FRAMING PUZZLES: THE LATEST TREND
Creative CMC Designs Picture Lights: Everything You Need to Know
Contents
PFM is a member of:
Volume 31, Number 11
PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders
On the Cover
With people spending more time at home this year than in years prior, puzzles have seen a resurgence in popularity. Puzzles, which can take hours or even days to assemble and carry emotional value, are the perfect candidates for custom framing. For the full story, see page 18.
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
Photo courtesy of Mark Klostermeyer, MCPF
Features 18 Puzzles: Your Frame Shop's Missing Piece 24 Picture Lights: A Bright Idea for Boosted Holiday Sales
Columns 12 Mat Doctors 28 Successful Retailing Panel 38 Style Snapshot
24
Departments 8 10 32 34 35 36 37
Editor’s Note Industry News Product Showcase Distributor Spotlight Crossword Puzzle Index of Advertisers Crossword Solution
12
18
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
330 Mounts Corner Dr. #313, 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 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 November 2020
Bruce Gherman
FROM THE EDITOR’S DESK
A
Data shows that most consumers still plan to do their holiday shopping this year, and many want to shop small. Now is the time to gear up to meet the demand.
CONTENTS AD INDEX 8 PFM November 2020
re you and your business ready for the season? With the continued impact of Covid-19 on our everyday lives, small business owners worldwide are hoping the winter holiday months will bring a boost in sales. Fortunately, it seems most people still intend to make their lists and check them twice; a recent study conducted by Visa* found that 88% of consumers plan to do their holiday shopping this year despite challenges created by the pandemic. Of those, nearly a quarter plan to shop mostly at locally-owned businesses, and more than a third plan to split their shopping equally between locally-owned business and larger retailers. This is good news for small and micro businesses (SMBs,) the majority of whom (60%) say they are taking steps to prepare for this major sales opportunity. More than a quarter of SMBs expect to extend business hours to prepare for an influx of holiday season sales, followed by digitizing parts of the business operation and investing in physical infrastructure. If you already have your holiday hours, in-store displays, and online presence ready to go, it might be worth looking at items you can add to your framing orders to further boost profits.
One accessory item worthy of consideration is the picture light. Available in a range of sizes, styles, and finishes, they can make any framing project look truly special, and suppliers say they are often an impulse buy. See page 24 for the full story, including the experts’ advice on how to sell picture lights to your customers. Have you been framing many puzzles lately? Data shows puzzles have enjoyed a boost in popularity in the year of social distancing. Mark Klostermeyer, MCPF, makes the case for why you should be offering to show off your customers’ jigsaw masterpieces with custom frame designs (p. 18). Those stories and more await you in this issue, our second to last of the year. As you ride full steam ahead toward year’s end, I hope you enjoy a happy and healthy holiday season— including a healthy bottom line! * “Visa Back to Business Study Holiday Edition” usa.visa.com/ dam/VCOM/blogs/visa-back-tobusiness-study-holiday-sep20.pdf
Kimberly Biesiada Editor
INDUSTRY NEWS EnCore Acquired by 3A Composites USA 3A Composites USA acquired the Elmer’s and EnCore foamboard division from Newell Brands on Sep. 1, thereby broadening its product offering to the display, graphic arts, and framing markets. With this expansion, 3A Composites endeavors to integrate the knowledge and expertise of both companies. The resulting combination positions 3A Composites as an industry-leading supplier with a wide range of foamboard products, world-class manufacturing capabilities, and unparalleled customer service. 3A Composites USA looks forward to providing customers the same great service and products during this transition. For more information, visit 3acompositesusa.com and click on “News” under “About Us.”
bition, titled “Studio Berlin,” was organized by art collectors Christian and Karen Boros along with art curator Juliet Kothe. Featured artists include established figures such as Olafur Eliasson, Tacita Dean, and Wolf-
Berghain - “Tomorrow is the question”
gang Tillmans and younger names like Shirin Sabahi, Christine Sun Kim, and Sandra Mujinga. The collaboration between the club and the art world is one of many attempts to preserve Berlin’s nightlife during its forced hiatus. Berghain closed to the public on March 11, shortly before German authorities mandated the closure of all such businesses.
Framerica Welcomes Kyle Clancy
Famed Berlin Nightclub Reopens as Art Gallery
Kyle Clancy has joined Framerica’s customer ser-
After shuttering for several months due to the coronavirus pan-
vice team, bringing a wealth of knowledge and
demic, Berlin’s storied Berghain nightclub reopened its doors as a temporary art gallery on Sep. 9. The 3,500-square-meter venue, which includes a dance floor and the Panorama bar, is set to house works from 117 Berlin-based artists through December, according to the company. The exhi-
CONTENTS AD INDEX 10 PFM November 2020
experience to the position. “Kyle has been an outstanding addition,” notes Lisa Olsen, Framerica’s head of customer service. “He made an instant positive impact for our team and our customers.” PFM
Kyle Clancy
THE MAT DOCTORS
By Brian Wolf, CPF, GCF
Overlapping Openings A technically easy and visually effective device that adds to a design.
A
recurring question in the world of custom framing is, what are other ways framers can add decorative
elements to matting without settling for the typical cutout in the top mat? My answer is simple: overlap the items. One philosophy of composition holds that an arrangement should appear to be one whole, not scattered pieces. The tactics to accomplish this in a mat design might be for all the items to be in closely spaced orderly rows, or their collective outside borders might form a tidy rectangle—or the items could overlap. Simply overlapping on the design screen is not enough. Overlapping becomes a viable design device because CMC software can also merge the overlapping items into a single new shape. Every CMC program will have a different term for this merging, and it will function in different ways. In the Wizard software, there is a button to click called Group Selection.
Openings Overlapping a Letter
CONTENTS
Monograms are common in all the decorative
ter be larger. Pieces of it will be missing where
arts. Letters can be such pretty shapes, and too
the openings overlap, and the letter still needs
often in mat design, letters have been relegat-
to be identifiable and attractive.
ed to diminutive afterthoughts at the side of an opening. When openings overlap letters,
Technical Considerations
though, it is almost a requirement that the let-
When items overlap, cutting problems may
AD INDEX
Brian Wolf began framing pictures while attending Iowa State University. In 1973, he won the Janice Petersen Andersen award for outstanding design student. He began demonstrating his hand-carving technique for mats at conventions and teaching for the PPFA. Brian started his own framing business in Cedar Rapids, IA, in 1983. Since 1989, he has focused on leading workshops around the world on his matting techniques. He has authored books, appeared in videos, and contributed to trade magazines. He joined Wizard International, where he contributed his artistic touch to product development. He continues his work with Wizard through education, events, and design content.
