Upgrade Your Design Counter What’s Trending in Substrates Merchandising Like a Pro
Contents
PFM is a member of:
Volume 30, Number 11
PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders
On the Cover Could your sales counter work better for you? The owners of Bevel Edge Framing in Cairns, Australia, designed their showroom around their counter so corner samples are easily accessible to browsing customers. The table is also at a lower height, facilitating a more comfortable viewing distance. For more ideas and sales tips like this, see page 12.
Features 18 Substrates: Tips and Trends 24 Merchandising Mastery 30 An Overview of Adhesives
Columns
12
12 Sales Strategies 36 Successful Retailing Panel 46 Design of the Month
Departments 8 10 40 42 43 44
Editor’s Note Industry News Product Showcase Distributor Spotlight Crossword Puzzle Index of Advertisers
24
18
30
Picture Framing Magazine® (ISSN 10529977) is published monthly, plus one issue by PFM Publishing, LLC, 83 South Street, Unit 307, Freehold New Jersey 07728; phone 732-536-5160; fax 732-252-2270. Subscription Office: Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612; phone 888-238-0049. Subscription: $20 per year U.S., $40 U.S. Dollars per year in Canada and Mexico, $60 U.S. Dollars per year for all international. Single copies, $5.95. If a paid subscription magazine is returned by the U.S. Postal Service as non-deliverable, Picture Framing Magazine will maintain the subscription for one year. If after one year a new address is not provided, Picture Framing Magazine will cancel the order. No refund will be available for that account. Periodicals class postage paid at Freehold, New Jersey, and at an additional mailing office. Entire contents © 2019 by PFM Publishing, LLC. Printed in U.S.A. Picture Framing Magazine registered in the U.S. Patent and Trademark Office. Postmaster: Send address changes to Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612 Agreement Number 1691910 Disclaimer The opinions and information in this magazine are not necessarily those of the publisher and are therefore not to be viewed as such. No part of this magazine may be reproduced without the expressed written consent of the publisher. PFM does not knowingly accept false or misleading advertising or editorial, nor does the publisher assume any responsibility for the consequences that occur should any such material appear. PFM and PFM Publishing assume no responsibility for content, text, or artwork of advertisements appearing in PFM except those promoting PFM. The Publisher reserves the right to review all advertising materials submitted for publication and to not accept any such material deemed inappropriate for any reason.
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 • 848-444-5202 Kimberly Biesiada • kbiesiada@pfm-group.com • 848-231-3510 A RT D I RE C TO R Jin Dong • jin@wcafexpo.com • 848-231-4082
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
B USI N E S S E D I TO R
ADVERTISING SALES
sales@pfm-group.com • 848-444-3058 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
Maureen Robertson • maureen@wcafexpo.com PRODUCTION
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
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 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
sales@wcafexpo.com
CONTENTS
PFM PUBCO • BOOK DIVISION BOOK SALES COORDINATOR
pfmpubco@pfm-group.com
AD INDEX
PFM PUBLISHING, LLC PRE S I D E N T
6 PFM November 2019
Bruce Gherman
FROM THE EDITOR’S DESK
T
From the products you carry to the layout of your shop, every improvement makes a difference to your customers’ experience.
CONTENTS AD INDEX 8 PFM November 2019
his time of year is busy for consumers and retailers alike. As shopping lists are made and crossed off in advance of the winter holidays, it’s time to take a look at your business’s in-store experience and make any needed improvements to ensure a great customer experience from the moment they walk in your door to the moment they leave with their finished piece. Your customer’s time at the design counter plays a large part in their overall experience with your business. Could your space be re-imagined to work better for both you and your customers? In his latest column (page 12), Jared Davis discusses how to create a design consultation counter that sells and showcases some clever solutions from frame shops around the world. Are you carrying the products you need to satisfy customer demand? In this issue, we take a closer look at the world of substrates (page 18), getting insight from expert retailers and suppliers on how things have changed over the last few decades, what’s trending now, and what the market may look like in the future. In the world of picture framing, foam
board is still king, but there are many more innovative materials that deserve your attention. We also take a closer look at adhesives this month. In his latest article (page 30), Jim Miller offers a comprehensive primer on the various adhesives used to permanently mount paper items. If you have any questions about dry, wet, pressure-sensitive, or spray mounting, look no further. Pivoting from the technical and design aspects of framing to the business side of things, John Ranes lends his experience to this issue in his latest article (page 24) on successful merchandising. His examples offer solutions for any retailer who’s wondered, “What else could I carry in my store that would complement my core product and that my customers would love?” Those ideas and more await you on the following pages. Making even a small enhancement to your shop between holiday orders can make a big difference. ‘Tis the season!
Kimberly Biesiada Editor
INDUSTRY NEWS Kelley Wins PFM Customer Appreciation Giveaway
Framing Community Mourns Loss of Fred Horton
Congratulations to Christine Kelley, winner of this year’s PFM
Longtime Professional Picture Framers Association member
Customer Appreciation Giveaway. With over 500 entries, Kelley,
Fred Horton, MCPF, owner of Galerie Severn in Metairie, LA,
president of The Framing Cottage in Green Bay, WI, was the
died Aug. 26 at age 76. A New Orleans native, Horton was
lucky subscriber who won a $250 gift card. “I’m delighted to be this year’s contest winner,” Kelley
a Master Certified Picture Framer and an
says. “Each month I look forward to receiving the next issue of
MCPF examiner; served on the PPFA In-
PFM. As a small shop owner, I subscribe to stay abreast of new
ternational Framing Competition board
trends and tips from fellow framers.”
and was a competition judge; worked as
Make sure your email address is registered with your sub-
a PPFA educator at both chapter and na-
scription account so you don’t miss out on upcoming promo-
tional levels; and held several leadership
tions and special offers like this one! To register, visit www.
Fred Horton
“He was always enthusiastic, a won-
pictureframingmagazine.com, click “Login” under “Subscribe Today,” and add your email to your account information.
positions within his chapter.
derful addition, and eager to help, and he became a good friend,” says Chris Paschke, CPF, GCF, one of the founders
Framerica Named Green Business Leader
of the framing competition. “He helped the competition board
Framerica was recently named a Green Business Leader by
move into the digital age by creating the first computer spread-
Public Service Enterprise Group (PSEG) Long Island in recog-
sheets, making the on-site judging process much more auto-
nition of the company’s eco-conscious manufacturing and its
mated. Though he always had a strong mind of his own, he
recent addition of one of New York’s largest solar farms to PSEG announced that Business
Robin Gentry, MCPF, a former chair of the competition board, says she first met Horton through his involvement with
its headquarters. Green
always had vision and the desire to help. He shall be missed.”
Leaders
are “recognized due to their efforts to save energy and help reduce greenhouse gas
the competition and chapters. “He was always ready to help in any way possible,” Gentry says. “He was a wonderful mentor and friend. I’ll miss talking to him and getting his advice.”
Gagne Celebrates 10 Years Framerica’s Mike Gagne recently sur-
emissions on Long Island.” PSEG Long Island named Framerica as one of its Green Business Leaders.
For more information,
passed a decade of working for the New
call 800-372-6422 or visit
York-based company. “Mike is a talented
www.framerica.com.
and innovative electrical engineer that is integral to producing great moulding,” notes
Polencheck Becomes Certified Picture Framer Clare Polencheck, CPF, of Red Wing Framing in Red Wing, MN, recently earned her Certified Picture Framer designation after passing an online exam issued by the Professional Picture Framers Association (PPFA).
CONTENTS
The booklet version of the exam, as well as a hands-on Master Certified Picture Framer (MCPF) exam, will be offered to those attending the annual PPFA Convention, scheduled to take place this year during the 2020 West Coast Art and Frame Expo and The National Conference, Jan. 26-29 in Las Vegas.
AD INDEX
The PPFA offers a downloadable recertification course in its online store, as recertification is required for MCPF and CPF designation holders once every four years. To purchase an exam or recertification course, visit www.ppfa.com. Questions can be emailed to certification@ppfa.com.
10 PFM November 2019
Jay Van Vechten. “He has led by example Mike Gagne
for 10 terrific years.” PFM
SALES STRATEGIES
by Jared Davis, MCPF, GCF
Creating a Consulting Design Counter that Sells Build customer loyalty by fostering a positive experience from A to Z.
