HALL OF FRAMES : ®
THREE GENERATIONS OF SUCCESS ❖ Joining Equipment for Every Shop ❖ Installing Oversized Artwork
Contents
PFM is a member of:
Volume 30, Number 5
PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders
On the Cover
24
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
46
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.
With roots stemming back to a single mall location in the mid-1970s, Hall of Frames has evolved into a successful, multi-store business now in its third generation of family ownership. In this month's issue, HOF President Jay Kogan discusses the business's journey on page 24.
Features 18 Joining Equipment 28 Designing with Thread Lines 34 Installing Oversized Art
Columns 12 Mastering Mounting 24 Retailer Profile: HOF 46 Design of the Month
Departments 8 10 39 42 43 44 45
Editor’s Note Industry News Crossword Puzzle Distributor Spotlight Classified Ads Index of Advertisers Calendar of Events
34
28
PFM Publishing
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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
CONTRIBUTORS
Jay Goltz • PRE S E RVATI O N E D I TO R Hugh Phibbs • M O U N TI N G E D I TO R Chris A. Paschke, CPF, GCF M AT D O C TO RS Tim Franer, CPF • John E. Ranes II, CPF, GCF • Brian Wolf, CPF William B. Adair • Ken Baur • Jared Davis, MCPF, GCF Paul MacFarland, MCPF, GCF • James Miller, MCPF, GCF
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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 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
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CONTENTS
sales@wcafexpo.com
PFM PUBCO • BOOK DIVISION BOOK SALES COORDINATOR
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pfmpubco@pfm-group.com
PFM PUBLISHING, LLC PRE S I D E N T
6 PFM May 2019
Bruce Gherman
FROM THE EDITOR’S DESK
I
Make sure you have the tools you need to put your best foot forward for your customers with every project.
CONTENTS AD INDEX 8 PFM May 2019
always enjoy getting to know a face in the industry and hearing their story of success. This month, I sat down with Jay Kogan, president of Hall of Frames in Phoenix, AZ, to discuss his four decades as a framing retailer. I learned a lot about what it takes to run an independent family business and thrive as a custom framer in today’s ever-changing marketplace. See page 24 for the full article about the Hall of Frames family. If you are looking to improve your own business, our expert writers have provided plenty of inspiration and advice. In his latest article, Kevin Meath has compiled an overview of premium joining equipment for small, medium, and large-volume frame shops (page 20). Finding the right equipment for your unique business will boost your efficiency—and therefore your profits. In his article, Rob Markoff discusses solutions for joining and installing oversized art (page 34). Installation services can be a great addition to what you offer, and may attract repeat business as your customers decorate and re-decorate their homes and offices.
On the design front, David Lantrip covers a unique method of embellishment in which thread is added to fabric mats to add extra visual interest (page 28). Having trouble with mounting? In her latest column (page 12), Chris Paschke discusses problem solving with time, temperature, pressure, and moisture. Understanding these essential elements of mounting will help you create designs that not only look beautiful, but are also preservation-minded and will protect your customers’ artwork for years to come. As Jay Kogan sagely put it, custom framers are visual experts. Making sure you have the right equipment, product services, and techniques will give you the power to showcase your design expertise to your customer demographic.
Kimberly Biesiada Editor
INDUSTRY NEWS PFM Moves Digital Magazine to Issuu New platform ensures a better reading experience for subscribers Picture Framing Magazine launches its June digital edition on Issuu, an online publishing platform designed to enhance
the reader,” says Bruce Gherman, publisher of PFM. Already purchased a digital subscription? Create a free ac-
a reader’s experience. Issuu offers mobile and tab-
count on issuu.com. As soon as the latest edition of
let-friendly apps in addition to a website, letting users
PFM is available, you will receive an email with your
read PFM anytime, on any device. Want more in-depth
unique code so you can immediately start enjoying
information on a particular product showcase or ad-
everything PFM has to offer.
vertisement? With clickable content, readers can have instant access to vendor and company websites. “Moving to Issuu for the delivery of our digital
Headquartered in Palto Alto, CA, Issuu is a leading distributor of digital publications. The site receives over 100 million unique visitors per month and works
magazine means our readers will enjoy a more interactive ex-
with 3.3 million publishers, including those of National Geo-
perience than ever before. It’s one of the leading online plat-
graphic, Fast Company, and Lonely Planet.
forms in the world and has many features designed to benefit
Framerica Unveils New Website
dress the mounting and framing of a fifth and sixth item, demon-
Framerica’s website is all-new. The moulding company’s site,
strating his knowledge of preservation practices.
www.framerica.com, has been completely updated and ad-
Dellert runs Artisans of San Francisco with his wife, Nancy
vanced, including features like expanded searching options,
Buffum, a watercolor artist. He is the fifth owner of the business,
faster speeds, custom wish
which was founded in 1947 and remains one of the oldest frame
lists, express ordering, and
shops in the city. He has been a PPFA member for 20 years.
product comparison options. It also includes various tools
Framerica’s Milano Adds Texas
to streamline the design pro-
Framerica’s senior sales director, Kevin Milano,
cess for specifiers.
has assumed all sales responsibilities within the
“We revamped the look,
Framerica.com
state of Texas.
layout, and interface of fram-
“I look forward to building and continuing
erica.com from the ground up with the goal of making it the
many great relationships with our amazing Tex-
most user-friendly, customer-focused site in the industry,” notes
as-based customers,” notes Milano.
marketing head Corinne Ferrara. For more information, visit the new site or call Framerica at
Kevin Milano
Adair Presents ‘Golden Doors to Infinity’ Exhibition PFM contributor and popular National Conference instructor Wil-
800-372-6422.
liam B. Adair recently celebrated the opening of the first public in-
Dellert Becomes Master Certified Picture Framer
stallation and exhibition of his “Golden Doors to Infinity” art project
Joe Dellert, owner of Artisans of San Francisco, recently earned
at the Govinda Gallery at Montser-
the Master Certified Picture Framer (MCPF) designation from the
rat House, Washington, D.C.
CONTENTS
Professional Picture Framers Association.
The exhibition opened April 20
AD INDEX
Dellert, who previously earned the Certified Picture Framer
and runs through June 8. Attend-
(CPF) designation in 1999, took the MCPF exam
ees can enjoy Adair’s multifacet-
in January at the PPFA Annual Convention in Las
ed, ongoing conceptual project,
Vegas, hosted by the West Coast Art and Frame
wherein abandoned doors be-
Expo. He is now one of fewer than 100 MCPFs
come portals to cross-generational
worldwide, according to the PPFA.
discourse, carrying with them the
Joe Dellert
For the exam, Dellert submitted four framed
pieces to be scored: canvas art, a photo of San Francisco, needle art, and a three-dimensional shadowbox of a baseball and miniature toy baseball players. He was also given 90 minutes to ad10 PFM May 2019
voices of artists and individuals.
Adair in the Mojave Desert
For more information on the exhibition, visit the Govinda Gallery at www.govindagallery.com. PFM
MASTERING MOUNTING
by Chris A. Paschke, CPF, GCF, CMG
Time, Temperature, Pressure, Moisture Problem solving with these four essential elements of mounting.
A
custom picture framer must be skilled at all aspects of framing, from design and preservation to frame repair, and
often that demands problem solving. Understanding adhesives and mounting techniques is helpful, but being aware of controlling time,
spray mount. With wet and spray adhesives, ap-
temperature, pressure, and moisture (TTPM) is
plication time refers to when a uniform coat of
the basis for all successful mounting. Wheth-
adhesive must be applied to guarantee proper
er the challenge is a bubbling spray-mounted
adhesion. Any areas that have begun to dry pri-
poster from the 1970s or mounting a newly
or to mounting will never create an even, lasting
printed digital image to wood, referring to these
bond. Only an initial bond is created within the
four essential elements of mounting is the best
first hour; a permanent bond takes four to 24
place to start.
hours to cure, undisturbed and under pressure.
Every technique, regardless of wet, spray,
There are several times involved with dry
pressure-sensitive, cold, or hot dry mount, has a
mounting. Draw time is the length of time it
set of TTPM guidelines that need to be followed,
takes for all the air to be sucked out from be-
and in turn will hold the answers when bond
tween a heated platen or cold frame and for the
failure occurs.
lower diaphragm within a sealed vacuum press. Dwell time is the remaining time in the press
Time
after draw to adequately heat all inert mate-
Time refers to tack time, or the workable time
rials, activate the adhesive, and create the de-
allowed by an adhesive to position the print as
sired bond.
