed in burnt umber and black acrylic paint to achieve the rust effect. Several coats of satin polyurethane spray were used to seal the final finish.

Finally, we finished the piece with premium glazing to protect the artwork for years to come.

YOU HAVE BEEN A CERTIFIED PICTURE FRAMER SINCE 2005. WHEN DID YOU GET YOUR START IN THE FRAMING INDUSTRY? I had previously worked for a high-demand brokerage company as a financial consultant before deciding to switch gears and work for an art gallery. I really loved the work, but there weren’t enough hours to pay the bills. I went to work for a big box framing company and eventually became the framing trainer for that district. Then in mid-2003, I had an opportunity to start my own business, and The Source on Lake opened its doors in June 2004.

WHAT ADVICE WOULD YOU GIVE FRAMERS WHO ARE CONSIDERING ENTERING THE COMPETITION FOR THE FIRST TIME? I say go for it! Do your homework on preservation framing practices and what the judges are looking for in every entry. You get feedback from the judges at the end, which will help you in future competitions and in your business as

Boutell’s final rendering of the inner and outer frames

The 2020 PPFA International Framing Competition is now accepting entries online. This year’s print, titled “Making Art is my Guilty Pleasure,” is fractal art printed on translucent vellum, created on a computer by Richard Cryer and sponsored

by The Great Frame Up/Franchise Concepts, Inc. The 5’’ x 7’’ image on 8.5’’ x 11’’ paper may be framed horizontally or vertically.

The top 50 pieces from the digital round will advance to the 2020 WCAF Expo in Las Vegas, Jan. 26-29, 2020. Winners will be announced at a competition reception, and the firstplace PRINT winner will be featured on a future cover of PFM. Entrants have until midnight on July 31 to submit their pieces for the digital round. For more information and to purchase the print, visit www.ppfa.com. Questions can be submitted directly via email to competition@ppfa.com.

well. Always do your best, because your best might just be good enough to win! PFM

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 732-536-5761 Attn: PFM Editor or E-mail to pfmeditor@hobbypub.com PFM June 2019 29

MASTERING MOUNTING

by Chris A. Paschke, CPF, GCF, CMG

Wet/Dry Mount This valuable technique can be the mounting solution you need.

D

ry mounting currently shares the spotlight with roller machines for handling digital imagery, but old-

school techniques are still very much practiced and necessary for a full-service framer.

Dry mount presses have not changed much in the past 20 years, but new products have been launched, adhesives modified, and temperatures lowered to better protect art. Traditional wet mounting with PVA remains a routine technique for fabric applications practiced by many custom framers, but wet/dry mounting is a modified mount process involving both techniques that is often overlooked.

Wet Mounting Wet mounting is the oldest method of adhering paper or fabric to a rigid backing using a wet adhesive or cooked starch paste. Commercial wet glues bond items together using liquid vinyl resin called polyvinyl acetate (PVA) which is a thermosetting adhesive that once dry does not reactivate with water. Glues may be applied by brush, roller, or spray gun, and when used

CONTENTS

in conjunction with a vacuum frame or roller system, have a more immediate bond.

Successful wet mounting requires an even,

moist layer of adhesive, proper open time, and weighting as it fully dries and cures. Manual wet mounting—with no vacuum frame or rollers—requires little financial investment and is a good alternative for mounting oversized items when equipment size limitations are an issue. Use of a cold vacuum frame or roller may increase the long-term permanency of a wet mount by creating a stronger initial bond.

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.

30 PFM June 2019

The completed replica framing matches the original Grayson Sayre serigraph perfectly.

make minor repairs such as replacing torn-off pieces of an image, or corrections such as flattening folds in the print.

That said, the wet adhesive of choice could be anything from PVA to starch or starch to EVA, depending on the project and materials requiring mounting. The three elements of mounting to be controlled during wet mounting are time, pressure, and moisture. Temperature only becomes a notable issue when attempting to apply adhesives in extremely hot and humid or extremely cold environments, which could affect the flow and/or drying time of the selected adhesive.

Basic wet mounting supplies include thick glue or paste, spray water bottle, soft 4-5'' rubber or sponge roller, Unwanted adhesive absorption is shown in the upper left rice paper and upper right sheer silk. Lower samples were wet/dry mounted preventing any chance of bleed absorption.