I
f you think about it, the only place in a custom framing business that generates sales is the design counter. In fact, most
other parts of your business cost money rather than make it. Your design counter is a vital aspect of your business, especially if you want to maximize the opportunity for every customer and consultation. Times are changing. When it comes to buying, customer expectations are also changing.
also where their final spending decisions will
The dynamic on how you interact, engage, and
be made.
sell to customers is continually evolving, so it’s
When a customer walks into your store
important to consider updating your methods
for the first time, they will see your counter
to meet these changing needs and expectations.
and think, that’s where it’s going to happen;
Let’s have a look at some updated and
that’s where their treasured memory will be
progressive ideas that help create a consulting
transformed into a masterpiece. They will also
design counter that sells.
observe your corner sample wall and wonder
Design Table Functionality
which one will be “the one” for their frame. How effectively you marry these two aspects of the
Your design counter serves a greater purpose
customer experience can dramatically influ-
than simply acting as a horizontal surface for
ence your customer’s level of engagement.
use during a consultation. In the context of a
CONTENTS
customer experience, it’s also the “stage.” Your
Price Versus Pleasure
counter is where your customer will feel the
One trend in counter design I’m starting to see
emotion and delight of the design process. It’s
more of is the separation of the financial trans-
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 November 2019
Is your counter working for you and your customer as it is? Could reimagining it improve the consultation experience?
her my preference, and she looked puzzled, telling me, “I’m sorry, but I just don’t quite believe you; you’re looking at it upside down compared to me.” She had a point. How could she trust my advice or suggestions if she didn’t feel that I was able to properly observe and appreciate the artwork in its correct orientation?
Open Access Not only does an open counter-style table allow you to stand next to your customer, but it also potentially allows for more open access to your moulding corner sample display. Some customers like to be engaged in the process, and this can come from being hands-on. Allowing customers to get close to, touch, and even remove corner samples from 4 Corners Picture Framers in Canberra, Australia, has come up with a creative viewing solution; by positioning some angled mirrors directly above their design counter, customers can observe the artwork and layout in the mirrors’ reflection, which also emulates a comfortable viewing distance.
your wall helps encourage a more tactile experience for them. It can also help some clients feel less restricted and more in control, making the project feel more personalized.
action from the design experience via a hidden or detached
Table Position
payment counter. If your design counter is the stage, then
If a design table is close to your sample wall, positioning
your financial transaction area is the box office. When you go
the table at an angle to your wall can create a less restric-
to a theater to see a show, the box office is never on the stage;
tive dynamic that helps eliminate any perception of my
and when you have a good time seeing a show, you’re far less
side/your side and instead visually invites customers to
sensitive about the cost of the ticket.
access any side of the table, including the sample walls.
Separating the financial transaction from the experi-
Having casters on your counter’s legs will help you
ence allows you to separate “the price” from “the pleasure.”
easily reposition your table to suit different situations or
This also allows you to keep your design counter clear of
simply to refresh your shop’s look and feel.
clutter and operating with fewer distractions, especially the constant distraction of a cash drawer.
Table Size
If you do have a separate payment counter, it is an ideal
With the popularity of oversized art and wide format dig-
spot to arrange any impulse buys and gift items you carry,
ital prints, it has become important to have a table that is
which can add value to your frame sales.
large enough to feel spacious and comfortable to accom-
Table Orientation Another growing trend in counter design is an island or open-sided table. Unlike the traditional counter style of “my side versus your side,” an island design allows for
CONTENTS
a more open experience, where a design consultant can stand side by side with a client. This can help reduce any intimidating or opposing perceptions of buyer-versuscustomer or expert-versus-rookie, so to speak. Standing
AD INDEX
side by side can help create a more collaborative and comfortable feeling and help build a more personal connection. Many years ago, I was designing with a client on a typical my-side/your-side counter. At one point during the process, the customer asked me what I thought of a design option I had suggested for her landscape watercolor. I told 14 PFM November 2019
Aylesbury’s Picture Framing in Perth, Western Australia, has a beautiful solid wood design counter that has an immediate “wow” factor and is set at a comfortably lower height for more convenient viewing.
NATIONAL CONFERENCE 2020 BROCHURE
DIGITAL EDITION
GET YOUR COPY TODAY! Introducing a brand new way of presenting the National Conference, the largest educational event in the art and framing industry. In today’s Internet-connected world, we recognize that many attendees opt to research their sessions on platforms that are digital and highly engaging. With its interactive features, portability, and media-rich content, creating a customized schedule will be even easier for the busy professional. Whether your preference is our website, a traditional printed brochure*, or the new digital edition on Issuu.com, the choice is yours!
Visit www.wcafexpo.com/brochure to select your brochure type today! *All versions of the brochure are free of charge. If printed brochure is selected, it will be available beginning November 15, 2019 and mailed to your requested address. Additional copies may be available from participating WCAF Expo exhibitors and sponsors. Printed brochure available while supplies last. For more details, visit www.wcafexpo.com.
INTERACTIVE • ENGAGING • DOWNLOADABLE NEW SHOW HOTEL
WEST COAST ART & FRAME
RIO ALL-SUITE HOTEL AND CASINO LAS VEGAS 3700 W FLAMINGO RD, LAS VEGAS, NV 89103
DATES WCAF EXPO: JANUARY 27-29, 2020 NATIONAL CONFERENCE: JANUARY 26-29, 2020
AND
THE NATIONAL CONFERENCE
www.wcafexpo.com
Design Counter Lighting Don’t underestimate the value of good lighting. Keep in mind that a typical 50-year-old customer will generally see 25 percent less than a 20-year-old—so having dedicated lighting for your design counter can be worthwhile. Having light flooding your design counter from directly above it reduces shadowing and best highlights the colors, features, and details of the design options you present. Good lighting can also help you clearly identify any slight Art & Frame Co in Adelaide, South Australia, had plan drawers integrated into their design counter for additional storage of samples and sales aids. Note the separate pricing and payment counter in the background as well.
modate larger artworks. You don’t want the artwork to feel constrained or limited before you even start considering design options.
imperfections and damage in the artwork, which you can then get the customer to acknowledge before the job is formally accepted.
Say Goodbye to Clutter It’s hard to make important decisions when you’re distracted. Think about the decisions your customer has to
Table Height Depending on the overall size of the artwork, people generally stand at least three feet away from a piece of art when viewing it on a wall. If you stand too close, it’s harder to appreciate the overall balance and design of the subject matter. With that in mind, consider your design counter—how high are your customer’s eyes positioned from the art when it is on your counter? Does the height of your counter make it difficult or easy for your customer to observe the overall balance and proportion of the design? For example, if you’ve ever had to consult with a larger artwork on the carpet, then your counter is too high. An intentionally lower counter height such as that of an office desk might facilitate a better, more natural viewing distance for your customer to be able to best appreciate the layout and design.
make at your design counter; are there any items on your counter that can hinder this decision-making? There is nothing better than a clean, clear table with no unwanted diversions. Consider positioning your matboard corners on a separate caddy to provide a larger and less cluttered design area. Plan drawers under a counter can provide a solution for additional samples, sales aids, and design essentials such as notepads and tape measures. Some businesses with plan drawers in their counter reserve the top drawer as a quick and convenient “mess drawer.” This allows a consultant to promptly clear any excess samples and sales aids from a previous consultation when they are too busy handling back-to-back consultations to properly clean up in between.
Counter Seating A stool positioned at your design counter conveys a subliminal message: relax and get comfortable. Even if they don’t use it, conveying to your customer that you care about their comfort helps reduce pressure during decision-making. Today’s consumer is willing to pay more for an overall
CONTENTS
experience than they are for just a product. The ultimate goal in our business is to deliver such a pleasurable overall customer experience that they quickly decide they want to come back and do it again. You’re selling more than just a
AD INDEX
picture frame—you’re also selling the experience that goes with it. Make it memorable! PFM Bevel Edge Framing in Cairns, Australia, designed their showroom around the counter so that corner samples are accessible to the customer and the pricing and payment counter is separate from the design table. The design table is also at a lower height, which facilitates a more comfortable viewing distance. Also note the creative use of door snakes (draft stoppers) as paperweights. 16 PFM November 2019
Want to learn more about connecting with customers? Jared will lead several sales seminars at The National Conference in Las Vegas in January. PFM
Photo courtesy of Len Lastuck, Frame Specialties/Kool Tack
SUBSTRATES: TIPS AND TRENDS IN TODAY’S MARKET By Kimberly Biesiada
A
s design trends and manufacturing technol-
panies around the world under various brand names,
ogy have evolved over time, so too have the
such as Dibond.
substrates used in the art and picture framing
Dibond and other ACPs are growing in popularity
industry. Think back a decade or two; many materials
as a substrate on which to print and mount digital pho-
being painted, printed, and mounted on now were un-
tographs, according to Jim McNickle, global marketing
heard of then. The variety of substrates now available
director for the Fletcher Business Group. “That had its
to artists and framers offers exciting possibilities for
start in the picture framing market a couple of years
your business. To know which ones deserve your atten-
ago, but it’s becoming a little bit more mainstream
tion, it’s helpful to look at which substrates are current-
now,” he says.
ly in demand, which ones are on the horizon, and how
McNickle, who categorizes aluminum composite
you can use these products to offer more choices than
as a “definite market trend” in multiple industries, says
ever to your customers.
framing retailers could benefit from showing the sub-
Perhaps unsurprisingly, the reigning substrate
strate to their customers during design consultations.
used for mounting in frame shops is foamboard, ac-
It is already enjoying success as a printing and mount-
cording to Len Lastuck, director of product develop-
ing option from online retailers, he adds, as consumers
ment for Frame Specialties/Kool Tack. “Foamboard has
become more aware of it and demand for it rises.
