CREATING THE PERFECT CORNER JOINING EQUIPMENT REVIEW • TIMBER MATS
Contents
PFM is a member of:
Volume 31, Number 10
PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders
On the Cover
From compact, manually operated models to high-volume, computerized machines, today's frame joining equipment is more sophisticated than ever—and perfect options for businesses of every size. For the full story, see page 12. Photo courtesy of Fletcher Business Group
Features 12 Finding the Right Joining Equipment for Your Shop 24 Photo Series Wins PPFA OPEN 28 Overcoming Joining Challenges 32 Timber Matboards
18
Columns 18 Framing Fundamentals 36 Successful Retailing Panel 46 Style Snapshot
28
Departments 8 10 39 42 43 44 45
Editor’s Note Industry News Crossword Puzzle Distributor Spotlight Index of Advertisers Product Showcase Crossword Solution
24
32
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
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 October 2020
Bruce Gherman
FROM THE EDITOR’S DESK
T
Frame joining is an essential component of custom framing; this month, we look at equipment and techniques for perfecting your joins.
CONTENTS AD INDEX 8 PFM October 2020
his issue takes a closer look at frame joining; both the equipment involved in cutting and joining moulding and the best practices to ensure consistently accurate cuts and clean corners. As joining is an essential component of custom framing, it’s worth reviewing the machines and techniques you are using in your shop, whether you have been in business for three years or 30. Our staff report on joining equipment highlights just a few of the many underpinners on the market today (p. 12). Performance features detail each machine’s capabilities, starting with manually operated models and moving to pneumatic models and, finally, the most sophisticated, computerized models. Whether you are currently shopping for a new machine or plan to upgrade in the future, the industry’s leading manufacturers offer models for every size shop, from small-volume retailers to high-production facilities. In our latest Framing Fundamentals column, Wayne Baker, MCPF, explores methods for creating the perfect corner—and how to achieve consistent, repeatable results (p. 18). What qualifies as a “perfect” corner may differ slightly from framer to framer, but abiding by these rules of thumb
will help ensure your framing jobs meet everyone’s highest standards. Of course, mistakes will inevitably happen; but while human error is a factor in any line of work, many frame production errors can be prevented by taking a few extra steps. In his latest article, Kevin Meath covers those steps from A to Z (p. 28). Kevin also offers solutions for overcoming challenges when joining tall, narrow, or warped mouldings. From machine maintenance to moulding selection, these expert tips will help you avoid costly mistakes. This issue also features the third installment of a five-part series on this year’s Successful Retailing Panel, which took place at the 2020 WCAF Expo. This panel brings together expert panelists and framing retailers to discuss business challenges and solutions. This year saw a new format in which business owners took the stage to share their successes in marketing, management, and finance. I hope you find these stories as valuable as those in the audience did.
Kimberly Biesiada Editor
INDUSTRY NEWS Important WCAF Expo Update The management team at the WCAF Expo has kept in close communication with our partners in the event planning industry and continues to monitor updates regarding the COVID-19 pandemic. As of this publication date, there are still restrictions in place on meetings and large gatherings imposed by government and health authorities. Some hotels in Las Vegas remain closed to the public. While framing retailers and suppliers have reopened and are conducting business, the meeting and convention industry is still awaiting reopening instructions. The difficult decision has been made to cancel the original dates for the 2021 West Coast Art & Frame Expo (Jan. 24-27, 2021 at the Rio AllSuite Hotel and Casino). “First and foremost is our concern for the health, safety, and comfort of our attendees and exhibitors,” says Deborah Salmon, trade show director. “Then it would be our ability to produce the high-quality event that our loyal customers look forward to every year. We respect the amount of time, resources, and manpower that our exhibiting partners, sponsors, and instructors dedicate to the trade event. Traveling has become quite challenging with restrictions from many international destinations, quarantine requirements, and other factors that would adversely affect attendees. Currently, there are mandated meeting attendance limits without a known release date. With all the uncertainty, it is in everyone’s best interest that this decision was made now and not later in the year.” The show management team remains dedicated to producing a live event. The phased reopening of facilities and release of restrictions on conventions will be monitored closely. While dates for a future show are not available at this time, updates will be forthcoming. “Our industry needs a live event,” Salmon says. “Art and custom framing are visual products. While other trade events might transition to a 100% online format, that would be a near impossibility for us. Retailers come to the show for a buying experience;
CONTENTS AD INDEX 10 PFM October 2020
to source new products, see new equipment, or take hands-on workshops to learn new techniques. They cannot enjoy the same quality virtually. It is a tactile experience where you can feel a product and see subtle differences in color and finish before making a commitment to carry a new line. The show also gives buyers the opportunity to watch and participate in live demos before investing in new equipment. The new technology and creativity we are seeing today for meetings and conventions is exciting and has a place, but not as a replacement for our industry.” Bruce Gherman, publisher of Picture Framing Magazine, adds, “This has been a year like no other, but the industry is alive and well. I am encouraged as I continue to speak to both retailers and suppliers about strong sales since their reopening. It is also great to hear the overwhelming support for a future trade show. PFM is looking forward to our next event, hopefully as early as the second quarter of 2021.” For 21 years, the WCAF Expo has welcomed thousands of attendees and exhibitors from around the world every January. This annual trade event features a trade show with new product launches, show specials on equipment and supplies, an annual convention with over 100 educational seminars, and a host of networking events. For more details, visit www.wcafexpo.com.
Framerica’s Dan Murray Celebrates 15 Years Dan Murray, a longtime member of Framerica’s national sales team, recently celebrated 15 years with the New York-based moulding manufacturer. “For 15 years, Dan has tackled every task with unprecedented care and effort,” notes VP Josh Eichner. “He is adored by his Framerica
Dan Murray
family and his customers and is regarded as one of the top salespeople in our industry.” For more information, call 800-372-6422 or visit www.framerica.com.
FIND THE RIGHT JOINING EQUIPMENT FOR YOUR SHOP
W
hether you have recently opened your own
joiners on the market for picture framing retailers of
frame shop, purchased an existing business,
all sizes. All products are listed alphabetically within
or are an established retailer looking to up-
each section. For further detail about these machines
grade your equipment, it’s important to keep up to date
as well as other models not listed here, contact your
on the joining machines best suited to your needs.
local sales representative or visit the suppliers online
Here, we take a closer look at just a few of the many
at the websites listed on page 16.