12 PFM November 2020
Think of these constructed ornaments as vehicles for adding color accents. The trapezoids create angled wide spots at the sides of the reveal that are 0.13'' wide and 2.75'' high. The bottom layer of the triangles open 0.35'' wide spots in the bottom layer for the blue accents. Every template library has a dozen straight and curved shapes that can be added as accents like these. This art deco illustration is ripe for this kind of ornament, but it is surprising how universal geometric accents are if the colors and sizes are right.
ware merges the overlapping shapes. This possible overlapping is normally checked by the desire for the letter to remain readily identifiable. Still, be watchful. The large circle at the left shows a spot that is unrelated to overlapping, but it is a persistent concern as openings and decorative items are arranged. There is a small separation between the tail of the letter and the opening. These small separations need to be at least 0.2 inch. The overcuts on the back of the mat will continue past the bevel. If another opening is too close, these overcuts might be visible as nicks in the adjacent bevel. Or the overcuts might slice up the narrow strip of matboard between the items, making handling the mat during assembly risky.
Diamonds Linking Openings A row of openings is a daily project. Variations are always welcome. Here are two suggestions: Fanning is a tool that lines up the openings and rotates each item differently to distribute the items along an arc. If there is not a fanning utility in every CMC’s software, there is certainly a rotation tool. The second variation is the overlapping diamonds between the openings. Many different shapes could be used between the openings for various decorative effects. Top: When openings overlap letters, the letter can be larger. Parts of it will be hidden under openings, and it needs to be identifiable. This S is 3.75” high—significantly larger than its minimum recommended height of 1.5”. Think of what might be included in the blank areas: more openings, keepsake paper items, handwritten inscriptions. Bottom: As the items are moved to visualize different arrangements, watch the circled areas. The small circles show spots where angles may become too sharp, the middle size circles show spots where the openings should not overlap the curves of the letter, and the large circle shows a spot where the separation cannot be smaller than 0.2” without causing structural problems.
More Technical Considerations Much like the previous project, there are points to watch as these diamonds overlap (p. 16). The small circles across the top show reminders that overlapped intersections should not generate sharp angles. They also illustrate the reverse of the final point in the previous example; just as the strip of matboard between items needs to be at least 0.2'', the gap in a cut formed by overlapping items—these dia-
arise. In the S project, as with most overlapping projects
monds, for instance—also needs to be at least 0.2''. Once
involving curved elements, there are three things to watch;
again, the overcuts on the back of the mat continue past
the illustration above has circles that point these out.
the bevel. If the gap is too narrow, these overcuts may nick
The three small circles show intersections where an-
the bevel on the other side of the gap.
CONTENTS AD INDEX
gles might be formed that are too sharp to cut nicely. This
The large circles at the bottom show yet another situ-
particular arrangement shows angles that will cut fine,
ation where items need to be far enough apart that struc-
but imagine the letter and the openings moved farther
ture of the finished mat is not impaired. Visually, the bot-
apart. As the openings intersect different points on the
tom corners in a fanned arrangement look best if there is
curves, the angle of the intersection becomes more and
more than the required 0.2'' separation on the top layer.
more pointed. The bevel would become delicate, and it will
In this example, the separation is 0.375'' on the top layer.
self-destruct as it is being cut. The two mid-sized circles show spots where the sides
Building an Ornament
of the openings should not touch—and certainly not over-
Even with all the letters and silhouette cutouts in the CMC
lap—the curves of the letter. If they do, unsightly flat spots
programs’ libraries, the perfect addition for a particular
would be joined into the curves of the letter as the soft14 PFM November 2020
Extreme Savings™
/ $0.89/ft. 10681 Gloss
OFFER EXPIRES 12/31/20
$0.75/ft.
10682 Gloss
10676
10678
10680
10679
10677
10686
10684
PARK SLOPE
TM
$1.39/ft. 10688 Gloss
$1.29/ft.
10689 Gloss
10683
10687
10685
$2.19/ft. 10701 Gloss
$1.89/ft.
10702 Gloss
10696
10698
10947
10700
10697
10699
$1.59/ft.
10104
15/8” deep
10105
10759
15/8” deep
17/8” deep
8683
10465
17/8” deep
15/8” deep, gold side
10466
15/8” deep, silver side
eep
15 /16” d
17 /16”
$1.25/ft. 10496
10497
deep
$1.35/ft. 10692
Prices shown are for 50 foot length min/style
10942
10498
10499
Phone: 631-231-5959 • 1-800-937-1055 • Fax : 631-231-5034 • 1-800-937-0006
Extreme Savings™ 6661
8444
9471
$1.69/ft. 8057
$1.99/ft. 9472
8800
10187 10188 $0.71/ft
6607
$1.45/ft. 6662
10782
$1.25/ft 10783
6353
8981
6301
$1.99/ft.
$0.91/ft 6352
CONTENTS AD INDEX
$1.29/ft. 11009 8080
$2.99/ft. 8081
11006
11010
Prices shown are for 50 foot length min/style Phone: 631-231-5959 • 1-800-937-1055 • Fax : 631-231-5034 • 1-800-937-0006 order@decormoulding.com OFFER EXPIRES 12/31/20
Extreme Savings
/
™
11191
11192
11157
$0.65/ft. 11158 11159
11023
$0.95/ft. 11194 11195
11193
order@decormoulding.com OFFER EXPIRES 12/31/20
11196
11197
11198
11238
$1.09/ft. 11024 11025
5019
$1.39/ft. 5018
11106
$0.69/ft. 11098
11026 bbet
1” Ra
11107
ALBA
11027
1
11113
$1.09/ft 11112
11030 11096
1
10780 $1.05/ft.
10779 Gloss $1.35/ft.
10772 Gloss $1.35/ft.
$0.99/ft. 11105
bet
ab /”R
5 8
10778 $1.05/ft.
$0.41/ft. 6183
2007
10897 $1.35/ft.
$0.45/ft. 6184
10785 $1.19/ft.
10896 $1.19/ft.
10898 $1.35/ft.
2008
t
abbe
R 1/” 5 8
10781 $1.19/ft.
bet
Rab
1 /2”
TM
$1.89/ft. 11028 11029
$0.79/ft. 11099
$0.49/ft. 6185
2009
/1
15
et
bb
ra 6”
/ 9450
Extreme Savings™
$0.45/ft. 10777
t
bbe
” Ra 1 / 13 16
10660 10659 $0.99/ft. 8694
t
abbe
1” R
$0.47/ft. 8989 t abbe
11306
$1.29/ft. 11307
2” r
8693
9440
$0.65/ft. 8990
$0.75/ft.
10727 $1.19/ft.