CONTENTS
been and still is the most popular substrate around,” he
Lastuck says he is seeing the same trend. “The rea-
says. “That’s where the greatest volume of what we’re
son for this is that people want something that is very
doing in the industry comes from. If I were to guess, I
thin, very straight, and very solid. They don’t want it to
would say that probably 85 percent of the needs out
dent. [Aluminum composite] isn’t cheap, but it is be-
there are still foamboard.”
coming more popular because it meets those needs.”
AD INDEX
Another family of substrates quickly gaining mo-
Another benefit is that photographs printed on this
mentum is aluminum composite panels (ACP). ACPs,
kind of substrate can last outdoors, he adds—which
made of aluminium composite material (ACM), are flat
opens up possibilities for customers looking to deco-
panels consisting of two thin, coil-coated aluminum
rate a patio or other outdoor area.
sheets bonded to a non-aluminum core. They are wide-
Constance Henshaw, vice president and gener-
ly used in building insulation, outdoor signage, and
al manager of Encore Products, says the company’s
other industries and are produced by hundreds of com-
brushed aluminum foamboard has been a hit with cus-
18 PFM November 2019
pressure-sensitive adhesive when mounting to fabric or canvas.” Across-the-board
trends
like
canvas, acrylic, and aluminum are valuable in any framing retailer’s repertoire, but it’s also important to keep the wants and needs of your specific customer base in mind. If you’re doing a lot of commercial/ business-to-business work, for example, your needs will likely differ from a framer who works with a lot of fine art collectors, or a framer whose city has a huge sports team Henshaw says retailers are framing substrates like Encore’s Cork Board and Chalk Board foamboards for use in their customers’ kitchens or dorm rooms.
following and frames a lot of memorabilia. Identifying your target au-
tomers looking for the metallic sur-
over from signage into wall decor,
dience and any regional trends that
face of a product like Dibond but the
and vice versa.”
might be happening is the key to
versatility of foamboard.
McNickle, Lastuck, and Henshaw
making informed decisions about
“It’s a lightweight, cuttable prod-
pointed to canvas as another trend-
what kinds of substrates you should
uct with a fully printable metallic
ing substrate. The low price point of
be showing and selling.
paper surface,” she says.
prints on canvas make them a go-to
As McNickle puts it: “If I’m ser-
On the opposite end of the spec-
option for consumers who are look-
vicing a 100-mile radius, who is my
trum from ACPs and digital printing
ing to display art or photographs in
audience, and how can I figure out
are substrates like Encore’s Cork
their homes and aren’t concerned
their demographics?”
Board foamboard and Chalk Board
about long-term preservation.
foamboard, which evoke nostalgia
editor and owner of Designs Ink in
the dominant type of thing being
Tehachapi, CA, says many of her
“We’ve seen a growing interest
sold online right now in terms of
clients, for instance, are affluent re-
in those products,” she says. “Even
what people can have their artwork
tirees who have left the greater Los
though we have so much technolo-
mounted on,” McNickle says. “It’s
gy today, people are interested in dry
very inexpensive. It’s what I classify
erase cork board and chalk board to
as ‘temporary wall decor,’ because
frame and write on in homes and
someone might only display it for six
dorm rooms. It’s popular to commu-
months before wanting to change
nicate with each other that way.”
it—and it’s inexpensive enough for
Acrylic substrates, too, are on the
CONTENTS
rise. Photographs are face-mount-
prints
are
Chris Paschke, PFM mounting
probably
for simpler times, says Henshaw.
“Canvas
people to do that. Custom framers should be aware of that.”
AD INDEX
ed onto acrylic and are popping up
Lastuck says the framing re-
more frequently in office spaces as
tailers he works with will seek out
well as living spaces. “Certainly from
mounting solutions to match this
a printability standpoint, acrylics
kind of artwork. “Their customers
are becoming more popular,” says
are bringing in these printed canvas-
McNickle. “And that isn’t just in the
es now, and they’re very inexpensive,
framing market. We know from the
so they want something inexpen-
data we have that multiple markets
sive to mount it on. A lot of fram-
are crossing over; trends are coming
ers are using our Insta Mount C2
20 PFM November 2019
One example of a creative design using Encore’s Chalk Board foam board.
far more choices in substrates for original art, prints, and digital photographs than there were 20, 30, or 40 years ago. “Back when I started picture framing with my father in 1972, we mounted onto this 60-point chipboard, which was lumpy and gray and awful. Then it was illustration board and, ultimately, it became foamboard. My father only had to know how to frame paper, photographs, and canvas; it isn’t just those things anymore.” The solution? Paschke encourages framers to consult her and other expert sources when confronted Kool Tack’s Competition Plate, an aluminum composite substrate, is ideal for mounting photographs and other glossy prints where smoothness and rigidity are essential, Lastuck says.
with something printed on an un-
Angeles area to settle in a small gat-
ence, says she fields a lot of calls
your risk of using a material in the
ed community near her shop. These
from framers who have questions
framing package (like an adhesive)
clients often bring in valuable orig-
about safely mounting artwork that
that is damaging to the substrate.
inal artworks that don’t go through
has been painted or printed onto a
Having a network of experts you
any mounting process. Choosing the
nontraditional substrate like silk or
can call upon—and expanding your
right substrates to order for your
Yupo, a waterproof synthetic pa-
own knowledge of today’s popular
business, she says, “really depends
per. “Those are the calls I’m getting;
substrates, as well—can be hugely
on where a framer is—it varies.”
‘What adhesive or technical process
beneficial in your quest to not only
usual substrate. Doing so reduces
Today’s growing variety of new
am I going to use, and what sub-
display your customers’ art beauti-
and unusual substrates brings up
strate do I want to use to mount this
fully but also to protect it for years
concerns about mounting and pres-
piece that’s been printed on a bizarre
to come.
ervation. Paschke, a longtime in-
substrate?’”
structor for The National Confer-
CONTENTS AD INDEX 22 PFM November 2019
As Paschke notes, there are
Looking forward, Paschke says she believes unique or specialty
substrates “are going to keep rising to the surface. Many times it will either be something that’s been digitally printed, or something that an artist
has
discovered—something
that wasn’t designed for art but that they’re now painting on. The saving grace framers have is that original artwork should always be mounted to preservation standards.” Lastuck also believes specialty substrates will continue to exist alongside more mainstream choices. “I think the unique substrates will always be there because I don’t see any one of them really taking off,” he says. “MDF (medium-density fiberboard) could possibly take off, but it’s difficult to cut. You can’t do it on most wall mount cutters; you either need a saw or a wall cutter that’s able to get through it.” Lastuck expects little change over the next several years in terms of foamboard’s popularity—with one exception. “One of the biggest problems we’re hearing about foamboard is that it cannot be recycled,” he says. “That’s a major concern, particularly on the West Coast.” One substrate on the market that is recyclable is MDF, according to Lastuck. A few products like Kool Tack Thin offer alternatives for eco-conscious customers. “That’s a trend I would look for in this and any industry going forward,” he says. No matter what substrate you’re considering, it’s important to look at the big picture before you buy. Knowing what’s popular in the cur-
Have a question or comment? Tell PFM what you think.
rent market and with your customer demographic is key to having the
Mail letters to PFM
right selection but so, too, is know-
83 South Street, Unit 307, Freehold, NJ 07728
ing how to cut, mount, and finish the substrates in question. PFM
Call 732-536-5160, Fax to 732-252-2270 Attn: PFM Editor or E-mail to pfmeditor@hobbypub.com PFM November 2019 23
SUCCESSFUL IN-STORE MERCHANDISING By John Ranes II, CPF, GCF
A
t an in-store level, merchandising refers to
in your customers; and, of course, entice them to buy.
the variety of products a retailer has available
We all are aware that a great salesperson at the design
for sale and the display of those products in a
counter can achieve these goals with a potential cli-
way that stimulates interest and entices customers to
ent, but if you have the visual merchandising in place
purchase. Although you may think of merchandising
already, then the battle is half won!
as a concept important to retailers in other industries, it can be just as beneficial for framing retailers when
WHERE TO BEGIN
done well.