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the solvent evaporates in preparation for final setup, also known as open time or work time.
Temperature
Not allowing adequate open time could affect
Temperature is more of an issue than first
the long-term bond of a potentially successful
thought and applies to all mounting techniques.
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Chris A. Paschke, owner of Designs Ink in Tehachapi, CA, is a professional picture framer with over four decades of experience. She is an artist and educator, has authored numerous magazine series, including The Essence of Design, Design Concepts, and Digital Directions for PFM, and has four self-published books on mounting. She currently writes the Mastering Mounting column for PFM and is a contributing writer to The 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. 12 PFM May 2019
Dry bonds to dry (R), a self-adhesive stamp does not properly adhere to a damp envelope (L).
wet and spray adhesives contain water, so moisture is an integral part of the adhesive and the process. P-S adhesives begin dry so materials used during mounting must also begin dry. When a mount board feels cool to the touch, it can be an indication of moisture content in that board. During dry mounting all materials must begin, bond, and remain dry throughout the process. Dry materials will not adhere to damp paper or board. Mechanical presses require predrying to insure all the moisture is removed from the mount package before bonding. Heated vacuum presses automatically remove moisture from within the press during the draw of the vacuum, but even then, sometimes that isn’t enough to remove unOverlap all bites to prevent unmounted tunnels between the bites to prevent unmounted tunnels.
Colder temperatures stiffen liquid adhesives and solidify flow encouraging glues to clump, while higher room temperatures can slow final cooling or curing. Most can or bottled adhesives have suggested temperature usage on the label and many are restricted from shipping during the winter. Dry mount adhesives and heat-activated boards range from 130 to 190 degrees Fahrenheit; not using them at correct temperatures could result in bond failure. That means all layers within the press must be heated to that bonding temperature to achieve a proper bond.
Pressure Pressure is the force that squeezes air from between bonding layers—substrate, adhesive, and artwork. Pressure-sensitive (P-S) adhesives are activated by the manual application of pressure by a squeegee, rubber roller, or roller
wanted moisture.
Problem Solving with TTPM There are two times when TTPM can help solve problems: when an adhesive is not holding properly, sometimes thought of as bond failure, and when there is an unusual project requiring nontraditional materials being bonded. TTPM is a set of guidelines to help correct an oversight or bad habit, so even when all elements are correctly implemented, bond failure may still occur. When that happens, often the first inclination is to blame the adhesive or the equipment—but it is generally the result of human error. Edges peeling up could result from a press not being hot enough, too short a dwell time, or wet glue drying too quickly. Unmelted film adhesive is too low a temperature setting, while damage to a laser print surface is too high a temperature. Air bubbles could easily be a pressure or moisture issue with a mechanical press or the selected mounting technique
machine to create the initial bond with maximum cure reached under a weight after 24 hours. Whether P-S, wet, spray, or dry mounting, the practice of weighting needs to be applied in all cases, and a piece of ¼'' plate glass makes a perfect manual weight regardless of technique. Both hot and cold vacuum presses are self-adjusting
CONTENTS
in relation to the selected mount board. During the draw of the vacuum, a rubber diaphragm conforms to the thickness of the substrate, adjusting for pressure. Mechanical presses must be manually set for proper pressure. Too little pres-
AD INDEX
sure allows air to remain; too much pressure could leave plate marks. Set the locking arm at a 45-degree angle to the table with each substrate thickness.
Moisture Moisture is the element that varies with the process. All 14 PFM May 2019
If mounting 32 x 40'' or 40 x 60'' in four bites, the tack point will be offset toward one corner.
the bite point. • Use only permanent, breathable (porous), tissue-core adhesive when biting as it bonds in the press as it reaches temperature and will not release with subsequent biting. Removable tissue and film adhesives will reactivate with each new bite and loosen the bond, also allowing for air bubbles. Begin at the center of a long side then bite directly across from it, move adjacent, bite, rotate to opposite side, continue.
may not be appropriate for multiple non-porous layers in a hot vacuum press, which would require a two-temperature mounting process. What happens when traditional manufacturers’ suggestions don’t align with the specific needs of a project? There is always more than one solution to a problem, and each project will have a mounting technique best suited to it. That said, the framer’s challenge is to think through the item being mounted and consider compatible adhesives, surface coatings, and substrates to determine the solution. This may take testing numerous combinations until the right amount of tear strength and longevity are determined to suit the project.
Oversized Mounting In a vacuum press, all mounts are limited to about an inch of the physical exterior size of the press platen, but mechanical presses allow for items much larger than their platen to be bonded using a process known as biting. It simply means taking smaller bites to complete the mount in steps, as an 18 x 23'' press will easily mount a 32 x 40'' board in four bites, as will a 26 x 34'' platen mount a 40 x 60'' board. For biting to be successful, there are rules that must be followed to reach proper adhesive activation and full bond and to not leave bite marks in the substrate: • The pressure bar adjustment of 45 degrees must be accurate. A small 8 x 10'' on
CONTENTS
3⁄16'' foamboard is a tighter adjustment than the same 3⁄16'' foam for the full 26 x 34'' platen. Obviously thicker, larger substrates will require pressure adjusting.
• If the press is set too loose (handle at less than 45 de-
AD INDEX
grees), bubbles could occur. Too tight (handle greater than 45 degrees) will allow indentations in a foam substrate where the platen edges bite. • A top release board—not release paper—is required and must stick out beyond the platen on the front three edges to help dissipate pressure at all edges of 16 PFM May 2019
• Overlap all bites as much as possible to prevent unmounted tunnels between the bites. This also supports the substrate better and aids against dents by never pressing the exact same bite point. • Surface tack the adhesive in only one location, at the site of the first bite. A two-bite project should be tacked at the end rather than the side, while a longer, multiple-bite project would likely be tacked center side. • If mounting a 32 x 40'' or 40 x 60'' in four bites, the tack point will be offset toward one corner rather than centered and should enter the press first, and mounting in a clockwise pattern is fine. • A multiple-bite board begins mounting at the center of the long side—as when stretching a canvas—and should be followed by the bite directly across from it.
Contemporary Demands In the world of digital imagery, a plethora of substrate alternatives, from paper-based honeycomb panels to aluminum composite material (ACM-Dibond) raise porosity issues which can resolve or exacerbate mounting demands. Digital images mount best to HA foam boards at low 130-degree temperatures or short 15-second durations of 150 degrees. Bonding to ACM may be achieved in a vacuum press but is best with an R-L, and face-mounting (also known as acrylic mounting) requires a cold R-L and optically clear, pressure-sensitive film adhesive. Artists often challenge framers with difficult and unusual requests, such as bonding Yupo synthetic paper to a rigid substrate so it may be fitted into a float frame rather than behind glass. Film adhesive may be bonded with a household iron set at just below wool, so perhaps you’d be better selling them the raw adhesive to create the art in their studio. They may do that manually, weighting each applied adhesive layer, whereas a framer would use presses and the sponge mount technique. No matter what the project, keeping the TTPM elements of mounting in mind will help you create a design that is not only beautiful, but also long-lasting and safe for the artwork or object being mounted. PFM PFM
SELECTING THE BEST FRAME JOINING EQUIPMENT FOR YOUR SHOP By Kevin Meath, CPF
A
s we get into the summer months, you may have
up” rough cuts, angle corrections, and length variances on
time to start working on improvements to your
moulding corners. It ensures perfect alignment with every
equipment. This month I’d like to introduce you to
joined corner.
the choices for underpinners, or joiners, as they are sometimes called.
Simply rotate the 12-inch sanding disc manually against the miter cut, creating perfect corners. The Disc Sander
As with saws, there are many choices depending on
comes with a 45-degree template for accurate setting, three
the size of your shop, how many frames you intend to join
sanding disks, a cleaning stick, and a set of Allen wrenches.
per day, and your budget. I encourage you to not only think
The base of the Disc Sander includes mounting holes
about today’s needs, but also about what your needs may
that allows the unit to be secured to any work table for add-
be in the future. Think about your business plan; how much
ed rigidity.
growth do you anticipate?