Wet Glues and Pastes Wet glue is a thick paste or commercial liquid adhesive which must be evenly applied to the substrate before positioning the art. Commercial pastes are available from major manufacturers that are starch-based, neutral pH, nontoxic, buffered, and water soluble for removal. A basic PVA wet glue is repositionable while wet, nontoxic, nonstaining with age, dries clear, and has long-term bonding ability.

As far as PVA goes, Jade 403 sets the standard for bookbinding as a general purpose, pH neutral, acid free, resin-based, thermoplastic adhesive. It is sought after for its strength, flexibility, and long-term stability (it does not yellow or become brittle over time). It is commonly used for bookmaking and adhering paper to paper, cloth, wood,

and a piece of scrap glass or acrylic. When using liquid fabric glue, it is best to use a roller tray or a resealable plastic container.

• Apply adhesive to the substrate, making sure moist glue is evenly applied and covers every square inch of board.

• Mist the back of the paper print to expand the fibers to match that of the prepared wet substrate.

• Align the print to the substrate across the top edge, gently sliding a hand from the top to the bottom, first down the center then to the edges respectively to tack the print.

• Check alignment to the mount board.

• Cover the print with a sheet of clean Kraft paper or dry mount release paper and gently spread from the center to the edges to eliminate air bubbles.

• Dry under an even weight for 4-24 hours.

or leather, making it the likely choice for fabric wrapping to matboard, honeycomb panels, or Gatorboard.

On the other hand, ethylene vinyl acetate (EVA) is a water-reversible formulation of modified PVA copolymer. It maintains softness and flexibility, clarity and gloss, barrier properties, low-temperature toughness, and resistance to UV radiation. Jade R is a reversible EVA that is an acid free,

CONTENTS

archival adhesive which provides a very strong bond like Jade 403, making it ideal for conservation work where reversibility is a concern.

Though YES Paste—a starch paste made of corn dex-

AD INDEX

trin, corn syrup, preservative, and water—is used by artisans and bookbinders, with a pH of 6.0-6.5, it is not embraced as archival nor acid free.

Wet Variations One of the big advantages of wet mounting is the ability to 32 PFM June 2019

Sheer Eden Natural 100 percent silk from Frank’s Fabrics is the perfect example of a sheet fabric which needed to be wet/dry mounted.

The sample is used on gray rag 8-ply for ease of viewing.

Dry Mounting By the end of the nineteenth century, a demand for an easy, reliable, repeatable, moisture reduced, chemically safe mounting method was raised, and in 1901, the first dry mount tissue patent was issued to the Derepas Brothers in France. A thin carrier was developed using a thermoplastic adhesive coated on either side which was activated by heat. The term “dry mount� was originally chosen to distinguish this new dry technique from traditional damp and wet techniques of mounting.

Over the years, adhesives have been modified to meet industry safety standards, temperatures lowered to better accommodate digital art tolerances, and new products launched for efficiency, but dry mounting has technically remained the same since its development.

Why Wet/Dry Mount?

Tools of the trade: ultra-smooth foam roller replacement, foam roller, fiber roller, 2'' disposable bristle brush, and plastic storage tub.

leaving hard spots of glue saturation. When using polyester felt as padding or color toner behind a lightweight

One of the bonding requirements of wet mounting is the

textile, that support layer may be either pinned or wet/dry

adhesive absorption that occurs during the process, but

mounted to prevent saturation.

there are times that adhesive must be prevented from sat-

The wet/dry technique applies wet PVA, allows it to

urating, as when wrapping a sheer, delicate fabric, thin,

dry, and reactivates it in a dry mount press to adhere the

translucent paper, or other absorbent material. In the craft

layers. A great example of this technique is the use of

world, felt is notorious for soaking up thin white glues,

sheer Eden Natural 100 percent silk from Frank’s Fabrics

PFM June 2019 33

and a plastic storage tub are the preferred tools for this process. Disposable 2'' natural bristle and

½'' glue brushes are

also good for small area application like the surface of the raw bevel.

Wet/Dry Technique To achieve the wet/dry mounting method, the following steps are required: • Slightly overlap the rows to insure no uncoated spots, and let the white glue fully dry.

• Apply the second coat in the opposite direction to fill gaps and prevent ridges of adhesive.