For the Small Retailer: Manual Underpinners The AMP U-200 is an entry-level
• Easy table tilt adjustment
Performance features:
frame assembly machine for small
• Join either from front or back of ma-
• Aluminum profile structure
retail operations. As a fully manual machine, it requires no compressed air or electrical power to operate. This quiet, lightweight unit allows
chine • Cable adjustment for actuator pedal height • Requires small footprint: 18'' x 30''
• Stainless-steel working table • Adjustable, magnetic chevron hold down and solid crossbar • Easy wedge loading • Quick and easy wedge positioning
the framer to bring the joining operation in-house for cost control and
The Cassese CS1 Series is a manu-
quick customer turnaround. It can
al, foot-operated underpinner ideal-
handle moulding sizes up to 5 1/8''
ly suited to a small retail frame shop.
wide and 3 1/4'' high.
The CS1 is designed to join softwoods, hardwoods, MDF, and poly frames. It
Performance features:
includes an adjustable magnetic chev-
• Pedal actuator – requires limited
ron hold down on a solid crossbar and
force for nail insertion
features easy V-nail loading and sim-
• Spring-loaded pull pin locking
plified V-nail positioning. The CS1 is
clamp mechanism allows quick
designed to be simple and fast and can
adjustment for different size
handle moulding sizes up to 4'' wide
mouldings
and 4'' high.
CONTENTS
For the Mid-Sized Retailer: Pneumatic Underpinners
AD INDEX
The AMP U-300 is a benchtop frame
joint. The V-nail insertion is actuated
joining machine popular with custom
using a pneumatic pedal. The U-300 will
• Quick-change, magnetic pad hold
framers. The design of the U-300 al-
join mouldings up to 3 3/4'' wide and 3
down feature fitting most mould-
lows the operator to set the front and
1/4'' high.
ing profiles
back measuring stops for V-nail inser-
Performance features:
tion. The frame is then moved across
• Pneumatic loader to eliminate nail
the nail head and V-nails are driven or stacked anywhere along the frame 12 PFM October 2020
jams • “Soft clamping” pneumatic feature
for damage-free joints
• Requires small tabletop footprint: 19'' x 18'' x 14'' • Operates only with pneumatic air, no electrical hookup needed
COUNT DOWN
TO A BETTER BUSINESS
10 MOUNTING METHODS FROM CHRIS PASCHKE
7 PRESERVATION FRAMING FROM HUGH PHIBBS
4 FRAMESHOP CREATIVITY FROM JOHN RANES II
1
9 A LOOK AT FRAME HISTORY FROM WILLIAM ADAIR
8 PROVEN SALES STRATEGIES FROM JARED DAVIS
6 MAT DESIGN FROM BRIAN WOLF
5 MARKETING TOOLS AND TECHNIQUES FROM GINGER HARTFORD
3 RETAILING TIPS FROM KEN BAUER
2 STRAIGHT TALK ON BUSINESS FROM JAY GOLTZ
PICTURE FRAMING MAGAZINE The Number One Source For Everything Framing!
www.pictureframingmagazine.com For more information contact 848-444-3138
• Dual-function foot pedal for separate control of clamping and V-nail insertion
• Self-adjusting fences make it easy to match moulding profile
Performance features: • Uses standard V-nails in the fol-
• Cassese’s exclusive Smart Nail
lowing sizes: 7, 10, 12, and 15mm
• Designed with a unique, trou-
Drive System eliminates the
• Includes four interchangeable
ble-free piston V-nail driver block-
need to adjust the top clamp lo-
heads and two self-adjusting hy-
blade system for years of depend-
cation and eliminates the need
draulic clamps designed to hold
able single and multi-stacking
to adjust air pressure between
the moulding in place to simply
operations
hardwood and softwood • Adjustable and magnetic chev-
The Cassese CS20 Cart pneumatically-operated underpinner offers
piece together your corner • Operator sets front and back
ron top hold down
stops and then uses the joystick
• Quick and easy nail positioning
to insert and/or stack V-nails
excellent flexibility for small framers up to medium-sized contract
The Universal Arquati DY104 is a
framers. Simple and easy to use with
high-value, bench- or stand-mount-
clamps for both the front and top of
ed pneumatic underpinner that is
the moulding to produce the high-
designed to join wider mouldings.
est-quality corners. Able to join a
It has a single-stage pneumatic foot
wide range of mouldings widths and
pedal that engages the horizontal
heights.
and vertical clamps. The DY104 can insert any number of V-nails be-
Performance features:
tween the front and back stops. The
• Patented, powerful, double-ac-
DY104 will join mouldings up to 6''
tion
horizontal
clamps
hold
wide and 4'' high.
moulding tight
For the Large Retailer: High-Volume Production Joiners file data storage of 5,000 different
erator comfort
frames, the operator can easily recall
• User-friendly touch-screen oper-
any frame profile either alphabeti-
ation with data storage for 5,000
cally, numerically, or using the bar-
frame profiles
code reading option. The U-600 will
• Bar code scanner option for
join mouldings up to 4 1/2'' wide and
production integration and ef-
3 1/4'' high.
ficiency
CONTENTS
• Join from front or back of maPerformance features: The AMP U-600 is the most advanced frame joining machine in
AD INDEX
the AMP line. This machine is ideal for high-production facilities that require flexibility for different sized V-nail fasteners or a common mm size through a market unique configurable channel feature. With pro14 PFM October 2020
• Equipped with five individual
chine •
Machine
handles
all
types
V-nail storing channels, capable
of wood, plastics, and MDF
of holding up to 220 V-nails each
materials
• V-channels can store multiple sizes or one common size for
The
production uptime and produc-
MemoTS+ is designed as a high-
tivity
speed production machine. Within
• Easy table tilt adjustment for op-
A-Plus
Automation
A6-
the same work cycle, the operator
MANUFACTURERS
• Nine nailing positions, up to nine nails per position
AMP: www.fletcher-terry.com A-Plus Automation: www.a-plusautomationusa.net
•
Storage
for
3,000
moulding
profiles
Cassese: www.cassese.com
• Wide mouldings – 7 1/2'' stroke
Universal Arquati: www.universalarquati.com
•
Powerful,
retractable
“Ultra”
clamps draw moulding tight
can insert and/or stack different
tion operations, with programmable
The Universal Arquati DY102 is a
V-nails in the different insertion po-
memory and a user-friendly touch-
high-value, fully automatic, comput-
sitions. The programs can be opera-
screen interface. This machine is
erized underpinner. The DY102 comes
tor input or downloaded from a PC.
designed to join softwoods, hard-
with four interchangeable heads,
The operator can select the frame to
woods, MDF, and poly frames. The
one for each size of V-nail. Chang-
be produced via the touch-screen or
touch-screen tells operators which
ing V-nails is a simple, three-minute
by scanning with the optional bar-
cartridge size and accessories to use.
task with this machine. It can store
code reader. The machine will au-
The programmable memory stores
up to 2,500 individual profile setups
tomatically adjust, and production
up to 3,000 profiles (unlimited pro-
in any alpha-numeric sequence. The
can start immediately. The barcode
files if full parameter barcode and
DY102 will join mouldings up to 6''
reader can also fully program the
scanner are used). The Mach 4 Cart
high and 4'' high.
machine using a special QR barcode.
will join mouldings from up to 6''
Performance features:
The A6-MemoTS+ will join frames
wide and 4'' high.