It is an indispensable shop tool and provides a higher
Before you make your decision, remember to consider
level of quality and craftsmanship in your finished product.
space requirements. All these machines except two require clean, cool, compressed air, usually in the area of 90 PSI. Additionally, all the machines with computer screens require 110-volt AC power. I’ve divided up the machines into three categories; small, medium, and large. These categories are based on volume through the machine—everything from a few frames per day to thousands. I’ll start with a machine that will certainly help you get the best joins with slight warp or twisted mouldings: the AMP Disc Sander. This machine is the perfect tool to “true
The AMP Disc Sander
SMALL VOLUME The Cassese CS1 Series is a manual foot-oper-
tail operation. As a fully manual machine, it requires no compressed air or
ated underpinner. It is perfect for the small to
electrical power to operate. This unit allows the framer to bring the joining
medium-sized custom or retail framer. The CS1
operation in-house for cost control and
is designed to join softwoods, hardwoods, MDF,
quick customer turnaround. The U-200 is
and poly frames. The CS1 uses Cassese UNI V
compact with quiet operation and has a
nails and cartridges to ensure tight corners ev-
small footprint. It is pedal-operated and
ery time. The CS1 features a solid aluminum
requires limited force for V nail inser-
structure with a stainless steel working sur-
tion. The U-200 is light and can be easily
face. It includes an adjustable magnetic Chev-
moved from place to place in your busi-
ron hold down on a solid crossbar and it fea-
ness environment and offers a tilting base
tures easy V nail loading and quick simplified
with front or rear setup and a “positive
V nail positioning. The CS1 is designed to be
placement” clamping feature. It features
simple and fast and can handle a wide range of
adjustable magnetic hold down pads and
moulding sizes, from ¼'' up to 4'' (100mm) wide
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The AMP U-200 is an entry-level frame assembly machine for any small re-
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manually adjustable front and back stops. It will join moulding up to 5 ⅛'' (130mm) wide and 3 ¼'' (80mm) in height. 18 PFM May 2019
and up to 4'' 100mm) in height.
MEDIUM VOLUME The AMP U-300 is a bench-top frame
The Cassese CS2 is designed to join softwoods, hardwoods,
joining machine and very popular mod-
MDF, and poly frames. The CS2 is designed to be simple and
el for custom framers. It is compact, well
fast to operate. The CS2 uses Cassese nails in cartridges,
constructed, and built for many years
which means no adjustment to machine when changing V
of trouble-free operation. The design of
nail size. The CS2 Series uses Cassese UNI V nails in strips.
the U-300 allows the operator to set the
The CS2 uses the Cassese exclusive “Smart Nail Drive
front and back measuring stops for V
System,” which eliminates the need to adjust the top clamp
nail insertion. The frame is then moved
location as well as the need to adjust air pressure between
across the nail head and V nails are driv-
hardwoods and softwoods. The CS2 features an adjustable
en or stacked anywhere along the frame
magnetic Chevron hold down on a solid cross bar and easy
joint.
V nail loading and quick simplified V nail positioning. It
The
U-300
features
pneumatic
can handle a wide range of moulding sizes, from ¼'' to 4''
nail loader to eliminate jams. It is de-
(100mm) wide and up to 3 ¼'' (82mm) in height.
signed with a unique piston V nail driver “Block Blasé” system for single and The AMP U-400 has been designed for ease of operation and is particularly well suited
multi-stacking operations. The quickchange magnetic hold down pad feature
for joining wide mouldings. Supplied with a tilting floor stand, the machine can be op-
fits most mouldings. The U-300 will join
erated from the front or back and has a single stage pneumatic foot pedal that activates
mouldings from ¼'' up to 3 ¾'' (95mm)
the horizontal clamp, securing moulding during the joining process. The framer sets the two position stops for measuring the max distance between
wide and up to 3 ¼'' (80mm) in height.
strokes; a dual-function hand lever is then used to position and actuate both the horizontal and vertical hold down clamp and the V nail driver, inserting V nails anywhere along the pre-set stroke distance. A key operating feature for the U-400 allows the operator to quickly change V nail mm size using an interchangeable metal magazine channel. This machine is unique in that it can be configured for either right- or left-handed operation. This allows the operator to accurately position and stack V nails anywhere along the frame joint. The U-400 will join mouldings from ¼'' to 5 ½'' (140mm) and up to 3 ¼'' (80mm) in height.
The Cassese CS200 Cart is a heavy-duty pneumatic air-operated
The Universal Arquati DY104 is a high-value, low-cost, bench-
joiner that is flexible enough for the custom framer and tough
or stand-mounted pneumatic underpinner that is designed to
enough for volume assembly. The CS200 Cart features joystick
join wider mouldings. It has a single-stage pneumatic foot pedal
control for ease of positioning and easy use. The Ultra Clamp-
that engages the horizontal and vertical clamps. The operator
CONTENTS
ing system is easy to adjust
sets front and back stops and
and retractable for super
then uses the joystick to insert
tight joins. The CS200 Cart is
and/or stack the V nails. The
designed to join softwoods,
DY104 can insert any number
hardwoods, MDF, and poly
of V nails between the front
frames.
and back stops. The machine uses standard V nails in the following
trical connection needed.
sizes: 7mm, 10mm, 12mm,
It features quick and easy
and 15mm. It comes with four
V nail positioning and easy
interchangeable
loading and features an ad-
has two self-adjusting hydrau-
justable magnetic Chevron
lic clamps designed to hold the moulding in place to simply
hold down. It will join mouldings from ¼'' up to 6'' (152mm) in
piece together your corner. The DY104 will join mouldings from
width and up to 4'' (100mm) in height.
½'' to 6'' (150mm) and up to 4'' (100mm) in height.
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The CS200 Cart is fully air-operated with no elec-
20 PFM May 2019
heads
also
LARGE VOLUME The AMP U-500 is recommended for high-volume production
The AMP U-600 is the most advanced frame joining machine
facilities that require the primary use of a single sized V nail
in the AMP line. This machine is ideal for high-production fa-
for frame joining. The U-500 is designed to join wood, MDF,
cilities that require flexibility for different sized V nail fasten-
or poly frames. It has
ers or a common mm size through a market unique configu-
a user-friendly touch-
rable channel feature.
screen
and
Its latest feature, a Computerized Air Pressure System
single channel capacity
interface
(C.A.P.S.), eliminates the need to make manual air pressure
that will handle 5mm,
adjustments for vertical clamping. To utilize this new feature,
7mm,
the operator stores the air pressure values needed depending
10mm,
12mm,
and 15mm V nails. With data storage
on the moulding
hardness
of 5,000 different frame
for each of the
profiles,
frame
the
operator
can easily recall any
profiles
stored in mem-
frame profile alphabetically, numerically, or by using the in-
ory.
tegrated bar code reading option for production efficiency.
ing a pressure
The U-500 uses both horizontal and vertical clamping with a
setting into the
double hydraulic pressure clamp. It features a three-knob ad-
memory
justable fence to allow compensation for slightly inaccurate
base, programs recalled through the key pad or barcode scan-
moulding cuts. The working table is easily adjusted to any tilt
ning option automatically set the clamping air pressure need-
and the U-500 can be operated from either the front or back.
ed.The U-600 will join mouldings from ¼'' to 4 ½'' (115mm) and
The U-500 will join mouldings from ¼'' to 4 ½'' (115mm) and up
up to 3 ¼'' (80mm) in height.
By
enter-
data-
to 3 ¼'' (80mm) in height. The Cassese MACH 1 is a very high-speed machine: 3,300 cyThe A-Plus Automation A6-MemoTS+ is designed as a high-
cles per hour, with 2 V nails per corner. It allows up to 5 nailing
speed production machine. The A6-Memo TS+ has a magazine
positions with up to 5 V nails per position. It features quick
composed of five channels which contain different sizes of V
and easy nailing pattern setups that are stored for easy recall.
nails: 5mm, 7mm, 10mm, 12mm, and 15mm.
The Mach 1 has a bonus
Within the same work cycle the operator can insert and/
program that allows up to
or stack different sized V nails in the different insertion po-
9 “favorites” to be stored
sitions. The programs can be operator input or downloaded
and quickly recalled for
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from a PC. The operator can
quick
change-overs. All
select the frame to be pro-
these
are
duced via the touch-screen
both fully automatic or
or by scanning with the op-
semi-automatic V nailing
tional barcode reader. The
modes. It is also barcode
machine will automatically
ready, allowing users to
adjust, and production can
store unlimited profiles.
start immediately. The bar-
The
available
Mach
1
in
uses
AD INDEX
code reader can also fully
Cassese’s exclusive “Smart Nail Drive System” that elim-
program the machine using
inates the need to adjust the top clamp location and elimi-
a special QR barcode.
nates the need to adjust air pressure between hardwoods and
Horizontal, vertical, and
softwoods. It also has powerful patented “Ultra” front clamps
fence clamping devices pro-
that hold the moulding tightly in place and adjustable fences
vides correct tightening of
to allow adjustment for perfect joints. The Mach 1 will join
the frames while joining. The A6-MemoTS+ will join frames
mouldings from ¼'' up to 5 ¾'' (146mm) in width and up to 4 ¼''
¼'' to 7 ¼'' (185mm) in width and up to 4 ¼'' (108mm) in height.
