Framing Sports Memorabilia MOUNTING FRAGILE ITEMS • GIVING YOUR SHOP A FACELIFT
Contents
PFM is a member of:
Volume 30, Number 9
PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders
On the Cover This multi-opening design created by Mark Klostermeyer, MCPF, and his team at Design Frames in Falls Church, VA, celebrates the career of Lou Gehrig by showcasing World Series tickets and other memorabilia collected during Gehrig's years on the diamond. For the full story on this design, see page 54.
Features 12 18 24 32
Framing Sports Memorabilia Mounting Fragile Items Refresh Your Shop in a Weekend Wrapping Fabric Liners
24
Columns 38 Preservation Practices 44 Successful Retailing Panel 54 Design of the Month
Departments 8 10 43 48 50 52 53
Editor’s Note Industry News Crossword Puzzle Product Showcase Distributor Spotlight Index of Advertisers Calendar of Events
12
18
32
54
Picture Framing Magazine® (ISSN 10529977) is published monthly, plus one issue by PFM Publishing, LLC, 83 South Street, Unit 307, Freehold New Jersey 07728; phone 732-536-5160; fax 732-252-2270. Subscription Office: Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612; phone 888-238-0049. Subscription: $20 per year U.S., $40 U.S. Dollars per year in Canada and Mexico, $60 U.S. Dollars per year for all international. Single copies, $5.95. If a paid subscription magazine is returned by the U.S. Postal Service as non-deliverable, Picture Framing Magazine will maintain the subscription for one year. If after one year a new address is not provided, Picture Framing Magazine will cancel the order. No refund will be available for that account. Periodicals class postage paid at Freehold, New Jersey, and at an additional mailing office. Entire contents © 2019 by PFM Publishing, LLC. Printed in U.S.A. Picture Framing Magazine registered in the U.S. Patent and Trademark Office. Postmaster: Send address changes to Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612 Agreement Number 1691910 Disclaimer The opinions and information in this magazine are not necessarily those of the publisher and are therefore not to be viewed as such. No part of this magazine may be reproduced without the expressed written consent of the publisher. PFM does not knowingly accept false or misleading advertising or editorial, nor does the publisher assume any responsibility for the consequences that occur should any such material appear. PFM and PFM Publishing assume no responsibility for content, text, or artwork of advertisements appearing in PFM except those promoting PFM. The Publisher reserves the right to review all advertising materials submitted for publication and to not accept any such material deemed inappropriate for any reason.
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CONTRIBUTORS
Jay Goltz • PRE S E RVATI O N E D I TO R Hugh Phibbs • M O U N TI N G E D I TO R Chris A. Paschke, CPF, GCF M AT D O C TO RS Tim Franer, CPF • John E. Ranes II, CPF, GCF • Brian Wolf, CPF William B. Adair • Ken Baur • Jared Davis, MCPF, GCF Paul MacFarland, MCPF, GCF • James Miller, MCPF, GCF
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CONTENTS
E-mail to editor@pfm-group.com
AD INDEX Letters may be edited for space and clarity
6 PFM September 2019
PFM PUBCO • BOOK DIVISION BOOK SALES COORDINATOR
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PFM PUBLISHING, LLC PRE S I D E N T
Bruce Gherman
FROM THE EDITOR’S DESK
T
Whether you’re taking on a remodeling project in your shop, adding a revenue stream, or honing a technique, you’ll benefit from working on your business. CONTENTS AD INDEX 8 PFM September 2019
his month’s issue has a focus on two concepts that often go hand-inhand: shadowbox framing and framing sports memorabilia. Creating custom frame designs for jerseys and other sports collectibles is a profitable revenue stream for many retailers, so it is well worth brushing up on the subject as we enter the busy fall season. In his latest article for PFM (page 12), John Ranes offers creative and timeless frame design ideas to sell to sports fans of all persuasions. And in “Mounting Fragile Items in Shadowboxes” (page 18), Jim Miller discusses proven techniques you can use to frame fragile, three-dimensional objects safely and beautifully. This issue’s Design of the Month feature (page 54) is also sports themed; Mark Klostermeyer and his team at Design Frames celebrate the memorable career of Lou Gehrig, with a focus on his many home runs in World Series games. The piece makes use of a fabric-wrapped mat and multiple openings to house a variety of Gehrig collectibles. Speaking of fabric mats, you can brush up on your technique with the help of David Lantrip’s latest article
(page 32), a how-to on wrapping liners. If you’re looking for another way to breathe new life into your business while also boosting its image to current and potential customers, take inspiration from Jared Davis’s latest, “Refresh Your Shop in a Weekend” (page 24). Davis explores several improvement projects you can complete in anywhere from a few hours to a few days to make your business feel like new. It’s easy to get wrapped up in all the things you have to get done day to day. Those tasks are, of course, important, but equally as important is taking a step back to evaluate your business overall. It’s only then that you can identify areas in need of improvement and form an action plan to strengthen them. Don’t be afraid to ask for help from industry peers; good ideas are worth sharing!
Kimberly Biesiada Editor
INDUSTRY NEWS Framerica Expands Summer Internship Program Framerica’s paid summer internship program has expanded each year since 2009 to include new areas of learning and responsibility. Students interested in business, manufacturing, and design have participated and gone on to
Since the company’s founding in 1905, the Booth Felt name has been synonymous with high-quality, American-made felt products. As a long-standing pioneer in the felt industry, the Booth Felt Co. Inc. has championed felt-fabricating technology to its modern capabilities. Customers across industries such as
successful careers.
aviation, automotive, engineering, casket manufacturing, fram-
The company has now
ing, cabinetry, and art supply continue to rely on Booth Felt’s
partnered with a local high
diverse line of products for projects big and small.
school to give select graduating students the opportunity to
Framerica’s Almendarez Celebrates 15-Year Milestone
learn and explore a real-world
Carlos Almandarez, Framerica’s second shift director, recent-
work environment with the op-
ly celebrated his 15-year anniversary with the
tion to remain long term. “The school administra-
discounts and promotions.
Rosner (center) with two of the 2019 interns.
tion brought us talented, enthusiastic young adults looking to learn and grow,” notes Dave Rosner, senior VP. “We are thrilled to offer this to our local community, but it’s likewise been a wonderful thing for Framerica.” For more information, visit framerica.com.
Booth Felt Launches New Website The Booth Felt Co. Inc. has launched its first-ever e-commerce website. The storied felt maker, which has supplied felt strips, discs, dots, sheets, and other custom products to major manufacturers, innovators, and craftspeople around the world for decades, has now made a significant part of its catalog available
company. Almandarez has also done a wonderful job on the trade show circuit representing Framerica, according to the company. “Having someone with Carlos’s leadership abilities is an incredible asset for our company,” notes Jay Van Vechten. “We’re very fortunate to
Kunze Joins 3A Composites USA as Director of Marketing, Product Management 3A Composites USA has appointed Chuck Kunze as director of marketing and product management for the company’s graphic display and industry/transport businesses in the Americas. Kunze has extensive marketing expe-
online at www.boothfelt.com.
rience, including product line management,
In addition to the hundreds of
new product development, commercialization,
industrial-grade felt materials, which
brand management, and strategic planning. In
include die-cut parts, engineered
his new role, Kunze will be focused on the de-
non-wovens, adhesive-backed materials, wool felts, SAE wool felts and, of course, decorative and craft felt supplies, online for purchase, the new Booth Felt Co. site will feature regular blog posts, a monthly newsletter, news about products, and special
CONTENTS AD INDEX 10 PFM September 2019
Carlos Almendarez
have him here.”
velopment of unique graphic display solutions Chuck Kunze
with the company’s leading brands of FOMECOR®, SINTRA®, GATOR®, DISPA®, DIBO-
ND®, and LUMEX® G rigid substrates. For more information, visit 3ACompositesUSA.com. PFM
DESIGNING SPORTS SHADOWBOXES By John Ranes II, CPF, GCF
Note that the framer has actually used all three colors of the Broncos jersey in the matting selection. The curved opening at the top helps balance out the added detail at the bottom area of the design.
