VIRTUAL FRAMING WHEN TECHNOLOGY MEETS CREATIVITY
MOUNTING CHALLENGES • GUIDE TO EMPLOYER LIABILITY
Contents
PFM is a member of:
Volume 31, Number 6
PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders
On the Cover
The COVID-19 outbreak and the shutdowns that followed left many people wondering what, if anything, they could do to keep their business afloat. Despite a loss of foot traffic, framing retailers around the world have continued to serve their customers by turning the classic design table consultation into a virtual one For the full story, see page 28.
Features 20 26 28 38
Garment Framing Guide to Employer Liability Virtual Framing Tables and Fixtures
28
Columns 12 Mastering Mounting 34 Preservation Practices 46 Style Snapshot
Departments 8 10 42 43 44
20
Editor’s Note Industry News Distributor Spotlight Index of Advertisers Product Showcase
38
12
Picture Framing Magazine® (ISSN 10529977) is published monthly, plus one issue by PFM Publishing, LLC, 83 South Street, Unit 307, Freehold New Jersey 07728; phone 732-536-5160; fax 732-252-2270. Subscription Office: Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612; phone 888-238-0049. Subscription: $20 per year U.S., $40 U.S. Dollars per year in Canada and Mexico, $60 U.S. Dollars per year for all international. Single copies, $5.95. If a paid subscription magazine is returned by the U.S. Postal Service as non-deliverable, Picture Framing Magazine will maintain the subscription for one year. If after one year a new address is not provided, Picture Framing Magazine will cancel the order. No refund will be available for that account. Periodicals class postage paid at Freehold, New Jersey, and at an additional mailing office. Entire contents © 2020 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 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 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 E X HI BI TO R S E RV I C E S
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 July 2020
Bruce Gherman
FROM THE EDITOR’S DESK
I
As businesses slowly reopen, it’s time to focus on welcoming your customers back and offering the great custom framing they’ve come to expect.
CONTENTS AD INDEX 8 PFM July 2020
n his book, “The Ride of a Lifetime: Lessons Learned from 15 Years as CEO of The Walt Disney Company,” Bob Iger lays out his 10 principles for great leadership. All of them are insightful, but lately, I’ve been returning to his second one: courage. “The foundation of risk-taking is courage, and in ever-changing, disrupted businesses, risk-taking is essential,” Iger says. “Innovation is vital, and true innovation occurs only when people have courage. Fear of failure destroys creativity.” I think most people would agree that the past few months have been one of the most frightening times to be a business owner in recent history. To weather the COVID-19 pandemic, you had to get creative, which meant overcoming fear and moving forward with courage. I have been heartened by the relentless determination of the retailers and suppliers I’ve spoken with these past several weeks; because of you, customers’ needs were met. You kept the industry’s engine humming. As businesses in parts of the world begin reopening their doors, there are still hurdles to overcome and an unknown future to face. Resilience, creativity, and courage are still essential, and will be going forward. In this issue, retailers and ven-
dors share the creative ways you can sell beautiful custom framing without the need for an in-person consultation (see “During Shutdowns,Virtual Framing Thrives,” page 28). By taking advantage of visualization and image editing software, video calls, email, and other digital tools, you can generate crucial sales during this unprecedented crisis, whether you are awaiting reopening or are accepting customers back into your store. Have you started offering pickup and delivery services? Be sure to brush up on employer liability. Rob Markoff has put together a primer on what you need to know before sending staff members on errands (page 26). Those articles and more await you in our July issue—an issue which also marks our return to print! We’re happy to be back in your mailbox, and will continue to offer digital versions of PFM to readers worldwide. To make changes to your account and renew your subscription, visit us online at pictureframingmagazine.com.
Kimberly Biesiada Editor
INDUSTRY NEWS Frametastic Unveils Revamped Website
voted a portion of its manufacturing capacity to the production of revised
PPE face shields for use in healthcare, retail, manufacturing, and
and reformatted its web-
other industries, and has made several donations of face shields
site, frametastic-llc.com, so
to local law enforcement and frontline healthcare workers from the
framers will find it easier to
greater Seattle area all the way to Virginia Beach, VA.
Frametastic
has
find the perfect handcrafted
Wizard’s face shields were designed with frontline workers in
moulding for their projects.
mind, and were based on input from ER nurses as well as other
The company has divid-
healthcare professionals, customer-facing retail workers, and
ed their line into four main
those in manufacturing environments. The shields are authorized
categories—Barnwood
for use in healthcare under the FDA’s Emergency Use Action. They
Moulding, Mirrors, Beyond Barnwood, and Photo Frames—each
are suitable for a single-use application, but also durable enough
of which are subdivided into various styles the company offers.
for multiple uses. For more information, visit wizardppe.com.
Wizard Donates Face Shields for First Responders
Framerica’s Michel Celebrates Three Decades
With the outbreak of the COVID-19 pandemic and the resulting
Catherine Michel, Framerica’s longtime credit manager, recently
shortage of Personal Protective Equipment (PPE) needed by front-
celebrated 30 years with the New York-based manufacturer.
line healthcare workers, Wizard
“Catherine is the finest credit manager in
quickly shifted its focus to the de-
our industry,” notes co-founder Gene Eichner.
sign, engineering, and manufactur-
“But she is so much more than that. It has taken
ing of face shields. Using its existing
three decades to foster the countless relation-
computer-controlled cutter technol-
ships that she has, but she’s been special from
ogy, along with the development of
day one.” PFM
specialized tooling, Wizard has de-
CONTENTS AD INDEX 10 PFM July 2020
Catherine Michel
MASTERING MOUNTING
by Chris A. Paschke, CPF, GCF, CMG
Mounting Challenging Items Thermographic papers, synthetic materials, and more can be tricky.
C
hallenging items are the ones that need an alternative mounting solution because of possible heat in-
tolerance, emotional value, overall size, or weight. I recently taught a class called Mastering Mounting: Challenging Items as part of The National Conference. At the beginning
image that is heat-sensitive at some tempera-
of each class, students are asked if they have
tures. Thus, heat applied during mounting
questions for a challenging project waiting for
could activate the entire sheet, turning it black
them at home, and they always do. There were
at higher temperatures. To verify heat sensitiv-
numerous queries about thermographic pa-
ity, gently touch the side edge of a suspected
pers, vellum and parchment, synthetic mate-
thermographic item with the side of a warm
rials like Evolon and Yupo, heavy textiles/rugs,
tacking iron; if it is, the narrow edge will dark-
and high-gloss photos. The moral there being
en. These items be should be pressure-sensi-
that even when something like a thermo-
tive mounted or hinged.
graphic paper has been around for decades, it
Thermal printing can also refer to raised
can still present a challenge today. Let’s look at
or puffed lettering sometimes seen on in-
how we can overcome such challenges.
vitations and business cards. This is very heat-sensitive and only pressure-sensitive or
Thermographics
preservation mounting is suggested. Once the
Thermographic is a term for heat-generat-
text is melted and flattened by heat, it is gone.
ed items that comes from the Greek therme,
CONTENTS
meaning heat, and graphikos, relating to the
Thermal Transfer
art of printing. Thermal printing is a digital
Thermal printing and thermal-transfer print-
process that activates coated thermochromic
ing are not the same thing. Thermal-transfer
paper by heating when the paper passes over
printing is a digital printing method in which
a thermal print head. The coating turns black
a wax ink is melted and applied to the recep-
in the areas where it is heated, producing an
tor substrate so it stays glued to the material.
AD INDEX
Chris A. Paschke, owner of Designs Ink in Tehachapi, CA, is a professional picture framer with over four decades of experience. She is an artist, a National Conference educator, has authored numerous magazine series, including The Essence of Design, Design Concepts, and Digital Directions for PFM, and has four self-published books on mounting. She currently writes the Mastering Mounting column for PFM and is a contributing writer to The Artist’s Magazine, The Pastel Journal, and Watercolor Artist Magazine. She was honored with the PPFA Award of Distinction for Leadership 2008, the Vivian Kistler Recognition for Innovation Award 2010, and the PMA Distinguished Service Award 2012. 12 PFM July 2020
For digitals, there are two options: high tack pressure-sensitive board or film, and low 130F temperature HA board.
skin document or diploma should be
most often bring in completed paint-
hinged or conservationally mounted,
ings for adhering to a rigid substrate.
perhaps by creating a sink mount. If a
As a synthetic art substrate, Yupo
document is only slightly buckled, it
does not absorb liquids, and all wa-
is the nature of the beast and is truly
ter-based mediums will fully wash
part of the overall effect.
off. Alcohol ink and acrylic are permanent mediums that do not wash
Synthetic Materials A piece of sheepskin that has been dampened and air-dried. This shows damage resulting from applying both moisture and heat to the parchment at the same time.