9919
11082
1” rabbet
8811
8446
10728
$1.01/ft. 10493
$0.61/ft. 8993
9999 Stretcher Bar 21/2”W x 1”H $0.79/ft.
$0.75/ft. 10822
CONTENTS
9821 Stretcher Bar 11/2”W x 2”H $0.71/ft.
AD INDEX
10336
$1.01/ft.
10988
10625 w/Notch 11/8”W x 15/16H” $0.47/ft.
9820 Stretcher Bar 11/2”W x 13/8”H $0.54/ft.
8609 Stretcher Bar 15/8”W x 9/16”H $0.31/ft.
8411
10647 $0.63/ft.
$0.49/ft.
11128 Stretcher Bar 9960 Stretcher Bar 2”W x 17/16”H 11/4”W x 13/16”H $0.71/ft. $0.31/ft.
10573 Stretcher Bar 2”W x 1/2”H $0.39/ft. DUAL-PURPOSE STRETCHER BAR 10731 11/2”W x 3/4”H $0.39/ft.
10861 Bar 8610 Stretcher Bar Stretcher 1 8”W x 2”H 1 13 1 / 2 /4”W x /16”H $0.53/ft. $0.69/ft.
Decorative elements can be assembled from tiny opening shapes. The trapezoids are 2.75” high and 1” wide. The triangles have two layers with a 0.11” reveal. They are 0.35” high and wide. Once all the parts are in place, merge them into one shape.
zoid and a triangle. The trapezoid is a single layer so that it adds a wider vertical area to the sides of the inner reveal. The triangle is a two-layer opening so that there is a cutout in the bottom layer for an accent color. Customers would find more things that need framing Top: The three openings and the four diamonds are lined up and fanned in the software. The items are spaced close enough that the diamonds overlap and connect the adjacent openings. For reference, the outer diamonds are rotated 12°, the small openings 9°, and the inner diamonds 5°; gentle fanning to keep the presentation elegant. Bottom: The center opening is 4'' x 6''; the outer openings are 2.5'' x 4''. The diamonds are 1.25'' x 0.8'' high. The small circles show spots where angles should not become too sharp. The overlapping diamonds must also create a gap of at least 0.2'' in the sides of the openings to avoid cutting problems. These fanned arrangements look better if they are separated even farther; here they are 0.375'' apart.
picture is often elusive. But surprising things can be built using the most basic resources. Think of these ornaments less as artistic expositions and more as vehicles to add and expand spots of color. The programs’ template libraries have geometric shapes galore that can be easily manipulated into the necessary size, shape, and position. Overlapping and merging are then the keys to integrating these shapes into the opening. The ornaments seen in the design on page 12 were constructed using two different template shapes; a trape-
CONTENTS AD INDEX 16 PFM November 2020
if they knew how eye-catching and unique presentations could be. Overlapping is a technically easy and visually effective device that can change the attitude and add color— particularly with multiple-opening projects, when framers are almost always called upon to be the artist. PFM
PUZZLES:
YOUR FRAME SHOP’S MISSING PIECE
This puzzle, featuring a cover image from The New Yorker, was brought in by a couple who worked on it during the extra time spent at home this year. They initially thought of buying a simple black frame for it, but were thrilled to see what a custom design could do.
By Mark Klostermeyer, MCPF
way to reach those millennials who need a push toward
O
custom framing, and it can also serve as an introduction to
is not uncommon for Americans to turn to puzzles during
miring his work.” When you consider the investment your
times of uncertainty, and this year has proven to be no ex-
client has in the piece, both monetarily and in assembly
nce considered the domain of children and se-
the full spectrum of services you offer. In that same Times
niors, puzzles have come roaring back during the
article, one individual mentioned he “likes the feeling he
pandemic as a fun activity for the whole family. It
gets after putting a puzzle together, stepping back, and ad-
ception. The New York Times wryly called puzzles “a tool to save humanity:” a stay-at-home stress-buster that’s familiar and comforting. One game maker has seen US puzzle sales soar 370% year over year with estimated 2020 sales of over $609 million and an annual growth rate of over 6.1%.
CONTENTS
And while jigsaw puzzles have been flying off the shelves almost as quickly as toilet paper, one of the largest groups of consumers are millennials, who are discovering puzzles’ effectiveness for unplugging and destressing away
AD INDEX
from social media or other digital entertainment. So, what does all this puzzle talk have to do with custom framing? The answer is opportunity! If you have never framed a puzzle in your shop or you haven’t had any come through your door recently, then now is the time to promote this growing category. Puzzles might just be the 18 PFM November 2020
The puzzle was presented with a dark gray fabric mat and a limegreen frame to match the colorful piece without detracting from it.
A dark grey linen fabric from Frank’s Fabrics was used for the matting to offset the bright greens of the puzzle image and frame.
Mod Podge, which is applied like a paint and dries clear, was used to adhere, seal, and finish the puzzle.
time, you can understand why it’s an important object to
as long to assemble as a 500-piece puzzle. When a custom-
them. And if they think their piece looks great lying on a
er brings in a puzzle to be framed, be sure to ask how many
table, then they are going to love the way it looks hanging
pieces are in the project and compliment them on their
on their wall!
accomplishment!
All that time spent putting together a puzzle results
When my shop receives a call from a customer asking
in a beautiful image that has a more personal connec-
if we frame puzzles, the answer is “Of course.” The next
tion to your customer than a typical poster. Generally,
question is, “What is the next step?” We always recom-
your customer will have spent several hours, if not days,
mend the customer glue the pieces together at home, then
assembling their masterpiece; the number of pieces is an
bring it into the shop. This ensures the puzzle won’t break
indication of how much blood, sweat, and tears have been
apart during transit. The best way to stick your puzzle to-
sacrificed to the endeavor. As a rule of thumb, doubling the
gether is by using puzzle glue. Our favorite is the classic
number of pieces quadruples a puzzle’s difficulty—for ex-
Mod Podge, a polymer that contains polyvinyl acetate. Its
ample, a 1,000-piece puzzle will likely take you four times
main use is as a decoupage medium—an all-in-one glue, sealer, and finish. As a glue, you can use it to adhere items to porous surfaces like mat or fabric. As a sealer, it allows you to paint a protective layer over the project to seal the work. As a finish, it adds the final coating to the project. Mod Podge is available at every major craft store in the US and worldwide. Since it’s like a paint, it is easy to apply. It brushes on white and creamy when wet, then dries clear.