(108mm) in height.
22 PFM May 2019
The Universal Arquati Machinery DY 102 is a
The Cassese Mach 4 Cart is a fast and heavy-duty design for high-pro-
high-value, fully automatic computerized pneumat-
duction operations, with programmable memory and a user-friendly
ic-operated underpinner. DY102 uses standard V nails
touch-screen interface. The Mach 4 Cart is designed to join softwoods,
in the following sizes: 7mm, 10mm, 12mm, and 15mm.
hardwoods, MDF, and poly frames. The touch-screen tells operators which
The DY 102 comes with four interchangeable heads,
cartridge size and accessories to use. The programable memory stores up
one for each size of V nail. Changing V nails is a simple,
to 3,000 profiles (unlimited profiles if full parameter barcode and scanner
three-minute task.
are used). The Mach 4 Cart will run up to 3,300 cycles per hour with 2 V
The DY 102 has two self-adjusting vertical hydraulic
nails per corner.
clamps, along with
The Mach 4 Cart is electronic over pneumatic for high speeds and ac-
an adjustable hor-
curacy. It features Cassese’s exclusive “Smart Nail Drive System” that elim-
izontal clamp. The
inates the need to adjust the top clamp location and eliminates the need to
vertical clamps have
adjust air pressure between hardwoods and softwoods. It also has powerful
a separate pedal to
retractable “Ultra” clamps to draw the moulding in for a tight joint.
allow for self-adjust-
The Mach 4 Cart allows up to 9 nailing positions per corner with up
ing setup. Once set-
to 9 nails per position. It will join mouldings from ¼'' up to 6'' (152mm) in
up is complete, the
width and up to 4'' (100mm) in height.
pedal is not used in the automated joining operation. The DY 102 can store up to 2,500 individual profile setups in any alpha-numeric sequence. The machine is very easy to set up, program, and operate. The DY102 will join mouldings from ½'' to 6'' (150mm) and up to 4'' (100mm) in height.
Kevin Meath Kevin is a framing professional specializing in operations, sales, and management. His skill set enables him to consult in all areas of frame manufacturing, from small, low-volume, extremely high-quality shops to very high-volume OEM factory production operations. He has extensive experience in plant layout and lean manufacturing practices, design, and product sourcing. Kevin is currently a consultant working with manufacturers who want to improve productivity, cut costs, and improve yields. His clients range from small companies looking to expand their offerings to larger operations with needs to control costs and improve productivity.
PFM May 2019 23
RETAILER PROFILE: HALL OF FRAMES
®
By Kimberly Biesiada
F
or Jay Kogan, serving as president of Hall of Frames in
making anymore. So he told me, “If you want to make more
Phoenix, AZ, means continuing a family legacy and a
money, you have to open up more stores.” And that’s literal-
lifelong career in the framing industry. The business
ly how it happened. We’d had one store in a mall going on
has its roots in the 1970s, when Jay’s father, Ben Kogan, re-
seven years. And because we had been established for that
located to Phoenix from Chicago and opened a store that
period, we went to another mall owner and inquired about
carried framed art, readymade frames, wall accessories, and
opening a second location there, which we did in 1982.
hand-painted portraits from photographs. Ben, wife Evelyn,
When we opened that store, my wife Pam and my
and son Ron soon realized the framing side of the business
brother Ron moved there, and I hired one guy to work with
was more profitable than the portrait side, leading them in
them. That gentleman is still working side by side with us
1975 to expand into custom framing and open their first
today, which is a testament to the value we place on family
frame shop, Hall of Frames—so named because the interior
and our employees being an extension of the family. We’re
resembled a long, narrow, frame-filled hallway.
now in our third generation, with three of my children in the
Jay, who had a background in photography, joined his
family business.
parents and brother six months after the business opened in mid-1975 inside a Phoenix mall—and the rest, as they say,
Family businesses are challenging. How do you make it
is history. Today, Hall of Frames has nine locations through-
work?
out Arizona, an online store, and a distribution center. It has
The challenge comes from being both a family business
also seen three generations of the Kogan family at its helm:
and an art business. There really is no right or wrong an-
Ben and Evelyn Kogan; their children, Ron and Jay; Jay’s wife,
swer to the direction that you go in. When we started out,
Pam; and their grandchildren, Sean, Bryan, and Harrison.
my parents were both creative and artistic, my brother
CONTENTS
In an interview with PFM, Jay Kogan discusses the busi-
was more involved with the mechanical part—he was do-
ness’s growth over the last four decades, the family dynam-
ing the framing—and I was the lead salesperson and the
ics, and his advice for staying ahead of the curve in an ev-
marketing guy, so we had a great dynamic during that run.
er-changing marketplace.
We’ve moved to a new dynamic now where my oldest son, Sean, is overseeing the marketing as well as retail and
AD INDEX
How did you begin to grow the business beyond that
commercial sales. He also, without really knowing it, is
one location in 1975?
probably the general manager. His brother Bryan is a per-
Our first store was family-operated, with one or two employ-
fect complement. He’s quieter, and he’s doing the entire IT
ees, from 1975 all the way to 1981. In late 1981, I told my
and purchasing side of the business. He’s is in the back-
father that I couldn’t work for the kind of money we were
ground pulling the strings and making the operation hum
24 PFM May 2019
from an organizational standpoint. Their brother Harrison is keeping track of the accounting from all our entities. When your family manages the marketing/sales, IT/ purchasing, and accounting roles, it allows you to run the business and find an amazing staff to execute your vision. It sounds like everyone had roles they naturally fit into within the business. How do you handle the inevitable disagreements? Family business dynamics can be bad; ours is somewhat magical. I think it started with my father and I, who had a lot of philosophical differences in what direction to go with the framing. We developed the 20-minute rule: for 20 minutes, you can just be as angry as you want to be. Then after
Hall of Frames offers readymade solutions as a complement to its custom framing product.
20 minutes, give it up. a computerized mat cutter. That’s a good rule!
The reason why Hall of Frames succeeds in the print-
Everybody has to agree to the rule. Ultimately, it’s kind of
ing business is because printing helps sell frames and
like being locked on a cruise ship or locked on a boat to-
photos within frames. How many times have you had a
gether in the middle of the ocean. No matter what hap-
customer want to put a photo of themselves at a sports
pens at the end of this argument, we’re still all holding
event inside a shadowbox with memorabilia from that
onto each other.
event? We are even starting to offer free prints with all tabletop frame purchases to show the difference in using
I know you are a big believer in diversification. What
high-quality inks and papers compared to convenience
advice can you give other retailers about diversifying
stores. The hope is that they are enticed to print a 32 x 40
their frame shops?
and frame it. That is a permanent marketing strategy.
You can become your own readymade, tabletop, or photo frame supplier; that’s a diversification. You can become
You mentioned your commercial volume earlier. What
your own distributor by stocking your best-selling mould-
portion of your business does that make up?
ings; that’s a diversification. You can offer printing ser-
I would say today that’s a good 35 percent of our business.
vices. It isn’t as hard as it used to be; you can easily be
We like to partner with companies in the home building,
in the printing business for about $1,500. And it’s not that
nonprofit, and design industries who are themselves
steep of a learning curve; it’s a similar concept to running
growing and have a need for custom frames, printing, recognition, and display work. Their growth is our growth, and in order to make them successful, we offer “soup-tonuts” products/services with tailored pricing programs and interfaces so that buyers can order right from their computer without having to call or visit a store. For example, if we were a shoe store, we would also offer socks. As a custom framer, we offer photo printing, laser engraving (on more than just name plates), mirrors, whiteboards, and just about anything that would go into a frame. What kinds of framing projects are the most in-demand among your customers? What they’re mainly framing today is an array of person-
Jay, Ron, Evelyn, and Ben Kogan in the first Hall of Frames location in Phoenix, AZ. The store opened in 1975.
al memorabilia; reminders of leisure time and happy moments. I just worked with some folks who put a lot of effort PFM May 2019 25
said to me, “I can’t do that. I’m in the design business, I’m in the framing business. I can’t show anything that’s not in a frame.” Yes you can, and you should. Something out of the frame will sell something in the frame, and something in the frame will sell something out of the frame. When it comes to selling artwork, if the customer loves the art but doesn’t love the frame, they’re not buying it. If you display some unframed art and sell it that way, you can upgrade to a custom framing opportunity later. Hall of Frames has become a one-stop shopping experience for their customers by offering digital printing and framing services.