• Uses standard V-nails in the fol-
up to 7 1/4'' wide 4 1/4'' high.
lowing sizes: 7, 10, 12, and 15mm Performance features:
Performance features: • Magazine composed of five channels which contain five sizes of special steel wedges: 5, 7, 10, 12, and 15mm
draulic clamps and an adjust-
joiner • High-speed – 3,300 cycles/hour
able horizontal clamp • Vertical clamps have a separate
(two nails/corner)
pedal to allow self-adjusting
• Cassese’s exclusive Smart Nail
• Within the same work cycle, op-
Drive System eliminates the
erator can insert and/or stack
need to adjust the top clamp lo-
wedges of different sizes in the
cation and eliminates the need
different insertion positions
to adjust air pressure between
• Store an almost endless number
• Two self-adjusting vertical hy-
• Electronic + pneumatic memory
setup • Easy to set up, program, and operate •
Storage
for
2,500
moulding
profiles PFM
hardwood and softwood
of programs, which can be entered manually or downloaded from a PC • Operator can easily recall the
V-NAIL VS. DOVETAIL
CONTENTS
program through the touch-
Both an underpinner/V-nailer, like the models seen in this article, and a dovetail rout-
screen or through the use of an
ing machine are important pieces of equipment for a custom framing retailer. Dovetail systems are particularly useful for achieving strong joints in narrow, tall stem mouldings;
optional bar code scanner to restart production immediately
AD INDEX
• Horizontal, vertical, and fence
deep shadowbox frames; unusually shaped frames, including multiple angles; and other mouldings that won’t easily join on an underpinner.
clamping devices provide very precise tightening of the frame The Cassese Mach 4 Cart is a fast, heavy-duty design for high-produc16 PFM October 2020
Hoffmann Machine Company manufactures a number of benchtop and high-production dovetail routing machines. For their complete lineup and details about each model, visit them online at www.hoffmann-usa.com.
FRAMING FUNDAMENTALS
By Wayne Baker, MCPF
Techniques for Creating a Perfect Corner
Following these steps will help you achieve consistently great work.
W
hat is a “perfect corner?” To some, it will be a finished corner that replicates the look of a closed-corner
frame; for others, it will mean a corner with little or no gaps along the joined surfaces. To others still, it may just mean a good, solid join. Your customers will have their own idea of what a perfect corner is, and it may align with any of these definitions. However you define
each reacts differently to environmental vari-
it, there are some basic skills, principles, and
ations such as heat and moisture. The key to
techniques you can use to achieve high-quali-
achieving the perfect corner finish is to use a
ty, replicable corners for your framing projects.
quality moulding that is straight, without any
Let’s first look at some of the different
bowing or warping. By using a quality mould-
components and processes used when mak-
ing, you will find that the profiles will be more
ing a frame that can impact on the finish of
consistent in patterning and thickness over
not just the corners, but also the look of the
the entire length than is available with some
completed frame.
lesser-quality frames.
CONTENTS
The moulding you are using to make your
The next step after choosing the moulding
frame is the first item to consider. These can
is to cut the frame to size. There are a number
be made from metal, a synthetic or plastic ma-
of different corner joints used when making
terial, or timber. All moulding types come in a
a frame, the most common of these being the
variety of profiles, shapes, finishes, and qual-
45-degree miter-cut corner. For this type of
ity. Of these three, wooden mouldings make
corner, there are several cutting tools available
up most of what is used by framers. Wooden
to the framer; the one ultimately chosen will
mouldings are made from either softwood (co-
depend on the individual and, to some extent,
nifer trees) and hardwood (broad-leafed trees);
the quality of the corner required. There are
AD INDEX
Wayne Baker, is co-owner and operator of Framing Elegance and CJ Paste Pty Ltd. He has quali-
fications across a variety of fields, including a bachelor’s degree in production management, a master certified picture framer 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.
18 PFM October 2020
Though the definition of “perfect” is somewhat subjective, there are concrete techniques you can use to get corners that look beautiful in the eye of any beholder.
An outside corner of a frame before and after being joined. Using high-quality moulding free of bowing or warping is an important first step in the frame joining process.
basic miter boxes and hand saws, foot-operated or pneu-
equipment, refer to the owner’s manual or contact your
matic choppers/guillotines, and electric compound miter
manufacturer’s representative.
and double miter saws. Each has its advantages and disad-
Whatever method and piece of equipment is used for
vantages over the others, and all can offer a quality cut in
undertaking the joining process, I recommend that you
the right hands.
check the lengths of frame for being the correct size and
What is important with whichever cutting tool is used
being free from imperfections, place the moulding lengths
is to ensure it is correctly set up, adjusted, and aligned to
together in pairs (long lengths together and short lengths
give an accurate 45-degree cut; that the blades are sharp;
together), and color the top cut edges of the frame with a
and that the correct technique is used for the chosen tool.
touchup pen or similar on all four cut corners with a col-
Each cutting tool will have a different method for achiev-
or that approximates the moulding finish color—slightly
ing a good, clean cut, so refer to the owner’s manual or
darker gives the best results.
ask your machinery representative for the correct setup,
Check that the setup of the joining equipment is set
alignment, and cutting technique. When cutting, check the
for the size and type of moulding to be joined. Once done,
moulding piece for correct sizing by comparing against the item to be framed and ensuring there is a small allowance factored in for the expansion. Once you have the moulding sections cut to size, the cut lengths can be joined to form the frame. Joining is the process of bonding the frame lengths at the corners, using glue, nails, and/or wedges. As with the process of cut-
apply a thin, consistent layer of a quality wood glue across the entire cut surface of both faces of one pair of frame lengths. Place a long and short length together and align for the best corner before undertaking the actual clamping and joining of the frame. Repeat for the other pair of frame lengths and then join the two sections to form the complete frame, aligning each corner for the best overall
ting, there are several different techniques and pieces of equipment that are popular with framers to hold and join a frame. Strap clamps and nails, corner/miter vises and
CONTENTS
nails, underpinners with V-nails, and routing with wedges are some of the more common tools and methods used when joining the moulding lengths together into a frame. As with the cutting equipment, it is important that which-
AD INDEX
ever equipment is used, ensure that it is adjusted and set up correctly and in a safe working condition. As an example, check for an accurate 90-degree corner for a square or rectangular frame, and if used, check the backing fences for being vertical to the base. If you are unsure of any of the steps to set up and align the piece of 20 PFM October 2020
Checking an underpinner for squareness. Whether you are using a machine like this, a double miter saw, or other cutting tool, make sure it is properly aligned and set up in a safe environment.