Although creating good merchandising in your shop
As my good friend and fellow framer Greg Perkins
may seem like a daunting task—perhaps because you
says, “Many framers think that custom framing is a
wear so many hats already—let’s break it down into
service business and that merchandising doesn’t ap-
sizeable bits. The simple truth is that you need to start
ply, but rather is reserved for retailers selling a finished
by examining your shop’s general appearance: the sig-
product.” It is Perkins’s view, and mine, that framers
nage, front windows, back room, carpet, etc. Would you
are a hybrid of service and retail. As mini-manufac-
be comfortable inviting a potential client to see a proj-
turers, we indeed provide a custom service but also
ect in the works in your back room? If the answer is not
put various components of a frame package togeth-
so much, then I think we both know where you need
er to end up with a finished product. The framed art
to start!
gallery pieces or samples of shadowbox and needle
All those little details visually represent who you
art framing displayed in your shop is your merchan-
are. Worn or dirty carpet, corner samples piled up in
dising—how they are displayed can make or break a
boxes next to the design counter, or windows that are
potential sale.
not clear and clean do not instill confidence in your
CONTENTS
It isn’t only the finished frame samples in our
customer. Don’t forget to give some attention to your
shop that need to be displayed (merchandised) prop-
mat and moulding corner samples as well; you want
erly; it also includes moulding corner samples, mat
to make sure that they are replaced frequently so they
sample displays, and store signage. Because so many
look like they are actually worth $26/foot!
AD INDEX
potential framing customers honestly do not understand what they’re looking at when viewing your sam-
DISPLAYS THAT SELL
ples, small informational signs and displays help edu-
Next, let’s look at how to create displays within your
cate and inspire them.
business that capture people’s attention. Remember
When done well, good merchandising can create
that even the most basic of frame shops will have
excitement, confidence, understanding, and comfort
browsers that are there to learn and explore your busi-
24 PFM November 2019
The Must-Attend Industry Event
TRADE SHOW
CONFERENCE
EQUIPMENT DEMOS
SHOW SPECIALS
NETWORKING
SPECIAL ROOM RATES
Register Today! TRADE SHOW: January 27-29, 2020 CONFERENCE: January 26-29, 2020
www.wcafexpo.com
WEST COAST ART & FRAME
EXPO AND
THE NATIONAL CONFERENCE
Candles, coffee cups, and coasters complement framed mirrors and pillows in this area. All make easy and frequently purchased gifts.
ness to see if you are a nice per-
related ancillary items into groups
and informative arrangements.
son worth doing business with and
of subject, color, theme, or story is
Vintage furniture, mirrors, and
“kick some tires.” Do you have any
that you not only create interest,
other neutral home decor items pro-
displays that can capture their at-
but you are also placing the framed
cured outside your business soften
tention for a few minutes if you are
piece in a home-like environment.
and add character to a display. This
on the phone or busy with another
The frame shop my wife and I
is a wonderful way of getting folks
client? How about signage that ex-
own sells home decor and gift items
to see custom framing as an every-
plains the collection of horse ribbons
that complement our custom fram-
day element in their homes. Anoth-
in that shadowbox on display, or a
ing. Our manager and chief designer
er idea is to work with neighbor-
display that compares regular glass
tends to group displays by themes,
ing businesses like florists, coffee
to premium glass? You want to have
color, and texture, and typically in-
shops, pet stores, or candy stores
visual tools like these out in front of
corporates some custom framing,
for related material to decorate with
potential customers to educate and
readymade photo frames, or art into
and pull your theme together. They
entice them.
the mix. Even if you don’t have a
will likely be happy to assist you.
Do
you
have
any
support-
large inventory of gift products to
If you do sell home decor, gift
ive collateral material to create a
create your displays with, you can
items, and three-dimensional art,
good-looking display? The advan-
utilize moulding samples, art prints,
these can be incorporated into your
tages of arranging frames with other
and signage to create interesting
displays to create greater visual
CONTENTS AD INDEX Displays can be as simple as laying a framed image against two pillows on an oversized bench, adding a lamp off to the side, and placing a basket of notecards by the same artist nearby. Artist: Anna Wright 26 PFM November 2019
A wedding is a perfect theme around which to build a framing-focused merchandise display. Here, custom framing is displayed alongside readymade photo frames, books, and candles. Don’t forget to change displays in your shop for major holidays 30-60 days out.
Earth and Champagne tones abound in this tabletop display that features a Roma photo frame, an Edison-style lamp along with candles and candle holders with small gift boxes of utility dishes. When you are lacking a theme to pull a display together, let color and tonal variations carry the display.
interest. Can you mix products at
and spring shows. Another good
extremely different price points?
resource is Etsy wholesale, where
Absolutely! Your customers have
many framers have successfully
different needs for different situa-
sourced art and home decor items
tions. Your most well-heeled regular
that fit a particular theme or are
client may spend thousands of dol-
locally made. Obtaining product in
lars on having a mirror framed for
this manner assures that your cus-
their newly decorated dining room,
tomer won’t find the same items
and the next month, pick up a $20
at an art fair later that summer for
gift item for a casual acquaintance.
half price.
It’s a good idea to carry solutions to
If you think you might want to
meet both of these needs (and ev-
get into gifts and home decor to a
erything in between).
larger degree, keep in mind that the
If you elect to add some small
upcoming Las Vegas Market coin-
home decor products to mix in with
cides with the 2020 West Coast Art
your custom framing, look for local
and Frame Expo and The National
gift markets to browse and com-
Conference
parison shop. Autumn trade shows
making it easy to visit both shows
in heavily-populated areas are typ-
in one trip!
ically less crowded than winter
(www.wcafexpo.com),
Remember that good merchan-
CONTENTS AD INDEX Color-oriented themes are strong and eye-catching. Here, our Valentine’s Day display consists of a large framed serigraph, lamps, candle votives, notecards, and tablecloths on a stacked white table for contrast. 28 PFM November 2019
dising is both natural and organic. Consider some of the common home decor items that sell well as gifts: candles, coasters, cups, and mugs. Those items, along with lamps and pillows, make an easy starting point for a merchandising display or vignette. And don’t forget unique gifts and notecards! Once customers know that you sell these additional items, they will come back to see what is new. Each shop has its own personality, and as you evolve in developing your merchandising, the direction you go in will become part of your store’s overall brand. Most of us have heard that a good business plan takes you not where you are now, but where you want to be. Similarly, good merchandising displays offer not only what you’re selling now, but also what you could be selling tomorrow. I encourage you to think about what your customers would love to buy from you in addition to beautiful framing and build merchandise displays that wow them! PFM Want to learn more about improving your frame shop? John will lead several seminars at The National Conference in Las Vegas in January.
John Ranes II John is an instructor of framing workshops and seminars worldwide. John teaches for the Professional Picture Framers Association and consults for The Fletcher-Terry Company and Tru Vue. John was awarded the PPFA Lifetime Achievement Award in 2015. John, with his wife, Sarah, own The Frame Workshop of Appleton, WI, a frame shop and gallery which has won over 100 framing awards, including two successive awards from the Fine Art Trade Guild in the UK and a National Australian Framing Competition award. His shop opened in 1978 expanded in 2009, and has diversified into gifts, Christmas collectibles, and home decor. PFM November 2019 29
ADHESIVES FOR PERMANENT MOUNTING OF PAPER ITEMS By James Miller, MCPF, GCF A heated vacuum press has advantages for both dry mounting and it can also be used for wet mounting without heat.
S
heets of paper are commonly framed, and they can
Pre-drying and cooling under weight, necessary for old-
be nearly any size, type, thickness, surface texture,
er technology dry mounting (see below), are not needed
or condition. Here is a brief review of fundamentals
with pre-adhesive boards.
involved in permanently mounting typical paper items and the adhesives needed for each.
Some manufacturers offer their adhesives pre-applied to multiple substrates, such as matboard, hard-
First, let’s discuss dry mounting. Replaceable,
board, aluminum composite material, and aluminum
low-value paper items such as posters, digital imag-
sheeting, as well as several thicknesses of foam board
es, photographs, and some documents may be per-
and high-density foam board. This category includes
manently dry mounted with little concern for preser-
two adhesive types:
vation. Three distinct categories of heat-activated dry
REVERSIBLE—thermoplastic adhesive can be
mounting adhesives are generally available from pic-
activated repeatedly. The adhesive bond remains se-
ture framing suppliers, and there are choices within
cure in normal ambient temperatures, but when a
each category. “Dwell time” refers to the time under
mount is reheated to the activation temperature, the
heat required to activate the bond.
adhesive softens and the bond weakens, so a paper
CONTENTS
1. LOW-TEMPERATURE ADHESIVE PRE-APPLIED
item can be carefully lifted off the adhesive. When
TO A BOARD SUBSTRATE. The dry mounting boards
reversing a mount this way, several reapplications
in this category are popular because they are generally
of heat may be needed; and because the adhesive
faster, simpler, less risky, and more convenient to use
will still retain some bonding strength, care should
than older-technology dry mounting adhesives with
be taken not to wrinkle or tear the paper during re-
separate substrates. The process involves position-
moval. This type of adhesive often can be reused, es-
ing the paper item on the adhesive-side of the board,
pecially on a sturdy substrate such as ACM.