CONTENTS
W
hether you are framing a signed pro-
As most of us know, framing sports memorabilia can
fessional sports jersey or a collection of
be profitable. In this day and age, many consumers—even
AD INDEX
World War II memorabilia in a shadow-
those who might typically order framing online or visit
box, the core design and mounting challenges are the
a big-box craft store—will venture into an independent
same; you want to produce an interesting design that
custom frame shop with a sports jersey in hand. They
has a certain “wow” element for the customer, but you
come to you because they want it done right. The jersey
also need to protect and preserve the objects being
(or other piece of sports memorabilia) is an emotional
framed. In my framing seminars on this subject, I have
keepsake, whether it came from their favorite NFL player
often told fellow framers who may be overwhelmed by
or their daughter’s soccer team, so they feel the need to
this task that it can be simplified by focusing on those
see a professional framer to come up with the design.
two main goals—creating a framing presentation that
Before we explore some design ideas for framing
is both aesthetically pleasing and mechanically sound.
sports memorabilia in shadowboxes, there is an import-
12 PFM September 2019
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Sometimes a customer will ask for an “over-the-top” design—I get that. In those cases, we as framers need to find a comfortable balance. The other area where framers wrestle with design is the incorporation of matting, as the matting is much narrower than one would suggest for, say, a piece of fine art of the same size. A framer who would propose a 4'' to 5'' mat on a watercolor of 40'' x 32'' will often only use a 2'' mat or less on a sports jersey of similar proportions. I think it’s important to recognize that one of the basic functions of matting is to create some breathing space between the artwork and the frame and environment. Introducing a solution like matting—in other words, letting the background create this breathing space—gives us a bit more area around the subject, as seen in the Green Bay Packers shadowbox illustrated here (page 16).
TELLING A STORY In the Packers example, you will also see multiple other Note that the framer has embraced the capability of his CMC by reproducing the team logo in gold pen upon the centered panel design. The anniversary dates have also been drawn onto the matting, which is a bit subtler than had they been cut into the mat.
elements added to the frame design, such as Super Bowl medallion coins and collectible rookie cards. The idea with shadowbox presentations is that any stranger can put together why the item is framed and what it is all about without hearing an explanation. This is true with any shadowbox framing challenge, whether it be military memorabilia from a family member or a wedding memory box.
ant note I’d like to make about the sales side of the process. As many of you already know, customers who don’t typically frequent frame shops may be unprepared for the cost of framing a sports jersey. Jerseys are complex, and framing them correctly is labor-intensive, with multiple components
It is always better to have a few too many items to add and decide with the customer which ones to include and keep in the presentation. This almost always comes down to a combination of emotion (what’s important to the owner) and which items truly complement the main subject.
involved. They also require a larger-than-average frame most of the time. All of this contributes to the final price tag. It’s a good idea to have that discussion with your cus-
EMBRACING TECHNOLOGY: CMCS AND ALTERNATIVES
tomer up front. Using proper terminology and speaking to
There is no question that the computerized mat cutter has
the honestly right from the start will help dispel any price
given custom framers the ability to do amazing things with
shock that might have come later. Doing this also makes it
sophisticated, intricate cuts. It’s knowing when and how to
easier for you to start pulling out great, creative design ideas
wield this power that is sometimes tricky.
to get your customer excited about the project.
CONTENTS
THE SPORTS JERSEY: WHAT MAKES A DESIGN GREAT? This is subjective to some degree, but generally speaking,
AD INDEX
less is more, and we want to work with harmonic, complementary colors when designing around a sports jersey. We want the accent colors of the jersey to stand out and not have to compete with the framing. However, due to the dramatic nature of the beast, sometimes these rules of design do get thrown out the window. 14 PFM September 2019
Here (top left), Tim Frates of MegaPixel in Montrose, CO, has incorporated the Denver Broncos logo into his matting presentation, which helps tell the whole story. He utilized both a Valiani CMC and a Trotec Speedy 300 laser cutting machine to create these intricate designs. This blue and black Inter Milan jersey has also been matted, but with a different concept of hugging the outline of the jersey. One advantage of a design of this style is that it can maximize the amount of matting. Created by Italian framer Massimiliano Cincinelli, what really sets this design
stable. Reversibility is an obvious key consideration, as is using preservation-grade materials and techniques. While some framers still sew mount the entire jersey into position, others use a tagging gun such as those from Attach-EZ. A third option is to use a combination of both these solutions when mounting a jersey, first creating a custom form within the jersey made of Coroplast (fluted polyester corrugated board). This combination technique may allow for greater efficiency and accuracy. Most framers already know that the use of adhesives, glues, and staples of any sort are not appropriate when mounting a jersey. Another key to success is creating a substrate that is strong enough to support the jersey and collateral material while also remaining lightweight. We have found that matboard mounted to 5mm foam core creates a great substrate Please note the walled sides with solid green backing rather than matting, which creates a bit more breathing space. Also, the color choice of complementary green allows the gold accent colors of the jersey to stand out.
that can be penetrated by a pin or small Dremel drill, allow-
apart is his use of incorporating the team logo and 100th an-
Junior Olympics performance by Peyton Robertson. Framed
niversary details within a band of matting across the waist
by Barb Pelton of Artfully Framed in Poplar Bluff, MO, this
of the jersey. All the cutting was executed on a Valiani CMC,
design has the challenge of framing five different objects,
which allowed the framer to take on such challenges. The
including a document poster and medal with lanyard.
football club’s logo has also been duplicated with a gold stylus writing head on his CMC.
ing for polyester tags or sewing. Let’s examine memorabilia from an AUU Swimming—
Sports medals with lanyards often challenge framers during the design process; it’s a lot of loose material to work with. What to do with it? Pelton’s solution was to hide the
MOUNTING CONSIDERATIONS
length of the material underneath the document, revealing
When talking about framing sports jerseys, it’s important to
just enough that viewer sees the continuity.
address the techniques used to mount them and keep them
When we talk about frame design, one prevailing theory is when the mat cutting becomes complex, a good framer minimizes color so the presentation doesn’t overpower the focus on the art. In this case, the white matting and white frame works beautifully and allows each component to stand out. It’s clean, balanced, and creative. All shadowboxes present unique challenges. How we utilize basic elements of good design and sound mounting techniques will assure that the project not only pleases the customer, but also that it passes the test of time. PFM
CONTENTS
John Ranes
AD INDEX The white-on-white presentation works wonders with the multi-colored lanyards, ribbons, and photographs incorporated in this display. The design to conceal the medal lanyard under the document is simple genius! 16 PFM September 2019
John is an instructor of framing workshops and seminars worldwide. John teaches for the Professional Picture Framers Association and consults for The Fletcher-Terry Company and Tru Vue. John was awarded the PPFA Lifetime Achievement Award at the Las Vegas Convention in January 2015. John, with his wife, Sarah, own The Frame Workshop of Appleton, a frame shop and gallery in Appleton, WI, which has won over 100 framing awards, including two successive awards from the Fine Art Trade Guild in the UK as well as a National Australian Framing Competition award. His shop opened in 1978 expanded in 2009, and has diversified into Gifts, Christmas Collectibles and Home Décor. Their business celebrated 40 years in September 2018.
Mounting Fragile Objects in Shadowbox Frames By James Miller, MCPF, GCF
F
raming a fragile, three-dimensional object pres-
system because it holds the frame on the wall more
ents challenges because, in one way or another,
securely than a single wall hook and wire. If you must
it may be unable to withstand the stresses en-
use a wire, you can still arrange to hang it from two
countered in normal display, handling, and transit. Special attachment provisions are often required to provide adequate, secure support.
wall attachments. Many types of fragile objects may be found in framed display: an Asian paper cutout, a ceramic or
If the object has significant personal value as
papier mâchÊ figurine, a sand dollar, or a champagne
an heirloom or monetary value as a collectible, then
flute, to name a few such objects I have framed. Like
preservation features in the framing would be appro-
most other fragile objects, all of these have unique
priate to protect it from anticipated hazards as much
mounting needs. Our example here is a cutaway half
as possible. Such hazards typically include acciden-
of a chambered nautilus shell.
tal impact, vibration, and normal expansion and con-
For all sorts of objects, many framers consider
traction. Careful mounting can work to minimize or
glue to be their go-to attachment choice. But as noted
possibly eliminate most of the problems.
above, preservation features are appropriate for most
CONTENTS AD INDEX
In addition to the mechanical considerations,
of the fragile objects we frame, and adhesive mount-
some fragile objects may be sensitive to invasive
ing generally is not acceptable for preservation. Glue
chemistry within the frame package, insects, and
usually leaves a permanent residue that is not eas-
external airborne contaminants that could migrate
ily reversible—and even when preservation is not a
into the frame over time. Conservation-grade inter-
concern, glue bonds on objects tend to weaken and
nal materials may be essential, such as virgin alpha
fail, especially if any amount of weight is involved.
cellulose matboards and barriers against acid migra-
Glue bonds can fail in four ways: the glue itself could
tion. Proper fitting and finishing, including glazing,
fail occasionally, especially if old, partially dried, or
insulating backing, and a tight dustcover are effective
contaminated glue is used; the surface of the object
preventive measures as well. And, of course, a secure
can disintegrate, such as a paint finish peeling; the
hanging system is essential. For framing of typical
mounting surface can disintegrate, such as the flock-
size and weight, I prefer to use a two-point hanging
ing of suede matboard coming loose from the paper-
18 PFM September 2019
as dropping on a corner in handling or transit, would the mounting continue to hold the object in place securely and without damaging it? In other words, could the object break on impact? Could the object flex enough to detach from the mounts? Could the attachment provisions deflect, loosen, or fail? If an overall-contact attachment such as full-surface overlay mounting is used, most of these possible failures can be eliminated or at least greatly reduced. Visibility is always a concern, too. Of course, the mounting ought to be as unobtrusive as possible, but sometimes that may involve compromises in the in-
This view shows the three brass rod mounts prepared for installation of the shell. Each mount will deflect slightly to grip the contact points on the shell’s edges.