Twenty-first
century
off; therefore, the art could be framed materials
with no glazing as many artists are
have proved frustrating for fram-
currently requesting. A number of
ers. Among them are synthetic pa-
online Yupo instructors suggest us-
pers, which include various grades
ing acrylic gel paste as an adhesive,
Thermal transfer is preferred over
of plastics: polyvinyl chloride (PVC),
but manufacturers of gel adhesive
direct thermal printing on surfac-
polyethylene,
and
are not advocates of this mounting
es that are heat-sensitive, and has
polyester/nylon. Tyvek, Yupo, Evolon,
method, and it should be avoided by
been embraced as a popular process
and TerraSkin are all eco-friendly
framers. Remember, these paintings
for printing identification labels and
products that have been developed
are originals, and we are ethically not
high-quality barcodes. Because it is
for use in printing design, marketing,
allowed to permanently mount them.
a wax medium, it is very heat-sen-
labeling, and packaging, but have also
sitive; these are best hinged or pres-
been embraced by artists as a paint-
sitive, self-adhesive products will
sure-sensitive material.
ing and mixed media surface. Yupo—
effectively bond synthetic layers for
distributed by Legion Paper—is cur-
dependable, long-term fusion. In an
Vellum, Parchment
polypropylene,
Only
high-tack,
pressure-sen-
rently the most popular and most
attempt to maintain surface smooth-
There are always questions about
frequently encountered by framers.
ness, Yupo artists are requesting
vellum
vellum, not
It is available in various text and cov-
Gatorboard, Dibond, or Sintra as a
paper)
(animal-skin
translucent
and
er weights—both translucent and
substrate. Like Yupo, Dibond and Sin-
parchment (sheepskin). Though the
tracing
opaque—with 74 white, 144 white,
tra do not absorb, so only PSA is an
use of single-sheet animal skins
and 104 translucent being favored by
option with Coda Cold-Mount, Insta-
in the United States appears to be
artists for watercolor, gouache, alco-
Mount, and Neschen Gudy having all
more limited to university diplomas
hol ink, and acrylic.
tested well with synthetic materials.
as parchment, in other parts of the
Yupo artists often favor a con-
KoolTack InstaMount is a commer-
world it is extensively used for ev-
temporary look they are referring
cial pressure-sensitive board that has
erything from wedding invitations to
to as “no-frame” mounting and will
tested well with Tyvek and Yupo.
royal proclamations. No two skins are truly alike. That is part of their natural beauty and the basis for framing them true to their
CONTENTS
nature. The 1852 sheepskin parchment ledger sheet shown here has two issues: a gentle curl and a wax seal that would be heat-sensitive. Fully mounting parchment or vellum
AD INDEX
using any process restricts it from the natural expansion and contraction it craves through variations in temperature and relative humidity, and even after flattening it may return to its previous state. Preservationally, a 14 PFM July 2020
This 1852 sheepskin parchment ledger sheet has two issues: a gentle curl and a wax seal that would be heat sensitive.
The same is true for HA boards. MountCor and MountCor Canvas bond at 130°F and love Yupo, Tyvek, and polyester encapsulates. Omega/ M&M Heat-Activated Mount (HAM) bonds at 170°F and loves synthetic papers. Others may not have the tear strength required for a proper bond.
Digitals For decades, digitals have been the number-one framer problem, but that is only because printers, inks, and substrates continue to evolve and the rules and guidelines continue to change with new technologies. The term “digital print” really means the medium, so to safely mount a digital, you must also know the printer type, ink type (dye, pigmented, wax), and substrate. For digitals, there are two options: high-tack, pressure-sensitive board or film, and low-temperature HA board. Ask questions; determine if the item or art is non-replaceable or an original, and then determine what the best choice is. Use of a vacuum press, dry mount system, or roller laminator is up to you and your adhesive selection, but educating the customer to possible options and prob-
Thermographic ticket is darkened by hot taking iron. Tested at 150F-160Ffor 1 minute the ticket is fine, but not at 170F for 15 seconds. Low 130F would tolerate any time with no damage.
lems is a good place to begin.
High-Gloss Photos There is always a lot of discussion on forums and in classes about the sensitivities of digital images and high-gloss photos as though they are the same discussion, which they are not. Digitals are an ongoing source of testing to determine the safest mounting method, and that is also true for high-gloss photos. Traditional analog photos seem to have a higher heat tolerance than many of their digital successors, so extra care needs to be taken both when handling and mounting these items. Original
Cibachromes
chrome Classics) come from slide film and are printed to a 100% poly-
CONTENTS AD INDEX Left to right: translucent Yupo, opaque Yupo with matte Krylon fixative, and TerraSkin. 16 PFM July 2020
(Ilfo-
acrylic; high-gloss paper prints, analog or digital, will not.
Disasters Versus Mistakes Webster’s Dictionary defines “disaster” as “a calamitous event causing great damage or hardship; a tragedy or catastrophe.” While a true mounting disaster probably cannot be repaired, a mounting mistake—an error caused by lack of skill, attention, Solid ink is a thermal-transfer process where was pigment is melted and applied to a receptive substrate. These should not be subjected to heat as they can melt, use only P-S or preservation mount techniques.
knowledge, or judgment—may be corrected. Challenging items like the ones
ester film substrate, which is a glass-
Its replacement is the digital-
discussed here are unlikely to be-
like surface very susceptible to dam-
ly-produced FujiFlex, which is sur-
come victims of mounting disasters
age from fingerprints and scratching.
face-sensitive,
damages
because a high level of attention is
Static mounting to a piece of acryl-
with warm breath and is thinner
given to them from the start. Great-
ic sheeting became a wonderful,
and therefore very prone to surface
er care is taken during the mounting
non-invasive preservation method of
mountboard orange peel texture. It
and framing process to ensure the
mounting since it was 100% revers-
also static mounts as a Cibachrome.
correct ahdesives and techniques
ible and allowed the glass-like sur-
Note that only 100% polyester film
are implemented to prevent a ca-
face to remain unblemished.
substrates will statically mount to
tastrophe from ever occurring. PFM
but
also
CONTENTS
Have a question or comment? Tell PFM what you think.
AD INDEX
Mail letters to PFM 83 South Street, Unit 307, Freehold, NJ 07728 Call 732-536-5160, Fax to 732-536-5761 Attn: PFM Editor or E-mail to pfmeditor@hobbypub.com
18 PFM July 2020
GARMENT FRAMING By Wayne Baker, MCPF
G
arment framing presents unique challenges
Sweat, dirt, beer, and other grime on the jersey had been
to a framer. If these challenges are overcome,
enclosed in the bag along with a pair of boots and socks,
framed garments can be a profitable and valu-
and the jersey itself had become moldy. I asked the cus-
able addition to your business. Let’s look at some of the
tomer to have it cleaned before we would touch it. He
factors that need to be considered when it comes to
was initially concerned about losing the signatures on
mounting and framing these items.
the jersey during a cleaning, but ultimately had it hand-
Framers are brought many different types of garments by their customers, from small items such as baby
washed and brought it back to the framed—without the mold, dirt, and odor!
clothing to larger items like wedding gowns and uni-
Once you have a garment in a condition that is ac-
forms. These items are also made from a variety of ma-
ceptable for framing, the next step is to agree on a design
terials and come to frame shops in myriad conditions,
with the customer. To keep it simple, let’s look at some
from brand new to old and brittle. No matter what the
of the factors to consider when designing the framing
garment is, conducting an initial evaluation of the item
package. Good design will take into account the age of
is step one. Evaluations should note the age, material,
the garment, the type of fabric used, the color or colors
value, and condition of the garment at the time it en-
of the item, does the garment have sleeves and how are
tered the store. Having the customer present is helpful
these to be presented, the value of the item, are there
so they can answer some of these questions. The framer
any signatures, the potential use of preservation prac-
can also share their thoughts on mounting and framing
tices, any extras the customer would like included, such
the item during this conversation.
as photographs or memorabilia, and any size limitations
CONTENTS AD INDEX
When I talk about garment framing, the question
set by the customer. The most favorable outcome is a
of cleanliness often arises. I have personally refused to
design that tells a story about the garment and/or the
frame items due to the state they were presented in. For
owner. An example of this would be including medals or
example, a customer once came into my shop, pulled a
memorabilia and photographs with a military uniform,
jersey signed by a local football team out of a bag, and
which makes for an overall more appealing presentation
asked to have it framed. Nothing unusual about that. The
than just framing the uniform by itself.