Basically, you’re hurting your business by being dis-
into getting us to resize, print, and mount an image of where
Right. If someone doesn’t want matting, we come back and
they went on their honeymoon. They were very specific
say, “That’s okay, we can make this look great without a mat,
about the size, mounting, and framing for it. This was the
but we’re going to be creative use a double- or triple-stacked
kind of art they wanted to put in their living room because
frame.” If they’re not buying a style then give them some-
it reminded them of a happy time. People are busy today;
thing they want but upgrade it, enhance it, and be excited
everybody seems to be busier today than they were 10 or
about making it happen for them. Take it from basic to a
20 years ago. Their time is more consumed, so they want to
middle or a premium product. Because if they’re interest-
identify with the things that make them happy and remind
ed in getting this displayed and they’re in front of you, they
them of having that leisure time.
want to get it done and done well.
You’ve seen evolutions in design trends, changes in the
As a retailer, what are the top things I can do immedi-
economy, and the rise of ecommerce over the last 40
ately to start attracting more business?
years in business. What’s the key to staying relevant in
One: put a sign in the window. Have a promotion. Give
today’s market?
them a reason. “It’s our 20th anniversary, so we’re giving
You have to perform the service your customer is looking
you 20 percent,” you know? I’d also say, create a new prod-
for. If they’re looking for art presented without a frame on
uct to sell. Make something you can make money from and
it—if that’s the next trend—then that’s the trend we’re go-
proudly display it on your wall. Next, upgrade your web-
ing to follow. We sell a lot of printed images that are sur-
site. That’s your showroom, now. That’s what people see
face-mounted to plexiglass and have a floater frame on the
before they come to see you. And that’s an immediate im-
back to hang it. You have to be able to go with trends and
provement; websites are an ongoing art project.
build in more profit centers. Over the years, some of my friends in the industry have
CONTENTS AD INDEX 26 PFM May 2019
criminatory about what you will and won’t frame.
Upgrade your point-of-sale software and hardware. That’s immediate, too. When’s the last time you updat-
What’s the most rewarding part of sharing your expertise through teaching at The National Conference at the West Coast Art and Frame Expo? When I get an email or call months later from an attendee saying, “I used your advice and it worked!” It’s so rewarding to be able to give back to an industry that has given me so much. Seeing all my favorite suppliers and brainstorming with Jay Kogan is a popular speaker at The National Conference in Las Vegas.
my fellow picture framers each year
ed your pricing and evaluated profit
stone to my company’s innovation
margins? When’s the last time you
and growth. It’s my pleasure to give
analyzed what you’re actually sell-
back and help educate to ensure a
ing—or not selling—and if you’re re-
promising future for the professional
ally making money on it or doing a
picture faming industry.
at WCAF has really been the key-
free public service? Another hugely important as-
When people ask you what you do
pect of your business is advertising.
for a living, what do you say?
You must continue to market yourself
When I’m in a professional setting,
during good times and bad! As soon as
I call myself a retail-and-commer-
you think you can’t afford to advertise,
cial visual designer; a visual expert.
that means you must.
Because that’s really what it is. But
One more thing you can do right
when people ask me more casually,
away is clean up your shop. Force
I say I’m in the business of making
yourself to streamline; do something
people happy. PFM
that makes you more efficient.
PFM May 2019 27
Thread Lines and Fabric Mats By David Lantrip, MCPF, GCF
S
ynergy, from the Greek “working
quick yet impressive way
meaning
to adorn a mat.
togeth-
Start
by
cutting
er,” is the idea that two
the mat as usual and
things can combine to cre-
wrapping it if it is a fab-
ate something greater than
ric-wrapped mat. Next,
the sum of its two parts. Al-
mark the corners of the
though the word has been
thread line by placing a
abused to the point of cli-
Post-It note on each cor-
ché, it is still an idea worth
ner close to the mat open-
pursuing. In frame design,
ing and marking it with a
sometimes two different
scribe set to the correct
elements can be used to-
measurement. This could
gether to create a visual
also be done on a man-
effect more powerful than the individual elements together. French
matting
has
Thread lines are a great choice to enhance the matting of needlework. In this case, the gold thread was inspired by the background and border. A thread used in the needlework can also be used on the mat for a perfect match. Photo courtesy of Hollywood Frame Gallery
ual mat cutter, using the measuring bar to set the desired
distance
from
the mat opening. Some
been enjoying something of a renaissance, with more
scribes use precision holes that allow the user to
framers doing stunning work with painted panels
make a pencil dot at the desired measurement. With
and ruled lines. Fabric mats have been popular for a
this type, the Post-It note may not be necessary and
long time, and fabric wrapped mats have also been
the hole can be marked with a pin. Your favorite tool
undergoing a revival. Could the two be combined
for laying out French matting would also do nicely.
somehow? Your first reaction may be no, ink has no
With the layout done, use a sturdy needle or T-pin
place on fabric—it will bleed or the texture of the
to punch a small hole in the mat at each corner; using
fabric will cause it to look uneven and bumpy. That
pliers to hold the pin will spare your fingers. It may
is true, but we framers are problem solvers. So, how
be necessary to use a larger pin or needle to accom-
about using thread instead of paint or ink?
modate thicker threads, or to simply wiggle it a bit to
CONTENTS AD INDEX
A quick look through a local, small shop for nee-
enlarge the hole. It is best to mark and make the hole
dlework or at a customer’s needlework will show the
from the front of the mat so that the fibers of the mat
staggering variety of threads available. The usual
are not pushed up in the process. Sometimes, if the
wool or cotton threads come in virtually every color
fabric is heavily textured, it is easier to mark the mat
imaginable. There are also overdyed and variegated
on the back, but the texture will hide any problems. If
threads, the color of which vary along their lengths,
the fibers do lift when the hole is made from the back,
and there are metallics, textures, sheens, fuzzy, and
a burnishing bone can be used to gently flatten them.
iridescent threads. They may be sparkly or velvety.
Thread a needle and pass it from the back of the
Using them to create thread lines on fabric mats is a
mat through a hole, across to the opposite side and
28 PFM May 2019
then through to the back. Secure that end to the back of the mat with a piece of self-adhesive tape and burnish well. Trim the other end of the thread from the spool or card, leaving enough extra to work with easily. Pull the thread taut and secure the second end. Repeat for the remaining sides. Many threads should be stranded, which is to say the individual strands of the thread are pulled apart and then put back together before stitching. This will help the strands lay neatly side by side, rather than being twisted together for a clean, smooth appearance. Some cannot be stranded though, so if you are unsure ask at the local needlework shop when purchasing the thread. Using a laying tool will also help make sure the thread
When using stranded threads, the number of strands can be adjusted to create a wider or narrower line.
appreciated by needlework enthusiasts.
lies flat and neat on the mat, and this is especially import-
A typical design using a ruled or a thread line is a
ant when using a wide thread that is more like a narrow
straight outline following the mat opening. Don’t let “typi-
ribbon. Once one end is secured to the mat, slip a large tap-
cal” be a limitation; great fun can be had by experimenting.
estry needle under the thread and with some slack in the
The lines can be extended up and down slightly so that the
thread, slide it along its length to the second hole. Pull the
four lines cross each other at the corners to create crossover
excess thread through to the back and secure. A short You-
lines. It will just take a little more time laying out where
Tube video showing the use of a laying tool is available at
the holes will be placed. The same layout, with the thread
bit.ly/2A6M4gS. This extra attention to detail will be much
placed in a different manner, will result in a design with
CONTENTS AD INDEX 30 PFM May 2019
clipped corners. Some designs can be threaded with one continuous length of thread, and it is tempting to do so. The length of thread required (easily eight feet or more for an average mat) is very likely to twist and tangle. It is better to work with four shorter lengths instead and avoid wasted time and frustration. In addition to looking at French matting for inspiration, V grooves can be a source for ideas. After all, they are just another variation on the line aspect of design. Laying out the design using your CMC software is a great way to work out a design and get measurements to lay out the thread lines. A little bit of inspiration and imagination will lead to all sorts of great ideas: • A gold or other metallic thread on a white mat • A black or other dark thread on a light mat for documents, black and white photos, or engravings • School colors on a diploma or graduation portrait • Team colors on sports memorabilia It is also possible to work in two colors with the thread. One option is to use two thread lines of different colors fairly close to each other. In this case, it would be a wise
A monochromatic mat design can be enhanced with the use of a thread in the same color family. This one has a slight sheen to add interest, and small French knots at the corners for a finished look. PFM May 2019 31
Begin by laying out the corners of the thread design on a Post It note with the tool of your choice. This layout tool for woodworking has precision holes placed at ПЕК intervals. A scribe, manual mat cutter or marking guide for French matting are also good options.