This example shows the process of coloring the cut face of a piece of moulding. Color the top cut edges of your frame with a touchup pen on all four cut corners with a color that approximates the moulding finish color. A slightly darker color gives the best results.
finish. Wipe any excess glue off the face of the moulding if
of moulding, or a piece of equipment that’s slightly out of
it has been forced out during the joining process with cloth
alignment. The last one will be most noticeable, as it will
(this is common if an adequate amount of glue has been
occur on almost every corner that has been joined. What-
applied). Set the joined frame aside for 30 minutes or so to
ever the cause, the resulting joint(s) may be open slightly
allow for the glue to dry.
on the top surface or the side, the ornate patterning at the
If the above steps are completed with straight, quality moulding lengths, accurately adjusted and set up
corners may be at differing heights, or there may be slight marks on the moulding that you didn’t notice before.
equipment, and the correct techniques, you should have
Can these imperfections be improved? In most cases,
a near-perfect corner joint! I say “should” here because
the answer is yes. If the corner has a pronounced gap, the
sometimes, even if you have done everything in your pow-
best solution is often to restart the process and recut the
er to ensure good, consistent results, the corner joint is not
frame. This effect sometimes occurs when using a miter saw
as good as you would like. This can be caused by such fac-
and a frame with a slight twist. When cutting and using front
tors as a tiny twist in the frame when it was cut, a layer
clamping, the saw blade cuts the moulding in one direction,
of gesso that’s a slightly different thickness on the pieces
and as it retraces the path, a frame with a small twist may
CONTENTS AD INDEX 22 PFM October 2020
actually twist ever so slightly in position due to the clamp pressure and the blade will remove an extra amount of material. Normally this is towards the top, or face, of the moulding. When you try and join this in a corner, the top face will have an obvious opening along the join. If a gap or imperfection is minor, there are a number of products available to improve the overall finish and look. There are corner and nail fillers, gilders paste, wax retouch crayons, and putties and pastes, to name a few. There are pros and cons for each of the products, and as with the
An inside corner of a frame, before and after joining. Check your lengths to ensure they are the correct size and are free from imperfections, and place them in pairs (long and short lengths together).
equipment used for cutting and joining, everyone has their preferred products when it comes to improving the look
ing lengths that are as straight as possible. You can further
and finish of corner joints. Like the pieces of equipment,
improve your chances of achieving that perfect corner by
they all need their own methods of application for achiev-
using equipment that is in good condition and is set up and
ing the best results. These products come in an assortment
aligned correctly, and by using a technique that is applicable
of colors and textures, and as with the markers used to
to the individual piece of equipment. Finally, you can rectify
color the end faces of the frame prior to joining, the pref-
any minor imperfections in your joined frame using one of
erence here is to use a color that is slightly darker than the
the many finishing products made for this purpose. When
frame for the best finish.
these processes are undertaken with due care, you should
So, can you achieve the so-called perfect corner? Whatever your personal definition is, it is possible to achieve a
end up with a corner that fits your—and your customers’— interpretations of “perfect.” PFM
very good, consistent corner finish by using quality mould-
PFM October 2020 23
FELINE PHOTO SERIES TAKES FIRST PLACE IN PPFA OPEN COMPETITION
C
By Kimberly Biesiada hristine Hasenhündl, CPF, owner of Hako-Oja Stu-
I paid close attention to his words and actions, and began
dio in Wainwright, Alberta, Canada, took home
to mentally record all my past experiences in other shops. I
first place in the 2020 PPFA International Framing
even slowly began collecting random equipment and stash-
Competition, Open Category. Hasenhündl used her custom
ing it for the future.
framing skill set to create a design showcasing a film strip of photos taken of a beloved pet.
When did you open your own business?
In a recent interview with PFM, she discusses the inspi-
One day in early 2004, my husband took a job out of town.
ration for the design, her journey in the industry, and her
Moving from a big city to a small town had me wondering,
advice for framers seeking their own first-place win.
“What am I going to do now?” My husband insisted I open my dream. Hako-Oja Studio and Custom Framing was born
How did you get your start in framing?
on March 27, 2004, in Wainwright. This was a huge jump for
I was an artist first, and when I started to develop a list of
me from working in mainly assembly to now facing the pub-
collectors, I began to receive framing requests for my com-
lic and the design counter. I was terrified and determined. I
missions. Like many first-timers, the price of framing took
purchased all my equipment with a credit card and opened
me by surprise—especially when an artist tries to make
the doors.
money on a request. So in 1998, I began searching for a fram-
Two years into establishing myself as Wainwright’s
ing job. Malcolm and Nancy at Expressions and Images in
framer and hiring a “greeter” (my shop cat, Mina), my hus-
Edmonton gave me my chance.
band got called back to the city for work. I couldn’t bring
In the years following, I went on to work in other rep-
myself to close the shop so young in its life, so I made the
utable local frame shops. I’m glad I did; it allowed me to
unusual decision to keep it open. I cut the shop hours to
experience different levels of the industry, giving me a vast
one-and-a-half days per week. With only one vehicle in the
outlook on quality and quantity framing. One retailer in par-
family, Mina and I would drop my husband off at his job,
ticular, Bill Zorzos of William Zorzos Custom Picture Fram-
drive to Wainwright, open the shop for the day, spend the
ing, unknowingly planted the seed of opening my own shop
night, open the shop until 1 p.m. the next afternoon, and
one day. His longevity and business sense is second to none.
drive back to Edmonton to pick him up at work.
CONTENTS AD INDEX 24 PFM October 2020
Sixteen-plus years later, with the same hours, my framing turnaround time remains at one week for almost everything. I cut, assemble, and design everything at the shop. It gets exhausting at times, but it’s all worth it to keep my dream alive. Although in 2016, the commute nearly took the
The end of the matboard that featured the curl was misted with water on both sides, then wrapped around a mailing tube with kraft paper for protection and clamped firmly in place.
lives of both Mina and myself after a distracted driver struck our Jeep head-on. The shop had to close its doors for 18 months while we recovered. Hako-Oja Studio has survived two shutdowns (the accident and this year’s pandemic) and a lengthy, drastic cut in business hours. As the sole owner and operator, I feel optimistic about its future, so long as I’m patient and hold on to my dreams.