CONTENTS
You should discourage a customer from using diluted Elmer’s glue as a substitute; they are not the same formula and can result in peeling and yellowing over time. The puzzle shown here was brought in by a young
AD INDEX
couple who are avid readers. They enjoyed putting this puzzle together and wanted a memento of their time spent at home together this year. They described their taste as contemporary and said they wanted a fun look for the framing on this colorful puzzle, which they planned to Applying the Mod Podge to the surface of the puzzle before framing. 20 PFM November 2020
hang next to a set of bookshelves. When they first came
into the shop, they assumed a sim-
molding that perfectly matched the
ple, black frame would be the first
colors seen in the puzzle’s image.
choice since all their other artwork is framed in that way.
While the colors and design of frame mimicked the image, I rec-
Omega Molding recently came
ommended a mat as a visual buffer.
out with a collection called “Mil-
The customer did not want the size
brook” that was a perfect match for
of the piece to overwhelm this area
the image on my customers’ puzzle.
of the room. So, the solution was to
The 1'' square cap wood moldings,
top mount the puzzle on a spacer
which come in eight colorful, dis-
with a narrower 1 ½'' mat under-
tressed profiles, had a rabbet deep
neath. For the mat, we used a dark
enough to accommodate the puzzle.
gray linen from Frank’s Fabrics. We
We settled on a unique, lime-green
ended up dry mounting the fabric around the mounting board using Frank’s Fabric Adhesive. Fabric mats add a sophisticated richness with the linen bringing a sense of depth and subtle texture to the design. We have found our customers prefer this look over a plain mat, and it allows us to differentiate our designs from those of other shops in the area. The final glazing choice
While there is nothing wrong with a simple black frame, we as custom framers can offer a more unique look by suggesting creative moulding choices like this one.
was Optium Museum Acrylic from Tru Vue. The customer liked its light weight and ability to help eliminate glare, provide clarity, and provide 99% UV protection. The final framing design ended up being a fairly simple one; however, it provides the appropriate amount of visual support needed for the image. The frame is very colorful and fun, yet the puzzle stands out as the focus of the piece. There are five points to remember when framing puzzles. First,
CONTENTS
create an example of a finished piece and have it hanging on your gallery wall. Not only will it be a reminder to customers of the service
AD INDEX
you offer, but it could also be a potential sale. Second, give the puzzle a unique look. Avoid inexpensive, While the look of the frame mimicked the image, the dark mat added a visual buffer. The customer did not want the size of the piece to overwhelm this area of the room, so we top-mounted the puzzle on a spacer with a narrower mat underneath. 22 PFM November 2020
black frames. Go with a look that really stands out! Third, try using a fabric mat with a spacer under the
The happy customers with their treasured puzzle, made spectacular by a custom framing design.
puzzle. It is an unexpected look that can really set the piece apart. Fourth, use premium glazing. Puzzles can run into the issue of “double glare”—light reflecting off both the surface of the image and the glazing, making the piece look cheap. Let the vivid colors of the image stand out and be protected with a UV barrier. And fifth, pull out all the stops with your framing design. Just because a puzzle costs less than $50 does not mean it can’t look like a million bucks on the wall. Design confidence comes across to customers; if you can make a simple puzzle look great, just think what you can do with their artwork! PFM
Mark Klostermeyer Mark 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. PFM November 2020 23
Courtesy of Situ Art Lighting
PICTURE LIGHTS:
A BRIGHT IDEA FOR BOOSTED HOLIDAY SALES By Kimberly Biesiada
W
ith the winter holiday season fast approaching,
variety of sizes, styles, and finishes and add a “wow” factor
many custom framing retailers are busy order-
to all types of pieces, from traditional oil on canvas to mod-
ing stock, refreshing store displays, and market-
ern digital prints. This month, we spoke with some of the in-
ing the concept of framing as the perfect gift for friends and
dustry’s leading suppliers to learn more about what to look
family. One useful way to boost profits during this time is to
for when buying a picture light, which profiles are popular
promote accessory, or add-on, items to your customers.
in today’s market, and how framing retailers can entice their
Picture lights fit perfectly into this idea; designed to en-
customers to invest in lighting.
hance the presentation of framed artwork, they come in a
COMPARING PICTURE LIGHTS From size to bulb type to power source, picture lights can vary widely. The product that’s right for you will depend on your framing design, the type of art being framed, and your customer’s preferences. It’s important to consider the kind of light a system is using. Historically, incandescent, halogen, and fluorescent bulbs were used in lighting systems. In today’s market, many systems instead use light emitted from an LED
CONTENTS
(light-emitting diode). LEDs are energy-efficient and do not emit ultraviolet rays that can fade or damage artwork; a big advantage over its predecessors. While early models earned a reputation for emitting cool, bluish light—less than ideal for illuminating something like a painting—LEDs have be-
AD INDEX
come more sophisticated and no longer present the same issues with color. Today, LEDs offer myriad benefits when used in picture lights, said Jordan Minges, president of Situ Art Lighting in Picture lights are often purchased in a finish that matches the frame, blending into the presentation. Courtesy of House of Troy 24 PFM November 2020
Naples, FL. “LEDs allow us to do a few things. The first is artwork safety; we can do things that are UV- and infrared-safe.
compromise,”
thought when it comes to the visibili-
Minges said. “You can’t have wireless
“Everything
is
a
ty of the light fixture itself: those who
without recharging or changing the
want a light to blend into a frame, ef-
batteries. You can’t have a plug-in with-
fectively disappearing from view, and
out the outlet in the wall. It’s always
those who want a more noticeable light
about understanding your custom-
that becomes part of the framing.
er and what set of compromises they want to make.” Picture lights come in a range of styles. Courtesy of Concept Picture Lights
“Almost all our customers want something
discreet,”
Minges
said.
While sizing is not an exact sci-
“They want it to match the frame. That
ence, a good rule of thumb is to find a
being said, it gets down to style and de-
light that is roughly one-third to one-
sign [....] By going with something that
You’re able to get a better quality of
half the width of the artwork. Lights
matches the frame, you have a discreet
light across the board without any of
should be positioned at a 30-degree an-
option. By going with an accent piece,
those downsides. The second thing is
gle to the art to minimize glare.
you have something that’s of high con-
that they’ve enabled us to make fix-
trast and changes a little bit of the feel
tures that are literally fractions of the
STYLES AND FINISHES
size of what they used to be. To us,
Much like picture frames, picture lights
Like Wallace, Minges said he has
that’s the biggest deal. Things are mov-
are manufactured in different profiles
seen “a big pickup” in black fixtures,
ing throughout life to more stream-
and finishes to suit both traditional
while classic finishes like brass and an-
lined designs; we’re trying to make
and modern tastes. While popular col-
tique bronze remain best-sellers.
everything as small as we can. People
ors have remained fairly steady over
want that in their lighting as well. And
time—you won’t find huge demand
SELLING PICTURE LIGHTS
LEDs are absolutely what enables that.”
for fire-engine-red lights—some man-
When you think of picture lights, a tra-
Another factor to consider when
ufacturers have noticed an uptick in
ditional, oil-on-canvas painting might
comparing products is how they are
requests for certain products in recent
come to mind. While lights are certain-
powered. Most picture lights fall into
years.
ly still used for that genre of artwork,
one of three main categories:
of that piece of artwork.”