After passing the thread up through one hole, over and back through the mat, secure one end. The use a laying tool to smooth out the thread and eliminate any twist in it.
design decision to use different weights of thread or varying the number of strands used so that they are of different widths. A second option would be to twist two threads together to create a look similar to upholstery cording, just on a much smaller scale. Make sure they are twisted consistently on all sides. Be careful: the twist could create an optical illusion making it appear that the lines are crooked as compared to the mat opening, no matter how straight Secure both ends of the thread to the back of the mat with self-adhesive tape, burnishing well. For better preservation place the tape close to the edge of the mat and away from the artwork.
they actually are. Avoid this by spacing them slightly farther out from the mat opening than usual.
THE NEXT FRAMING CHALLENGE COMPETE AGAINST TOP FRAMERS FROM AROUND THE WORLD IN THE NEW PPFA INTERNATIONAL FRAMING COMPETITION
“MAKING ART IS MY GUILTY PLEASURE” Created with a computer by Richard Cryer.
CONTENTS
5”x7” on 8.5” x 11” paper. Sponsored by The Great Frame Up/ Franchise Concepts, Inc.
AD INDEX PRINTS AVAILABLE AT THE PPFA BOOKSTORE Winner to be featured on the cover of Picture Framing Magazine Professional Picture Framers Association
32 PFM May 2019
WWW.PPFA.COM
A different layout will create a design with crossed corners. Using the same patterns of holes will also allow for a design with clipped corners.
Since so many of the threads mentioned are made for needlepoint or cross stitch, it makes perfect sense to use them when framing needlework. After all, how many times have customers wanted a mat to match a very specific color in the work? Suggest using the same thread from the project, and it is very likely that your customer will have some left over to use. It doesn’t get more custom than that. Don’t feel constrained to using this only on fabric mats; it works just as well on all types, but looks best on fabric. Give it a try and you’ll quickly see how easy it is to get impressive results. Just don’t let anyone know how easy it is! PFM
David Lantrip David is the director of education for Franchise Concepts, and the franchisor for Deck The Walls, The Great Frame Up, and Framing and Art Centre stores. He has served in a number of roles in the PPFA including as a member of the International Board of Directors and serves on the Chapter Relations Commitee as well as the Guidelines Task Force. David recently earned a Masters in Mass Communications degree from the University of Florida. PFM May 2019 33
1.
2.
3.
JOINING AND INSTALLING OVERSIZED ART 1. Mechanical lifter with a shop-built vertical support is used to lift a heavy mirror. 2. Using a scissor lift with a cantilevered deck to install a heavy sculpture. The cantilever allows us to extend over a fixed object (in this case, a builtin reception desk that could not be moved). 3. Shop-made external cradle on scissor lift.
CONTENTS
4. The Grand Canyon of the Yellowstone, a painting by Thomas Moran, hangs in the Smithsonian American Art Museum using a steel angle iron support on the bottom. Unless one were to look underneath, it is not visible when looking at the painting.
AD INDEX
5. Using steel angle iron on the bottom of a frame and painting it to match the wall color provides excellent support for larger pieces. 6. Hanging a large piece with a scissor lift. 34 PFM May 2019
By Rob Markoff, CPF
W
hen it comes to installing heavy art, it
solvent such as acetone, denatured alcohol, lac-
is important to remember that a chain
quer thinner, mineral spirits, and naphtha prior
is only as strong as its weakest link.
to glue application. Allow the solvent to fully
This means that one can have the most robust
evaporate before applying the glue.
hanger screwed into a stud, but if the mat-
The choice of adhesive is important. The
ing component on the frame is installed with
glue holds the joint together. Most joining hard-
screws that are too small or they pull out of
ware such as v-nails hold the miter closed while
the frame, the selection of the proper hanging
the glue dries; it is the glue that bonds the two
device is moot. Both must work together. All
pieces of wood together. Use glue of the correct
components must be at least as strong as re-
viscosity, age (glue has a shelf life and can lose
quired to support what they are supposed to.
its bonding ability if it freezes), and type.
Let’s look at some techniques and hardware
Miters expose end grain, which can be po-
that will provide for a more secure installation
rous and especially absorbent. For open pore
of heavy pieces.
wood, applying glue, pressing the joint together,
A frame has several weak points. One of
and then reapplying glue will make a stronger
those weak points is the miter where the frame
joint, as will allowing the joint to dry before ap-
is joined. There must be adequate surface area
plying any stress.
to make a bond that will support heavy weight,
The selection and placement of the join-
and a strong corner is achieved by a tight-fitting
ing hardware can also make a stronger corner.
miter. Sharp, properly adjusted mitering tools
V-nails are an excellent joining method, but
are essential. Truing up miters with a sanding
they have limitations. They can only be stacked
disk—especially if chops are coming from an
three tall and there is a risk in doing so, espe-
outside source—means a sound joint. Blowing
cially in hard wood where they tend to blow out
off any collected sawdust opens the pores of the
the back of a frame. Some v-nails can cause the
wood to make a better bond. Some oily woods
miter to separate, eliminating the surface con-
like teak also benefit from a wipe-down using a
tact necessary for a strong bond.
4. 6. frame to add structural strength. The strainer needs to be screwed to the frame from the interior through pocket holes, or from the sides of the frame on the exterior (as a decorative element).
5.
Using fitting points won’t provide adequate support because the frame will only receive support where the strainer
For tall stem moulding, most of the stress will be toward
meets the top of the frame. By attaching the strainer around
the face of the miter, and v-nails cannot reach all the way to
the perimeter of the frame, you receive support from all
the face. One could cross-nail the top, but that means holes
sides and resist racking, which can cause the corners of a
to fill, and there is a limit to the length and strength of the
frame to pop open. The interior edge of the strainer can also
nails available. A better alternative is the use of a Hoffmann
incorporate an integral bevel to be combined with a French
key that can be stacked as high as the slot that can be routed.
cleat so the frame will fit flush to the wall.
Hoffmann keys are available in a variety of dimensions and
A French cleat is made with two pieces of chamfered
make a very strong joint, especially in shadowbox and oth-
wood that mate with each other. The angle of the chamfer
er tall mouldings. There are vendors such as Vermont Hard-
should be 30 degrees. Note that I said “chamfer” rather than
woods or Picture Woods that offer Hoffmann slots and the
“bevel.” A bevel bisects two parallel planes. A chamfer bi-
corresponding keys as part of their “chop” service.
sects a 90-degree angle. In the case of a French cleat, this
A miter can also be reinforced using wood or metal
means there will be a blunt edge where the angle of the cut
plates. The use of a butterfly spline or a Hicks block over the
stops, thereby saving one’s hands when lifting from the cleat
face of the frame will add additional support for the face of
and reducing the opportunity for the sharp edge of a bevel to
the miter. Corner reinforcement plates applied to the back
break off and splinter.
of the frame, such as Super Corners from 888 Manufactur-
Alternatively, there are Z-type metal brackets available
ing, are substantially better than L brackets because they are
from many suppliers and similar brackets using mating
thinner and cover more surface area. Plates are applied after
pieces connected by wider flanges like those made by Hang-
fitting because they span across the open area of the frame.
man and Frameware. These brackets are cut to length with
If the scale of the frame is too small, other means of
one component attached to the frame and the other to the
support such as a strainer or plywood backing need to be
wall. They are available in several wall thicknesses, some of
added to the frame package. A solid piece of luan plywood
which also have alternating holes that are small and large
can be screwed to the back of the frame or inset and fas-
enough for a ¼'' lag-screw or bolt.