Was this your first competition entry? This was my third time entering the Open Competition. I first entered in 2016-17, when I won first place in my chapter for a framed Mack truck hood ornament. My second entry was in 2018-19; I won second place internationally for a
Backing was added on the film strip to give the underside a finished look. This was cut using the same technique as the main strip and attached with glue dots.
framed set of four vintage rhinestone cat pins. The only other competition I’ve entered is the PPFA Print Competition, with a first-place win in my chapter in 2015-16. That piece went on to win my first international award of Honorable Mention. I was hooked, and quickly began eyeing the top spot. In 2017-18, I took another Honorable Mention as well as Judges Award and Popular Choice. In 2018-19, it was a nail-biting Popular Choice. In 2019-20, I took second place internationally.
What inspired your design for this year? The idea behind this piece came from a series of playful photos I took of my beautiful cat, Pirelli. She loved the sound of opening a fresh bag of food and insisted on playing with the closer seal that would normally be discarded. For years, I had the photos in a simple rendition of a
The film strip was supported by its insertion into the side of the frame with a few glue dots on the back of the mat, under the curl.
Take me through the steps of the project. I really wanted to give it the feel of an actual negative strip,
film strip hanging up as a sample in the shop, showcasing
but with the photos being positive. I used the actual 4'' x 6''
a multi-opening mat. After coming up short of first place in
photos that were developed from a 35mm film back in 1996.
the Open Competition with previous entries, my husband
The film looks as if it is being pulled from its casing and
suggested I enter the film strip. I rethought how to execute
holding its curl at the end. There are no supports mid-film
the photo series in a more advanced way, with one thing
because I wanted it to remain as natural as possible, with a
staying constant; honoring my late “Sweetie,” Pirelli.
loose feel. I wanted the frame to essentially act as a casing for the strip; nothing distracting, but not just a square box, PFM October 2020 25
while damp. This step was very important, because if it had been too dry, the mat would’ve cracked when I tried to unroll it enough to cut the remaining cuts within the curl. I cut far enough down the strip to not interfere with the curl after it set during the final cuts. Then, the matboard was again misted and placed back in the exact rolled position around the mailing tube and held overnight until dry. Cutting all the lengthwise cuts prior to rolling prevented the matboard from needing to be positioned flat for future
A finishing trim of the same Crescent black rag mat used for the strip was hand-cut to surround the slit cutout and glued in place.
cutting. The crosscuts finalizing the individual openings were carefully cut while the curl loosely hugged the cutter bar, leaving no stress on the preset curl. Only the necessary remaining cuts were done before returning it to the mailing tube because I didn’t want the mat to dry between my steps to achieve the curl. Matboard can be cut while damp, but the blade needs to be sharp. After sitting overnight and drying fully, the matboard was carefully released from the mailing tube. I cut the remaining crosscuts all the way down the matboard to reveal the film strip. There is a Rising 2-ply backing on the film strip that backs the curl so when its underside is shown, it looks finished. This was cut using the same technique as the main strip and at-
This wall is not adhered to the frame but slides into a column built snugly enough to have a near-perfect corner on top and bottom.
tached with minute glue dots. The photos were individually mounted with minimal hinges using Japanese paper and rice starch, as the 2-ply kept things quite snug. The last photo, starting the curl, was scanned and printed in reverse and installed in the bottom of the curl to appear like you are looking at the last photo from the backside. The multiple mouldings that were chosen were simple. These were cut with a miter saw and joined using a thumbnailer and Maxim black glue. The main frame was chosen for depth, while the outer frame was chosen for its design to mimic the film’s gear holes. Plus, it gave even more depth by adding it onto the box frame. The two frames were adhered
The moulding was chosen to complement the colors in the photos and not distract from the centerpiece of the design: the film strip.
together using Maxim black glue and brads. The inner fillet frame was the same family line as the outer frame to help tie in the stack, as well as give me a wider frame lip to work with.
CONTENTS
The fillet was cut using a Fletcher Fillet Chopper. Inside, lining either. I chose simple, complementary colors and textures for
the walls and backdrop, is Rising 4-ply Medium Grey matboard
the moulding.
on top of EnCore conservation foamboard.
AD INDEX
The curl process was just that—a process! The Crescent
The film strip was installed using minimal mounting
#2296 Optic Black rag mat was hand-cut on a Fletcher 2100.
techniques, but needed to be inserted in a specific order. It
After the measuring and drawing lines, I cut all the cuts going
is supported only by its insertion into the side of the frame
lengthwise first. The end of the matboard that would feature
with a couple of glue dots onto the back of mat under the curl.
the curl was first misted with clean water on both sides of the
To adhere the curl while inserting the starting point of the
board, then wrapped around a 2'' mailing tube with kraft paper protection on both sides and clamped firmly so it wouldn’t unravel. It sat clamped for about 20 minutes and then released 26 PFM October 2020
strip into the wall, and while setting the frame down in place, things needed to be done separately to be installed together in
one single motion. Three of the side walls were adhered to the
truck hood ornament mounted on a wooden, hand-carved
frame using ATG Turbo glue. This held the glass in place. Then
replica section of the hood as seen from the passenger side
the last wall, where the strip starts, was left loose to slide the
through the windshield. The view out the windshield was
end of the strip into. Before insert-
an original three-piece watercolor
ing the strip, I cut a slit through both
I painted depicting the gravel road
layers of the wall wide enough to
we were driving on. I think I con-
slip the strip into firmly.
fused the international judges by
I hand-cut a finishing trim of
not explaining my objective. They
the same Crescent black rag mat
couldn’t figure out what I was fram-
used for the strip to surround the
ing—the painting or the ornament.
slit cutout for the strip and glued it
I learned a lot from that experience
in place using the ATG Turbo glue.
and how important your objective is
Then it was time to slide the start
when presenting a piece for compe-
of the strip into the slit in the wall
tition. Your piece seems obvious to
and let it free stand while lowering
you, but it may not be for the view-
the finished frame with glass onto the mounted strip. This wall is not
Hasenhündl pictured here inside her business, Hako-Oja Studio, located in Wainwright, Alberta, Canada.
er. Make sure the artwork or object is the focus. With this piece, it was
adhered to the frame, but slides into a column built snugly
not so much an object being framed as it was a scene be-
enough to have a near-perfect corner on top and bottom.