terest of secure attachment. The trick is to design attachments that hold securely without visual dis-
board to which it is glued; or something on one of the surfaces can prevent secure bonding, such as oil or dust. These potential failures become more likely with deterioration over time. Mechanical attachments are more dependable and secure, especially for the long term. The
attachment
provisions
should
support
as
much of the fragile object’s area as possible, so overall-contact mounting might provide the best support on flat surfaces, such as a Direct Contact Overlay (DCO) of acrylic, Mylar, or fine-mesh fabric, when practical. But when the object is oddly shaped or its surface is irregular or heavily textured, overall-contact mounting may be visually distracting or may not work at all. In that case, the attachment would have to be confined to isolated points of contact, selected to provide the best possible support and using materials such as formed rod mounts of steel or brass or straps of clear film, thread/cord, wire, or electrical-industry cable ties. In any case, the attachment should be designed and positioned to hold the fragile object gently enough to avoid damage, securely enough to
CONTENTS
prevent movement from handling, vibration, or impact, and still accommodate normal expansion and contraction. It is important to assess the weaknesses and
AD INDEX
limitations of a fragile object and try to accommodate them in the frame design, especially the attachment provisions. For example, is the object’s surface friable, or could it be easily abraded or scratched? If so, select soft-surfaced materials for the mechanical attachment. In the event of impact to the frame, such 20 PFM September 2019
traction. Weight and balance may be issues of concern, too. For example, if you need to frame a large wine glass made of fine crystal, the stem is the part most likely to break. Strapping the stem could invite breakage in the event of impact to the frame. Instead, attaching the glass at its base and at the top would help to absorb impact, limit movement, and reduce stress on the fragile stem. Also, it would be better to run a thread or strap of clear film around the top of the glass, if possible—rather than to hold it by a hook over the lip, because the glass might break easily at a small point of contact. When a customer brought in this cutaway half of a chambered nautilus shell for framing some years ago, she asked to have it elevated off the background for a dramatic visual effect. Since this shell is not collectible and has no long-term value, we might have glued it to the mounting board using an adhesive that would not chemically react with the shell, such as acrylic gel or acid-free PVA, except that the 1/2'' elevated mount would make the use of glue difficult. Special provisions for mechanical attachment were needed—especially since the shell is oddly shaped. The main weakness of the shell is at its open edge, which could be easily chipped, broken, or abraded. It could be easily crushed from the edges, as well, if the mounts were installed too tightly. Overall-contact mounting could fit the flat top but would not conform to the compound-curved shape of the shell below. While a fine-mesh fabric or clear polyester film (Mylar-D) overlay could have been fit-
This view shows the shell installed in its three brass rod mounts, ready for fitting and finishing.
The mounting board is comprised of matboard reinforced with 4mm fluted polypropylene (aka Coroplast) sheeting. Each of the mounts was formed with Here you can see the small slips of white felt glued to the inside surface of each mount, minimizing the potential for abrasion of the shell from the brass.
a section to poke through a small hole in the mounting board with a perpendicular bend to fit into the air spaces between the flutes of the polypropylene sheet
ted over the flat top surface of the shell, that would
and encapsulated using hot-melt glue. Fast-cur-
have been obvious visually, and elevating it off the
ing epoxy could work as well. In the final step, each
background using those materials would be a chal-
mount was shaped to fit snugly on the shell’s edges,
lenge.
allowing for normal expansion and contraction. This
Given all those factors, we decided to use
mechanical attachment method would allow the
formed-rod mounts made of brass. Each of the three
shell to be removed and replaced if the frame were
mounts was formed to fit the contours of the shell,
constructed to open and reclose, but the customer
with a carefully bent hook to fit neatly over the open
wasn’t interested in doing that.
edge of the shell. To prevent damage in the event of
The formed-rod mounts used in this project pro-
movement or expansion/contraction, the end of each
vide a secure attachment for the fragile shell with
mount was padded with a small shred of white felt
minimal visual distraction to the viewer. Mounting
glued to the inside surface of the hook.
methods such as this one allow framers to meet their
These brass mounts were custom-fitted to the edges and formed to follow the contours of the shell all the way to the bottom, where vertical stand-offs
CONTENTS
were included to elevate the shell. The brass rod looks okay where it is visible, but if I were framing this shell today, I would use .029'' diameter piano wire because the steel would be stronger, springier,
AD INDEX
and hold its shape better. The much-smaller diameter rod would also be less visible, and I would paint each mount to complement the color of the shell. The working ends of the piano wire rods would be padded using polyolefin shrink tubing painted to match the shell at its edges. 22 PFM September 2019
customers’ expectations for a beautiful design without compromising the object’s safety. PFM
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.
REFRESH YOUR FRAME SHOP IN A WEEKEND By Jared Davis, MCPF, GCF
T
here’s a powerful saying in business: change with
aid to help demonstrate and explain some of the different
the times or the times will change you!
types of concepts they can offer.
In business, nothing stays the same forever.
They have incorporated specialized examples of acryl-
Something that may work today won’t necessarily contin-
ic display boxes, chalk boards, digital printing, and even a
ue to work in the future. Staying ahead of the curve is cru-
framed LCD screen with a PowerPoint slideshow of more
cial to long-lasting success. There is no business without
design photos. The great thing about a project like this is
paying consumers, and today’s consumer expects fresh
that it doesn’t cost a lot of money, given you could poten-
and new experiences when shopping and buying things
tially use off-cut materials to create much of the display. It
they want. Your in-store customer experience—how your
won’t suck up a huge amount of your time, either; this can
business looks and feels to your customer—is an import-
be put together within one work day.
ant starting point when making improvements.
Think about some of the specialized ideas and con-
With a bit of inspiration and planning, it doesn’t take
cepts you can provide. What kinds of examples or sales
much to make a big difference to your store. You don’t
aids can you provide your team to better demonstrate
have to spend a fortune, either. Let’s explore some ideas
what you can do to your customer?
CONTENTS
and projects you could start right away to keep your business fresh and relevant.
MAKE NEW SIGNAGE Best Framing has also recently invested in wide format
AD INDEX
DISPLAY GREAT IDEAS AND INSPIRATION
printing equipment—which they then sensibly utilized
Medi and Kristin Bendanna of Best Framing in Costa Mesa,
to produce their own professional, up-to-date in-store
CA, have recently been working on multiple improvements
signage and banners. These signs emphasize their new
to their business, including their customer showroom. One
branding while highlighting and promoting some of the
project they’ve put together is a dedicated in-store display
new and relevant services the business offers, such as
wall of interesting ideas and concepts to inspire customers
printing, scanning, and restoration.
who come into their store. This display also acts as a sales 24 PFM September 2019
When it comes to signage, the obvious is not always
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EXCELLENCE IN EDUCATION The annual industry event dedicated to providing the largest and most comprehensive conference in art and custom framing, lead by experts in their field.
THE NATIONAL CONFERENCE AT THE WCAF EXPO Offering workshops for all skill levels. Featuring customized content, hands-on opportunities, small class sizes, and instructors who are experts in their craft. There is always something to learn for even the most advanced in the industry.
NEW SHOW HOTEL
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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
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At Hornsby Framing in Sydney, Australia, a series of botanical prints are framed for a range of budgets to help reduce customer uncertainty.
colorful stools for each counter. The fun part of the remodeling project was decorating their furniture with excess moulding stock that had been taking up space. “It’s colorful and customers remark on it all the time,” Kendall says. Kendall and the rest of The Frame and I’s team also added wheels to their design counters and display fixtures so they can move them around and easily change their space again as desired. “It’s been awesome because we can reinvent our space on a whim,” Kendall says. “We can put the design counters This two-sided window display wall at Foxhole Framing in Tasmania, Australia, allows for featured artwork to be changed out easily.
apparent. Think about what signs could you display to potentially remind or help your customers understand more about what your business can offer and create for them. The easy thing about any signage you create is that you already have solutions for framing and hanging them!
RENOVATE YOUR SHOWROOM
anywhere we want to!”
FRESHEN UP WITH FRESH PAINT A fresh coat of paint on a wall probably offers the most bang for your buck when it comes to the changing impact that can be made to your store for relatively little cost. Keep in mind you don’t have to overwhelm yourself by painting your whole store. Sometimes just painting one wall, such as a feature or accent wall, can make all the difference.