issue was that the jersey had been worn for the duration
When it comes to mounting the garment, the framer
of the game and then placed straight into the bag, and
usually begins by making an internal support. The inter-
the game in question had taken place six months prior
nal support is placed inside the item and does as it its
to his visit. Can you see—or smell—were this was going?
name implies by supporting the garment and distrib-
20 PFM July 2020
uting its weight, allowing the garment to hang naturally and adding to the overall security of the mount. The materials used to make the internal support will vary depending on a couple of factors; namely, the type and weight of the garment and any preservation requirements. Some of the more common materials used to make a support are rag matboard in 4-ply and 8-ply, Mylar sheet, foamboard, and flute polypropylene board. The latter is suited to larger, heavy garments, but care must be taken when used as the cut edges can be sharp and potentially damage the item. Rag matboard and foamboard are suitable for many of the garments presented for custom framing. A Mylar sheet is suitable for light, transparent items such as baby clothes and sheer fabrics, as well as for preservation mounting. After the appropriate material has been selected for the support, it can be shaped to suit the item. To do this, lay the garment on the support material in approximately the layout required and trace around the garment. Tracing can be undertaken with a pencil, a push pin, or a bone
Sports jerseys make for profitable framing. Just make sure they’ve been washed first. burnishing tool. I prefer the latter because it allows me to mark the support material while leaving nothing that can transfer onto the item and does not damage the garment. Use it like a pencil or gently press to leave marks in the support. After tracing, place the garment to one side and trim the support along the points that were marked. Gently slide the trimmed support into the garment to check for correct sizing and shape. This may take a couple of attempts to achieve the desired shape and fit. For me, the
CONTENTS AD INDEX A greyhound’s racing coat framed with some photos showing the dog in action. 22 PFM July 2020
correct size is when the support provides slight tensioning of the garment to keep it in shape without over-stretching. The garment may not sit totally flat; remember, we are trying to take an item which is designed to be worn on a three-dimensional figure and effectively mount it onto a two-dimensional support. Be careful with some items such as cotton t-shirts and woollen knits, as they often stretch but do not return to their original size. If the garment has sleeves and they require support, it is often easier to make the body of the garment and the sleeve supports as separate pieces as opposed to one single support. Place the supported garment onto the pre-cut mountboard and align to the desired final position. Add any additional items into their designated positions and check the layout and composition. If this looks good, place weights onto the garment to hold in place while the garment is attached to the mountboard. Appropriate weights are those which do not have sharp edges and will not damage the garment. Remove the additional items, placing them to the side while the garment is being attached to the mountboard. There are a variety of methods commonly used to attach the item to the board. Which method is utilized will often come down to the individual framer’s choice, the type of garment being mounted, and any preservation requirements. As framers, we should all be looking at using methods and techniques which minimize any damage to items being framed. Sewing and couching, along with nylon tagging, are common mounting methods for these items. Rare earth magnets can sometimes PFM July 2020 23
Rare earth magnets (neodym-
THE NEXT
ium magnets) are useful for sheer fabrics
and
items
with
limited
FRAMING
weight. If a preservation option is
CHALLENGE
paper tape wrap placed around the
required, they can have a quality rag magnet so they do not come into contact with the item. Once you have securely mounted any additional items to the mount-
Compete against top framers from around the world in the new PPFA
boar, you can move on to the frame.
Sports fans of all stripes will appreciate a beautiful custom frame that will preserve their memorabilia for years.
Your choice of frame needs to con-
be used with small, lightweight, or
(20 mm) or more, depending on the
sheer items.
garment. No matter which frame is
International Framing Competition
CONTENTS
“DEVOTED THOUGHTS ABOUT DOGS” by Plee (Penny Tucker)
AD INDEX
The small book is 2 1/2” x 3” x 3/4” closed and latched, 7” x 3” x 2 1/4” open and laid flat. It consists of six folded, hand-stitched, 10-page sections and two decorative end papers, making a total of 62 pages of adorable dog images and quotes from famous figures like Elizabeth Taylor and Charles De Gaulle.
Sponsored by FrameTek
sider the additional depth of the now-mounted garment; often 3/4”
For sewing and couching, try
chosen, ensure that the finished item
and match the thread used with the
does not come into contact with the
garment. To attach the item, make a
glazing. As a rule, keep the glazing at
hole in the mountboard using a small
least 1/8” (3 mm) away from the high-
awl or a push pin. Then, using a nee-
est item in the frame. To achieve this
dle and thread, sew from the rear of
separation, spacers are used to hold
the board through the support and
and support the mount board away
garment and then back again. Use
from the glazing. The spacer can be in
two holes with each stitch and tie off
the form of a raised window mat or
on the rear of the board. Secure the
spacers along the edge of the frame
thread ends with tape for improved
rabbet. Spacers along the frame rab-
security. Use multiple stiches to hold
bet can be made from 1/8” (3 mm)
the garment securely.
foamboard with matboard attached
Nylon tagging is a faster method of attaching garments to the mounting board and is undertaken by using a tagging gun. The gun has a needle which is pushed through the garment and mounting board. By squeezing the trigger, a nylon tag is inserted and secures the garment to the board. Only micro tagging guns, needles, and micro fasteners or fine fabric tagging guns, needles,
PRINTS AVAILABLE TO PURCHASE WWW.PPFA.COM Winner to be featured on the cover of Picture Framing Magazine
and fine fabric fasteners should be considered
when
mounting
fab-
ric. Standard-size tagging tools are not recommended for preservation mounting, as the needle is large and may damage the garment fibers and
Professional Picture Framers Association
24 PFM July 2020
leave noticeable holes.
An example of a garment mounted to a mountboard, laying flat with the sleeves supported.
to the surface facing the garment and attached to the frame itself. Finally, let’s consider glazing. It is recommended that glazing with a UV blocking of 97% or greater is used with garment framing. This limits the potential for fading from UV light, particularly on signed items where the signature is the first thing to fade. Some framers avoid framing
Support areas marked prior to trimming.
garments, as do some of the bigger retailers. For the most part, these items are just a variation on any other textile. Some are more difficult than others, but by and large, many only require the framer to repeat a successful,
straightforward
tech-
nique. Putting in a bit of practice and using some basic framing skills can result in a new revenue stream for your business, which can improve your overall profitability and reputation. If you can offer an original spin on the mounting and framing of garments, then you can create your own niche in the market and be able to set your own price point doing something that is not overly difficult. Think a little bit out of the box, and give it a go! PFM
Wayne Baker Wayne is co-owner and operator of Framing Elegance and CJ Paste Pty Ltd. He has qualifications across a variety of fields, including a bachelor’s degree in production management, a master certified picture framer (MCPF) designation, and certifications in quality control. During his career, Wayne has been exposed to many aspects of business and has been employed within the government sector, multinational companies, and small, medium, and big businesses. He is the current president of the PPFA Australia chapter, having previously held the position of treasurer. Wayne is passionate about passing on any skills or information he has to others within the industry and is always ready to listen and help. PFM July 2020 25
EMPLOYER LIABILITY Having an Employee Run an Errand May Cost You in the Long Run By Rob Markoff, CPF
I
magine this: it’s the middle of the day, you have an im-
In either such case, the employee’s personal car be-
portant job due tomorrow, and you need a matboard or
comes part of the employment environment, bringing the
some other supply. (Why is it that your equipment will
employee’s commute within the course and scope of their
inevitably screw up at 4 p.m. on a Friday when a job is due
employment and making the employer potentially liable for
Saturday morning?) It’s a busy day at the design counter,
injuries suffered or caused during the commute.
so you ask one of your employees to run down to your lo-
On the other hand, the employer has no liability if, on
cal supplier to pick up what you need. If they get into an
the day of the accident, they neither required their employee
accident while running the errand on your behalf, it is rea-
to have their car at work nor benefitted from their employee
sonable to expect that you are potentially liable because
having their car at work.
the accident occurred while they were performing a “business-related” activity. But your liability doesn’t end there.
As a protective measure, employers may adopt a written policy stating employees are not required to drive their
According to Dan Eaton, an attorney and business eth-
personal cars to or from work. Employers must also be care-
ics and employment law instructor at San Diego State Uni-
ful not to say or do anything that implies otherwise. It’s im-
versity, the law considers the employment relationship sus-
portant to remember that even with such a policy in place,
pended while an employee is going to the workplace from
an employer will still be liable if they happened to receive
their home and returning home from the workplace. This
some benefit from the employee having their car at work
“going and coming” rule means an employer is not liable for
on the day of the accident. In other words, if you have your
injuries the employee sustains or causes others, such as in
employee run an errand for you during the workday using
an auto accident, during the employee’s routine commute.
their personal vehicle, and they later get into an accident on
But the analysis is different if an employer, expressly or through implication, requires or relies upon their employee
their way home, you could be held liable for any resulting injuries or damage.
to have their personal vehicle available at work to perform
For these reasons, I have a “non-owned” auto insur-
their job duties or to respond to work-related emergencies—
ance policy for my business. It’s a relatively inexpensive
even if the employee rarely uses their car for work during
policy that is separate from my business owners’ insurance
the workday.