CONTENTS AD INDEX
Black picture lights are growing in
just about anything that can be framed
Plug-in — Like a household lamp,
popularity, said Sandra Wallace, vice
could benefit from the proper illumi-
this type of picture light can be plugged
president-general manager of Ameri-
nation a light fixture provides, from
into a regular outlet, meaning it can be
can Lighting Brands, Inc. Several light-
mixed-media works to prints on metal.
repositioned fairly easily down the line
ing brands fall under the company’s
if desired. Direct wire — These lights
umbrella, including House of Troy in
are hardwired into a home’s electrical
Hyde Park, VT, which manufactures pic-
feed, resulting in a clean, permanent
ture lights. The company’s nickel and
look. Often requires an electrician
gold finishes remain all-time favorites.
to install. Wireless (rechargeable) —
In terms of profiles, styles old
Lights that use battery power are easy
and new are enjoying popularity; it all
to relocate and can be good solutions
comes down to the customer’s taste.
in places where other power sources
“We have a lot of frame shops that see
aren’t available. No visible wires add a
mostly traditional artwork and really
clean look that’s similar to direct-wire
push our traditional lights,” Wallace
lights, but batteries must be replaced.
said. “But in different areas of the coun-
Each type has its advantages; wire-
try, we see really sleek, slim-lined, mod-
less lights may appeal to customers
ern styles. What’s important is knowing
who loathe the idea of running a cord
your clientele: what kind of people are
to an outlet, while customers who plan
you catering to?”
to have their light on daily may be better served by a plug-in model. 26 PFM November 2020
There are also two schools of
Black picture lights have been rising in popularity. Courtesy of Situ Art Lighting
Murari Sharma, owner of Con-
at that time, that piques a lot of in-
cept Picture Lights in Gaithersburg,
terest from the customer,” Sharms
MD, has seen his lights being used
said. “Especially because no light ver-
over framed maps and lithographs as
sus having a light—there’s a world of
well as paintings. Much like framing
difference. People notice that right
retailers, picture light manufacturers
away.”
also see an increase in orders in fall
Sharma added that it is “extreme-
and winter as the sun begins to set
ly common” to see repeat customers;
earlier in the day and the weather
once they invest in their first picture
turns colder, sending people indoors
light, they will often want more for
more often.
other artwork on their walls.
“I’ve been doing this for 20 years,
Another benefit of adding picture
and it’s like clockwork,” Sharma said.
lights to your repertoire? They’re of-
“Once the time changes at this time
ten a last-minute purchase, according
of year, sales jump up like crazy. Then
to Wallace. She echoed the impor-
in the spring, when the time changes
tance of having an in-store example,
back and people are spending more
which often prompts customers to
time outside, sales go back down. It’s
realize a light would make their own
very cyclical.”
piece stand out.
This is good news for retailers
“It makes it more personal if they
looking to boost their profits around
actually see something illuminated
the holidays; customers walking in
and realize, ‘You know what? It’s not
the door are more inclined to invest
really expensive. I could afford this,’”
in lighting now than they would be in,
she said. “It is definitely an impulse
say, the middle of summer. In terms
item.”
of generating interest, Sharma recom-
House of Troy offers small dis-
mends displaying an example of a lit,
plays with sample chips that show-
framed piece in your shop. Even more
case their different finishes. The kits
effective than that, he said, is showing
also serve as an easy reference guide
a customer what their specific piece
for retailers to calculate what size
would look like with lighting before
light their customer needs based on
wrapping it up for them to take home.
the size of their art. Situ also offers
“If they can figure out a way to
digital resources for retailers on its
put [the project] under a picture light
website; tools include a size calcula-
Small, discreet fixtures from Situ Lighting
tor and filters to narrow down a few top choices within your desired style. Minges, who also recommends having an example in your store, said he’s seen a technique that has proven highly effective for one of his retail customers; they lend wireless lights to clients they trust, letting them use it on their artwork at home for a week before returning it. “That’s been an excellent sales tool for them,” he said. Just like any other framing product, there is an investment required before you can successfully sell picture lights to your customers. If you are looking to grow your profits as you gear up for the holiday season, these fixtures could be the perfect solution. As Minges put it; “I think the biggest thing is to decide how much you really want to push the product. We have some very small framers who sell three, four, five times as many as larger framers. And to us, that’s a customer who has their sales presentation dialed in. Framers absolutely can sell a lot of art lighting—we see it. But you have to want to.” PFM
PFM November 2020 27
SUCCESSFUL RETAILING REAL FRAMING RETAILERS, REAL STORIES
Jay Goltz
Loren Feldman
President and Founder, Goltz Group, Inc.
Chief Content Officer, 21 Hats; Host, The 21 Hats Podcast
This is the fourth in a series of articles from the Breakfast Panel Discussion at the 2020 National Conference. This annual event brings industry experts together to discuss successful approaches to overcoming challenges in the art and framing industry.
Part 4: Marketing Strategies Continued and Financial Advice LOREN: What has your experience been with marketing?
not going to approach those people, but they take their demographics, analyze them, and find you a lookalike audience
AARON: I do some of the same things. I believe in Google clicks. I spend a lot of money on Google clicks.
LOREN: Has that gotten a lot more expensive for you?
that matches the audience you already have.
AARON: You can do that, and you can also put in the demographics you want it to look for. You can also search by region—people are only going to drive so far for framing. So-
AARON: It has, but I manage it pretty tightly. We do art and
cial media is key for me. I dedicate an employee to Facebook
frame, and so I can really target where my clicks are going. I
and Instagram posting for several hours every week. It’s all
do Facebook ads, and then I can go after the age group and
very important.
CONTENTS
who I want to target that is in the region. I do a lot of that.
LOREN: Do you use lookalike ads?
JAY: What are you posting? AARON: Pictures of successful jobs, who we are, or how
AD INDEX
AARON: I do. That’s been beneficial. I really put a lot of
to take care of your art, your frame—giving tips. You can’t
time into my social media.
always sell, sell, sell. You have to give them a reason to look at what you’re doing. If you’re giving them tips and teaching,
LOREN: Does everybody know what a lookalike ad is? Tell
people will look and share; and if you get a lot of shares, you
me if I get this right. You basically tell them who your exist-
know you’re posting something that’s interesting. There’s a
ing customers are. You can give them a list of emails. They’re
formula where you give a couple tips, and then you hit with
28 PFM November 2020
trying to sell them something, then a few more tips. You
AARON: Do not try this at home. My God! You get the peo-
don’t want them to turn you off on Facebook, which they
ple that are bottom-feeders that take up your time, and then
can easily do. They can either follow you or just have you in
they say, “Oh my God! That’s way too much.” Then, every
the background.
fifth person will come in and do $2,000 worth of framing.