tened with pocket screws or fitting staples. To save weight,
One drawback of using this hanging method (without a
portions of the sheet can be opened and removed. This also
strainer or full plywood covering of the frame) is that it re-
works well in combination with mirror mastic to provide
lies on support from the top miters of the frame. The frame
support for large mirrors. The hanging hardware is attached
must be wide enough and structurally sound enough so that
to the plywood backing, and the adhesive supports the mir-
there is adequate surface area on the miter to support the
ror while the frame becomes more of a fascia than being re-
weight of the entire frame. The bar must also be attached
quired to support the entire package.
using enough screws to distribute the weight across the
Alternatively, a strainer can be added to the inside of a
point of attachment and also that are long enough to grip PFM May 2019 35
the frame and support the weight. If corner supports are used, the bar must be shimmed
actual weight. We have a scale in our shop for weighing large, heavy pieces so we can match them with correct hardware.
out so that the back of the bar is level with the part of the
Drywall is incredibly strong when mated with the prop-
corners (usually the screws) that protrudes from the frame
er holding device. Most of the force on a picture hanger is
as if they weren’t being used. This will allow the bar to mate
shear force, meaning in a downward direction parallel to the
with the wall piece without putting stress on the screws
surface. The angled nail causes the hook to be pulled toward
holding the bar and/or having the screws from the corner
the wall and the surrounding gypsum in the drywall inhib-
supports gouging the wall and possibly forcing the bottom of
its the downward force. When choosing a picture hook, it is
the frame off the wall.
important to consider the scale of the hook and its weight
If attaching hanging hardware with screws (such as D
rating. The condition and structural strength of the drywall
rings), correctly sized pilot holes will reduce the chances for
must also be considered. There are picture hooks that also
splitting the wood whether at time of attachment or in the
allow the use of additional fasteners other than their accom-
future as the wood dries and is under stress. Forcing a screw
panying nails for stronger support. I like to pair these with a
into the wood or starting a hole with an awl reduces the sur-
captive anchor and a screw. This technique can eliminate the
face contact area of a screw and can lead to failure. It is espe-
necessity of finding a wall stud or be used in combination
cially important to drill pilot holes in hardwoods and to wax
where only one stud can be located in the wall. Alternatively,
or lubricate the fastener threads to reduce friction that can
there are hangers that only utilize screws to attach to the
lead to metal fatigue.
wall, either into a stud or to a mating anchor.
The physical attachment of the mating hardware to the
A captive anchor is one that resists pullout by expand-
wall is also important. The holding capacity of the device
ing on the interior of a wall. Examples are expanding hollow
must be capable of supporting the weight of the frame. I like
wall fasteners (sometimes called mollys), Zip-togs, EZ-Tog-
to underrate the capacity by 20 percent. By example, if a hook
gles, and knotting anchors. These can also be used in com-
is rated at 100 pounds, I do not like to exceed 80 pounds of
bination with a Z-type bar and French cleats. Since a French
CONTENTS AD INDEX 36 PFM May 2019
cleat has an angled mating surface, there is also a pulling force that requires strength to hold the cleat against the wall so it does not pull out. A captive anchor is an excellent solution. Many of them will also allow the mating screw to be removed while the anchor stays in position in the wall and the screw can be re-inserted. The use of a stud to support a hanging device will provide a strong, secure means of support. Studs can be located using an electronic or magnetic stud finder. I like to use a small nail to make a test hole to insure that the reading of the finder was correct before drilling a larger pilot hole. Studs are usually 16'' on center. Once a single stud is located, measuring (and confirming) additional studs can be simplified. Another trick is to look for electrical outlets below the installation location. A stud will usually be on one side or the other of the box. It is important to drill a properly sized pilot hole in the stud to reduce friction of the fastening device. Friction causes heat, which can lead to metal fatigue and failure. A pilot hole also reduces the possibility of splitting the wood, which is not visible because it is covered by the drywall. This is especially important for larger screws such as a lag. Lubricating the screw with wax will further reduce friction and make seating the screw much faster and easier. Sometimes the pre-drilled holes in a piece of Z-type bar do not line up with the stud location. It is okay to drill new holes so that the bar is centered behind the piece! We sometimes use a combination of fasteners through the bar into studs and with wall anchors where the bar does not overlap (especially at the ends.)
CONTENTS AD INDEX 38 PFM May 2019
A strainer can be ½ of a French cleat by having a chamfered edge.
Hangers that work well with heavy pieces are screwed to the wall. They range from a simple, washer-like hanger such as the Maxi-Hanger from 888 Manufacturing to the heavy duty three-hole hanger from Lion. Another type available from Frameware is adjustable and in addition to using the furnished nails, can also be screwed to the wall. This makes hanging heavy pieces level much easier because the hangers can be adjusted up and down after being installed. Sometimes it is better to support a heavy piece from the bottom in combination with the other methods previously described. By using a steel angle iron bolted to the wall and painted to match the wall color, the weight of the frame is supported from the bottom while the other fasteners hold it to the wall. This technique, often employed by museums, works well for very large pieces that have wide frames and where the bottom of the frame is low on the wall. The next time you are in a museum and see a very large piece, look beneath it and you may find the angle iron technique. Using mechanical assistance to help lift and carry pieces will protect you and your staff from injury. Transferring a heavy piece into a jobsite and lifting it onto the hanging
device can be challenging. We have found that Forearm Forklifts make carrying large, heavy pieces much safer. They provide more control and allow a piece to be carried without worry that it will slip through your hands by transferring the weight from your hands to your forearms. We use hand-cranked mechanical lifts intended for lifting ductwork by modifying them with a house-built cradle to hold the art. The lift raises the piece to the desired height and wheels on the base allow the device to move the art close to the wall. We also use scissor lifts to raise heavy pieces. We add a house-built cradle to the exterior to hold the art. Some scissor lifts also have a cantilevered deck that can be useful for reaching over fixtures like counters. Properly engineering the framing of a heavy piece ensures the frame will hold together and support the contents. Combining matching hardware and method of attachment to the wall ensures the piece remains safely installed. PFM
Rob Markoff, CPF Rob has been framing for over 40 years. With his wife, Barbara, he operates Gallery Services, a contract framing company, and Artrageous!, an art and framing retail company in San Diego. He has written extensively for industry publications and is a featured speaker/educator at framing venues in the U.S., Canada, Russia, and Australia.
CROSSWORD CHALLENGE ACROSS
DOWN
1 Much used saw in framing
1 Picture frame material
4 Selects
2 Link together
8 Place into service
3 Inner groove of the picture frame
9 Clamp for assembling a frame, 2 words
4 Southern ____, trees used for
10 Impenetrable 12 They can be used to reinforce very large frames 13 ___- invasive mounting
wood for picture frame mouldings 5 Cry of a chicken 6 Wood coloring 7 Showing
14 Trademarks, abbr.
11 Religious lady
17 Not wide
15 Making a visible impression on
21 Make a move
16 Columbia’s state
23 Grp.
18 Sweetie
24 Important framing equipment
19 Spring flower
26 Type of hanger
20 Infrared _____: it’s below the
29 Compass point
color red on the light spectrum
31 Joining tool
22 Go __ the auction
34 Arrangement
25 Request for frames, e.g.
35 Modern style of displaying art, ___ wrap
27 Madame, for short 28 Ambience 30 Trendsetting 32 Zero
SEE PAGE 45 FOR THE SOLUTION
33 Feel bad about PFM May 2019 39
Product Showcase
888 Manufacturing
Decor Moulding
888 Manufacturing now stocks LED battery-operated picture lights in four colors and three sizes. Get up to 100 hours per set of batteries. All work with remote control. See them on our website.
Pleased to announce the introduction of AURORA, a new line of six popular profiles in two very attractive finishes of dark silver and antique copper. Each style has a slightly hammered design to it. By combining six available widths of ¾'', 1 1/8'', 1 3/8'', 1 5/8'', 1 3/4'', and 2 1/4'' with convenient rabbet heights of ½'', 5/8'', and 15/16'', this line has tremendous flexibility when framing so many types of art. Order corner kit #CS-AUR to get these styles on your walls today.
Call: 888-338-3318 www.888mfgcorp.com
Call: 800-937-1055 www.decormoulding.com
Framerica
Global Art Inc
Framerica recently released its new BW303 floater profile. “We received countless customer requests for a narrower faced profile,” notes Josh Eichner. “The very simple redesign changing to a smaller reveal worked perfectly to modernize the look.” The BW303 profile is available in virtually any finish, as well as in quick-ship stocked options.