• Set press between 180-190 degrees Fahrenheit and alSponge rollers apply smoother, more even layers of adhesive than brushes. Apply layer, let dry, apply second layer in opposite direction, then let fully dry.

low to fully heat.

• The dried glue has a slight tack to it once dry and will hold lightweight materials in alignment.

for a bevel-wrapped liner in the featured Grayson Sayre

• Align the fabric and press to hold in place.

framing job. The most efficient, dependable, and foolproof

• If wrapping a window mat, refit the fallout into the mat.

mount technique in this scenario was the wet/dry method.

• Insert the board with dried adhesive and fabric into the

Unlike standard wet mounting, no spray bottle misting is allowed; in fact, no moisture ever comes in contact with the fabric or paper being mounted. A 4'' ultra-smooth, high-density sponge foam roller for even glue application

Align the fabric and press to hold in place. If wrapping a window mat refit the fallout into the mat. Insert the board with dried adhesive and fabric into the heated press.

CONTENTS AD INDEX When the mount is removed from the press it will be fully surface mounted including the bevels. All that needs to complete the wrap is cut the inner rectangle and wrap the edges to the back to prevent raveling.

34 PFM June 2019

heated press between release papers, and bond for 2-5

matched the original perfectly and both were glazed with

minutes depending on the substrate, size, fabric, and

premium glass to complete the preservation packages.

press.

Wet/dry mounting is a valuable technique that can be

When the mount is removed from the press, it will

a useful part of every custom framer’s repertoire as it offers

be fully surface mounted, including the bevels. All that’s

the permanence of neutral pH wet methods as well as the

needed to complete the wrap is cutting the inner rectangle

control and predictability of dry mounting, thus receiving

and wrapping the edges to the back to prevent unraveling.

benefit from both techniques. The best thing about wet/dry mounting is it may be used for wrapped mats, shadowbox

Example Project: Grayson Sayre

backing boards, bulletin boards, and any type of fabric from

I had a client bring in a beautifully period-framed Grayson

silk to ultra-suede. PFM

Sayre serigraph and had just acquired another of the same size. She wanted her original gold leaf, closed-corner frame to be replicated down to the gold leaf fillet and sheer silkwrapped liner. The original was unframed for inspection and reglazing, so the original 8

½'' x 14 ¼'' frame and fillet

were shipped to Goldleaf Framemakers of Santa Fe to create an exact replica of frame and fillet.

The warm white 8-ply rag window mat liner required a wet/dry mount method to prevent bleeding through the Eden Natural silk. Mounting any sheer translucent paper of fabric to a darker matboard would alter the color of the silk, resulting in color ghosting, so always match your board to the sheer being mounted to it. The completed replica

The replicated wrapped mat wet/dry mounted Eden Natural silk to a warm white 8-ply rag window mat. As sample photos show, mounting to a darker mat would discolor the silk.

PFM June 2019 35

RETAILING SUCCESS

by Ken Baur

Pricing Mounting and Stretching in POS So�ware Run the numbers to make sure you are charging for material and labor costs.

M

know how long it takes to perform each of the types of mounting and stretching your business does. You can learn this by simply timing how long it takes to do each function for a regular sized project (about 16 x 20) and an

ounting,

stretching,

and

spe-

cial charges account for a much smaller percentage of sales than

moulding, matting, and glazing in a typical frame shop (about 12 percent of sales), but they are important pieces of your profit that have much more to do with labor expense than materials.

Begin by removing the defaults that come with your point-of-sale (POS) system inside mounting and stretching and replace them with the terminology your shop uses. Be specific inside each category so the staff building the projects knows which type of mounting or stretching was envisioned by the designer of the project. Using generic terms to indicate the need for mounting or stretching can lead to problems in producing the project, but being specific in terminology—for example, using “hinge mounting” or “Mylar corners”— can eliminate mistakes and the need for verbal communication between staff members.

CONTENTS

Pricing mounting and stretching involves a bit more analysis than pricing other aspects of a project. To do this correctly, you need to

oversized project (larger than 32 x 40). Then apply your shop charge to cover that time.

For example, if it takes you 15 minutes to complete a 16 x 20 museum mount and your shop labor charge is $70 per hour, you should be charging about $17.50 for the labor to do this type of mounting. In addition, you must add in material cost. Let’s say the materials cost $3 to do this mounting. You should mark up the materials according to the gross margin your company needs to be profitable.