As a long weekend project, Ida Woll Kendall and her team from The Frame and I in Prescott, AZ, remodeled their showroom to make it feel modern and inspiring as well as more open and spacious.
CONTENTS
“Before we remodeled, the space in our shop was claustrophobic, with furniture and design counters in fixed positions and ugly, gray carpeting,” Kendall says. The major part of this project was removing the carpet
AD INDEX
and laying new, modern vinyl flooring that blends with the new countertops and makes the room look more modern. The in-store design area used to be closed off by solid display fixtures of framed artwork. Removing and relocating these fixtures made the design counters more visibly open and appealing. They also provided some comfort mats and 26 PFM September 2019
At Best Framing in Costa Mesa, CA, an in-store display including acrylic boxes, chalk boards, and printing serves as a sales aid.
This sign, created in-house at Best Framing, highlights the store’s printing service.
(Top) Foxhole Framing’s Mat Hemming updated his sample wall with fresh paint. (Bottom) More examples of in-house signage at Best Framing.
Matt Hemming of Foxhole Framing in Tasmania, Aus-
Australia. Ashford built a mobile matboard corner display
tralia, recently renovated his store over a weekend with
caddy on casters. Being able to remove the matboards from
some fresh paint. He wanted to make his moulding display
her display counter helped create more design space with
look more contemporary and upmarket. He repainted over
less visual clutter. The mobility and expanded functional-
the previous khaki green with a classic black. He also in-
ity of the matboard caddy made it easier to carry a larger
stalled a new dedicated track lighting system for the wall
selection of samples within reach of any consultation.
to help make the samples stand out and look more vibrant. He says this has been a great feature to leave on at night
ADD GREENERY
when people walk outside his store.
Adorning your store with some greenery or even a simple vase of flowers can add some natural beauty and life into
BUILD SMART DISPLAY FIXTURES
your environment. Some stores feel too clinical or hard;
Useful fixtures and display furniture help improve the
the simple addition of some living plants can help create a
functionality and versatility of your store space. Making
visually organic sense of peace and comfort in your busi-
these can be a simple weekend project. When designing
ness. Indoor plants can also improve air quality.
CONTENTS
and building any display fixtures, consider the use of gal-
This improvement can be done quickly—it’s easy to
lery hanging track to make it easy to change out displays.
drop into your local nursery one Saturday afternoon and
Also consider adding casters to make them easy to move
pick up a few plants for the store, meaning minimal time
and relocate, potentially changing the whole dynamic of
and effort for great results!
your store with a few quick moves. Hemming wanted to better utilize Foxhole Framing’s
BRIGHTEN YOUR DAY WITH LIGHTING
AD INDEX
prominent streetfront window display. He designed a new
New improvements in LED lighting and technology over
two-sided window display wall with gallery hanging track-
recent years has made professional-looking tracking light
ing. This new wall allows him to feature artwork in his
more affordable than ever. It’s easy to buy and install and
store window and easily change out pieces periodically.
can give your fixtures and displays with a vibrant lift. LED
Another smart weekend project was recently undertaken by Terraze Ashfold of Arts Edge in Perth, Western 28 PFM September 2019
lighting may save you some money on your power bill over time as well.
The remodeled showroom in The Frame and I gives the space a more modern feel.
BRAINSTORM SEASONAL DISPLAYS
options with a display like this one
Timing can be everything. Whether
Australia, which used a range of
you have window or in-store dis-
popular botanical prints to demon-
play options, consider creating some
strate different framing ideas and
framed examples of popular season-
styles. Some framers also adapt this
al ideas to inspire your customers at
good-better-best concept by creating
the right time of year. For example, if
a multi-frame display for popular
it’s football season, get behind your
framing items such as diplomas and
local team and show off some ideas
football jerseys.
for framed jerseys. Is there a new ex-
from Hornsby Framing in Sydney,
hibition at the local art gallery or a
MOVE THINGS AROUND
new musical in town? What kinds of
When was the last time you changed
things could you frame and display
any of your displays? Wow, that
in your store to tie into such local
long? Time flies faster than we think.
events and opportunities?
If you’re looking to do something that potentially requires zero budget
CONTENTS
CREATE A ‘GOODBETTER-BEST’ DISPLAY
and takes minimal time to complete,
It’s amazing the difference a frame
ply moving around some fixtures,
can make. Help demonstrate this by
furniture, pictures, and displays to
creating a display of multiple ways to
help make things look different and
frame the same picture. Not only can
somewhat new again. If you’re on a
this add some interest to your store
low budget or short on time, then
display, but it can also be a powerful
this is the no-excuses option.
sales aid. A simple good-better-best framing options and gradually step
PROMOTE YOUR CHANGES
up to some higher-value options in
When you do make some improve-
the second and third examples.
ments and changes to your store,
display can start with some basic
AD INDEX 30 PFM September 2019
nothing is more affordable than sim-
Why not take this concept a bit
don’t forget to promote these to your
further? You can highlight the visual
customers via social media, just like
value in different style-based design
Kendall from The Frame & I did on
the store’s Facebook page. It’s not just a matter of updating or catching up to stay ahead of the market. Good businesses continually evolve and integrate this process periodically into their annual planning. There’s a great business book I recommend by Michael Gerber titled The E-Myth: Why Most Small Businesses Don’t Work and What to Do About It. The author sends a strong message: you need to make the time to work on your business, not just in your business. Although a weekend-long improvement project is a great place to start, I encourage you to build these kinds of improvements into your todo list on a continual basis. Rather than hanging on for that spare weekend, make a list of things you’d like to achieve broken down into realistic goals and allocate the time needed to complete these projects into your normal weekly or monthly plan. For example, why not make the second Tuesday of each month the day that you put aside to work on your business, rather than in your
SAVE THE DATE
business? Think to yourself right now: what’s the first thing you want to get done? When you have something in mind, all that’s left to do is to go make it happen! PFM
Jared Davis Jared has over 25 years of industry experience and is a product manager for Larson-Juhl 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 is also author of the book “Getting the Most Value From Your CMC.” He leads several sessions at The National Conference in Las Vegas every year.
TRADE SHOW: JANUARY 27-29, 2020 • CONFERENCE: JANUARY 26-29, 2020
NEW SHOW HOTEL
WEST COAST ART & FRAME
AND
THE NATIONAL CONFERENCE
3700 W FLAMINGO RD, LAS VEGAS, NV 89103
www.wcafexpo.com PFM September 2019 31
WRAPPING FABRIC LINERS By David Lantrip, MCPF, GCF
I An end-wrapped liner (top) makes a design feature of its neat and tight miter joint. Note the direction of the grain. The seamless liner below takes best advantages of the opportunities present by fabric, although it is best used on shallow profiles.
f you already sell and create fab-
than the usual lined walls of a shad-
ric-wrapped mats, you are well
owbox, a deep scoop liner elevates a
aware of their benefits. Their
utilitarian necessity to a distinctive
deep, saturated colors, their tex-
design feature. Various profiles are
tures, and their wide variety all help
available in different depths and
make beautiful and profitable de-
profiles, including gentle, curved
signs easy. If you have mastered the
scoops and straight bevels. If the
techniques of fabric-wrapped mats,
exact depth needed is not available,
then creating fabric liners is a natu-
two can be stacked, just like any oth-
ral next step.
er moulding—another opportunity
Fabric liners are most often thought of as an option for fram-
CONTENTS AD INDEX 32 PFM September 2019
framing.
ing works of art on canvas. They act
Fabric liners can also be a great
much as mats do for other types of
solution to a common problem fac-
artwork, adding color and creating
ing framers: sourcing extra-large
some visual breathing space be-
mats. Although mat manufacturers
tween the frame and the art. Being
have made great strides in provid-
a moulding rather than two-dimen-
ing more large mats, the selection
sional mat, they also add depth and
is still somewhat limited; not to
dimension to the design. Making
mention the difficulties in cutting
your own liners allows you the op-
them. Wide, flat liners without a
tion to offer many hundreds of de-
rabbet, often known as mat liners,
sign options rather than the relative
are a great solution. Their only size
handful available as length.
limitation is the length of the liner
Canvas is hardly the only oppor-
stock available. On large works of
tunity to use fabric liners. They are
art, their depth—similar to a 16-ply
a great choice for needlework of all
mat—looks (and is) more substantial
types, and their depth creates the
and proportional than a normal mat.
necessary space between the glaz-
Don’t limit their use to large frames,
ing and the needlework. Placing the
though; their added depth can add a
glazing between the frame and liner
distinctive touch to smaller works as
also has the added benefit of keeping
well.
the liner clean and free of dust. Mat liners are wide, flat liners without a rabbet. They are available in different widths and with a beveled or bullnose sight edge.
to add a distinctive touch to your
When
creating
fabric
liners,
Think about the design possi-
there are a few different options;
bilities of incorporating fabric liners
which one you choose will depend
into object framing as well. Rather
on the design and practical matters.