AD INDEX
covering with release material, and pressing it under
PERMANENT—thermosetting adhesive acti-
a temperature and dwell time adequate to activate the
vates with only with first application of heat and
bond. Activation temperature may vary among brands
the bond will not weaken with reheating. A mount-
(usually in the range of 140 to 160 degrees Fahrenheit).
ed paper item can be removed only by dissolving
Dwell time varies according to brand and thickness of
the adhesive with a chemical solvent. This type of
the mounting package (usually in the range of 15 to 90
adhesive cannot be reactivated or reused, so take
seconds). Be sure to follow the manufacturer’s recom-
care to get the mounting process done right the
mendations for activation temperature and dwell time.
first time.
30 PFM November 2019
be pieced together under a paper item and, when heated to the melting point, they will flow together to make a seamless, continuous layer of adhesive. Also, when it is desirable to dry mount an oddly-shaped paper item to the surface of a substrate, showing its edges, the dry mounting film can be melted between the paper and release material, so that the adhesive covers the whole oddly-shaped surface of the paper item’s backside. Then, it can be dry mounted onto a substrate— usually colored matboard—showing its edges. The mechanical dry mounting press is a popular machine in custom frame shops because it is compact, easy to use, and very durable.
2. DRY MOUNTING ADHESIVE ON A ROLL. The adhesives in this traditional category have been in use for many years. When using a mechanical dry mounting press, the first step in the process is to pre-dry the hygroscopic (porous) paper item and substrate, because residual moisture in the fibrous materials create steam when heated, which could foul the adhesive bond. To pre-dry, just place the stack of materials (minus adhesive) in the heated press for a few minutes. Exception: When using a heated vacuum press, the vacuum pump extracts moisture during the mounting process, so pre-drying is not necessary. Place a leaf of the adhesive between the paper item and board substrate, cover with release material, and press under a temperature and dwell time sufficient to activate the bond. Cooling under weight is the last step and is necessary with this category of adhesives to ensure consistent bonding over the entire mounting surface. If this step were to be accidentally skipped, inconsistent bonding may not show up for some time, but when a dry-mounted paper item begins to bubble in the center, that probably is because
Dry mounting tissue is comprised of a thin paper carrier impregnated with heat-activated adhesive. Of course, the quality of adhesives has improved over the decades, but this concept was first patented in 1901. Several different types of tissue can be used as the carrier for this type of adhesive, but it usually looks something like wax paper. The dry mounting process with adhesive tissue is similar to using adhesive film, except that this adhesive will not flow. Dry mounting films and tissues can be used with all the typical mounting substrates for framing. Some are reversible and others are permanent; select the one most suitable for each project. Activation temperatures can range from 160 to 225 degrees Fahrenheit and dwell times range from two to five minutes, generally. Follow the manufacturer’s instructions for best results. 3. DRY MOUNTING WITH LIQUID, GEL, OR PASTE ADHESIVE. The adhesives in this category usually are not intended specifically for dry mounting, but some are suitable for the purpose nonetheless. Acrylic medium in liquid or gel form, some conservation-grade adhesives, and several brands of fabric adhesive can be used
the mount was not cooled under weight. The issue is that the layers of the dry mounting stack—substrate, adhesive sheet, and paper item—all expand and contract at different rates. As soon as the mounting stack is taken out of the heated press, the materials cool rapidly but inconsistently.
CONTENTS
This inconsistent cooling can result in unseen waves or wrinkles in the adhesive sheet or paper item, which can cause weak bonding in certain areas of the surface if not weighted during cooling.
AD INDEX
Dry mounting film looks something like thick, translucent (but not clear) Saran Wrap. It has no carrier, so it melts and flows when heated, and it can be re-melted repeatedly. This characteristic provides reversibility and offers other advantages in certain circumstances. For example, to minimize waste, several small pieces of the adhesive film can 32 PFM November 2019
A typical clothes iron can be used to dry mount a paper item, so long as the temperature and pressure are adequate and applied consistently over the entire mounting surface.
as heat-activated adhesives for dry mounting. Some are
dows or curved, recessed, raised, or stepped-surface sub-
reversible; others are permanent. The pro-
strates.
cess involves rolling the adhesive onto the board substrate or perhaps onto the back of
WET MOUNTING
the paper item, allowing it to dry, covering
This method of permanently mounting
with release material, and then activating
a paper item predates early the twen-
the bond using heat.
tieth-century practice of dry mounting.
In most cases, these adhesives would
Essentially, the wet mounting process is
require temperatures and dwell times sim-
similar to wallpapering. A smooth paste,
ilar to other categories of dry mounting
often starch-based with some additives, is
adhesives, but since specific instructions
applied to the board substrate by brush or
usually are not offered for dry mounting
roller, and the paper item is positioned on
with these adhesives, experimentation in
the pasted board and rolled smooth using
advance with similar-but-disposable mate-
a brayer. Some papers require pre-moist-
rials is recommended.
ening to prevent severe cockling during the mounting process. Then, a covering of ab-
Dry mounting with this category of adhesives has a few advantages in certain circumstances. For example, the rolled-on layer of adhesive can be quite thin, similar
A digital laser temperature sensor can be a useful tool to assure that your dry mounting equipment is correctly adjusted and functioning properly.
to the adhesive layer on pre-adhesive dry
sorbent paper is applied over that and the mounting stack is subjected to pressure until the paste dries. In traditional bench-top wet mounting,
mounting boards described above. Also, the adhesive can
the wet stack of materials would be placed under weighted
be applied to irregular surfaces, such as beveled mat win-
blotters to dry overnight, and changing the blotters a few
PFM November 2019 33
times would speed up the drying process. The modern ver-
Some of the adhesives pre-applied to board substrates
sion of wet mounting involves similarly applying prepared
are quite aggressive, so careful positioning is crucial. The
paste (now available in gallon jugs) onto the substrate us-
leading brands from framing suppliers are comprised of
ing a paint roller, but most of the paste is blotted away,
high-quality, durable adhesives, but products of this type
leaving only a thin film of tacky paste. The paper item is
for consumer use, especially the low-cost brands, may de-
positioned on the pasted, blotted board and covered with
teriorate over time.
absorbent paper. This wet mounting stack immediately
Alternatively, positionable mounting adhesive is also
goes into a cold vacuum press, and within about 10 min-
available on rolls up to 24'' wide. The process involves trim-
utes under full vacuum, nearly all the moisture is extract-
ming a length of the adhesive from the roll and applying
ed by the vacuum pump, resulting in a permanent mount
it to the substrate before removing its release paper and
that can be closed into a frame just a couple of hours later
positioning the paper item on it. Pressure from a brayer,
after residual moisture evaporates.
roller, or squeegee activates the bond. The activation pressure is crucial and, if done inadequately or inconsistently,
PRESSURE-SENSITIVE (PEEL-AND-STICK) MOUNTING
the bond may fail over time.
Pressure-sensitive adhesives can be applied to a variety of
SPRAY ADHESIVE MOUNTING
board substrates in standard sizes, providing a convenient,
Aerosol spray adhesives for permanent mounting of pa-
permanent alternative to dry mounting and wet mounting.
per items provide a fast, convenient mounting alternative,
Both low-tack, positionable and high-tack, instant-bond-
but there are limitations. It is very important to read and
ing versions are available. The process is simple; just peel
follow all directions and cautions for use. Spray adhesives
off the protective release paper, position your paper item
contain chemicals that are toxic, so be sure to wear protec-
on the board, and activate the bond using pressure from a
tive gear, such as a respirator, and use the spray only in a
brayer, roller, or squeegee.
well-ventilated area.
CONTENTS AD INDEX 34 PFM November 2019
Aside from the health hazard of toxic chemistry, some
POPULAR ADHESIVES FOR FRAMING
of the elements are highly flammable. Also, the particulate
A variety of tapes and adhesives are commonly used in framing applications. Here are some of the most popular framing adhesives. PVA (polyvinyl acetate) frame glue is preferred adhesive for bonding wood miters. This glue is available in translucent white or yellow, and opaque white and black. Differences among the brands are mostly associated with the “open” time for handling the surfaces, set-up time, and drying time. A popular variation is “dustcover glue,” providing set-up, water-reversible bond, stronger adhesion, and lower cost than pressure-sensitive adhesives. Framers Tape is generally ¾” or 1” wide, polyester or polypropylene tape with strong adhesive on one side. It is used for a variety of taping applications in framing. ATG is a carrier-less, pressure-sensitive adhesive commonly used for dustcover paper, usually dispensed from an applicator gun. Its applications are limited to light-bonding applications, where the bond would not be stressed. Under stress, ATG can migrate, flow, and fail. Fillet tape is ¼” wide, double-sided polyester or polypropylene tape, generally used for attaching fillets in frames and mat windows. It is also useful for clear film mounts and other pressure-sensitive tape applications. Rabbet-lining tape, usually comprised of a paper/foil ribbon and sturdy adhesive on one side, provides a barrier against migration of acid and contaminants. It is usually applied to frame rabbets and may be used to seal the frame package between glazing and the final backing board. Starch paste (wheat or rice) powder is mixed with water and cooked; for bonding porous materials, mostly preservation hinging. It is pure adhesive without preservatives. Methyl cellulose paste powder is mixed with water; for bonding porous materials, it makes a good alternative to starch paste. This paste is easier to mix and has a longer shelf life than starch paste.
the spray, so be sure to cover everything downwind from
overspray can contaminate surfaces far from the origin of the work station where spray adhesives are used. This brief review covers only the basics of permanently mounting paper items; and when preservation mounting is appropriate, only a few of the methods and materials described here would be suitable. For more information, contact your framing suppliers. PFM Want to learn more about mounting? Jim will lead several seminars at The National Conference in Las Vegas in January.