ing played. That’s the art of framing: you have to know when
Because the first photo is close to the frame in its presen-
a frame is part of the art, when a frame is just a protective
tation, I added a strip of frame sealing tape to the frame on
home for the art, and when a frame is complementing and
that end for added protection. The whole unit is held into the
enhancing the art.
frame using framer’s points. Finally, the premium glazing was
Read your score sheets with an open mind. Don’t take
cut to size using Fletcher’s 3000 wall mount cutter. The back-
things as an insult, but as a learning curve. This one can get
ing paper was attached with ATG tape and finished with wall
tough sometimes because we like to think that ours is the
buddies and bumpers.
coolest piece out there. The best part about entering PPFA competitions is that
How did it feel to win?
they’re so rewarding. To help with that, choose subjects for
I cried! I remember telling myself, “Get it together, it’s
the Open that have meaning to you. Frame your favorite
picture-taking time!” It was a huge honor and relief, like years
things. This will drive you to make it the best, and it won’t
of hard work had finally paid off.
feel like work. For the Print, try to find common ground be-
What advice would you give to a framer who is competing for the first time? As I mentioned, a few years ago, I entered a framed Mack
tween you and the piece. Because everyone is framing the same thing, finding a personal interest within it will make it yours. If you can achieve that, you’ll frame it beautifully and your ribbon will mean so much more. PFM
PFM October 2020 27
OVERCOMING JOINING CHALLENGES By Kevin Meath
I
n this article, I will cover some ways to help make your
breakers. They help prevent chipping of the cut by sup-
life in the shop easier and more productive, and to help
porting the moulding as the blade goes through the ma-
you produce better-looking, higher-quality frames.
terial. If you start to see chipping on gesso moulding, this
Let’s talk about what makes some mouldings harder
is a good place to start looking. These chip breakers are
to join than others. Moulding cut quality is where I start.
replacement wear items and should be checked at every
If you are getting chops, there isn’t much you can do oth-
blade change or when excessive chipping starts to hap-
er than work with your supplier to get them to give you
pen.
better quality. If you are cutting your own moulding, there
Many saws today are equipped with hold-down
are several things to check. Is your saw in alignment, both
clamps. The correct placement of these clamps can make
horizontally and vertically? You can check this quickly
the difference between a poorly cut corner and a perfect
with a 6-foot straight edge or level. I check vertically first
corner. The clamps need to push the moulding straight
to make sure the infeed and measuring tables are perfect-
down, flat and tight against the top of the saw. Any rock-
ly in line with the saw table. Then I check horizontally to
ing or movement will show up in the cut and degrade the
make sue the measuring table fence perfectly matches up
quality of the cut. If you see or feel this movement, the
with the saw table fence. It’s not unusual for the saw to
leg can most likely be saved by using the AMP Disc Sand-
move a bit during months of operation, so I check at least
er (04-085) to true up the 45-degree cut. These machines
monthly. It’s a quick check and easy to do.
are a lifesaver with how they can improve the cut quality
Next, check your blades. Is it time for a sharpening?
before the moulding is joined! Be careful with how much
Telltale signs are burn marks, uneven and chattered cuts,
material you remove to not dramatically change the
and the motors slowing or bogging down as you cut. Time
length of the leg.
CONTENTS AD INDEX
to change the blades to a sharp, high-quality blade made
Before we move on from the topic of saws, let’s talk
for cutting picture frame materials. Make sure you use
about bowed or warped mouldings. These are common,
a high-quality sharpening service who understands that
and for the most part, such issues can be overcome. With
these are picture framing blades. If you have a double mi-
bow or warp, I cut the leg a bit long—usually 1''—and then
ter saw, the blades need to be marked as pairs. It is im-
trim to size. This almost always releases the bow or warp
portant that the blades be kept in sets; this helps ensure
and allows a high-quality cut. If this doesn’t quite take
the blades are sharpened to the same diameter. Blades of
care of the issue, I use the AMP Disc Sander to true up the
different circumferences will cause chipping on the out-
45-degree cut.
side corner of the smaller blade.
Twisted moulding is extremely difficult to join. If
While we are checking the blades, take a look at the
your sticks have twist, the best solution is to return them
chip breakers and make sure they are not worn out. Many
to your distributor. If that is not a possibility, again try to
saws have both bottom-support and back-support chip
cut the legs long and trim to size; or, you can sometimes
28 PFM October 2020
You can quickly check your saw’s alignment by using a 6-foot straight edge or level. I check vertically first to make sure the infeed and measuring tables are in line with the saw table, then horizontally to ensure the measuring table fence matches up with the saw table fence.
cut between the twist to salvage as
entire frame while joining. If the
space the V-nails. Some machines
frame droops or is held too high, the
allow only two nails per setup; oth-
quality of the join will be affected. If
ers will allow up to six. There are
your machine has arms only, there
also machines with “joystick” han-
are ways to help get them leveled
dles that have a front and back stop
up with the joining machine table.
but allow nails to be driven any-
If the arms are low, I use “fend-
where between the two stops.
er” shims from an auto parts store
For the height of the V-nail, my
around the bolts to shim them up.
goal is to select a V-nail or stack that
These shims are thin, “U” shaped
will be two-thirds the height of the
washers that are easy to slip onto
moulding.
the bolt in the joint between the
manufacturers will have a selection
arm and the machine. All the bolt
of V-nails for different wood types.
holes are slotted to allow for adjust-
There is a difference of the edge
ing the height. I find it rare that the
sharpening for hardwood, softwood,
arms will be high once they are cor-
and MDF nails. It’s best to use the
rectly adjusted. If they are, a slight
V-nails that match your material
hammer tap or two should bring it
type. Keep in mind that some wood
back down to level.
species classified as hardwoods are
High-quality
machine
much moulding as possible. After
Correct placement of V-nails is
getting the best leg I can cut, I go
also imperative to perfect corner
to the Disc Sander and true up the
joining. V-nail placement also de-
Some mouldings may require
miters as much as possible. Twist-
pends on the substrate you are join-
“stacked” V-nails to get the top of a
ed sticks will kill your yields, and
ing. MDF and polystyrene require
tall moulding to stay tight. This can
you will need more moulding than
some extra care to not split the
be difficult as some mouldings have
planned to get the best possible
moulding and cause extra touchup.
woodgrain structures that will cause
frame.
quite soft, and some softwoods can be quite hard.