For this example, let’s say that this company needs a gross margin of 75 percent to cover all expenses and provide a positive cash flow. In that case, those $3 materials should be sold for $10. Now, add this material price to the labor charge—the price becomes $27.50 for mounting this project.

Now that you know how to price these types of projects, the next step is setting up the POS system so it applies the correct united inch charge to arrive at the correct pricing.

This means converting regular and oversized projects to the correct united inch. Using our example, we found that a 16 x 20 or 36 unit-

AD INDEX

Ken Baur is president of KB Consulting, a business helping framers with pricing, profitability,

website development, e-mail marketing, gallery display, statistical analysis, team growth, and sales programs. In addition, he is a featured writer for PFM and conducts numerous seminars for The National Conference, industry open houses, and national conventions.

36 PFM June 2019

ed-inch museum mount should sell for $27.50. So, if

make a consistent markup on it. I also recommend

we divide $27.50 by 36, we see that we need to charge

using a much lower markup on stretcher bar than

.76 per united inch to arrive at the correct pricing. This

what you use on mouldings of the same cost. If you

rate will now convert any size project into the correct

are marking up stretcher bars as high as moulding, you

charge automatically.

will appear very expensive to those just wanting to

If you have never timed how long it takes you

have a piece of canvas art stretched. Most POS systems

to stretch different types of needlework, you may be

offer a feature that allows you to manually “lock” the

amazed at how much your pricing needs to be adjust-

markup on specific mouldings. This feature still cap-

ed. It’s the same with oversized projects; they almost

tures cost increases, but it will always apply the locked

always take far longer than what you might guess.

markup to the current cost.

Wherever possible, separate materials from labor when they can be purchased separately.

Remember that only moulding and matting costs are updated in your POS system. Check to see if sup-

A good example of this is canvas stretching. If you

plies used in mounting and stretching have also gone

price stretcher bar as a type of moulding and create

up. If so, you will need to recalculate prices. Doing this

a separate charge for the labor of stretching, you will

once per year is often enough to stay on top of any po-

create more versatility in your pricing program. That is

tential price increases. Remember, too, that if your ex-

because some clients will want to reuse their stretch-

pense overhead increases or decreases, so must your

er bar and ask you to provide only the stretching for

shop rate. That includes hiring a new staff member or

the project. If your canvas stretching charge is for labor

when wages go up. Shop labor rate changes must be

only, you can easily determine the correct price.

reflected in the pricing of the labor-intensive portions

Pricing stretcher bar as a type of moulding also allows you to track cost increases for this product and

CONTENTS AD INDEX 38 PFM June 2019

of each project.

What about those very unusual projects that come

in—the ones that involve a lot of labor? The first step is to determine how long it could take. Then add about 15 percent more to that time. Next, manually calculate a price based on labor and any materials and quote the project.

The key here is to time how long mounting or stretching this project actually took you to complete.

Timing the labor involved means you will have a much better idea of how to price something similar the next time you receive a project like that.

Taking the time to correctly list and price every type of mounting or stretching performed by your framing business is vital to limiting mistakes, improving communication, and maximizing profits.

I encourage you to carve out a little bit of time to make the calculations and set your pricing in your software system. The time you take will be offset by the difference you’ll see in your profits. And remember that you can always contact your software vendor if you have questions about pricing or making adjustments in your system; they will be happy to help you in any way they can. PFM

CROSSWORD CHALLENGE Across

Down

1 Strengthening material

1 Reverse side

4 It’s often used in wet mounting

2 ___ mounting techniques,

7 Half 8 Places in the middle

to protect photos 3 Perfect

10 One form of mounting

4 Come off in small pieces

12 Be situated

5 Before noon

14 Arrange in a better way

6 Part of a rectangle

15 You and me

9 It often sends a message

19 Warning

11 Produce

20 Bent over on itself

13 Stylish

21 Image, for short

16 Type of mount board used when

22 ___s per inch (dpi) 23 They can be removed during the mounting process 25 Requisition again

doing archival mounting, 2 words 17 Bulging in certain areas 18 Type of mounting also known as pressure-sensitive

26 Printing fluid

20 Fish feature

27 Container

21 Make a hole in

28 Tint of color

23 Frame measurement

29 Eco-friendly

24 Outer covering

SEE PAGE 45 FOR THE SOLUTION PFM June 2019 39

Product Showcase

888 Manufacturing

Decor Moulding

Acid free black masking tape with a smooth surface allows more adhesive contact for a superior bond.