James Miller James founded ARTFRAME, Inc. in 1988. His storefront business, sold in 2015, specialized in protective framing with emphasis on creative framing of three-dimensional objects. In 1990, Miller earned the Certified Picture Framer (CPF) designation, and in 2004, he earned the Master Certified Picture Framer (MCPF) designation. As a member of PPFA’s Certification Board, he helped develop the MCPF program and oversaw a review of the CPF program. As an educator, Miller presents framing courses at educational venues. He is also a longtime writer for Picture Framing Magazine. He has authored two instructional books for framers: Mounting Objects with Clear Film and The Complete Guide to Shadowboxes and Framing Objects.
PFM November 2019 35
SUCCESSFUL RETAILING PANELISTS
MODERATOR
CUSTOM FRAMING: A CHANGING LANDSCAPE
Jay Goltz
Meg Glasgow
Jim McNickle
Kevin Meath
Ginger Hartford
President and Founder, Goltz Group, Inc.
Owner, Finer Frames
Director of Marketing, Fletcher Business Group
Consultant to the picture framing industry
Founder, EurDesign Studio
This is the fourth in a series of articles from the Breakfast Panel Discussion at the 2019 National Conference. This annual event brings industry experts together to discuss successful approaches to overcoming challenges in the art and framing industry.
Part 4: Digital Marketing—Email and Social Media How-Tos Jay: I have a question. How many people have a good
If you don’t have that skill set, there are a lot of resources
database of customer names and email addresses? (Audience
available to teach you the basics. It’s largely inexpensive for
raises hands) Okay. How many people constantly refresh that
a small business to market itself on the leading social me-
database because it’s constantly changing? (Audience raises
dia platforms, and like Ginger was saying earlier, it’s a way
hands) Very good. Because now you can not only do social
to become relevant to a new generation of buyers.
media marketing, but you can also do a targeted email blast through a service like Constant Contact. These things are
Jay: Many of you are thinking, “Yeah, I know, the whole
very easy and inexpensive to use. I call it electronic dialogue;
social thing…I need to do it.” But you aren’t going to do it
you’re just touching them enough to maintain that relation-
because you’re busy framing pictures and you don’t have
ship. With that in mind, you might want to think about how
the social media expertise. The answer to that is—many of
you maintain your database.
you have a college near you. Call the communications department and see about hiring an intern. These kids need
CONTENTS AD INDEX
Ginger: And with that database, there’s a term called seg-
something on their resume; what an incredible opportunity
mentation in email marketing, which just means that if
for someone who’s at a local college to get some marketing
you know some of your customers are interested in cer-
experience as your intern! My point is, we need to stop trying
tain products and services, you can tailor your approach to
to do everything ourselves because, well, we don’t have to. I
those smaller groups of people. Data shows that segmented
can’t do everything. Most of you probably will never become
marketing emails have a much higher open rate than more
marketing experts, but there are so many people out there
general ones, so it pays to be specific.
who are great at it. You can absolutely set up an internship.
Meg: I think that digital marketing is so, so important; not
Ginger: Jay, you bring up finding those people who have
only through email but also through social media platforms.
the design and the skills. But there are also tools you can
36 PFM November 2019
use yourself that make it easy. Let me share a quick story.
to do it, or do nothing. My point is, forget about that third
I was working with a friend of mine on branding. She was
option. Don’t do nothing. There’s another component to this
opening her new fitness training business, and she wanted
that I was getting at with my database question. You want to
to look professional and really launch herself. We started
email market to your customers, but there’s one problem; you
talking about branding being the first step. She was getting
don’t have their email addresses. You have to navigate how to
a little daunted while looking at other business that had
get their email addresses from them, which isn’t always easy.
been open for less than a year yet looked so established and professional with their visual promotion materials.
Meg: In my shop, when people walk in, the front end is a
She thought, “How am I going to compete with these other
gallery. While they’re walking around browsing, I’m having
brands that look so amazing? They must have paid a ton or
conversations with them. If they say they are interested in
hired that out.” Once we identified the core of what it was
an art class or special event we have coming up, for exam-
she wanted to do—the look, the feel, everything—I told her
ple, that’s when I’m grabbing their name and email. I also
about a fantastic tool called Canva. It’s like having a market-
reassure them that I won’t be spamming them with tons of
ing department in your back pocket. You put in your colors,
emails; I tell them we’ll be sending out one email a month.
your brand, your voice, and you create your own graphics
It’s much easier to build trust when you set that expecta-
with their templates and stock photography. She got up and
tion right away.
running with no marketing classes and no training.
Jay: You’re the owner, though; they’re going to be nicer to Jay: And that’s great for people who have that mindset. I’m
you. If you hire a salesperson to do it, that’s when it gets
just saying that if you can do that and want to do that, great.
more difficult. They really have to work to get these emails.
But if not, don’t get intimidated. You have three choices: do it yourself with tools like Canva, hire an employee or intern
Meg: If you’re conscious of it and you’re making that effort,
NEW SHOW HOTEL
HOTEL SPECIAL
Rates Starting at
$99
*
* Per Night. No Required Resort Fee. Tax Not Included.
• NO REQUIRED RESORT FEE • Exclusively for WCAF Expo Attendees • Home of the WCAF Expo and National Conference
SHOW HOTEL Rio All-Suite Hotel and Casino 3700 W Flamingo Rd, Las Vegas, NV 89103 866-746-7671 (Code: SRWCA0) www.wcafexpo.com/Hotel
WEST COAST ART & FRAME
EXPO AND
THE NATIONAL CONFERENCE PFM November 2019 37
you’re going to be successful. And it’s
too. It’s, “Please text me. Don’t email
a great opportunity to continue to
me. I get a thousand emails a day.
develop that relationship with your
Send me a text.”
customer and build value and trust.
Ginger: And there are automation Jay: Successful also doesn’t mean
services you can sign up for to do
getting every single email address. It
that. Even my kids’ school sends out
isn’t all or nothing; just get as many
automatic texts. You opt in through
as you can. Half is better than none.
your email and your phone number, and you can opt out at any time. I
Meg: You mentioned Constant Con-
would recommend being very spe-
tact. I use that and Mail Chimp to
cific and strategic about when you
send email blasts. You can get a few
send a text out—it’s not every day or
hundred emails at their free level;
every week, it’s only when your cus-
when you get up to 1,000 or more, it
tomer needs to know something. It
costs about $40 a month.
gets the most important information right up front. Many large retailers
Ginger: I learned something here
have incorporated text messages in
at the conference about getting
their social marketing strategies.
customer email addresses. Someone told me that with your in-store
Jay: Let’s dive into some audience
forms, putting a line for an email ad-
questions. Here’s one. What about
dress at the top of the form instead
copyright issues, etc., when sharing
of at the bottom makes a difference.
pictures on Instagram?
In other words, instead of your form reading “Name, address, phone num-
Ginger: The great thing about Insta-
ber, email address,” it should include
gram is that in addition to posting
email first, because people tend not
your own pictures, you can repost
to fill it out as often if it’s last.
amazing content that you couldn’t afford to create yourself. The oth-
CONTENTS
Jay: I absolutely believe that. That’s
er day, I posted this image from a
why I’m saying we need to con-
famous designer, Vincent Wolfe. It
sciously think about how we get
was an interior den and it showed a
email addresses. And it’s easy not
beautiful framed piece—and I loved
to get them. It’s easy to have your
it. I used my tools to save it, bring it
salesperson tell you, “The customers
into my feed, and then I reposted it
don’t want to give it,” and just accept
with credit. You always have to tag
that. You really need to say, “No, we
your source and give credit to them,
need to get it,” and then work on
whether you’re mentioning them
ways you can facilitate that.
in your caption or tagging them in the image. Instagram is a great way
AD INDEX
Kevin: Do you text your customers?
to share beautiful content that helps support your cause.
Meg: A lot of people are requesting that; “Text me when it’s done.”
Meg: Many vendors also have images that they would be very, very
Kevin: That’s kind of where I’m at, 38 PFM November 2019
happy to share with you. For exam-
ple, images of frame designs I built
at the displays and seeing what I do.