(BOP) and from my auto insurance that covers company ve-
CONTENTS
The analysis is also different if, on the workday of the
hicles. If you employ anyone at your framing business, you
employee’s accident, the employer benefitted directly or
may want to consider taking out such a policy, regardless of
indirectly from the employee having their car at work. The
whether you have employees use their cars for business-re-
most protracted court case in which I was involved hap-
lated activities. PFM
pened when an employee got into a small “fender bender.” She had offered to deliver a framed piece to a client on her way home, therefore making me (and my insurance) poten-
AD INDEX
tially liable for any resulting damages of an accident that occurred while she was on her way home. The outcome of the case was that I was not responsible because it was determined that the other party was at fault. Nonetheless, I had to devote a substantial amount of time to all the legal work, even though the insurance company provided a lawyer. 26 PFM July 2020
Rob Markoff Rob has been framing for over 40 years. He specializes in volume framing with an emphasis on oversized and challenging pieces as well as art installation. He has written extensively for industry publications and is a longtime educator at The National Conference as well as other framing venues worldwide. He received the Lifetime Achievement Award from the Professional Picture Framers Association in 2015.
DURING SHUTDOWN,
VIRTUAL FRAMING THRIVES
By Kimberly Biesiada
How retailers combined creativity with technology to keep their businesses running
L
ike so many frame shop owners, Becky Woodruff
began offering free pickup and delivery services and virtual
found herself shutting her doors when the world-
consultations during the shutdown. Woodruff’s hunch about
wide coronavirus outbreak led to temporary closures
customer demand was proven right as the calls poured in.
of nonessential businesses. In an industry like custom framing, which has always depended on in-store, one-on-one
“We got a big response from people who wanted us to come and pick up their art,” she said.
consultations, such closures were a nightmare scenario. But
She and her store manager, Scott, designated Tuesdays
despite the loss of foot traffic, Woodruff was able to fill or-
and Fridays for working on framing orders. Woodruff would
ders by turning the classic design table consultation into a
pick up a customer’s piece of art and bring it to the store,
virtual one with her customers—one that could be done re-
where Scott would set up a design on the table. The custom-
motely at the customer’s convenience.
er would then call in via a video call program like FaceTime
CONTENTS
“I didn’t want to stop framing,” said Woodruff, who
or Zoom at their appointed time to be shown the design and
owns The Frame & Print Shop in Chapel Hill, NC. “I felt that
discuss options. Once a job was complete, Woodruff would
there would be people who still wanted it, and that we could
deliver the piece back to the customer’s home.
figure out how to offer it.”
She and Scott were kept busy for the four or five hours
AD INDEX
By taking advantage of visualization and editing soft-
they were in the store on those Tuesdays and Fridays, she
ware, video calls, email, and other tools, framers like Wood-
said. The opportunity for remote work kept the business
ruff continued to create beautiful framing for their custom-
running when it would have otherwise been at a standstill.
ers, generating crucial sales during an unprecedented crisis.
CUSTOM FRAMING REIMAGINED
“We were able to break even in April,” Woodruff said. “We had tremendously good sales, and our customers were fantastic. They wanted to support us.”
The Frame & Print Shop, which opened in 1973 and has been
Now that they have reopened, Woodruff is still offering
owned by Woodruff and her husband for the past five years,
virtual framing in addition to in-store appointments. She
28 PFM July 2020
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Using LifeSaver’s visualization program, framers can create multiple designs and allow customers to preview each to compare. plans to keep their remote option in-
mote consultations since 2016. Us-
definitely as an added convenience
ing image editing software like Ado-
“It’s how we were able to get
for customers.
be Photoshop, Beauchemin’s design
some work through the time that we
team creates detailed digital mockups
were closed,” Beauchemin said. “We
using emailed photos of customers’
do four or five (remote jobs) per week
While many frame shops added
art, then emails back different design
on a regular basis; through the pan-
virtual options after the pandemic
options to go over with the customer
demic, we have been doing just as
hit, others have been offering it for
by phone.
many.”
“It’s definitely a great service to be able to offer,” she said.
years as a successful arm of their
Frames
Chelsea Frames was slated to re-
business. And just as every frame
apart is the quality of its mockups.
open in early June at the time of this
shop has unique qualities that make
Beauchemin has invested in room
interview, but it will continue to of-
it the right fit for the area it’s in and
settings—for-sale stock images of
fer virtual framing services to clients
the demographic it serves, everyone’s
styled living spaces—which he can
near and far. Beauchemin said the key
method of filling virtual frame orders
use in his editing software to show
is to keep every consultation, wheth-
differs slightly: some rely on picking
a customer what their framed piece
er it’s over the phone or face to face,
up the physical artwork or having
would look like hanging on the wall
focused on your customer’s wants
their customer drop it off, then using
of a furnished room. Customers can
and needs, on the story behind what
a video call to go over design options,
also email photos of their own homes
they want framed. Top-notch service
like Woodruff does; others accept
so Beauchemin can create a mockup
should always be the guiding force
emailed photos of the art, creating a
that shows exactly how their framed
behind every customer interaction.
design mockup that’s entirely digital.
art is going to look in their space.
Some offer both methods.
What
sets
Chelsea
in New York City.
That feature, along with details
SOFTWARE SOLUTIONS
CONTENTS AD INDEX
No matter what tools a retailer
like adding drop shadows behind the
PFM conducted a recent survey of
uses for virtual framing, what mat-
art, making sure the frame and mat
framing retailers around the world
ters most is to go through the process
are to scale, and even showing what
and found that solutions varied from
with their customer as professionally
different glazing options would look
FaceTime and Zoom to Photoshop,
and seamlessly as they would in per-
like, means customers “can’t tell it’s
email, and using their shop’s existing
son, said Daniel Beauchemin, owner
not the real thing,” Beauchemin said.
visualization software in a new way.
of Chelsea Frames in New York City.
It takes no more time to work on
Many retailers have been using
“One thing that’s important is to
these mockups than it does to have
visualization for years in-store as part
do it well,” Beauchemin said. “If you’re
an in-store consultation, he said, and
of the consultation process, show-
going to do it, do it well. Build it into
the ability to offer this type of virtual
ing design options to customers on
your brand.”
framing has meant steady business
a screen in real time. This technolo-
during a time of near-total shutdown
gy is also another way for framers to
Chelsea Frames has offered re30 PFM July 2020
work on designs remotely with their
of their software to discuss design
see an image of what they are creat-
customers—something
be-
options remotely. Visualization, com-
ing at the bottom of the screen. From
come more important than ever this
bined with email and phone com-
there, the framer can launch visual-
year. Using visualization software, a
munication and pickup/drop-off ser-
ization, creating design options for
designer can show a customer what
vices, prevented the business from
their customer and allowing the cus-
their artwork or object will look like
grinding to a halt.
tomer to preview the images, either
that’s
as a finished framing package before
“Now that we’re open, people
ever cutting a mat or joining a length
who don’t feel comfortable coming
To get the customer’s artwork
of moulding.
in can still drop their artwork off out-
into the design, the framer can up-
“We saw the use for it right
side the store and we can send them
load a photo their customer emails
away,” said Lucy Quay, MCPF, sales
our designs,” Quay said. “It’s been
them; or, if they have the physical
manager at Bradley’s Art & Frame in
very helpful.”
piece, they can take a photo them-
Houston, TX. The business, founded 50 years
LIFESAVER SOFTWARE
in-store or virtually.
selves on their phone and, using LifeSaver’s free app, upload the im-
ago by Pat and Bill Bradley, was an
Over the last five to 10 years, var-
age straight into the program. Those
early adopter of the technology and
ious software programs have been
using an iPad can capture an image
has been using Picture It First soft-
updated to work seamlessly with one
right in the visualization program it-
ware for the past 15 years. When the
another, giving retailers another ad-
self, skipping the app step. Once an
business was closed for a month due
vantage. LifeSaver’s visualization pro-
image of the artwork is in the pro-
to the pandemic, Quay said they were
gram, for example, is fully integrated
gram, the framer can show side-by-
still getting voicemails from custom-
with its point-of-sale (POS) program.
side comparisons of different options,
ers who wanted framing. They set up
As a framer is entering an order de-
take advantage of pre-loaded design
appointments and took advantage
scription into the POS system, they
templates for popular items, and use
PFM July 2020 31
project and attach them to the order, which helps mitigate production mixups, said Stefan McIntosh, marketing director. “One of the things we talk about is improving production accuracy,” he said. “So if someone’s doing a lot of projects, or if one person designs a project and someone else comes in to start the production, they know exactly what they’re looking for in the finished product because they have a visual mockup of what it’s supposed to look like, as well as all the specs. It reduces the potential for error.”