1.
2.
3.
4.
5.
6.
1. When applying the adhesive to a curbed scoop, run the roller across the profile and then along its length to ensure even coverage.
CONTENTS
2. Work the fabric into the adhesive by applying firm, even pressure starting in the center and working your way out to each end and to the edges. 3. Once the fabric is well adhered to the face and ends of the liner, trim the excess from the ends, following the profile. The entire cut end should be covered.
AD INDEX
4. Apply adhesive to the underside of the lip and using a plastic putty knife or similar tool, wrap the fabric around the lip and press well to adhere. 5. After trimming excess fabric from the lip and back of the liner, the liner is ready to be joined using your preferred method. Since the mating surfaces are fabric, use fabric adhesive to join rather than wood glue. 6. Seamless liners can be just about as easy as a fabric wrapped mat, and most of the process is identical. Be sure to leave sufficient fabric wrap easily into the lip and take care not to allow gaps in the corners. 34 PFM September 2019
A length of liner stock can be covered with fabric and then
efficient use of materials.
chopped and joined like any other moulding. It’s a relative-
The first step in making an upholstered corner liner
ly simple task, but doing so robs the framer of the opportu-
is to chop the liner stock to size. Lay out the four chopped
nity to present more refined craftsmanship and entails the
legs on the fabric, taking care to align them so that the
risk of fabric fraying when cut. A second, and preferable,
grain runs in the desired direction. Cut a piece of fabric for
option is to chop the liner stock and then cover each leg.
each about an inch larger all the way around. As the adhe-
This allows you to wrap the fabric onto the cut ends, which
sive dries fairly quickly, it is best to work with one leg at a
will create a neatly finished, “upholstered” corner. The mi-
time. Start by applying adhesive first to the mitered ends
ter joint that we usually strive to conceal becomes a design
and then to the face of the liner. With a flat profile, you can
feature. Also, there are never any worries about frayed fab-
run the roller along the length of the moulding, but with a
ric. A third choice is to create a seamless liner by chopping
rounded scoop it will be necessary to roll perpendicular to
and joining the liner and then covering it with fabric. The
its length to assure adequate coverage. Wipe off any adhe-
result is a completely seamless, miter-free liner. It is best
sive along the inside edge of the lip.
on shallow, scooped liners, since the fabric will not drape properly on deeper profiles.
Next, apply the fabric to the liner, taking care to keep the grain straight. Press it down into the adhesive, starting
Before getting started, consider the direction of the
in the middle of the length and in the middle of the scoop.
fabric’s grain. Just as with a mat, you most likely want it to
Work your way out to the ends. Fold the fabric around to
run horizontally. Accomplishing this will take a little plan-
the mitered ends and continue to apply firm pressure and
ning and attention to detail. On the top and the bottom
work the fabric into the adhesive until it is well secured.
rails, the grain will run parallel to the length, while on the
Repeat for each leg.
sides it will be perpendicular. This may mean slightly less
With the fabric applied, trim the extra fabric. On the
efficient use of the fabric. If the grain of the fabric is not
ends, cut away the excess fabric along the profile of the
very noticeable, then simply lay it out to make the most
liner and then notch out the excess at the rabbet. The mi-
PFM September 2019 35
A simple profile can play the visual role of a mat, while its dimension adds presence. On a large work it is proportional; on a small work, it lends importance.
tered ends will be fully covered with fabric. You will end up with a flap of fabric along the outer edge; trim neatly with a razor blade. Along the lip of the frame, fold the fabric out of your way and apply a line of adhesive to the underside of the lip and then spread it out with the roller or a disposable sponge brush. Using a wide plastic putty knife, work the fabric around the lip and into the rabbet, making sure it is smooth and well secured. Trim the excess away with a razor blade. Once all four rails are wrapped in fabric, the liner is ready to join as usual. Since you will be gluing fabric to fabric, use fabric adhesive instead of wood glue. A seamless liner combines the techniques of covering a mat with those of covering a liner. Start by chopping and joining the liner stock like any other frame. A sheer fabric may allow any imperfections in the join to show through, so it may be necessary to fill any small gaps with wood filler and touch up with primer. Heavier and darker fabrics are less likely to show through. Cut a piece of fabric about an inch larger all the way around, again paying attention to the grain direction. Ap-
CONTENTS
ply the fabric adhesive and lay the fabric on the liner, being sure that the grain runs straight and parallel, and allow it to drape down toward the center opening. Smooth it out and, working from the centers to the corners, press it firm-
AD INDEX
ly onto the liner. Next, cut out the center of the fabric, leaving about one inch of extra fabric. Make diagonal cuts with a razor blade into the corners. As with a fabric wrapped mat, it is critical to stop the cut at the right point. Stopping too short
36 PFM September 2019
will result in rounded corners while going too far will create a gap and allow the liner stock to show through. As an insurance policy, it would be a good idea to color inside the corners to match the fabric, much as you color the ends of a chopped frame before joining. To finish, wrap the flaps of fabric into the lip using the same process you used for the upholstered corner liner. Then trim off the excess fabric from the outside edge. Just as fabric-wrapped mats and their variations expand your options in mat design, fabric liners provide you and your customers an incredible array of wonderful design options. The techniques used are an extension of those used for mats, so the learning curve should be short. If you’d like to dive right in and spend your labor time elsewhere, the major suppliers of fabric can do end-wrapped liner ready to join or a
Have a question or comment? Tell PFM what you think.
seamless liner joined, wrapped, and
Mail letters to PFM
the work for you, sending you an
ready to use. Just be sure to accom-
83 South Street, Unit 307, Freehold, NJ 07728
modate any extra charges you incur
Call 732-536-5160, Fax to 732-536-5761 Attn: PFM Editor
into your pricing structure. Happy
or E-mail to pfmeditor@hobbypub.com
selling! 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 September 2019 37
PRESERVATION PRACTICES
by Hugh Phibbs
Backing Material: Strength and Safety It is essential to address the biological threats posed to framed art.
they emerge as adults from flight holes, after all their larval damage has been done. Molds and mildews, too, grow in dark, damp places; as they grow, they ingest the organic material which they have invaded.
T
he prevention of biological infestation is becoming more critical for preservation of art and artifacts.
Keeping insects, molds, and mildews away from items being preserved begins with cleanliness, dryness, and denial of diet. Cleanliness and dryness are easy to understand and straightforward to effect, but to truly protect
As our climate becomes warmer and damper, we must be ever more vigilant about addressing these biological threats. While keeping preserved items clean and dry is a good beginning, removing biologically active materials where possible is vital. Plastic, metal, and combinations of the two are a logical alternative to wood, but they must also be selected with an eye to their
against biological threats, denying them food
minimal potential for emission of pollutants
sources requires carful re-evaluation of the
and oxidative contaminants. For aesthetic
materials that have long been mainstays in
reasons, wood is likely to be a constituent
museums, libraries, and archives. The most
material in frames indefinitely, and when it is
critical of these is wood.
in the light and kept relatively dry, bugs and
Exhibition
casework,
stretchers,
and
mold will be discouraged. However, reducing
strainers had all been made from woods,
the amount of wood used is a wise course of
and less ligneous woods have been an obvi-
action for framers. Limiting the use of wood
ous choice, since it will contaminate its sur-
strainers is also useful in this regard.
CONTENTS
roundings less. Wood’s strength, cost, and
Currently, wood strainers serve to rein-
ease of fabrication have made it a material
force thin frames and can provide support
that has served well; but unfortunately, wood
and hanging sites, but mitered corners mean
attracts wood-boring insects, which thrive in
that they cannot be expected to prevent the
dark, damp settings. All too often, the interior
frame from corner-to-corner yaw. As the
of a frame provides exactly those conditions.
strainer sides are screwed into the sides of
These insects do not show themselves until
the frame, they can stiffen the frame sides,
AD INDEX
Hugh Phibbs is the former coordinator of preservation services at the National Gallery of Art,
Washington, D.C. He is an author and educator in the framing industry as well as a frequent contributor and advisor on the PPFA Framers Corner Forum. He served on the PPFA Education Committee, has contributed to the PPFA Guidelines series of books, and is a regular contributor to PFM and instructor at The National Conference.
38 PFM September 2019
especially when those members are not very thick to be-
10 mm and is less likely to warp than polystyrene foam
gin with. Strainers are at least 1/2'' thick, and adding them
cantered board, since it does not draw its stiffness from a
to historic frames is likely to require a deepening of the
paper covering under counter tension.
frame to accommodate that thickness. This process en-
A problem with this and all boards that have a flut-
tails not only the construction of the backing layer, but
ed structure, whether they are polyflute or corrugated, is
also finishing its sides so it blends visually with the old
that when they are exposed to extreme heat, their flutes
frame.
serve as chimneys, propagating the ignition. This is not
An alternative strategy to enhance the strength of
too great a threat to a frame that is flush to the wall; it
frames for works on paper that was widely used early
will become an issue if the frame is spaced away from the
in the last century entailed nailing the backing board to
wall or spends time in storage.
the frame with nails that ran through the backing board.