Ginger: You can outsource resourc-
for Tru Vue’s frame shop makeovers
Like you said, it’s a working docu-
es, too, in that regard, whether it’s
all over the country are available
ment. I’m trying a lot of things all the
graphic designers or someone to
through the company to download
time to reach new audiences.
work with your social media. It may
and use in your marketing.
be through a firm, or it may be some-
Jay: There hasn’t ever been one
one who provides virtual services.
Jay: Do you always ask for permis-
thing I did that was like, “Oh my God.
sion before you put a customer’s art
Home run. We just made $10,000.”
Jay: How many people are actually
on Instagram?
I’ve never done it. I’ve spent hun-
opening your email blasts?
dreds of thousands of dollars in
Ginger: Absolutely.
advertising; I’ve done the big mail-
Meg: For me, a good open rate for
ings. It usually helps get some new
email is about 30 percent.
Jay: I assumed so. The next ques-
business and build the mailing list.
tion we have is, what are examples of
But none of it was whiz-bang. I don’t
Ginger: That’s a good rate. In fact,
some of your marketing efforts that
know any business that’s figured out
Artsy recently published a full email
were highly successful? Let me an-
how to do one thing that’s going to
marketing guide, and they talk about
swer that first; most have not been. I
suddenly catapult them into wild
open rates around that number as
find that you need to send out mail-
success.
standard for the art industry.
site, a great storefront…
Meg: I think it’s about consistency.
Meg: Also, getting whitelisted on
Meg: Yes, it’s all of it. It has to be uni-
Jay: Yes. Here’s a question which I’ll
important. If your customer gave you
fied branding, and your look has to
just answer: why use an intern? Why
a Gmail address, odds are high that
match the experience when some-
not just hire the best you can afford?
your blast is not getting through to
one is coming in your store. One
That’s a loaded question, “best you
them. It’s going into their spam fold-
thing I’m doing to get new people
can afford.” I would first argue that
er. So what you can do is, if you had
in the store is I’m hosting evening
there is no such animal. Either it pays
a good experience with someone,
events in the gallery space. We’ve
for itself or it doesn’t. I suggested an
you can send them an email saying,
done art classes. We’ve invited a win-
intern because I thought some of you
“Thanks for coming in. Please add
ery to come in and do their launch
didn’t want to spend the money on
me to your address list.” That tells
party with their members. I partner
someone more expensive than that,
Constant Contact or whatever ser-
with different people that have a
and it’s mutually beneficial for you
vice you use that a customer is will-
slightly different audience, bring-
and the intern. If you do have the
ing to receive emails from you, and
ing them into my space. And while
money and think the payoff is going
you can get past those spam filters.
they’re there, they’re looking around
to be there, then hire a professional.
PFM
ings along with having a great webyour customers’ databases is really
PFM November 2019 39
Product Showcase
888 Manufacturing Corporation
New From 888 Manufacturing: this 4'' x 4'' x 5/8'' zinc-plated steel corner angle has holes countersunk to accept sixgauge flat head wood screws. Made of 5/64'' thick zinc-plated steel. Call: 888-338-3318 www.888mfgcorp.com
Decor Moulding Princeton is a new line featuring 32 gesso-free, hand-stained finishes, revealing the beauty of the natural FSC-certified woods. The traditional wood finishes add to the beauty of these contemporary profiles that will complement many types of art. Order corner kit #CS-PRI to get this full line on your walls today. Corner kits by stain are available as well. Visit the website for the most current moulding offerings, or place your order by phone or email at order@decormoulding.com. Call: 800-937-1055 www.decormoulding.com
Delta Picture Frame Co. Delta now carries multiple styles of wooden closed corner ready-made frames. Shown here is its RM2G frame, which has a 4'' moulding width. To view a complete list of styles and sizes, please visit the website or call for more information. Call: 800-327-5482 www.deltapictureframe.com
Framerica Framerica’s Chalked Collection has expanded yet again, this time adding Olivewood, featuring relish-tinted side-tones and cerused grains. “Olivewood seamlessly mixes rustic and modern,” notes Framerica’s Josh Eichner. “We feel like the Chalked Collection now has an option for every room.” Olivewood is available in profiles ranging to 3''. Visit the website for more information. Call: 800-372-6422 www.framerica.com
Gio Designs
Larson-Juhl
The K044 profile by Giò Designs is available in black and white finishes outlined in silver. These classic finishes are perfect for giving your clients’ photos a touch of elegant sophistication. Photo frames available in 4'' x 6'', 5'' x 5'', 5'' x 7'', and 8'' x 10''.
Larson-Juhl introduces its new Artique matboards, inspired by Belgian linens. This extension of the popular Artique line offers 10 fabric mats in grey and neutral colors to pair perfectly with your works of art. Call: 770-279-5222 www.larsonjuhl.com
Call: 800-674-3344 www.giodesigns.com
CONTENTS AD INDEX
Michelangelo Moulding
Penny Lane Publishing
While a compact cube measuring 3/4'', the Michelangelo series 247 is an elegantly understated collection. The seven finishes (two walnut, two grey, black, natural, and off-white) are a combination of subtle grain patterns with beautiful colors that will complement and enhance many projects. See them online—samples and stock now available.
KS144: “Season’s Greetings” by Kate Sherrill. Christmas tree cutouts are printed on state-of-the-art printers using high-quality 1/4'' Baltic birch plywood. All wood art is made in the US and comes ready to hang. All artwork seen on the Penny Lane website is also available on canvas and wood products. Contact a sales representative by phone or email at info@pennylanepublishing.com to place an order today.
Call: 877-422-8812 www.michelangelomoulding.com
40 PFM November 2019
Call: 800-273-5263 www.pennylanepublishing.com
Statement of Ownership, Management, and Circulation (Required by 39 U.S.C. 3685)
Sepp Leaf Liberon is known for having the some of the finest steel wool on the market. Long strands of high-grade steel give this product its exceptional reputation. It is ideal for applying thin coats of paste wax and gently distressing gold leaf finishes. It can also be used dry to clean glass and tarnished brass. Imported from England by Sepp Leaf products. Call: 212-683-2840 www.talasonline.com
1. Publication Title: Picture Framing Magazine. 2. Publication Number: 1052-9977. 3. Filing Date: October 1, 2019. 4. Issue Frequency: Monthly plus one issue 5. Number of Issues Published Annually: 13 6. Annual Subscription Price: $20.00. 7. Complete Mailing Address of Known Office of Publication: 83 South St., Unit 307, Freehold, NJ 07728. 8. Complete Mailing Address of Headquarters or General Business Office of Publisher: 83 South St., Unit 307, Freehold, NJ 07728. 9A. Name and Address of Publisher: Bruce Gherman, Picture Framing Magazine, 83 South St., Unit 307, Freehold, NJ 07728. 9B. Name and Address of Editor: Kimberly Biesiada, Picture Framing Magazine, 83 South St., Unit 307, Freehold, NJ 07728. 10. Owner: PFM Publishing, 83 South St., Unit 307, Freehold, NJ 07728. Bruce Gherman, 83 South St., Unit 307, Freehold, NJ 07728. 11. Known Bondholders, Mortgagees, and other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds, Mortgages, or Other Securities: None. 12. Tax Status: N/A. 13. Publication Title: Picture Framing Magazine. 14. Issue Date For Circulation Data Below: October 2019. 15. Extent and Nature of Circulation: Requester
Superior Moulding The Metro line is designed for the modern, millennial framing customer. Sleek yet subtly traditional in its four stunning metallic colors, it perfectly complements today’s graphic images, whether in a dorm room or a professional office. Request a color catalog on the website or call to get samples and pricing. Call: 800-922-7914 www.supermoulding.com
A. Total Number of Copies (Net Press Run) B. Paid and/or Requested Circulation 1. Outside County Paid/ Requested Mail Subscriptions Stated on Form 3541. (Includes nominal rate subscriptions, advertiser’s proof copies and exchange copies.) 2. In-County paid/requested Mail Subscriptions stated on Form 3541. 3. Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and other Paid or Requested Distribution outside USPS 4. Requested copies distributed by Other Mail Classes Through USPS C. Total Paid and/or Requested Circulation (Sum of 15b, (1, 2, 3, 4) D. Nonrequested Distribution (by Mail and outside mail) 1. Outside County Nonrequested copies Stated on PS Form 3541 2. In-County Nonrequested Copies Stated on PS Form 3541 3. In-County Nonrequested copies distributed through the USPS by other classes of mail 4. Nonrequested copies distributed outside the mail E. Total nonrequested distribution (Sum of 15 d 1,2, and 3) F. Total Distribution (Sum of 15C and E) G. Copies Not Distributed H. Total (Sum of 15F and G) I. Percent Paid and/or Requested Circulation (15C divided by 15F x 100) 16. Electronic Copy Circulation A. Requested and Paid Electronic Copies B. Total Requested and Paid Print Copies (Line 15c) + Requested/Paid Electronic Copies (Line 16a) C. Total Requested Copy Distribution (Line 15f) + Requested/Paid Electronic Copies (Line 16a) D. Percent Paid and/or Requested Circulation (Both Print & Electronic Copies) (16b divided by 16c x 100)
12,004
11,709
8,229
7,427
0
0
0
0
0
0
8,229
7,427
2,849
3,412
0
0
0
0
854
800
3,703
4,212
11,932
11,639
72 12,004 68.96%
70 11,709 63.81%
374
392
8,603
7,819
12,306
12,031
69.91%
64.99%
17. Publication of Statement of Ownership will be printed in the: November 2019 issue. 18. I certify that the statements made by me above are correct and complete: Kimberly Biesiada, Editor, Picture Framing Magazine.