Wizard’s FrameShop Visualize program allows users to compare design options and showcase creative embellishments, multiple layers, wider mat borders, and various mouldings to their customers, which could lead to more profitable jobs.
The visualization program not only ties into Wizard’s design program, but it also allows users to seamlessly transition to production by sending
the program’s “suggestion” button to
they’re going to get; there’s no more
the finished concept straight to their
generate framing treatments based
guessing.”
computerized mat cutter. With these
on the colors of the artwork, among other features.
WIZARD SOFTWARE
The program has hundreds of
FrameShop Visualize by Wizard
products from leading matboard and
allows framers to compare design
moulding companies in its database,
options and showcase creative em-
but will alert users if a product image
bellishments, multiple layers, wider
is unavailable. If there is a product
mat borders, and various mouldings
you wish to use that cannot be found
to their customers, which lends itself
in the database, you can use the
to upselling and could lead to more
app to take a photo of it—a stick of
profitable jobs.
CONTENTS
moulding, for example—and the app
The designer can select any prod-
will create an image you can use for
ucts they wish for a project, but they
a mockup. Steve Smeltz, VP of opera-
have the added option to see auto-
tions for LifeSaver, also suggests con-
matically-generated matting choices
tacting your vendor and asking them
in colors that complement the art.
to send product images to LifeSaver to
They can also upload photos of any
be added to the database.
product that isn’t already available in
AD INDEX
More people than ever are adding
the database. Once a framer is happy
virtual and remote framing to their
with a design, they can open a cus-
shop’s repertoire, which is a good
tomer-facing preview screen to show
thing for their bottom line, Smetlz
what the finished product would look
said.
like. If the customer wants to make
“Data shows that the average
changes, the framer can save a snap-
ticket price goes up when a customer
shot of their original design and use it
sees their framed piece on a screen,”
later for side-by-side comparison.
he said. “The confirmation rate is also
Another benefit is the ability
increased because people see what
to save digital image previews of a
32 PFM July 2020
programs working in harmony, “you can literally go from preview to production in one click,” McIntosh said. As McIntosh noted, remote, virtual consultations aren’t a total replacement for in-person purchases; rather, they are a tool that provides greater selling possibilities outside a retailer’s physical store. As customer interest in visualization software continues to grow, McIntosh predicts these kinds of solutions will be implemented more widely, especially as framers navigate pandemic-related
shutdowns
and
other measures that will remain in place after businesses reopen. “A situation like this sometimes changes how we do things, and going forward, I think it’ll just become more a part of what everyone’s doing, whether it’s required or not,” he said.
FRAMEREADY SOFTWARE FrameReady, which offers POS software for framing retailers, is currently developing an interface with
Wizard’s CMC and visualization software to be rolled out later this year. Carol Graham, director of customer relations at FrameReady, said the company also offers some tools their customers can use immediately to simplify the process of selling fram-
SOFTWARE SOLUTIONS The following companies listed visualization software as a product they offer in the PFM Annual Directory or responded to the magazine’s survey:
ing to customers who aren’t table to
ArtTeck
Gunnar USA
come into the store.
artteck.com
gunnar-usa.com
Designer Moulding
LifeSaver
apple.co/2UAo6ES
lifesaversoftware.com
By storing an image of each complet-
EstLite
ed piece, the software creates a visu-
Picture It First
estlite.com
pictureitfirst.com
to each order. The framer can scroll
FrameReady
SpecialtySoft
through and then duplicate a previ-
frameready.com
specialtysoft.com
ous order for a new customer.
FrameSmart
Wizard
framesmart.co.nz
wizardcutters.com
Framers can store a single image or multiple images of an order in their FrameReady software, Graham said.
al resume of past designs connected
With the program’s Picture File function,
framers
can
document
damage found on artwork before it
FullCalc
entered the frame shop and add com-
fullcalc.com
plex layouts to easily see the placement of each item. “One of our clients cleverly used the Picture File to create a visual storyboard to explain why custom framing costs more than a readymade frame, with each image outlining the care and skills required for each step of the process,” Graham said. Whatever the method used, virtual framing is an added service that can be critically important to a business’s bottom line during an unforeseen crisis like the coronavirus pandemic. Even after reopening to foot traffic, it’s clear many retailers have seen the value of adding a design table in the digital realm for those customers who lack the ability to visit a frame shop. Even the smallest shop can offer this digital design table without losing the creativity and
DESIGNER MOULDING
W
NE
VIRTUAL FRAME BUILDER
• Work with clients from a distance • Work with all our moulding with our closed corner frames • Work with our mouldings or others • It’s Quick & Simple! • Upload images or take a picture with your smart device • Use our APP which has AR Technology
expertise of a professional, custom consultation. PFM
PFM July 2020 33
PRESERVATION PRACTICES
by Hugh Phibbs
Preservation Mounting The methods and materials used for safe mounting of paper.
W
hen the term “mounting� is applied to works on paper, it has differing meanings on opposite
sides of the Atlantic Ocean. In Europe, it is a catchall term for matting procedures, while to a North American ear it may imply overall
come loose if the housing is turned face-down
adhesion; something that is problematic in a
without restraint to keep the edges flat. The
preservation context. Such mounting is prob-
simplest edge support design involves folded
lematic because so few mounting strategies al-
strips of paper, such as lignin-free interleaving
low for complete and safe reversal and because
tissue (available from University Products and
there is a high likelihood of deformation of the
other preservation suppliers) or a spun bond
support board. While that may be safely done,
synthetic material like Hollytex 3249, which
the safest way to display a paper item is with
can be found at Talas.
window matting and edge support, or with
Here, strips of paper or spun bond are fold-
hinges adhered to the verso of the object when
ed down their length so that one side is wider
its entire front must be seen. Let us review the
than the other. The wider back side offers sup-
fundamentals of both practices.
port while the thinner front side obscures less
Edge support can be used with works on
of the work. With either material, the vertical
paper that are stiff enough that they would
support strips are slit at their fold to allow the
stand if rolled into a column. Since we have
horizontal strips to pass through them. Each
neither invisible support materials nor magi-
strip is secured with tabs of gummed paper or
cal means, edge support relies on matting that
linen tape at its ends and is pulled taught as it
covers the margins of the sheet and support
is secured.
CONTENTS
strips and slings, which give as much support
As the size of the item grows, the strips
to the center of each sheet as possible. If sup-
must be scaled up and an additional device can
port is given only to the corners of the sheet, it
be added. This device is comprised of a shallow
can suffer in an accident or bend forward and
tab cut in the center of the back side of the bot-
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.
34 PFM July 2020
Strips of ligninfree interleaving tissue or spun bond synthetic material are for edge support when mounting works on paper.
tom strip in the shape of an a shallow inverted V. This tab
support strips. This less-costly material enables the en-
can be folded down and adhered to the back mat with a tab
largement of the hinge to a size that covers all but the out-
of gummed tape to lock that part of the strip to its proper
ermost edges of the art, with adhesive lines spaced along its
place on the back mat. As things are scaled up to accom-
width; more closely for heavy items and more broadly for
modate larger items, the back mat must be made thicker to
light items. This gives the broadest possible support to the
resist bending when the edge strips are pulled taught.
sheet and can support even thin tissues.