The Rainbow Collection is a beautiful collection of textured wood frames. This moulding has a wire brush texture with a metallic rub and comes in seven contemporary colors. It has a 1'' width and a 5/8'' channel, which makes it great for stacking with other frames. For more information or corner samples, contact the customer service department.
Call: 800-372-6422 www.framerica.com
Call: 866-310-4278 www.globalartinc.com
Larson-Juhl
Michelangelo Moulding
Inspired from the tropical Brazilian Carnival festival, Larson-Juhl’s newest collection, Carnivale, features a bold color palette and hand-distressed finishes. The color combinations are endless! This rustic collection is versatile and works well in a number of different decor styles.
Gold mouldings are enjoying a resurgence, and Michelangelo has applied new, exquisite gold finishes to four best-selling profiles. Available are a 1 1/4'' flat, a 2''+ tall shadowbox, a 2'' flat, and a 1 7/8'' tall floater. You must see this warm, elegant finish yourself—samples/ stock available online now.
Call: 770-279-5222 www.larsonjuhl.com
Call: 877-422-8812 www.michelangelomoulding.com
CONTENTS AD INDEX
Sepp Leaf
Universal Arquati
Mixol Universal Tints are pigment-based and come in 33 colors, plus three metallic tones. Tint Liberon Gilt Cream, shellac, lacquer, epoxy, grain filler, clear coatings, wax, stain, glaze—practically anything in your workshop. They work with water, solvent, and quality oil-based products. Mixols won’t dry out or harden over time. Imported by Sepp Leaf Products. Available through McCollum Interiors on Amazon.
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: 212-219-0770 www.mccolluminteriors.com
Call: 800-668-3627 www.universalarquati.com
40 PFM May 2019
PFM May 2019 41
Distributor Spotlight
CONTENTS AD INDEX 42 PFM May 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. 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. 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. Seeking Skilled Sales Professionals to represent Delta Picture Frame Company as Sales Representatives or Independent Sales Representatives. Are you a self-motivated and energetic individual who is looking to take on a wood and polystyrene moulding line? Do you enjoy forming strong business relationships and strive to be a helpful source of information about the brands you represent? If so, we would like to speak with you. Delta Picture Frame Company has a reputation of being second to none when it comes to customer service, we are looking for representatives who can keep that standing intact. Please inquire by contacting Jason Alweiss at 305.592.6456 or by emailing your resume to jason@deltapictureframe.com.
FOR SALE Picture framing store in suburban Philadelphia, PA, established for 28 years; 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. $75K or make offer. Call Joe at 610-864-0631.
Do you love framing? Own your own shop, or 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. 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 DYAW 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. 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 May 2019 43
Index Advertiser
Page
Advertiser
Page
888 Manufacturing Corporation ..............................................................39
House of Troy .........................................................................................23
888-338-3318
800-428-5367
www.888mfgcorp.com
Active Sales ......................................................................................19, 42 800-937-2255
www.activesalesco.com
www.houseoftroy.com
Jack Richeson & Co. ................................................................................42
Alpina Manufacturing, LLC ......................................................................43
800-233-2404
800-915-2828
Michelangelo Moulding ...........................................................................13
www.fastchangeframes.com /www.bannergrip.com
Capax-Frame It ......................................................................................32 800-942-2729
www.capax.com
CMI Moulding .........................................................................................42 301-476-7440
www.cmimoulding.com
Craft Inc. ................................................................................................27 800-827-2388
www.craft-inc.com
Decor Moulding & Supply ................................................17, 30, 41, 43, 45 800-937-1055
www.decormoulding.com
877-422-8812
www.richesonart.com
www.michelangelomoulding.com
Miter Master ...........................................................................................42 800-446-6622
www.qualitysaw.com
Omega Moulding Company ...............................................5, 26, 30, 43, 45 800-289-6634
www.omegamoulding.com
Picture Woods Ltd. ..................................................................................33
Designer Moulding..................................................................................33
800-321-6522
800-634-0032
Pro Tapes & Specialties............................................................................37
www.designermoulding.com
Engelsen Frame & Moulding ....................................................................42 800-422-6731
www.engelsenframe.com
Fixons ....................................................................................................42 714-526-3455
www.fixons.com
Foster Planing Mill ............................................................................41, 42 323-759-9156
www.fosterplaningmill.com
FrameReady ...........................................................................................42 888-281-3303
www.frameready.com
800-345-0234
www.picturewoods.com
www.protapes.com
Professional Picture Framers Association ..................................................32 732-536-5160
www.ppfa.com
Rhonda Feinman Custom Frames ...............................................................6 800-297-1566
www.rhondafeinman.com
The Fletcher Business Group ....................................................................15
Framerica.................................................................2, 3, 4, 26, 43, 45, 48
800-843-3826
800-372-6422
Tru Vue ....................................................................................................9
www.framerica.com
FrameTek ...............................................................................................27 800-227-9934
www.frametek.com
Frameware, Inc. .....................................................................................36 800-582-5608
www.framewareinc.com
CONTENTS
Framing Fabrics ......................................................................................31 800-832-2742
www.nnigroup.com
Frank’s Fabrics for Framers ...............................................................29, 42 888-332-2749
www.franksfabrics.com
800-621-8339
www.fletcher-terry.com
www.tru-vue.com
Universal Arquati ................................................................................7, 21 800-668-3627
www.universalarquati.com
Wall Moulding ........................................................................................47 800-880-8315
www.wallmoulding.com
Wizard International ...............................................................................11
AD INDEX
Gluefast Company ............................................................................23, 42
888-855-3335
800-242-7318
Z Hardware ............................................................................................42
www.gluefast.com
Hangman Products .................................................................................38 818-610-0487
www.hangmanproducts.com
800-880-9315
www.wizardint.com
www.zhardware.com
Hoffmann Machine Company ..................................................................42
Ziabicki Import Co. .................................................................................30
866-248-0100
262-633-7918
44 PFM May 2019
www.hoffmann-usa.com
www.ziabicki.com
Crossword Challenge Puzzle Solution
LIKING THE CROSSWORD? SEND US YOUR FEEDBACK! Call 732-536-5160, Fax 732-252-2270 Attn: PFM Editor or email editor@pfm-group.com
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-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: 206-7958376 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 May 2019 45
DESIGN OF THE MONTH By Paul and Jill Choma
Let the Good Times Roll
M
ardi Gras may be over, but the party never has to end for this gorgeous feathered mask we recently
framed at our shop, Gilded Moon Framing, located in Millerton, NY. A flamboyant find on a trip to New Orleans, this mask now has a home in our shop’s Inspiration Gallery, complete with a complex quadruple frame with a removable acrylic box on the front. We wanted the framing to be as striking and dramatic as the mask itself. What better way to accomplish this than to add some sparkle and shine? The moulding for the first three frames was chosen for its metallic flair and interesting texture that complements the detailing on the mask. The trio of frames were pieces together to make one large, deep frame to house the object.
in place while still allowing for easy removal. The moulding was chosen to give a little added shine without drawing too much attention to itself. The mask was mounted simply by threading its ties (which would normally be used to wear the mask) through holes drilled all the way through the mat and backer, then tying them off behind the piece. The holes drilled all the way through also serve as ventilation to make for easy placement and removal of the acrylic box without creating a vacuum.
We continued the drama by mounting
When you are ready to wear the mask,
the mask on black suede. The dark back-
you simply remove the acrylic top of the
ground allows the colorful mask to take cen-
framing package, untie the mask from the
ter stage, drawing the viewer’s eye. A black
back, and laissez les bons temps rouler!
CONTENTS
frame was also used on the interior to create a gravity groove which holds the acrylic box
Helen Avitabile contributed reporting for this article. PFM
AD INDEX
Jill Choma began custom framing in 1999 and brings a background of architectural and interior design. She has continuously studied techniques specializing in archival framing to best protect clients’ artwork. She specializes in designing and framing three-dimensional works of art. When not framing, you can find Jill traveling in search of the perfect cannoli and chai tea. Paul Choma joined Gilded Moon Framing in 2004 and has helped steer the business to the success it enjoys today. His design style is to complement art with a perfect, timeless frame. Paul has always loved woodworking and has amassed a collection of tools to build the perfect frame. When not building the perfect frame, you can find him teaching snow skiing in winter and water skiing in summer. 46 PFM May 2019
This festive Mardi Gras mask is the star of the show as it sits atop a black suede mat. It is housed by three different frames, which, when combined, added depth to the overall presentation.