If a piece of the polyflute is cut so that it is
1/2''-1''
This was done with solid cardboard backs, which were
(1.25-2.5cm) larger than the opening in the back of the
“stitched� to the frame sides with bards that were driven
frame, the backing board can be scored with a knife along
through the board on an angle and into the frame. While
lines that will allow it to fit within the frame. Then its cor-
this strengthened many frames, it produced a package
ners can be trimmed, diagonally, so that when the sides
that was difficult and dangerous to dissemble and in
are folded in, they will not overlap at the corners. Tape
which rusting brads could threaten the art. How can we
can be wrapped around the outer edge and across to the
use today’s engineered materials to provide strong, safe
center of the sheet, to make handling easier handle and
frames for our customers?
to close off the chimneys that the flutes represent, less-
A widely used backing material today is polypro-
ening fire hazards.
pylene polyflute board, sold as Coroplast or Correx. This
Deck screws can now be run through the folded plas-
material can be found in thicknesses ranging from 3 to
tic strip beginning near the inner edge on the back of the
CONTENTS AD INDEX 40 PFM September 2019
A Closer Look at Polyflute Board Corrugated plastic or corriboard—also known under the tradenames of Cartonplast, Polyflute, Coroplast, FlutePlast, IntePro, Proplex, Correx, Twinplast, Corriflute, or Corflute—refers to a wide range of extruded twinwall plastic-sheet products produced from high-impact polypropylene resin with a similar makeup to corrugated fiberboard. It is a lightweight, tough material which can easily be cut with a utility knife. sheet and progressing through the polyflute so they come out through the side. The folded plastic will serve to form a “washer” component, keeping the screw heads from pushing through the board and enhancing its strength as the screws travel outward. These screws can be run into wood frames, and as they are drawn tight, they should do several useful things: their hold will reinforce the sides of the frame, they will draw the backing/strainer flat, and they will help fight yaw. Since wood strainers were seldom given lap joined corners their resistance to corner impact was always suspect. That impact resistance should be improved with the strainer backing system. To ensure safe hanging of larger, heavier frames, the same hanging hardware that was used on the strainer can be screwed directly to the inner sides of the frame and added stiffening can be provided, with strips of metal or plastic. As the size of the frame grows, the thickness
CONTENTS AD INDEX 42 PFM September 2019
of the polyflute should increase, but since this sheet will not stretch from side to side or from top to bottom, cross bracing will not be needed. This component can provide support without being as bulky as a wood strainer; thus, it will not require the deepening of most frames, as a wooden strainer so often does. This last feature is hugely important when historic frames are being used, since they can be strengthened by the strainer backing board without altering the historic frame. This strategy will not interfere with making of sealed packages with aluminum/plastic foil bonded to the glazing sheet, since this package should be designed to fit inside the backing board so the board protects the foil. If one did choose to tape the edges of a sandwich that included this strainer/backing board, the taping would not be violated by the screws, since their passage through the tape would not result in an opening being created beyond that which the screw fills. If manipulation of the screws does displace the tape on the back side, more tape can be added to restore the seal. This backing board/strainer system is useful for several reasons. First, it should enhance a framed piece’s safety by reducing ignition and infestation possibilities. It should also enhance the strength of the frame, since the screws that bond the backing board strainer to the frame members are all in the same sheet rather than in separate members, as they would be in a wood strainer. Finally, this strategy should also cut down on cost and weight. PFM
CROSSWORD CHALLENGE
SEE PAGE 51 FOR THE SOLUTION
Across
Down
1 Type of frame often used for sports memorabilia 6 Label 8 They hold the artwork away from the surface of the glazing 9 ___ cellulose 10 In a different direction 11 V-____, thin line carved into the top mat around the entire mat 15 It’s used to hang frames 16 Wedding words 17 Natural brown earth color 18 Measurements noted on frame hangers, abbr. 19 Fall month, abbr. 21 Richly adorn 22 Additional 25 Cake finisher 27 Layer within a mat board 28 Rejection word 29 Medals and trophies 34 ____- glare acrylic 35 ____ bar frame
1 It’s used to measure the acidity of a substance, 2 words 2 In matting, the ability to withstand the removal of light pencil lines with a rubber or gun eraser 3 Brainstorm result 4 Gleaming 5 Enclosed glass front picture frame that can display items of value, 2 words 6 Highest point 7 Bright or dazzling reflected light 12 Compete 13 Not squaring the mat cutter would be one 14 Decorative planes or curved strips 20 Stiff paper 22 Historical time period 23 Chamomile for one 24 Easily accessible 26 Company, abbr. 30 Humor 31 Cheerleader’s cry 32 Polite word to a customer 33 French for gold
PFM September 2019 43
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 second 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 2: Printing and Design Solutions to Expand Your Offerings Jay: My question to the four of you is about
custom framing industry.
dye-sublimation printing, which I didn’t know anything
The photo market has been pacing far ahead of the
about five years ago. Now I know what it is; it’s all over
art and framing market. Major retailers figured this out a
the place. For those of you who don’t know what dye-sub
long time ago; they have solutions for it on the market.
is, you put a print into a heat press, where it bonds to a
That’s where you see a huge proliferation of photo-related
substrate’s surface. It looks great, and it looks even bet-
products in e-commerce. Bringing this kind of printing to
ter when it’s framed. Do you see frame shops buying their
the art and framing industry is critical. It’s a hot product.
own equipment to do this? How do you get started?
I know from experience that it can be a lot to really understand printers and to really become an expert at print-
CONTENTS
Kevin: I think that you can start small. The smaller equip-
ing. I understand that most people in here have a lot on
ment is very inexpensive. There are also vendors who will
their plate. You have a lot of craftsmanship. Do you want
handle the printing for you. I’m going to do a shameless
to learn printing, or do you want to find partners that can
plug here: my company is called Graphic Print Works.
help you be more efficient? Vendors are like a force multi-
We’re very happy to print your file and send it to you to
plier. If you can work with vendors to bring those services,
be framed. Or we’ll frame it for you, too. And it’s a turnkey
those cool, new, hot products to your customers without
operation.
making the investment in equipment and the time it takes
AD INDEX
to learn how to use it—well, maybe you’re further faster.
Ginger: Let’s talk about alternative framing, if you will, or alternative substrates in wall decor. There’s a huge interest
Jay: You need to figure out if you have enough critical
in alternative ways to display art, such as on acrylic and
mass to do it, because hiring a person who knows what
metal. And because photography is in the top three cate-
they’re doing is not a $12-an-hour employee. So, the part-
gory of what consumers are buying, it’s a hot topic for the
nering thing probably makes more sense. If nothing else,
44 PFM September 2019
do it for a while until you do enough of that kind of print-
Jay: Absolutely.
ing to make the eventual investment in your own equip-
Jim: And it just gives you greater diversity in what you can
ment worthwhile.
offer. Because you might sell a nice, traditionally framed piece of artwork, and then your customer says, “I’d like a
Kevin: That’s exactly what I was going to say; partner with
couple of those dye-sublimation things for my rec room.”
somebody. Develop the critical mass that will then pay for
So, you’re able to get an add-on sale by showing some of
the equipment, space, and print masters who will be run-
this and then working with those fulfillment centers.
ning your equipment. My print master, who runs a room
In the sign industry, they’re known as print service
with 10 other people in it, he is not a cheap employee. He’s
providers. They’re all around, so you should be able to
extremely well trained. He’s an extremely good color man.
hook up with somebody. And you’re going to gain their
You don’t find those guys just anywhere.
efficiencies. Your margin might not be as high, but you’re able to get add-on sales for your top line. So, something to
Jim: There are also fulfillment centers, where all they do
think about. And once it starts to grow, then you can think
is fulfill for everybody else. So, you might be able to tap
about bringing it in-house.
into that. In terms of developing customer interest, it goes back
Jay: Just to clarify, I will say that like many of you, I do
to using the wall space in your store as your resume. You
have a printer. I don’t outsource that; printing is easy
can get some samples of framed dye-sub prints and hang
enough to do on your own. We’re talking about some of
them up on your resume wall to see the reaction you get.
the more sophisticated stuff like lamination, which might
Because it is very popular on the consumer side. You’re of-
be a different story, depending on your size and resources.
fering them another dimension to it; frame design.
Kevin: Right. We’ve talked a lot about dye-sub, but there’s
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also the face-mounted acrylics. There’s printing on metal.
your store? Okay, that’s a pretty good group. I think most
There’s printing on wood. There are all sorts of new hard
frame shops would be well served having their own printer
substrates that are coming in. When you get into having
just because it’s easy, and it’s fast. And at some point, your
to cut something like that after it’s been printed on, you’re
customers will expect you to have printing services.
looking at somewhere between $70,000 and $200,000 per machine that takes up about 900 square feet.