When thicker items are being housed, they require
Methyl cellulose gel is superior in suppleness to cooked
more robust support, including sinks and slings. Sinks are
starch, which means that this gel will not need straining
back mats with cavities built into them. The sides of the
or added water to achieve an easy-to-flatten workability. By
cavity are made from pieces of matboard of appropriate
limiting the water in the mix and creating a methyl cellu-
thickness, height, and width laid out in a pinwheel pattern
lose gel, we limit the swelling action of water, but hand-dry-
to enable easy assembly. The support sling is comprised of a
ing is still essential during this process.
full sheet of paper or spun bond that is larger than the item
Another adhesive, Klucel G, can be dissolved in isopro-
so that its edge can extend out or warp around the edge of
pyl alcohol, which eliminates the swelling action of water;
that item. They are wrapped around the edges of the sup-
especially if concentrated alcohol, 91%-99% is used. The in-
ported art on board if it is flat and laced through each other.
troduction of alcohol raises the issue of tide lines being cre-
If the board being housed is not flat, a sling can be made
ated in optical brighteners in the paper. Testing with a UV
with edges that extend out onto the sink, having been cut
light can show whether brighteners are present.
in a pattern that radiates out from the center of the sling so
Klucel G, or hydroxypropyl cellulose, is used in a di-
each section can be pulled up to the level the undulating
lute formulation by conservators to consolidate degraded
surface its verso.
leather, but if it, too, is mixed one part powder to several
Here, too, the window must cover the edge of the item
parts alcohol and left to settle overnight, a clear and supple
and that window can be kept tight to the back mat with
gel should form. This can be applied to a folded strip of in-
lashing of linen tape, which are secured to the back of the
terleaving tissue in spaced lines for adhesion to the verso
window and which pass through slits in the sink, to be se-
of the art paper, but since there is little water present, the
cured with gummed tape to the back of the back mat/sink
bond will form after the alcohol has evaporated. This pro-
(see image on page 32).
cess is not something that can be accelerated with desiccat-
When items must be displayed so they can be seen in
ed blotter, so extensive weighting is needed.
their entirety, adhesion is required. Traditionally, this has
Since hydroxypropyl cellulose has surfactant prop-
entailed the use of cooked vegetable starch and handmade
erties, it may be useful in adhering plastics, but it should
Asian paper. This is laborious, given the rigors of cooking
be regarded as a sheer adhesive and not used where peel
and storage that proper handling of the starch require.
forces are an issue. Since Klucel G can be used with min-
CONTENTS AD INDEX
Non-food materials like methyl cellulose and Klucel G
imal chance of deformation of the hinged sheer, it is ideal
were considered too weak. However, recent developments
for hinging very lightweight papers. Tracing and other thin
have shown that both of these non-biological adhesives can
papers are translucent enough to allow the hinge behind to
provide adequate strength if they are prepared as gels and
be seen to some extent, and here it helps to adhere a sheet
applied appropriately. One part methyl cellulose powder
of interleaving tissue that is only slightly smaller than the
can be combined with several parts water in a jar, shak-
hinging subject but taller than the subject, so that the upper
en vigorously, and left overnight to create an adhesive gel.
edge of the hinge sheet can be folded to create the portion
This can be stored in a clean, closed container and should
that will be attached to the back mat. The adhesion of the
not spoil at room temperature. This gel can be applied to a
hinge sheet to the tissue subject and to the back mat can be
hinge with a cotton swab in lines that are perpendicular to
done with stripes of HPC/alcohol.
the hinge’s edge. The adhesive-loaded hinge can be pressed
Here I have reviewed what falls under the header of
onto the back of the art sheet and the adhesive itself can be
mounting, but there are other topics that can be covered
dehydrated with a desiccated blotter.
in the future, such as Mylar edge strips and tabs and over-
The hinge can be made of the same economical, lignin-free interleaving tissue that was used to make the edge 36 PFM July 2020
all adhesion using reversible, non-biological adhesives and synthetic-felt support layers. PFM
PFM DIRECTORY 2020 COMING IN SEPTEMBER SUPPLIER LISTING A comprehensive guide of manufacturers and distributors featuring contact information, profiles, and more.
PRODUCT INDEX With 38 major categories and 150 subcategories, retailers will find whatever products they’re looking for.
ARTICLE INDEX Need information on a specific topic? This is your go-to source to find everything related to framing from the pages of PFM.
SPECIAL PRODUCT SHOWCASE This special section features the top-selling and most innovative products featured in PFM.
FREE TO PREMIUM SUBSCRIBERS A $14.95 VALUE For listing information, email sales@pfm-group.com www.pictureframingmagazine.com
PFM July 2020 37
TABLES AND FIXTURES FOR FRAME SHOPS By James Miller, MCPF, GCF
W
orktables are among the most fundamental
ene such as Coroplast brand (or equal) are readily available
provisions in a frame shop, and functionality
from distributors of sign-making materials and distributors
is essential. It would be ideal to have different
of industrial plastic sheet and tube products. Several col-
tables dedicated to specific tasks, but many shops simply do
ors and thicknesses are available, but I recommend using
not have the space for several tables, and one or two all-pur-
4 mm white sheeting, which shows all kinds of debris and
pose tables can work quite well. Whether you want to set
contamination. It also reflects light from the ceiling fixtures,
up a new shop, add to what you already have, or just replace
which seems to make the shop brighter. On the other hand,
an existing table, here are some attributes to consider.
black sheeting makes it easy to see fingerprints and smudg-
Sturdy and stable. Framing work involves a lot of push-
es on anti-reflection glazing. In any color, the matte plastic
ing and pulling, usually in specific directions and often with
surface is smooth, non-abrasive, slightly cushy, and non-hy-
precise force. A wobbly or unstable table could make these
groscopic, so liquids will not soak in. It can be cleaned easily
motions uncertain and more difficult, so it pays to build ta-
and effectively using glass cleaner or a mild abrasive clean-
bles that are rock-solid. Tables built out of dimension lum-
er such as SoftScrub. It also makes a good cutting surface.
ber nailed together, such as 2 x 4s or 4 x 4s, tend to loosen up with use over time. They may need to be reinforced with angled braces to prevent movement in any direction, and the braces may limit or interfere with under-table storage. Assembly with screws, washers, and nuts helps. Using glue in the joints helps, too, but makes disassembly difficult. Flat, rigid, level top. Regardless of size, a worktable’s top should be flat to avoid deflection or twisting of long frame rails, for example. The top should be rigid enough to support heavy items without sagging, which involves supports underneath. Also, the top should be level, so that screws,
CONTENTS
pencils, and other round/cylindrical objects stay put. Smooth, durable surface. It’s a good idea not to slide frames on a table, but sometimes that’s hard to avoid, especially with large or heavy frames. A smooth table surface
AD INDEX
helps to minimize the chances of damage, such as abrasions to a fragile frame finish. Since normal wear and tear would eventually damage most table surfaces, it’s a good idea to use an easily-replaceable covering. Perhaps the best and most practical replaceable worktable coverings are plastic sheets, retained by a border frame installed all around the tabletop’s perimeter. 48” x 96” sheets of fluted polypropyl38 PFM July 2020
This drawing represents a 48” x 96” x 42” tall table designed for general purposes. Note that the base and top panels are prepared with slats in mirror-image to separate the vertical dividers. Both sides have vertical bins for storage of boards and glass, plus shallow shelves for small items (shown in blue). The black shapes represent the cuts of 1” aluminum angle stock to connect the parts, and the pieces of “U” channel under the base panel.
In my small shop, the Coroplast table covers usually last about three months. I turn them over and use the other side for another three months before replacing. PVC sheeting, such as Sintra brand (or equal) also works well as a replaceable table covering. Like fluted polypropylene, PVC is available in 48” x 96” sheets and in several matte-finish colors and thicknesses. This material is somewhat solid, but still provides a little cushioning, so I recommend using 1/8” thickness. Again, the surface probably would last a few months, then you can turn it over and use the other side for a few more. Some framers cover their tables with Kraft paper or corrugated cardboard (boxboard), which is fairly cheap, readily available, and provides a useful bit of cushioning, but these paper surfaces are fragile and quite abrasive. Carpeting may also be used as a table covering, which is generally intended to be permanent rather than replaceable. Carpet is often too cushy for practical purposes, and the carpet’s nap holds all sorts of unseen debris, such as glass shards, splinters of wood, and sawdust from sectional-aluminum frame moulding. Even with frequent vacuuming, carpeted worktables can harbor damaging debris.