JAY: What percentage of your sales are you spending on
JAY: At half off. Congratulations.
advertising, including paying this person? What percentage of your sales are going towards marketing?
AARON: I’m a $4 million-a-year business. I’m probably
AARON: No, it’s not half off. Groupon does not work like that. You give them the thing for $150, and it costs them $75 to do the framing. They get to use one coupon for one job.
spending $300 a day.
If they bring in three pieces, they can only use one coupon.
JAY: 365 days a year? That’s roughly $100,000 a year,
JAY: Just for full disclosure and to play fair, I think if you
which is only 2.5 percent of your sales.
go back and look, you’re going to find out that one in four
AARON: I am also going after art clients. On my framing
people is not spending $2,000 with you. That might’ve been a one-off.
end, I go six days a week, and I have two-and-a-half framers. It’s a part of my business that I’m building up. There’s a big
AARON: That is true, but everybody has to understand
marketplace for high end. Every now and then, if I want to
that business is not coming in 12 months a year. You have to
go fishing for new clients, I’ll take a risk and do a Groupon.
look at your downtime and go after those empty months, be-
Sometimes that’s tough.
cause you cannot lay people off for one-twelfth of your year.
JAY: Do not try this at home!
You have to keep busy all the time, so you have to project. On my books—probably your books, too—I’ll know when my off
PFM November 2020 29
times are. After 30 years, I know when
care of them. I do things fast for them.
I’m weak on sales. I will program that
We don’t pay them, but we have a good
into my budget, and I will go fishing for
relationship. I only work with custom-
new clients. The clients are just not go-
ers that appreciate what I do. I can hand
ing to find you. You have to find them.
them off to somebody else who can sell
Sometimes, you have to make some
them something when they don’t ap-
gutsy moves. Sometimes you have to
preciate me. As far as the good clients,
waste some time to fill up your bank
we have a good relationship. They want
account, but most of the time it works.
me to do well. I want them to do well. We’ll tag them, they’ll tag us. That gets
JAY: Most of your business is clear-
us great results.
ly art. If you only have two-and-a-half framers and are doing $4 million in
JAY: Great. Thank you.
sales, it must be mostly art.
LOREN: Come on up. You guys are AARON: We do about $400,000-
here to talk about our next segment,
500,000 of outside sales, but then I have
which is finance. Want to introduce
a big gallery that they have to frame for.
yourselves?
If you tie that in—framing the art that I have in the gallery—it’s probably dou-
HOWIE: I’m Howie Rumjahn, one of
ble that of what I make from framing.
the owners of the Rumjahn Gallery and Framery in Evansville, IN. My wife is the
JAY: Very good. Last question. Have ei-
other owner, but she couldn’t here be-
ther of you had any success with using
cause she’s taking a class this morning.
influencers through social media?
JILL: I’m Jill Warlick, and I own InfanAARON: I have not.
try Gifts and Military Frames. I also have a photography studio that feeds
MEDI: We do a ton of that. One of
all of that. My husband and I are out of
the things that we invested in is, we
Fort Benning, GA, and we have a mili-
brought a content creator into the
tary-related business.
shop. The content creator comes in for five hours Mondays, Wednesdays, and
JAY: Interesting. Tell us about your
Fridays. All he does is takes pictures of
finance experience.
either work, what we’re doing in the
CONTENTS AD INDEX
shop, or sometimes he’ll go out to job
HOWIE: We bought the frame shop
sites where there are installations and
about four years ago. It was owned by
take pictures. We work with a lot of in-
a couple who wanted to retire, and they
terior designers, and those are our in-
didn’t have kids who wanted to take
fluencers. We have some of them that
over the shop. When we bought it, they
have over a million followers, and some
had been trying to sell it for about five
of them that have 250,000.
years, but they had let the business dwindle because they were just show-
JAY: Do you reward them?
ing up and going through the motions, but not trying to grow it. The business
30 PFM November 2020
MEDI: We reward them by working
was actually shrinking. They sold it to
together. I give them good deals. I take
us for $60,000. With that, we got all the
equipment, but we found out quickly
same spot for 38 years, but those old
a mat cutter, so we went to the bank
that the equipment was aging. I don’t
customers, again, they literally were
three years ago. It’s a small town, so
really think it was worth $60,000. We
dead or they were not framing any-
we have a good relationship with our
also got their client list, but most peo-
more. We decided that it wouldn’t be
bank. We said, we need a mat cutter,
ple on it were dead or gone.
that much of a risk to move the entire
can we have a loan for this? We didn’t
business, because we had the equip-
have to do much; I told them what it
JAY: How much volume was the store
ment. We’ll start a frame shop from
was, and they said they could secure
doing at this point?
scratch. That’s how we looked at it.
the loan against the device itself. I came to the next show, talk-
HOWIE: At that point, I think it was
JAY: Because dead people don’t care
ed to the Wizard staff at their booth,
$120,000 a year, maybe. They were try-
where your frame shop is.
bought a 9000Z, and started paying
ing to sell us the building, too, but we
$300 a month on it. We got to keep our
didn’t buy the building, because we
HOWIE: Exactly! The mat cutter we
cashflow. My wife started pushing out
wanted to move to a location down-
inherited was a Wizard 5000. My wife
these really awesome designs; which,
town that was a growing area. We
was learning the trade, and so I said,
going back to marketing, you should
bought the business, not the building.
“This is good. You can use that until
be putting stuff on Facebook that peo-
you outgrow it, because you’re not
ple cannot get from the big box stores
doing any fancy framing.” After a year,
or anything else. That’s what sets you
we quickly found out that it wasn’t
apart, and we were not able to do that
HOWIE: We did move. In fact, essen-
sufficient for the designs Tina wanted
prior to getting the 9000, so that ma-
tially, it’s a startup. We consider it a
to push out there.
chine was a really good investment
JAY: Did you move?
startup, because we had no legacy cus-
We were still growing. We didn’t
tomers. This business had been in the
have thousands of dollars to sink into
on our part. Debt can be helpful. PFM PART 5 COMING NEXT MONTH.
PFM November 2020 31
Product Showcase AccuMount Tools
AccuMount Tools
The Keyhole Companion marks keyhole slot fastener locations on the mounting surface (ex. wall), eliminating the need for measuring or generating templates. The tools mount in the keyhole slots, allowing the object itself to be used as its own template. Available on Amazon.