There are still some people out there who don’t have computerized point-of-sale software, which kind of boggles my mind. I just talked to a woman yesterday who
Meg: I think the takeaway here for small independents
was told by someone in the industry, “Oh, no. Don’t mess
is that to really compete in a challenging marketplace
around with software. Do it by hand.” And I thought, were
as things are changing all the time, you have to become
they stuck in an iceberg somewhere and had just thawed
relevant to your buyer. What we’re really talking about is
after 40 years? I really think it’s extremely important to
diversifying your product offering and being a full-service
have point-of-sale software. Likewise, I think it’s a good
shop. And you don’t have to do it all. If you’re intimidated
idea to have a printer in your store.
to dive into printing, you can partner with somebody and still add that additional layer to your business to appeal to
But correct me if I’m wrong; lamination is where it gets tricky.
a different segment of the market.
Kevin: There is a learning curve to it, and it’s pretty steep. Ginger: Right. And Meg, you bring up a great topic about just finding your partners. Who would agree that it’s easier
Jay: Yes. But am I right that the dye-sub is not hard?
to be in business today than it was 10, 20, or 30 years ago, because there is an opportunity to go outside your shop?
Kevin: Dye-sub is actually extremely simple. You print the
You don’t have to live within your store to be an amazing
sheet of paper. You put the paper on top of your substrate.
success, because there are tools. There are partners. There
You put it in a press. You heat it up to 350 degrees for a few
are products that help you look amazing and up your pro-
minutes. You take it back out, and it’s ready to sell.
fessionalism. It’s about finding those ways to streamline and up-
Jay: Let’s talk about the easy stuff, and then tell us what
scale your efforts and your time. You can accomplish that
the hard stuff is so that we don’t have to hit our head
by diversifying your product, your marketing, or outsourc-
against the wall after we try to do it. So, dye-sub is easy.
ing—which simply means using more efficient tools. You
Printing is pretty easy. The lamination is…
don’t have to reinvent the wheel. There is so much available to help you be a success. I also want to make a quick point on the design aspect of things like prints on acrylic and metal. A great value-add
Kevin: That’s a whole different world. Printing on plywood—something like that is extremely difficult and very costly.
is to use floater frames around those products once you’ve printed them. It not only creates a great infinity look, but
Jay: Because you need a flatbed printer, and those are like
it’s also very up-styled. It’s distinctive; it diversifies you
$200,000 or something?
from what you might see from online retailers like Snap-
CONTENTS
fish or Shutterfly, and it’s a simple product.
Kevin: Yeah, they’re a lot of money and take up a lot of
AD INDEX
You want to bring it back to your piece. Can we talk
space. I think the biggest problem is space. If you’ve got
about personalization? Personalization is everything right
a fully set up hard substrate facility with a flatbed print-
now to millennials, to consumers, to all buyers. They want
er and a computer numerical control (CNC) cutter, you’re
that experience of making a piece theirs. A floater frame
probably going to need at least 1,200 square feet just to
on that kind of print product is a great way to add value,
have those two machines in it. On top of that, CNCs are
to increase margins, and to design and craft as you do. It’s
extremely noisy and dusty. Because of that, they have to be
important to look for those value-add opportunities.
separated from your printers. As I think Jay is alluding to, partner until you grow to
Jay: Yes. (To the audience) How many of you have printers in 46 PFM September 2019
that size. The thing I wrote down that I’m taking out of
this is be the best at what you do: framing, designing, sell-
Ginger: Something I’m seeing with online art marketplac-
ing to your customers. Be the marketer. Partner with the
es is that it’s becoming about “me commerce,” or “how fast
best to do the things you can’t do. You can be a really big
can I get it.” Amazon, of course, has helped set that stan-
business by using partners. You make yourself look really,
dard as well.
really wide by having all these opportunities.
What I see as a trend is that competition, if you will. Retailers are looking for vendors and providers in differ-
Jim: And on the flip side of that, once you get going on
ent markets in order to expand their own. In other words,
it, then you can partner with somebody else who doesn’t
they’re looking for ways that they can get outside of their
have that capability so you’re able to keep up your time in
town or city into servicing a state or all of North America,
terms of the equipment use. You can go the other way as
or getting into international markets like Australia or the
time goes on.
United Kingdom.
Jay: What I’m trying to say here is, there are some things
to leverage their footprint to your advantage so you can
that are simple to do in your own shop. There are other
serve a greater market, not just your current close market.
things that will look good to your customers that you don’t
Because I’m seeing a lot of traction and interest in that,
have to do yourself; you can farm them out. And you can
whether it’s online or it’s within the photo market, and it’s
be printing on plywood, which is a whole other animal.
within production with art and framing. There’s a lot of
Your vendors have those channels. Think about ways
activity there.
Kevin: Yeah, it gets to you in two to three days, and you put your mark up on it then move on. You didn’t have to
And I love this quote I ran across that said “vendors are your force multiplier.” Look for those partners. PFM
invest in equipment. You didn’t have to invest time in it or anything else. It came ready to go.
PFM September 2019 47
Shadowbox Moulding Showcase
Decor Moulding
Foster Planing Mill
The Aries line offers diversity with a rabbet of 1 5/8'' and a wide range of finishes. Other shadowbox styles are available at Decor’s website. Place your order via order@decormoulding.com or by phone.
Overall dimensions: 4 ½'' x 15/16''. The 743 profile has a total inside depth of 4'' and is available in Bass wood. There is no minimum order quantity with any stock patterns.
Call: 800-937-1055 www.decormoulding.com
Foster Planing Mill Overall dimensions: 3'' x ¾''. The 682 3'' profile has a total inside depth of 2 1/2'' and is available in Bass, Maple, Walnut, and Oak. There is no minimum order quantity with any stock patterns. Call: 323-329-7930 www.fosterplaningmill.com
Call: 323-329-7930 www.fosterplaningmill.com
Fox Moulding Pictured here is Fox Moulding’s Tapered Black Swan profile, with a 3'' double rabbet x 5/8'' wide face. Also seen are Essential Basic Black and White, with a 1 3/4'' rabbet x 3/4'' face. Other profiles available. Call: 800-341-0101 www.foxmoulding.com
Larson-Juhl
Michelangelo Moulding
Imperial is an elegant collection with a classic design that draws inspiration from the stately details of seventeenth-century France. 573IB, 573IG, and 573IS make up the shadowbox options in this collection with a rabbet of 4'' and an overall width of 1 3/8''.
Of 80+ wood and poly shadowbox mouldings in the Michelangelo Moulding line, the bestselling group is the 241 Series. The almost 2'' usable rabbet provides excellent versatility, coming in 17 finishes—standard colors and metallics. See the 241 Series and the shadowboxes on the company’s website under “Products/ Shadowboxes.”
Call: 770-279-5222 www.larsonjuhl.com
Call: 877-422-8812 www.michelangelomoulding.com
CONTENTS AD INDEX
Michelangelo Moulding
Omega Moulding
Michelangelo has added another group of shadowbox mouldings to its expanding collection. The 240 series, a solid 1'' wide, 2'' tall wood, comes in seven woodgrain finishes of extraordinary beauty: walnut, dark walnut, grey walnut, charcoal, off-white, black, and natural. Contact Michelangelo for samples; all mouldings in stock now.
Apex is a collection of 1 7/8'' deep shadowbox mouldings, offering ample space for a wide range of framing three-dimensional projects, works on canvas, and traditional 2-dimensional work. Omega currently offers 116 shadowbox mouldings in addition to Floatmates®, expanding to hundreds of possibilities for your shadowbox framing projects. See Apex, shadowboxes, and Floatmates® online today.