When joining MDF or polystyrene,
the V-nails to go off track and pos-
Next, let’s move to the under-
I try to stay at least ¼” away from
sibly split out. Because of this pos-
pinner. Many of the issues with ver-
the outside and inside edges. Solid
sibility, I never stack more than two
tical and horizontal alignment we
wood can be closer, but take care, as
V-nails vertically.
found with saws also apply to your
it can split as well. This helps to al-
When I’m working with very tall
joining machine. The arms or table
low plenty of moulding strength to
mouldings or thin, gallery-style stem
that supports the moulding during
not have any material displacement
mouldings, I’ve recently started us-
joining must be in alignment with
from the V-nail show up on the
ing a Hoffmann dovetail joining sys-
the table of the machine. Keep in
outside of the join. The first thing
tem. The system routes a precisely
mind that you must support the
I do with a new moulding is decide
placed slot in the miter that allows a
where I want to put V-nails. I take a
CONTENTS
leg of the moulding and draw where I want to put the V-nails. I then place the moulding in the underpinner and set the machine to match
AD INDEX
my drawn lines. I often test a scrap or two on a moulding that’s new to me to make sure I get the best possible V-nail placement. It’s not unusual for your saw to move a bit after months of operation, so check its alignment at least monthly. This easy check will help ensure fewer cutting errors. 30 PFM October 2020
Depending on your machine, you have choices with how you
An example of an underpinner that has been aligned correctly. Many of the alignment issues seen with saws apply here as well.
The Hoffmann dovetail joining system routes a slot in the miter that allows a plastic or hardwood “dovetail key” (seen here) to be inserted into the slot to hold the miter together.
plastic or hardwood “dovetail key” to be inserted into the slot to hold the miter together. This is a great system that can be used for any moulding, but it’s amazing on stems. The dovetail keys are made in many sizes; 3/8'' (10mm) to 4'' (102mm) long in four different thicknesses. The Hoffmann system can join anything an underpinner can join, but has the advantage of working so well on extra-tall mouldings where many un-
ant because the glue holds the frame
tice. I find that I become “untrained”
together, and the mechanical fasten-
when I don’t join frames regularly. If
er (nail, V-nail, or dovetail) is used to
I’m a bit out of practice, I’ll join a few
clamp the moulding until the glue
ready-mades first to warm up my
cures. I feel it is extremely import-
skills. Keep practicing, study your
ant to use glues specifically designed
frame, and learn from any mistakes
for picture framing. Picture framing
that happen. We all can continue to
glues have a slight flexibility, where-
learn our craft and absolutely wow
as regular wood glues have none
our clients. PFM
and will easily break. Picture framing glues are available from many sources and are now available tinted to dry clear, white or black. Using the glue correctly means that the entire surface to be joined is covered with glue; there will be some “squeezeout” that is easily cleaned from the joint before curing with a damp cloth. The tinted glues help eliminate touchup as they have very high solid and will fill many slight gaps. Joining frames is an art; one that is learned through hands-on prac-
Kevin Meath Kevin is a framing professional specializing in operations, sales, and management. His skill set enables him to consult in all areas of frame manufacturing, from small, low-volume, extremely high-quality shops to very high-volume OEM factory production operations. He has extensive experience in plant layout and lean manufacturing practices, design, and product sourcing. Kevin is currently a consultant working with manufacturers who want to improve productivity, cut costs, and improve yields. His clients range from small companies looking to expand their offerings to larger operations with needs to control costs and improve productivity.
derpinners struggle. One disadvantage is speed. The Hoffmann system is significantly slower than an underpinner as it must be set up and the slot routed for each key and then the key installed into the slot with glue. As with the saw, if your machine has vertical clamps, they need to be adjusted correctly to keep the moulding held securely in place. Many machines now have a system of hydraulically balanced double vertical clamps. This works extremely well on wider mouldings but can be a bit of a struggle on narrow or small mouldings. I balance the second clamp (the one that won’t reach the moulding) with a scrap block of wood or moulding when joining these smaller mouldings. No matter which joining system you use, all picture frames should be glued before joining. This is importPFM October 2020 31
TIMBER MATBOARDS By Jodie Prymke, CGF
W
e all know about beautiful, old timber matboards, often seen surrounding antique sepia portraits and photographs. If they are in good
condition, they can usually be brought back to life with a quick clean and a fresh layer of shellac. But how can we recreate the look if they are beyond repair; for example, bug- or water-damaged?
IMITATION TIMBER VENEER MATBOARDS We are lucky these days to have so many different products available that are readily accessible from all over the world via the internet. One product I have used with success is timber-look wallpaper purchased on eBay, which
Reviving an antique timber mat or recreating the look of one with new materials (like the mat shown here) can turn your client’s framed artwork into a standout piece. The frame and mat colors complement this black-and-white lemur artwork for a classic look.
can be seen in the example photo on page 34. For that
on the face of the veneer only. Make sure you allow at least
piece, the wallpaper was dry-mounted onto a black, 4-ply
1'' extra on the outside and the inside of the veneer, which
100-percent cotton rag matboard with dry mount tissue.
will be trimmed later. Apply Titebond Wood Glue to the
A domestic iron was used to fuse the dry mount tis-
back of the taped veneer as well as the 100-percent cotton
sue between the matboard and the wallpaper, with a piece
rag matboard to which it will be adhered. Wait until the
of calico placed over the top of the wallpaper to prevent
glue is touch-dry, then glue the two pieces together using a
it from scorching and melting. The wallpaper is match-
heat press or a domestic iron with a piece of release paper
able across the width, so the size required is not an issue
over the top to protect the veneer. Set aside to dry thor-
if you’re framing a large piece of art. Once mounted and
oughly overnight.
cooled, the matboard can be stained if you wish with any
Once completely dry, fill any gaps in the veneer with
timber stain, then cut in the usual manner with the tim-
a color-matching wood filler. Timbermate is a non-shrink-
ber face down in your CMC. Remember to adjust the blade
ing, water-based wood filler that is available in an array
depth to 5-ply to allow for the thicker matboard.
of different timber colors. Sand the veneer until it is com-
CONTENTS
GENUINE TIMBER VENEER MATBOARD For smaller artworks, and if you’re feeling adventurous
pletely smooth and flaw-free. Wipe off any excess sawdust with a cloth and apply two or three layers of shellac to seal the timber. Allow to dry completely.
AD INDEX
with your design, why not try a genuine timber veneer
When the veneer is dry, the mat opening can be care-
matboard? You can offer your clients a genuinely one-off
fully cut on the CMC. Adjust the blade depth to allow for
piece that simply exudes luxury. (Please note: this tech-
the extra thickness of the veneer covered matboard, which
nique is not suitable for conservation work.)
is now approximately the same thickness as a 6-ply board.