The T-Screw Companion marks T-screw locations on sheetrock/ wood. Self-centering tool can mount on T-screw bracket while frame is hanging. Pushing on the frame at the location of the tool marks the T-screw location with a divot (pointed depression). Available on Amazon.
Call: 408-867-3030 www.accumounttools.com
Call: 408-867-3030 www.accumounttools.com
Decor Moulding & Supply
Delta Picture Frame Co.
Introducing Nantucket, a beautiful new line of six nautical-inspired rustic wood styles available in two widths of 1 5/8'' and 2 1/2'', with a rabbet height of ½''. The eye-catching feature of the Nantucket collection is the accent rope inlay which complements the distressed wood tones of rustic white, rustic brown and rustic gray. Order corner kit #CS-NAN to get these six styles on your wall immediately.
B5925 is a 1 ¾'' black moulding with a raised silver lip. You will find this moulding matches a wide variety of art and photography. For samples and pricing, please speak with your sales representative or call the office. Call: 800-327-5482 www.deltapictureframe.com
Call: 800-937-1055 www.decormoulding.com
Framerica
Michelangelo Moulding
Ocean Blue is the newest addition to Framerica’s Solids Collection. “Blue is both trendy and timeless,” notes VP Josh Eichner. “We worked with various interior designers to perfect our ‘Ocean Blue.’” Ocean Blue is a Framerica exclusive.
Michelangelo recently launched an abbreviated series of tall, stemmed mouldings. Due to the trade’s favorable acceptance, they are adding three more finishes to the 331 Wood Series. In addition to gold leaf, silver leaf, gun-metal gray, and black, they now have brown barnwood, bronze, and white finishes. Stock available for sampling.
Call: 800-372-6422 www.framerica.com
Call: 877-422-8812 www.michelangelomoulding.com
CONTENTS AD INDEX
Omega Moulding
Penny Lane Publishing
Edge by Omega Moulding is a collection of multi-use, modular mouldings that can be used to create standard traditional frames or to serve as floater frames for graphic arts media such as face-mounted acrylic prints and other panel-mounted work. Available in both black and white finishes (wood mouldings) and in aluminum (extruded metal).
Christmas artwork from Imperfect Dust! Contact a sales representative by phone or by emailing info@ pennylanepublishing.com for more information. All artwork also available on canvas and wood products. Select images are also available as large format giclée prints. Stock code: DUST729 “Fresh Cut Christmas Trees.” Size: 12'' x 12''. Retail price: $12.
Call: 800-289-6634 (US) 877-452-3799 (Canada) www.omegamoulding.com
32 PFM November 2020
Call: 800-273-5263 www.pennylanepublishing.com
Sepp Leaf
Superior Moulding
Mixol Universal Tints. Do you need to tint grain/wood filler, putty, paint, stain, wax, shellac, lacquer, or poly? Turn to Mixol for your custom color needs. Mixols come in 33 colors, plus three metallics. They won’t dry out or harden in your shop. They tint water, solvent, and quality oilbased products. Imported from Germany by Sepp Leaf Products. Available at www. rockler.com.
Superior introduces Tempest, one bold profile in six industrial finishes, reminiscent of aged metals. The wedge profile and distressed metallic finishes work well on modern art as well as contemporary oil landscapes. Request a color catalog online or call for samples and pricing. Call: 800-922-7914 www.supermoulding.com
Call: 212-219-0770 www.seppleaf.com
Tru Vue
Universal Arquati
Optium Museum Acrylic is now available in smaller, single-sheet sizes, making it easier for you to offer the best glazing for any project. Suggested retail pricing is available, and product is stocked coast to coast. Request a sample kit, find a distributor, and get complete details at tru-vue.com/ optium.
Introducing a new size to Universal Arquati’s successful gesso-free line: ¾'' x ¾'' Italian Prime! This Italian-made moulding’s new profile features opengrain, high-gloss, and matte finishes in a variety of colors. This profile is economical, gesso-free, and great for many uses with small pictures, inner frames, and photography. This product is now in stock! Please contact your local sales representative to get a sample set.
Call: 800-282-8788 www.tru-vue.com
Call: 800-668-3627 www.universalarquati.com
PFM November 2020 33
Distributor Spotlight
Quality Saw & Knife is now part of Connecticut Saw & Tool. Contact us for all your picture framing saw blade and sharpening needs. www.ctsaw.com info@ctsaw.com
800-404-1220
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 732-252-2270 Attn: PFM Editor or E-mail to editor@pfm-group.com
34 PFM November 2020
CROSSWORD CHALLENGE Across
Down
1 Surface onto which paint or another
1 Handheld tool to hold things together
medium is placed 6 Just put on the market
2 Uneven 3 ____ floater: frame that features a
8 Objective 9 GiclĂŠe, for example
drop edge that is wider at the face than the lip
10 Place into service 11 Tiers
4 Any chemical whose pH level is below 7 5 Additional item
12 Couple 14 Hard wood
6 Type of adhesives to use with acid-free substrates, 2 words
16 Fast 18 Glossy fabric
7 Tool used to loosen and tighten nuts 13 ___ core mat
19 Fastener 21 Type of mount board
15 Go downhill on snow 17 Material that is used on some
22 Kind of paste used for hinging adhesives for affixing an artwork to a backing or mat
mounting boards 18 ____ colored boards
24 Detroit's state, abbr. 25 ____ rag foamboard
20 Racket 21 Front areas
26 Heavy-duty, tightly woven fabric 28 Apple computer
23 # corners in a usual frame 24 Numerical calculations
29 Dined 30 Fasten 31 Orange-yellow color
26 Limit 27 Hoover, informally
SEE PAGE 37 FOR THE SOLUTION
PFM November 2020 35
Index Advertiser
Page
Advertiser
Page
AccuMount Tools .......................................................................35
Frank’s Fabrics for Framers .......................................................22
408-867-3030
888-332-2749
www.accumounttools.com
Active Sales ..............................................................................34 800-937-2255
www.activesalesco.com
Alpina Manufacturing, LLC ........................................................34 800-915-2828
www.fastchangeframes.com /www.bannergrip.com
Arlo Spacemaker Products, LLC..................................................35 800-332-2756
www.reevesextruded.com
www.franksfabrics.com
Global Art.................................................................................17 866-310-4278
www.globalartinc.com
Gluefast Company ....................................................................34 800-242-7318
www.gluefast.com
Hoffmann Machine Company ....................................................34
Artist Supplies & Products..........................................................34
866-248-0100
262-797-8101
House of Troy ...........................................................................27
www.gilderspaste.com
ASF - A Street Frames ...............................................................34 800-805-7655
www.astreetframes.com
Capax-Frame It ........................................................................10 800-942-2729
www.capax.com
CMI Moulding ...........................................................................34 301-476-7440
www.cmimoulding.com
800-428-5367
www.hoffmann-usa.com
www.houseoftroy.com
Jack Richeson & Co. ..................................................................34 800-233-2404
www.richesonart.com
Michelangelo Moulding .............................................................11 877-422-8812
www.michelangelomoulding.com