PFM November 2019 41
Distributor Spotlight
CONTENTS AD INDEX 42 PFM November 2019
Have a question or comment? Tell PFM what you think. Mail letters to PFM 83 South Street, Unit 307, Freehold, NJ 07728 Call 732-536-5160, Fax to 732-252-2270 Attn: PFM Editor or E-mail to editor@pfm-group.com
CROSSWORD CHALLENGE
SEE PAGE 45 FOR THE SOLUTION
Across
Down
1 Main purpose of backing boards or substrates 5 ____ board—backing used for prints usually up to 16” x 20” in size 9 A while back 10 Specially made to match a painting or print or photograph 11 Not as tight fitting 13 Blue-green color 15 Matching two items 16 Trendy 17 Foot part 19 Purchase order, for short 20 Lay one’s hands on, 2 words 23 Concealed 25 Time just before an event 26 Of the highest quality 27 Is the right size and shape 28 Former 30 Common mounting material used in the US, 2 words 31 Pick up 33 Roman 11 34 Come together 35 ____ tape, used for mounting
1 Usually the result of a mismeasurement 2 Location device 3 Entrance point 4 Trademark, abbr. 5 Heavy board 6 Get older 7 Ripped 8 Type of filler board 12 Excellent substrate tougher than foam 14 High-quality and designed to last a long time (of a substrate) 15 Leap off the artwork, as colors 17 Internet provider 18 Guy referred to 21 Fifth in NYC 22 Surface quality 24 ____ mat (two boards) 29 Smooth 30 Repair 31 50th state, abbr. 32 Symbol for silver
PFM November 2019 43
Index Advertiser
Page
Advertiser
Page
Active Sales ............................................................................................42
International Moulding ...........................................................................35
800-937-2255
205-324-5783
www.activesalesco.com
Alpina Manufacturing, LLC ......................................................................43 800-915-2828
www.fastchangeframes.com/www.bannergrip.com
Canon USA ...............................................................................................9 Please visit our website for more information
www.usa.canon.com
Capax-Frame It ......................................................................................45 800-942-2729
www.capax.com
www.internationalmoulding.com
ITMS GROUP...........................................................................................39 877-231-8060
www.thelibrarysupply.com
Jack Richeson & Co. ................................................................................42 800-233-2404
www.richesonart.com
Michelangelo Moulding ...........................................................................19
CMI Moulding .........................................................................................42
877-422-8812
301-476-7440
Miter Master ...........................................................................................42
www.cmimoulding.com
www.michelangelomoulding.com
Crescent Cardboard Co. .............................................................................5
800-446-6622
800-323-1055
Omega Moulding Company .....................................................7, 35, 41, 43
www.crescentcardboard.com
Decor Moulding & Supply ................................................27, 33, 43, 35, 39 800-937-1055
www.decormoulding.com
Designer Moulding..................................................................................29 800-634-0032
www.designermoulding.com
Encore Products Inc .................................................................................21 800-873-4868
www.encoreproducts.com
800-289-6634
www.qualitysaw.com
www.omegamoulding.com
Picture Woods Ltd. ..................................................................................29 800-321-6522
www.picturewoods.com
Pro Tapes & Specialties............................................................................31 800-345-0234
www.protapes.com
Engelsen Frame & Moulding ....................................................................42
Rhonda Feinman Custom Frames ...............................................................6
800-422-6731
800-297-1566
www.engelsenframe.com
www.rhondafeinman.com
Fixons ....................................................................................................42
Superior Moulding Corp. .........................................................................43
714-526-3455
800-922-7914
www.fixons.com
Foster Planing Mill ............................................................................34, 42 323-759-9156
www.fosterplaningmill.com
Frame Specialties ....................................................................................23 800-777-3165
www.kooltack.com
FrameReady ...........................................................................................42 888-281-3303
www.frameready.com
www.superiormoulding.com/www.zelanto.com
Tru Vue ..................................................................................................13 800-621-8339
www.tru-vue.com
Universal Arquati ....................................................................................11 800-668-3627
www.universalarquati.com
Wall Moulding ........................................................................................47
Framerica.................................................................2, 3, 4, 10, 41, 45, 48
800-880-8315
800-372-6422
West Coast Art & Frame Expo ......................................................15, 25, 37
www.framerica.com
www.wallmoulding.com
CONTENTS
FrameTek ...............................................................................................28
800-969-7176
800-227-9934
Wire & Cable Specialties ..........................................................................22
www.frametek.com
Frank’s Fabrics for Framers .....................................................................42 888-332-2749
www.franksfabrics.com
AD INDEX
Freestyle Photo and Imaging ...................................................................38 800-292-6137
www.freestylephoto.biz
Gluefast Company ..................................................................................42 800-242-7318
www.gluefast.com
800-824-9473
www.wcafshow.com
www.wire-cablespecialties.com
Wizard International ...............................................................................17 888-855-3335
www.wizardint.com
Z Hardware ............................................................................................42 800-880-9315
www.zhardware.com
Hoffmann Machine Company ..................................................................42
Ziabicki Import Co. .................................................................................45
866-248-0100
262-633-7918
44 PFM November 2019
www.hoffmann-usa.com
www.ziabicki.com
(Continued from page 54)
We put them in the vast blue of the ocean so they’d stand out and not obscure any countries.
A Bella 740006 Faded Fjord White Tall Cap frame was chosen for its depth, good looks, and because it matched
Matboard spacers lifted the glass above and away from
the mat color perfectly. Premium glazing was used to reduce
all the items. To make the spacers, we saved a large scrap
glare and to not distract from the many details. The best part
â…›'' foamboard. The
may actually be the back of the frame; turnbuttons were
piece of the mat and dry mounted it to
spacers were cut to size on our CMC. Using a tabletop pattern, we placed the spacers under the lip of the frame, adhered with Jade 403N adhesive and adhesive transfer tape. The last (and most fun) task was to place metallic gold map pins in all the locales visited. Shiny, gold map pins were used to match the wings and to pop against the map.
used so the piece could easily be opened to add new pins. This piece has been a big hit with our client’s fellow flight crew members. They all want to have their passports framed now, too, and personalized according to their own tastes and preferred color palettes. PFM Helen Avitabile contributed reporting for this article.
Crossword Challenge Puzzle Solution
PFM November 2019 45
DESIGN OF THE MONTH By Paul and Jill Choma
Going Global with a Framed Passport
W
hat to do with an old passport?
the colors of the map.
Keep it in a drawer to pull out oc-
Next, we disassembled the passport and
casionally and reminisce over past
carefully cut out all the favorite stamps and
travels? Not this one! We framed this flight at-
visas, being sure to retain the unique shapes
tendant’s passport to create an eye-catching
that the layers of stamps created over the
daily reminder of their adventures.
years. Several large visas as well as the photo
With so many stamps, mementos, and
page were mounted underneath six separate
postcards collected over the years while trav-
window openings in the mat—three above the
eling the world, finding the right design was
map and three below it.
a challenge. After contemplating several dif-
The stamps were then laid out for the de-
ferent design ideas and revisiting the design
sired visual effect. We wanted to mix up the
many times over the course of a year, we decid-
shapes to establish a sense of balance. The
ed that keeping it simple was the best solution.
stamps and mementos were floated on top of
This allowed us to focus on the passport details
the mat and secured using just a small amount
and numerous locales visited.
of adhesive. Some were placed directly on the
We first searched online to find a world
mat while others were fitted with small foam-
map that was just the right size and had a con-
board lifts that had been cut and reverse bev-
temporary vibe. Once the map arrived, it was
eled on our Valiani computerized mat cutter.
3⁄16'' MountCor foamboard.
We wanted to create visual interest with the
It was then trimmed with a reverse bevel so
different layers throwing a bit of shadow. Some
that it would seem to float on top of the mat-
stamps were also placed directly on the map
board. We centered and floated the map using
near the corresponding countries.
dry mounted using
CONTENTS
adhesive transfer tape and Jade 403N adhesive
A cutout of the client’s aircraft taken from
on a Crescent 1122 Stratford matboard. The
an old postcard as well as flight attendant
neutral mat color coordinated perfectly with
wings were placed at the bottom of the map.
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 November 2019
(Continued on page 53)
A neutral palette and simple design was chosen to keep the focus on this flight attendant’s many mementos from their travels.