Used for sealing frame backs, lining shadowboxes. etc. Quality tape. Made in the US. Available in 1'' and 2'' 60-yard rolls.

Pleased to announce the introduction of Ravello, a new line of eight slope-topped contemporary rustic metallic finishes that blend different colors to help frame any picture with the right appeal. The ¾'' rabbet offers a strong separation from the art, while the sloped top leads one’s eyes to the art. Available from both NY and GA warehouses. Order corner kit #CS-RAV to get these styles on your walls today.

Go online for the most current moulding offerings or place an order via email at order@decormoulding.com or by phone.

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

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

Delta Picture Frame Co. This collection of 2 3/8'' wide wood mouldings are some of Delta’s most recent additions. Available in Gold, Silver, Espresso, and Walnut, this collection features a distinct texture and pattern. For samples and pricing, please call our office.

Call: 800-327-5482 www.DeltaPictureFrame.com

D&K Group, Inc. The 500T Mechanical Press is designed for mounting and laminating artwork up to 51'' wide by any length. The 500T features analog thermostat controls to simplify operation and reduce potential digital component malfunctions. It offers a 26'' x 34'' heated platen surface and accommodates substrates up to 1'' thick.

Call: 800-632-2314 www.dkgroup.com

Easy Leaf

EnCore Products

Everything from Metallic to Mineral/Mica, Pearlescent, and Sparkle, our powders are perfect for every industry ranging from professional finishers to decorative painters.

EnCore Design Boards. Select an attractive frame for these “functional” boards and incorporate into your decor. Create message centers with Chalk Board and Cork Board in the office, kitchen, dormitory, or wherever you choose.

Call: 323-769-4888 www.glandmp.com

Call: 800-873-4868 www.encoreproducts.com

CONTENTS AD INDEX

Framerica

Global Art, Inc.

Framerica’s Organic Maple is the newest addition to its popular Woods Collection. “For us, organic meant it should appear completely untouched and natural,” notes Josh Eichner. “It’s timeless and can be dressed up or down depending upon the environment.”

Organic maple is available in profiles ranging to 3''.

Global Art, Inc.’s Spring 2019 Ready-Made Frame catalog is now available! Please contact customer service at 866-310-4210 to request your copy or go online to see all of Global Art’s quality frame offerings.

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

40 PFM June 2019

Call: 866-310-4278 www.globalartphotoframes.com

Gluefast

Larson-Juhl

Our wet mounting kit includes two mounting glues for gluing posters to foam core, chipboard, cardboard, or wood. Gluefast also has glue mounting equipment for mounting prints up to 42'' wide for larger volume users.

Inspired by mixed metals, Alloy combines metallic top coats with a brushed wood side. These two contrasting elements create interesting views from every angle.

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

Call: 800-242-7318 www.gluefast.com

Michelangelo Moulding

Omega Moulding

Michelangelo has a new profile set—the 331 series. Available in Black, Charcoal, and Silver and Gold broken leaf patterns, each shadowbox measures 7/8'' wide, a tall 2 3/4'' height, and a full, near 2 1/2'' rabbet. The group is now in stock and available for orders and samples. Contact sales@michelangelomoulding.com for more information.

From the Japanese word for fruitwood, Kaju is a collection of 11 items referencing the combination of nature and simplicity in Japanese design. Fruitwood finishes such as pear wood, cherry, plum, and pecan are desirable for their fine, even grain, smooth texture and consistency, often used in today’s fine furniture and cabinetry. The collection’s clean lines and warm natural wood tones work well with a wide variety of art and color schemes.

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

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

Sepp Leaf

Superior Moulding

Mica powders are non-toxic, non-tarnishing metallic powders, combinable with most mediums to apply as a paint or glaze. Mica powders can be flash gilded by dusting over gilding size. Ideal for touching up gilded moldings. Available in 24 colors and as a sampler kit. Distributed by Sepp Leaf Products, Inc.