Concept Picture Lights ...............................................................33
Omega Moulding Company .......................................7, 16, 33, 37
800-711-1573
800-289-6634
www.conceptpicturelights.com
Connecticut Saw & Tool .............................................................34 203-318-4302
www.ctsaw.com
Decor Moulding & Supply ..................................15, 16, 31, 33, 37 800-937-1055
www.decormoulding.com
Designer Moulding....................................................................23 800-634-0032
www.designermoulding.com
www.omegamoulding.com
Picture Woods Ltd. ....................................................................23 800-321-6522
www.picturewoods.com
Rhonda Feinman Custom Frames .................................................6 800-297-1566
www.rhondafeinman.com
Ten Plus....................................................................................19
CONTENTS
Encore Products Inc ...................................................................21
888-944-8899
800-873-4868
Tru Vue ......................................................................................9
www.encoreproducts.com
Fixons ......................................................................................34 714-526-3455
www.fixons.com
Foster Planing Mill ..............................................................29, 34 AD INDEX
323-759-9156
www.fosterplaningmill.com
Framerica............................................ 2, 3, 4, 10, 16, 33, 37, 40 800-372-6422
www.framerica.com
800-621-8339
www.tenplusframes.com
www.tru-vue.com
Universal Arquati ..................................................................5, 25 800-668-3627
www.universalarquati.com
Wall Moulding ..........................................................................39 800-880-8315
www.wallmoulding.com
FrameTek .................................................................................30
Wizard International .................................................................13
800-227-9934
888-855-3335
36 PFM November 2020
www.frametek.com
www.wizardint.com
(Continued from page 38)
reeds can be flat, slightly rounded, quarter round, or half
sign was influenced by the summer “cottages” of the very
round in profile. Panels between bands of reeds could be
wealthy in Newport, RI. It was specifically built to house
very small or quite broad. Sometimes there were just two
his enormous art collection, which also included works by
or three bands of reeds; other times as many as six. Degas’
other late nineteenth-century masters such as John Singer
reeded frame, first seen in 1880, had a very broad, flat panel
Sargent, Thomas Dewing, Childe Hassam, Winslow Homer,
from the sight edge with just a few reeds at the other edge of
and John Twachtman.
the frame. He also experimented with wide reeds and using reeds in step patterns. Degas frames can also have a wide
Additional comments and/or anecdotes. Whistler, while not
rounded face, fully reeded. He painted many frames white,
the first artist to design his own frames, was the first to de-
pale colors, and darker greens.
sign his exhibitions. Rejected by both the British Royal Academy and Paris Salon and always an iconoclast, he pioneered the
What type of artwork would this frame most likely house?
idea of the sparse gallery. He was the first to paint the gallery
Whistler used this type of frame for both portrait and land-
in light, soft colors to reflect the tonality of the paintings. Paint-
scape paintings. Its simple and elegant lines are both clas-
ings were hung with space around them so that each could be
sic and contemporary and allow it to work with many types
viewed alone and as “art for art’s sake.” At that time, the Acade-
of subject matter and painting styles.
my and Salon exhibitions had paintings hung from baseboard to ceiling, with little space between. Ahead of his time, Whistler
What furnishings/interiors styles accompanied this
has had tremendous influence on how we see, frame, show,
style of frame in their time? This frame was owned by
and live with art today. PFM
Charles Lang Freer, an industrialist who made his fortune
“Best of PFM” takes a look back at some of the magazine’s
building railroad cars who was also an avid collector of
most popular articles on frame history as it celebrates its
Whistler’s work and Asian art. His home in Detroit was a
30th year in publication. This article appeared in its origi-
22-room Queen Anne shingle style, built in 1890. The de-
nal format in the December 2010 issue.
Crossword Challenge Puzzle Solution
PFM November 2020 37
Style
BEST OF PFM
SNAPSHOT By Rhonda Feinman
A look at a frame, its characteristics, and history What style frame is this? It is commonly known as the Whistler frame.
Where is it from? This frame was perhaps made in London by Frederick Henry Grau from patterns designed by American expatriate artist James
the same time as Whistler, Edgar Degas and, lat-
Abbott McNeill Whistler (1834-1903).
er, John Singer Sargent also experimented with
What time period is it from? Most likely, this
reeded frames.
frame was made in the late 1880s to 1890s. The
What is the defining characteristic of this style?
small size of the painting indicates that it was
The Whistler frame consists of a series of thin
painted by Whistler after 1879. Later in his career,
reeds alternating with flat panels. The reeds vary
he almost exclusively used gilded frames where-
in width and quantity throughout the width of
as, early on, his frames frequently had painted
the frame, with the clean lines creating patterns
patterns in the flat panels.
of light and dark. Widths of the flat panels also
Who was instrumental in developing this style of frame? James Whistler began to design frames around 1865 and was influenced by the British Pre-Raphaelites, the Aesthetic Movement, and his friendship with Dante Gabriel Rossetti. The mid-nineteenth century Pre-Raphaelites believed in the use of honest materials, no longer using ornate Victorian plaster patterns. The profiles of picture frames began to flatten, enabling the frame to merge the art with the surrounding
CONTENTS
wall. They would gild directly on wood, allowing the grain to show through. Rossetti often used flat, reeded designs in his picture frames. Around
vary to affect the tone and play of light. These frames were sometimes gilded directly over wood, showing the pattern of the wood grain, softening the gold rather than having the reflective surface of burnished gold over a gesso ground. The tone of the gold varied to harmonize with the colors of the paintings and integrated the design of the frame and painting. Whistler felt reeded frames were dignified and worked well to link the painting to its environment. What design departures might be seen on frames of this style? Whistler’s frames vary in the pattern of reeds and flat panels. Groups of
AD INDEX
Rhonda Feinman is the owner of Rhonda Feinman Custom Frames, Inc., in New York. The company specializes in authentic, handmade antique-reproduction picture frames. Feinman is a consultant to many well-known art galleries and museums regarding reproduction framing and restoration of antique frames. She has been in the custom framing business for more than 20 years and has a Bachelor of Fine Arts from Parsons School of Design, New York.
38 PFM November 2020
(Continued on page 37)
This Whistler frame is reeded but also features a wide, flat panel. The dimensions of the frame in relation to the art embody Whistler’s belief that the size of a painting was not a reflection of its importance.