This cutaway drawing shows how a border frame can be installed on the perimeter of the tabletop to retain the edges of the replaceable cover. It can be made out of frame moulding or 1” x 2” unfinished wood. Proper height. Elbow-height is about right, but in a shop with tall and short framers, this general rule might not help much. If a table is too low, bending over it could contribute to problems with muscles and joints; if a table is too high, reaching across it may be difficult. For people of average height, 36” may be too low and 44” may be too high, but any height within that range might be suitable for your particular shop. It comes down to personal preference. Storage underneath. It seems there is never enough storage space for everything in a framing shop. Of course, it’s best to keep tools and materials where they are most
PFM July 2020 39
inspecting, and sorting lengths near the moulding storage racks, the saw, and/or the chopper. An underpinner could be placed against a free-standing table in this area, or it could fit into a recess in its top. Likewise, if there’s a dovetail routing machine in the shop, it could sit on or be recessed into this sort of table. However, it would not be practical to have
By slanting the vertical supports, a 36” wide table can be adapted to fit 40” long boards. Note that about half of the vertical supports are angled in each direction, providing stability. In this walk-around design, triangular shelves fill the open areas under the top. often needed and well organized for easy access. Tables can
both types of joining tools at the same table because that might restrict the positioning of frame parts being joined. Underneath
the
frame
assembly
tables,
large,
well-supported shelves could be provided for storage of large, heavy items like cast-iron miter vices, sanders, staplers, pinners, hammers, and chisels. In the interest of
be designed and constructed to utilize nearly all of the area
better organization, plastic bin boxes could fit neatly on
underneath, which provides excellent storage. Vertical bins
these shelves. The stain markers and colored waxes used
are useful to store boards and sheets of glass. Drawers or
in joining could be stored on shelves or special racks at-
pull-out shelves for tools and supplies can be designed in,
tached to the side of the table.
and the worktables can also include shallow shelves for
A table in the glass cutting area could include verti-
bottles and jars of glues, inks, powders, and paints; fitting
cal bins for storage of boxes of glass and acrylic in var-
and hanging hardware; and hand tools.
ious sizes. Special bin sections with pullout boxes could
Size. Some framers believe that the larger the table,
also be built for storage of glass offcuts with interleaving
the better. But in my experience, 48” x 96” is a practical
separators of paper or plastic. For fitting and finishing, a
size. Larger tables require more walking around, and short-
walk-around table should be large enough to accommo-
er framers may not be able to reach across their width. For
date most frame sizes. A turntable allows frames be ro-
confined areas, perhaps 48” x 48” tables would be better.
tated during the work process. This table might also have
This size works well in the frame joining area, too, where
racks built in to hold rolls of dustcover paper and shelves
it may be necessary to walk around to all four corners of
for the tools used in that section of the shop.
a frame. Oversize frames usually can overhang the table’s
Regardless of the number or types of tables you need,
edges without consequence, and adjustable roller/support
the designs shown here can be modified and adapted to
stands can be used, too.
suit your purposes. These tables can be built using ½” and
Location and spacing. Free-standing worktables are
¾” thick, melamine-coated particleboard panels or PVC
most convenient, with at least 36” of space all around; this
sheeting. The PVC is more attractive and requires no edge
way, people can pass in the aisle or work back-to-back on
finishing, but it usually is more costly than the particle-
separate tables. For tables with board storage underneath,
board; and since it is made of plastic, the table parts would
be sure to allow even more space so that 40” long sheets can be pulled out of their vertical bins. Sometimes it is useful to place a table against a wall. In that case, I suggest limiting the width to 40”, which would enable most people
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to reach all the way across. In larger shops, where multiple, special-purpose tables are practical, a mat cutting table might have a straight-line mat cutter recessed into its top, and it could be located near the computerized mat cutter.
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This table would include vertical bins underneath for storage of matboards and shelves for storage of all the tools and materials used for manual mat cutting and decoration. One or more frame assembly tables may be located near the cutting and joining equipment. Perhaps a long, narrow table could be placed against a wall for unpacking, 40 PFM July 2020
First, the top and bottom panels are prepared with slats in mirror image to separate the vertical supports. Next, the bottom panel is leveled. See the next page for more detail.
carry a static charge that could attract more dust. These sheet materials are available from most home improvement stores in white, 48” x 96”. Once cut, the base and top panels are fitted with horizontal slats in mirror image to separate the vertical panels. From that point, the rest of the table parts slide together like a puzzle. Notice that in most designs, the vertical panels are placed at 90-degree angles and attached by cuts of 1” aluminum angle stock. This design of perpendicular supports provides the stability of these free-standing tables. Most floors are not perfectly level, so final assembly usually involves leveling the base panel and resting it directly on a wood or tile floor. If the shop floor is bare concrete, which holds moisture, it is important to raise the table off the floor by a fraction of an inch to allow air circulation. For this purpose, pieces of ½” x 1” aluminum “U” channel can be screwed to the bottom of the base panel. That is, for a 48” x 96” table, use five 48” pieces of channel, equally spaced. If you’re looking for solid, affordable, adaptable, attractive worktables for your shop, adaptating these designs may be very useful for you. PFM
This was my first interlocking-panel table, built out of unfinished particleboard in 1988. I cut all the parts using an ordinary circular saw and painted them white. This table still stands, after having been moved and reassembled three times.
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 PPFA’s 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 like The National Conference. As a staff writer for PFM, he has authored numerous feature articles on various framing topics. He has authored two instructional books for framers: Mounting Objects with Clear Film and The Complete Guide to Shadowboxes and Framing Objects.
PFM July 2020 41
Distributor Spotlight
CONTENTS
DISTRIBUTOR SPOTLIGHT
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A complete innovative marketing section designed especially for distributors. For more information, sales@pfm-group.com 42 PFM July 2020
Index Advertiser
Page
Advertiser
Page
Active Sales ........................................................................17, 42
House of Troy ...........................................................................31
800-937-2255
800-428-5367
www.activesalesco.com
www.houseoftroy.com
Alpina Manufacturing, LLC ........................................................42
Jack Richeson & Co. ..................................................................42
800-915-2828
800-233-2404
www.fastchangeframes.com /www.bannergrip.com
www.richesonart.com
Arlo Spacemaker Products, LLC..................................................23
LifeSaver Software....................................................................31
800-332-2756
800-381-0600
www.reevesextruded.com
www.lifesaversoft.com
Capax-Frame It ........................................................................10
Michelangelo Moulding .............................................................13
800-942-2729
877-422-8812
www.capax.com
www.michelangelomoulding.com
CMI Moulding ...........................................................................42
Omega Moulding Company .......................................9, 10, 18, 45
301-476-7440
800-289-6634
www.cmimoulding.com
www.omegamoulding.com
Decor Moulding & Supply ..................................18, 21, 41, 42, 45
Picture Framing Magazine.........................................................37
800-937-1055
800-969-7176
www.decormoulding.com
www.pictureframingmagazine.com
Designer Moulding....................................................................33
Picture Woods Ltd. ....................................................................23
800-634-0032
800-321-6522
www.designermoulding.com
www.picturewoods.com
Encore Products Inc ...................................................................15
Pro Tapes & Specialties..............................................................19
800-873-4868
800-345-0234
www.encoreproducts.com
www.protapes.com
Engelsen Frame & Moulding ......................................................42
Professional Picture Framers Association ....................................24
800-422-6731
732-536-5160
www.engelsenframe.com
www.ppfa.com
Fixons ......................................................................................42
Rhonda Feinman Custom Frames .................................................6
714-526-3455
800-297-1566
www.fixons.com
www.rhondafeinman.com
Foster Planing Mill ..............................................................37, 42
Sepp Leaf Products ...................................................................25
323-759-9156
800-971-7377
www.fosterplaningmill.com
www.seppleaf.com
Framerica............................................ 2, 3, 4, 10, 18, 39, 45, 48
Studio Moulding, Inc. ................................................................27
800-372-6422
800-262-4174
www.framerica.com
www.studiomoulding.com
FrameTek .................................................................................16
Tru Vue ......................................................................................7
800-227-9934
800-621-8339
www.frametek.com
www.tru-vue.com
Frank's Fabrics for Framers.......................................................22
Universal Arquati ........................................................................5
888-332-2749
800-668-3627
www.franksfabrics.com
www.universalarquati.com
Global Art.................................................................................35
Wall Moulding ..........................................................................47
866-310-4278
800-880-8315
www.globalartinc.com
www.wallmoulding.com
Gluefast Company ....................................................................42
Wizard International .................................................................11
800-242-7318
888-855-3335
www.gluefast.com
www.wizardint.com
Gold Leaf Frame Makers of Santa Fe .........................................29
Z Hardware ..............................................................................42
800-873-5525
800-880-9315
www.goldleafpictureframes.com
www.zhardware.com
Hoffmann Machine Company ....................................................42
Ziabicki Import Co. ...................................................................39
866-248-0100
262-633-7918
www.hoffmann-usa.com
www.ziabicki.com PFM July 2020 43
Product Showcase Atlas Saw & Tool
Crescent
Atlas Saw & Tool’s engineered plastic saw blades feature unique blade geometry designed for high-volume plastic and acrylic cutting with smooth easy cuts on ultra-low melt plastics and reduced chipping on thin acrylic sheets. Plus, get increased hourly production output and yield rates with the ability to cut stacks of acrylic at one time.
Making its debut in Crescent’s top-of-the-line RagMat Museum Solids collection is Winter White, the most brilliant white the company offers. Made of 100 percent cotton with solid color throughout, Winter White is available in both 4-ply and 8-ply. Naturally acid-free and lignin-free, RagMat matboards are specifically designed for the display and protection of artwork.