Presenting Midway, a collection of color mouldings inspired by the flavors of summer, like Blueberry Pie, Caramel Corn, and Grape Slush.

These tasty colors are produced on a maple veneer laminated to a solid wood substrate that is easy to join and helps keep the colors accurate and stable over time. Have a look at these great accent colors online.

Call: 212-683-2840 www.artistcraftsman.com

Call: 952-922-7914 www.supermoulding.com

Universal Arquati Collins II is a beautiful line available in five soft yet vibrant finishes: black, white, gray, muted gold, and muted silver. This profile is inspired by the original Collins Collection to offer a great look and value. Please contact your local sales representative for corner sample sets, which are available now. Please visit the new line on the web.

Call: 800-668-3627 www.universalarquati.com

PFM June 2019 41

Distributor Spotlight

CONTENTS AD INDEX 42 PFM June 2019

DISTRIBUTOR SPOTLIGHT A complete innovative marketing section designed especially for distributors.

For more information, sales@pfm-group.com

CLASSIFIEDS HELP WANTED 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 customers’ 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 you’re looking to join our growing, dynamic company, inquire confidentially to salesjobs@omegamoulding.com.

FOR SALE

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.

Do you love framing? Own your own shop, or add another profitable location. Do you think

PFM June 2019 43

Index Advertiser

Page

Advertiser

Page

888 Manufacturing Corporation .........................................................33

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

888-338-3318

800-233-2404

www.888mfgcorp.com

Active Sales .......................................................................................42 800-937-2255

www.activesalesco.com

Alpina Manufacturing, LLC .................................................................43 800-915-2828

www.fastchangeframes.com/www.bannergrip.com

www.richesonart.com

Larson-Juhl .......................................................................................17 800-438-5031

www.larsonjuhl.com

LifeSaver Software.............................................................................39

Capax-Frame It .................................................................................38

800-381-0600

800-942-2729

Michelangelo Moulding ......................................................................21

www.capax.com

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

www.cmimoulding.com

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

www.crescentcardboard.com

877-422-8812

www.lifesaversoft.com

www.michelangelomoulding.com

Omega Moulding Company ..........................................7, 10, 24, 41, 43 800-289-6634

www.omegamoulding.com

Decor Moulding & Supply ............................................10, 23, 24, 35,43

Picture Framing Magazine............................................................25, 37

800-937-1055

800-969-7176

www.decormoulding.com

Encore Products Inc ............................................................................31 800-873-4868

www.encoreproducts.com

Engelsen Frame & Moulding ...............................................................42 800-422-6731

www.engelsenframe.com

Fixons ...............................................................................................42 714-526-3455

www.fixons.com

Foster Planing Mill .............................................................................42 323-759-9156

www.fosterplaningmill.com

www.pictureframingmagazine.com

Professional Picture Framers Association .............................................28 732-536-5160

www.ppfa.com

Quality Saw .......................................................................................42 800-446-6622

www.qualitysaw.com

Superior Moulding Corp. ....................................................................43 800-922-7914

www.superiormoulding.com/www.zelanto.com

FrameReady ................................................................................38, 42

Tru Vue .............................................................................................11

888-281-3303

800-621-8339

www.frameready.com

Framerica............................................................2, 3, 4, 29, 43, 45, 48 800-372-6422

www.framerica.com

FrameTek ..........................................................................................43 CONTENTS

800-227-9934

www.frametek.com

www.tru-vue.com

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

www.universalarquati.com

Wall Moulding ...................................................................................47

Framing Fabrics .................................................................................22

800-880-8315

800-832-2742

Wizard International ..........................................................................15

www.nnigroup.com

Frank’s Fabrics for Framers ..........................................................19, 42 AD INDEX

888-332-2749

www.franksfabrics.com

Gluefast Company .......................................................................34, 42 800-242-7318

www.gluefast.com

888-855-3335

www.wallmoulding.com

www.wizardint.com

Z Hardware .......................................................................................42 800-880-9315

www.zhardware.com

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

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

866-248-0100

262-633-7918

44 PFM June 2019

www.hoffmann-usa.com

www.ziabicki.com

(Continued from page 46)