Call: 877-422-8812 www.michelangelomoulding.com
48 PFM September 2019
Call: 800-289-6634 (U.S) 877-452-3799 (Canada) www.omegamoulding.com
Distributor Spotlight
CONTENTS AD INDEX 50 PFM September 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 Puzzle Solution
PFM PFM Subscriptions Subscriptions Manage your account online! Whether you’re signing up for the first time or making a change.
http://www.pfmsub.com/Renew PFM September 2019 51
Index Advertiser
Page
Advertiser
Page
Active Sales ......................................................................................23, 50
House of Troy .........................................................................................43
800-937-2255
800-428-5367
www.activesalesco.com
Alpina Manufacturing, LLC ......................................................................51 800-915-2828
www.fastchangeframes.com /bannergrip.com
Atlas Saw & Tool .....................................................................................33 800-843-3826
www.atlassaw-tool.com
Capax-Frame It ......................................................................................43 800-942-2729
www.capax.com
www.houseoftroy.com
Jack Richeson & Co. ................................................................................50 800-233-2404
www.richesonart.com
Michelangelo Moulding ...........................................................................17 877-422-8812
www.michelangelomoulding.com
Miter Master ...........................................................................................50
CMI Moulding .........................................................................................50
800-446-6622
301-476-7440
Omega Moulding Company .....................................................7, 10, 47, 51
www.cmimoulding.com
www.qualitysaw.com
Craft Inc. ................................................................................................37
800-289-6634
800-827-2388
Picture Woods Ltd. ..................................................................................49
www.craft-inc.com
Crescent Cardboard Co. .......................................................................5, 27 800-323-1055
www.crescentcardboard.com
Decor Moulding & Supply ................................................10, 21, 40, 51, 53 800-937-1055
www.decormoulding.com
Designer Moulding..................................................................................37 800-634-0032
www.designermoulding.com
800-321-6522
www.omegamoulding.com
www.picturewoods.com
Pro Tapes & Specialties............................................................................29 800-345-0234
www.protapes.com
Superior Moulding Corp. .........................................................................51 800-922-7914
www.supermoulding.com/www.zelanto.com
Engelsen Frame & Moulding ....................................................................50
Ten Plus..................................................................................................39
800-422-6731
888-944-8899
www.engelsenframe.com
www.tenplusframes.com
Fixons ....................................................................................................50
The Fletcher Business Group ....................................................................19
714-526-3455
800-843-3826
www.fixons.com
Foster Planing Mill ............................................................................35, 50 323-759-9156
www.fosterplaningmill.com
Fox Moulding .........................................................................................31 800-341-0101
www.foxmoulding.com
FrameReady ...........................................................................................50 888-281-3303
www.frameready.com
www.fletcher-terry.com
Tru Vue ..................................................................................................11 800-621-8339
www.tru-vue.com
Universal Arquati ................................................................................9, 41 800-668-3627
www.universalarquati.com
Wall Moulding ........................................................................................55
Framerica.................................................................2, 3, 4, 47, 51, 53, 56
800-880-8315
800-372-6422
West Coast Art & Frame Expo ................................................13, 25, 31, 45
www.framerica.com
www.wallmoulding.com
CONTENTS
FrameTek ...............................................................................................30
800-969-7176
800-227-9934
Wire & Cable Specialties ..........................................................................42
www.frametek.com
Framing Fabrics ......................................................................................36 800-832-2742
www.framingfabrics.com
AD INDEX
Frank’s Fabrics for Framers ...............................................................34, 50 888-332-2749
www.franksfabrics.com
Gluefast Company ..................................................................................50 800-242-7318
www.gluefast.com
800-824-9473
www.wcafshow.com
www.wire-cablespecialties.com
Wizard International ...............................................................................15 888-855-3335
www.wizardint.com
Z Hardware ............................................................................................50 800-880-9315
www.zhardware.com
Hoffmann Machine Company ..................................................................50
Ziabicki Import Co. .................................................................................47
866-248-0100
262-633-7918
52 PFM September 2019
www.hoffmann-usa.com
www.ziabicki.com
(Continued from page 54)
they are extremely rare and delicate, requiring full conser-
cutter and covered them with a fabric adhesive. The mat
vation treatments. Originally, the plan was to encapsulate
cutouts were then placed back in the holes and the entire
the tickets and signatures in Mylar D; however, due to the
mat package was placed in a heat press to emboss the bev-
risk of items shifting during shipping, it was decided Mylar
els. Twenty-eight holes were cut in a 48'' x 36'' final frame.
corners would be used for mounting. Because of the size,
Because the openings varied in size, I used vertical boxes on
OP3 Plexiglas was used to reduce weight and the possibility
the top mat to help clarify the timeline and visually unify
of breakage.
each of the series’ elements.
The customer wanted a design that coordinated all the
Once completed, the piece was packaged and shipped
elements of the collection in a simple, clear manner. I pre-
to New York, where it was purchased at an auction. It will
sented a basic, 2'' coffee-brown frame with a
¾'' rabbit. It
eventually end up in Texas with its new owner; in the
had a great old-time feel with its medium grain pattern and
meantime, it is on loan at the Morris Jamel Mansion in New
vintage-looking eased front and back edge. I then chose a
York City and will be on display through the end of the year.
double hand-wrapped mat in navy-blue linen to coordinate
The mansion is right across from the original Polo Grounds
with the New York Yankees’ team colors and a single black
which, to a New York sports fan, is a fitting display location
mat that served as a barrier board to protect the artifacts.
for such an iconic collection. PFM
For this piece, I cut the mats on my computerized mat
CALENDAR OF EVENTS ABC SCHOOL OF PICTURE FRAMING (West Islip, NY) offers a handson, four-day course. One-on-one and advanced classes also offered. Visit abcschoolofpictureframing.com or call 800-810-8849. AMERICAN PICTURE FRAMING ACADEMY offer two- and four-day basic and advanced classes featuring technical, business, and design training. Call 888-8409605 or visit pictureframingschool.com. ART TO BE FRAMED (Mt. Shasta, CA) is an instructional and educational custom picture framing retreat. One-on-one instruction for beginners through advanced. Visit artrobeframed.com or call 530-926-3609. ARTISTIC EDGE GALLERY & FRAMING offers a four-day, hands on, one-on-one class that is tailored to attendees’ individual needs. The class tackles both the artistic and business sides of running a gallery or custom frame shop. Call 916-4822787 or email kathy@artisticedgeframing.com. B.L. HAYMOND SUPPLY (Ukiah, CA) offers hands-on, one-on-one, two-day oil painting restoration workshops with an experienced conservator. E-mail blhaymondsupply@pacific.net, visit blhaymondsupply.com, or call 707-462-4221.
course in traditional water gilding with an experienced professional. Call 206795-8376 or visit gildingstudio.com. COMPLETE FRAMER’S SUPPLY, INC. (Fort Lauderdale, FL) offers training ranging from one day to several days based on an attendee’s individual needs. Email adam@completeframers.com or call 800-330-3263. SEPP LEAF (New York, NY) offers one-week traditional water gilding, glass gilding, and Kolner gilding method classes. Visit www.seppleaf.com or call 212-6832840. THE NATIONAL CONFERENCE (Las Vegas, NV) offers seminars and workshops Jan. 26-29, 2020 at the Rio All-Suite Hotel and Casino. Call 732-536-5160 or visit wcafexpo.com. VALLEY MOULDING & FRAME (N. Hollywood, CA) offers 5-day basic classes and 1-day advanced class. Visit valleymoulding.com or call 818-769-5656. WEST COAST ART & FRAME EXPO (Las Vegas, NV) is sponsored by Picture Framing Magazine and takes place Jan. 27-29, 2020 at the Rio All-Suite Hotel and Casino. Call 732-536-5160 or visit wcafexpo.com.
CHARLES DOUGLAS GILDING STUDIO (Seattle, WA) offers a three-day intensive PFM September 2019 53
DESIGN OF THE MONTH By Mark Klostermeyer, MCPF
A Framed Tribute to the ‘Iron Horse’
T
This Lou Gehrig-themed frame project showcases his World Series home runs with openings in a linen-wrapped mat.
he longer I am in the framing business, the more opportunities I get to work on noteworthy projects. Re-
cently, my colleagues and I at Design Frames in Falls Church, VA, were fortunate enough to be involved in creating a piece for a local sports memorabilia dealer. He had assembled several items that reflected the career of baseball legend Henry Louis “Lou” Gehrig; specifically, items that celebrated all his World Series home runs. The unique grouping included an original oil portrait of Gehrig, tickets from each of the games, signatures of all the losing pitchers, and plaques explaining the statistics. I, of course, was familiar with Gehrig because of his place in the record books and of his untimely passing from ALS in 1941 at the height of his career. I wanted to create a design that would honor this amazing man and serve
CONTENTS
as a tribute to a true sports hero. Keeping the
original signatures of famous players, many of
client happy and preserving these artifacts for
whom were inducted into The National Base-
future generations of baseball fans were also
ball Hall of Fame; an original 16'' x 20'' commis-
priorities going into this project.
sioned oil portrait; and 10 engraved plaques
The collection piece was intended to be
designed to tell the story and share some of
large: eight vintage, very rare World Series
the statistics. All items date back to the 1930s,
tickets to include the “called shot” game; nine
before the sports collecting craze began; thus,
AD INDEX
Mark Klostermeyer is the owner of Design Frames in Falls Church, VA. Mark and his staff offer award-winning frame designs, lacing of needlework, photo restoration, and antique preservation. Mark is also the president of the Professional Picture Framers Association and has previously served in different capacities within PPFA for several years. In 2014, he was honored for his work when he received the Paul Frederick Distinction for Leadership Award at the PPFA Convention in Las Vegas. 54 PFM September 2019
(Continued on page 53)