Call: 888-484-1488 www.fletcher-terry.com
Call: 847-537-3400 www.crescentcardboard.com
Decor Moulding
Fox Moulding, Inc.
Introducing Savoy, a new line of six contemporary styles. Each style has a subtle surface texture positioned on an angled profile that is the focus of its visual highlight. Available in two popular widths of 7/8'' and 1 3/8'' with substantial rabbet depths of 5/8'' and 3/4'', respectively. Choose from three rich colors of gold, pewter, and black, adding excitement to these styles. Order corner kit #CSSAV to get these high-demand styles on your walls today.
Stack up your profits with Readymades. Design your own assortment of readymade and empty frames from the Fox Moulding inventory. Quick turnaround! Call: 800-341-0101 www.foxmoulding.com
Call: 800-937-1055 www.decormoulding.com
Framerica
Michelangelo Moulding
Framerica’s Illusions profile, which was designed to allow for a single moulding to appear stacked, is now available in the company’s entire woods collection. “Demand for the Illusions profile has been growing steadily, even over the past three months,” notes VP Josh Eichner. “We’re excited to make it available in all of our wood tone finishes.”
The new poly series 622 is now available from Michelangelo Moulding. The collection of 11 distinct finishes, each measuring 1 5/8'' X 1 3/8'' with a 7/8'' rabbet, is available in four groups: metallics (gold, silver, bronze), colors (black, white, charcoal), barnwoods (light gray, walnut, gray), and woodgrains (walnut, white). View them on Michelangelo’s website.
Call: 800-372-6422 www.framerica.com
Call: 877-422-8812 www.michelangelomoulding.com
Sepp Leaf
Superior Moulding
Liberon Gilt Colors: Liberon offers six gilt tones in gilt cream, gilt varnish, and gilt filler sticks. Four gold tones, silver, and bronze. All intermixable for perfect color matching. All named after castles in France, and each color just as rich! Imported from England by Sepp Leaf Products, Inc. and available on the website below.
Superior introduces Skyfall: two profiles, four unique, multicolored mouldings with a textured and glossy finish. The modern finish on this series complements modern farmhouse designs that are so popular today. These mouldings work great with landscapes, from oceans to mountains, and the profiles pair well to create stunning double frames. Request a color catalog online or call for samples and pricing.
Call: 800-582-5608 www.framewareusa.com
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Call: 800-922-7914 www.supermoulding.com
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Universal Arquati
Wizard
Universal Arquati is excited to present the additions of Edge II by Universal. This collection incorporates mid-century designs with silver, gold, and champagne tones, in high-quality finishes, with the recent addition of the Oak Black Veneer! Edge II comes in three profiles for floating, stacking, and glass framing designs. Samples of this collection are available now! Please contact your local sales representative or UA by phone or fax (661-362-6263). View these mouldings, as well as the entire collection, at the website below.
Introducing the Wizard Z1—the ultimate mat cutter combining edge-to-edge cutting with a suite of automation features that virtually eliminates human errors. It’s the only CMC with advanced features such as: auto-homing, digital depth control, and Wizard’s innovative new Intelli-Clamps collision detection and avoidance system, as well as all of the decorative design capabilities found in every Wizard Z Series cutter.
Call: 800-668-3627 www.universalarquati.com
44 PFM July 2020
Call: 425-366-7294 www.wizardcutters.com
(Continued from page 46) work with the painting and the interiors as a cohesive whole.
footing with fine art. Rossetti also designed furniture, wallpaper,
The earliest common features were straight profiles and
bookbindings, stained glass, and architectural elements that
gilded oak with some form of decoration. Later frames used by
were consistent with his frame designs and paintings.
Rossetti varied in the addition of a gesso layer for a smoother gilded surface, some silver-leafed variations), and ebonized
Additional comments and/or anecdotes. By the end of the
detailing, but the basic profiles remained constant.
nineteenth century, British decorative and fine arts held equal
Other design departures included central medallions,
aesthetic value. As a reaction against industrialization, a number
incised or punched designs in the frieze, and patterns of applied
of concurrent or overlapping movements were formed, begin-
or carved motifs on the inner and outer moulding. Rossetti re-
ning with the Pre-Raphaelite Brotherhood (1848) and [William]
peated some motifs in his frame designs throughout his life, but
Morris & Co. (1861) and progressing through the Arts & Crafts
he also designed one-of-a-kind frames adorned with allegorical
and Aesthetic Movements (1870s and ‘80s). Credos such as John
symbols proportioned to coordinate with the carefully planned
Ruskin’s “Truth to Nature” and William Morris’ “Have nothing in
decorative compositions of his paintings as well as painted
your homes which you do not think to be beautiful or know to
captions or quotations that related to his subjects. Rossetti and
be useful,” profoundly influenced Victorian artists and design-
other artists often used variations of the Italian cassetta with
ers in Europe and America. The value of ornament, an empha-
friezes incised or decorated a bulino to enhance the pre-
sis on craft, and the concept that true beauty in art could only
Renaissance qualities of some of their paintings.
be achieved through an adherence to medievalism and nature
Probably influenced or inspired by Rossetti, American expa-
led to some of the most original designs for furniture, interior
triate artist James McNeill Whistler also developed the concept
decoration, and frames. PFM
of reeded cassetta profiles and gilded oak surfaces that were
“Best of PFM” takes a look back at some of the magazine’s
integral to his own paintings. With refined variations of more
most popular articles on frame history as it celebrates its 30th
tightly bundled narrow reeding, alternating flats, gilded oak sur-
year in publication. This article appeared in its original format
faces with varying karats of gold leaf chosen to enhance specific
in the February 2010 issue.
works, and sometimes painted decorations, the eponymous Whistler frame has become a frame category unto itself. What type of artwork would this frame most likely house? Nineteenth-century British Pre-Raphaelite, late Victorian, and Symbolist paintings.
What furnishing/interior styles accompanied these style frames in their time? Pre-Raphaelite frame designs integrated paintings with contemporary interior environments—Aesthetic Movement, Arts & Crafts, and Anglo-Japanese tastes were prevalent. In these rooms, decorative arts were presented on equal
PFM July 2020 45
Style
BEST OF PFM
SNAPSHOT All photos courtesy of Gill & Lagodich Fine Period Frames, NYC.
By Tracy Gill
A look at a frame, its characteristics, and history What style frame is this? A Rossetti frame. Where is it from? England.
What time period is it from? It first appeared in the From Frameworks by Paul Mitchell & Lynn Roberts, Merrrell Holberton Publishers, London, 1996, p. 357.
early 1860s. Who was instrumental in developing this style frame? This was a collaborative design of Dante Gabriel Rossetti (1828-1882) and his mentor, Ford Madox Brown (1821-1893). What are the defining/common characteristics of this style? The Rossetti is a decorative, flat artist’s frame ornamented primarily with geometric shapes—usually permutations of low-relief roundels, medallions, and squares—placed on fairly plain, wide moulding, sometimes with triangulated outer elements. Rossetti formed the Pre-Raphaelite Brotherhood, an association of English artists who wanted to recapture the beauty of medieval and ear-
moulding, also relates to the Italian cassetta frame.
ly Renaissance art and natural forms. The flat wood
CONTENTS
construction of the eponymous Rossetti frame was
What design departures might be seen on some
based on medieval precepts and simple frames of
frames of this style? The nineteenth-century British
Flanders and The Netherlands. The “honest” archi-
artists Dante Gabriel Rossetti, Ford Madox Brown,
tecture, at first with the butt-joint construction of
William Holman Hunt (1827-1910), George Frederick
medieval plank frames, was often augmented by
Watts (1817-1904), John Everett Millais (1829-1896),
gold leaf applied directly on the oak frame to show
and William Morris (1834-1896), among others, used
the beauty of the grain. The basic “box” profile, a
and designed frames that, perhaps for the first time
flat surrounded on either side by a narrow higher
in the history of secular painting, were intended to
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Tracy Gill is a co-owner of Gill & Lagodich Fine Period Frames & Restoration in New York City. She has devoted more than 25 years to collecting, studying, restoring, selling, and curating period frames. The gallery has an inventory of over 2,000 American and European period frames spanning over 400 years. Gill has written numerous articles on period frames and lectures on the subject for collectors, schools, museums, and other institutions.
46 PFM July 2020
(Continued on page 45)
Top: This1860s Rosetti frame was gilded on 4”-wide milled and hand-carved quater-sawn oak. Bottom: Dante Gabriel Rossetti, Lucrezia Borgia, 1860-61, 43.8x25.8 cm, oil on canvas (Tate Gallery, London).
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