What type of artwork would this most likely house? Many

ed States in 1867. Of’s son, George F. Of Jr. (1876-1954), was

of the Modernist painters, mainly New York artists who

an artist and framer who succeeded his father in the busi-

worked with George F. Of, or independent framers such as

ness. It may be safely assumed Of Jr. joined his father when

Lew Pollack who made the raw frames for Marin to then

old enough in the late 1880s or early 1890s after receiving

carve and finish as he liked. Since Marin was a bit of a mav-

enough apprenticeship training. Of Jr. was also an accom-

erick, his designs are rarely seen anywhere else. However,

plished exhibiting artist who likely attained a higher edu-

Marin’s watercolors sometimes had “simple” white frames

cation, enabling him to have a more hands-off approach to

that were also used by other artists. What also made

the business after his father’s death in 1905. He employed

Marin’s work distinctive were his use of silver-leafed mats.

other capably-trained framers to run the business, freeing

His “white” frames had subtle tones of gray as under glaz-

him up for design work and business development. PFM

es with the borders broken with strips of gilded matboard, completely defying the normal conventions of framing.

Special thanks to Lawrence Fleischman for introducing me to Marin’s frame world and to Norma Marin, Ruth Fine, Richard

Additional comments and /or anecdotes. George Ferdi-

York, Ann Prentice Wagner, Eliza Rathbone, Debra Bricker Balken,

nand Of was born in Germany and immigrated to the Unit-

and Tracy Gill for illumination along the Marin pathway.

Crossword Challenge Puzzle Solution

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 888840-9605 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-onone 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 800330-3263 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.

SEPP LEAF (New York, NY) offers 1-week traditional water gilding, glass gilding, and Kolner Gilding Method classes. Visit www.seppleaf.com or call 212-683-2840.

VALLEY MOULDING & FRAME (N. Hollywood, CA) offers 5-day Basic classes and 1-day advanced class. Visit www.valleymoulding.com or call 818-769-5656.

PFM June 2019 45

Style

SNAPSHOT

By William Adair

What style frame is this? A Marin frame.

Where is it from? These frames were made by the artist, who lived in New York, Maine, and New Jersey.

What time period is it from? Mid-Century Modern (1940-52).

What are the defining characteristics of this Style? John Marin (1870-1953) created his own frames that were not derivative of any oth-

tainment element, like a thin line painted at

er style; he was truly an original thinker and

the edge of one of his canvases. He tried to link

creative spirit who defied convention. He re-

his frames to the formal elements of his paint-

ferred to himself once as a “fence jumper.”

ings, creating his own shapes that sometimes

This explains why he broke the borders and

took more time to produce than the paintings.

deconstructed the normal frame pattern, redesigning them to be integral to the painting’s

What furnishings/interior styles accompanied

aesthetic of movement rather than to just be

these style frames in their time? The post-war

a static decorative border. The most typical of

aesthetic for interiors tended toward stream-

his frames were constructed with a 3'' wide flat

lined and angular, essentially imitating the

panel with a 2'' high half round at the center,

turn of the century Bauhaus principals brought

with whimsically painted carved shapes.

into the circle of Alfred Stieglitz (1864-1946) by Lyonel Feininger, a German-American painter,

CONTENTS

What design departures might be seen on

and George Frederic Of, a German-American

frames of this style? Sometimes Marin would

frame maker in New York who advertised that

cut out a piece of plywood so it would be like a

he made frames in “Good Taste.” The typical in-

mat for the image, allowing the unpainted neg-

terior from the 1950s was spacious, with paint-

ative space to interact with the frame’s wide

ed white walls and lots of lighting, rendering

expanse. In these types of frames, he raised

the heavily-ornamented frames from previous

inner and outer moldings to give a kind of con-

generations out of fashion.

AD INDEX

William Bruce Adair received his B.F.A. in studio art from the University of Maryland in 1972.

For the next 10 years he worked for the Smithsonian Institution’s National Portrait Gallery as a museum conservator, specializing in the treatment of picture frames. In 1982 he formed Gold Leaf Studios to make frames and conserve gilded antiques. His clients have included the U.S. Department of State and the National Park Service. In 1991, he was awarded the Rome Prize in Design from The American Academy in Rome. Over the years, William has written articles in PFM that describe in detail some of the traditional embellishment techniques.

46 PFM June 2019

(Continued on page 45)

Original John Marin frame c. 1952, 21 УМ x 27 УМ Courtesy of Gill & Lagodich Fine Period Frames