There are many different timber veneers available by
Set the cutting speed to very slow—10 percent is recom-
the sheet and length. Choose pieces which are relatively
mended—and always remember to use a fresh blade. Place
flat and thin; 0.5mm thickness or less. Prepare the veneer
the matboard in the CMC face side down and cut from the
by taping the pieces together using removable tape. Tape
back. Finally, trim the outside to size.
32 PFM October 2020
1
2
3
4
5
6
7
8
9
(1) Prepare the veneer by taping the pieces together using removable tape. (2, 3, 4) Apply Titebond Wood Glue to the back of the taped veneer and rag mat, and wait until the glue is touch-dry. (5) Glue the two pieces together using a heat press or a domestic iron with a piece of release paper over the top to protect the veneer. (6) Once completely dry, fill any gaps in the veneer with a color-matching wood filler. (7) Sand the veneer until it is completely smooth and flaw-free. (8) Wipe off any excess sawdust with a cloth and apply two or three layers of shellac to seal the timber. (9) When the veneer is dry, the mat opening can be carefully cut on your CMC.
The timber veneer used in the framed example above is Macassar Ebony, which was glued onto a black 100-percent cotton rag matboard. An additional black rag mat was used as an inner mat (cut separately). The black-and-white lemur artwork is from “The Natural History of Madagascar� c.1885 by John G. Keulemans. The piece was finished with
CONTENTS
premium glazing and a spacer was used to separate the glass from the timber matboard. The frame is an olivewood veneer timber in black from Bellini Fine Mouldings. PFM
AD INDEX
Jodie Prymke, CGF
Wallpaper that looks similar to a genuine timber matboard was dry-mounted to black rag mat for use with these larger artworks. 34 PFM October 2020
Jodie is an international award-winning frame designer and PFGV Certified Guild Framer. Her boutique framing gallery, Jodie Prymke Fine Art Framing, in North Adelaide, South Australia, opened in March 2008. She specializes in unique frame designs, French matting, and frame restoration.
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 third 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 3: Letting Go of Bad Employees and Marketing Success Stories LOREN: You explained to us how you figured out the thing
they like to do? What’s the hardest job they’ve ever had? Re-
with your production manager, but overall, how important
ally try to understand them.
was figuring out hiring to the success of your business?
Check candidates’ references. Most companies don’t do this, and I’m talking about every industry, not just pic-
JAY: The critical piece. I think hiring people is absolutely
ture framing. Nine out of 10 times, it’ll be a complete waste
the critical piece to growing your business.
of your time; but that one out of 10, you’ll find out, yikes—I dodged a bullet on that one.
LOREN: What have you learned about hiring?
And once you hire someone, you have to take the time to train them. It doesn’t take a week; it doesn’t take two months;
CONTENTS AD INDEX
JAY: Write a really good ad that resonates with people.
it takes six months. I have 115 employees. My average em-
“Looking for someone to work directly with the owner in an
ployee’s been with me for 10 and a half years. If you go to my
art field.” Write something that will make people think, “Hey,
booth, the Bella booth, you will see my all-star team. There
wow! I have an art degree. That sounds cool.” In our indus-
are three people there that have been with me for more than
try, where do people with art degrees go? Starbucks. Let’s be
20 years; the rookie’s been there for 12. You can do that. They
realistic: how many people with art degrees end up working
exist, but you have to get the business stuff right.
in an art field? I don’t have the statistic, but it’s certainly not 80%. So working for you is a great opportunity! Interview a lot of people, and keep looking until you find the right person. Ask lots of questions. Don’t just talk about yourself and your business; ask about them. What would 36 PFM October 2020
LOREN: You had to figure out how to hire people. Did you also have to figure out how to fire people?
JAY: Yes. It’s the worst part of the job, clearly, but this is where
I say, grow up. If you think you’re going
your employees are happy, and to make
business has changed now, so you have
to go through business and not have to
sure you’re happy. If there’s something
to evolve—but there are still people
fire somebody, then you’re naive. Yeah,
this person’s doing wrong that’s screw-
that want nice, cool, interesting things
you have to fire people sometimes. You
ing that up somehow, it is your respon-
for their walls.
have to know when to fire them.
sibility to fix that. It’s not fair to your
LOREN: How do you know when to
customers to keep someone around
LOREN: On that note, let’s move into
that’s not doing a good job.
part two. Please welcome Deborah
fire them?
Salmon, trade show director.
LOREN: We’re going to have to move JAY: I have a really great, easy test.
on to the second part of this shortly,
DEBORAH: Thank you. As you en-
Imagine you’re back at work tomorrow,
but I’d love to hear your thoughts about
tered the convention area, I hope that
and the employee you’re struggling
where you think this industry is going.
you enjoyed the inspirational boards
with walks in and says, “Listen, I’ve
We hear a lot of scary stuff. We’ve all
that are on display, because you never
got some bad news. I’m moving out of
read about the retail apocalypse. You’ve
know where you’re going to find inspi-
state and I need to quit.” Is your viscer-
told me that 10 years ago…
ration. We’re hoping to find people in
al reaction relief? If it is, they shouldn’t
the audience that can help inspire ev-
be working for you. You should be dis-
JAY: …There were 25,000 frame shops.
eryone through this great conversation,
appointed when someone quits. You
Now there are 8,000.
and also in the pages of the magazine.
shouldn’t be relieved. You don’t have to go screaming at them and tell them they’re worthless;
Through a series of questions we are
LOREN: What do you see as the future
going to narrow down our participants,
of this industry?
so raise your hand if any of these apply
you call them into the office and say,
to you and you’d like to join us on the
“You know what? I’ve talked to you
JAY: As Mark Twain said, “The rumors
about this problem several times, and
of my demise have been greatly exag-
The first segment will be about
I’ve really realized this just isn’t the
gerated.” The industry is not dissolving;
marketing. We’re looking for someone
right place for you.” My other advice
it’s evolving. It’s changing. Just because
who spent at least $10,000 in the last
is, don’t turn this into a 45-minute ar-
we went from 25 to 8 doesn’t mean that
year on marketing.
gument. You don’t need to win. If they
two-thirds of the industry went away.
Our next segment is about finance.
try and argue with you about your de-
Probably these were the smaller places
Does anybody have a line of credit that
cision, you say, “I’m sorry you feel that
that were struggling. It’s survival of the
they’re currently using? Has anyone
way. You know, you might be right;
fittest. The better frame shops are left.
bought equipment here at the show? Is
stage.
CONTENTS AD INDEX
maybe I’m making a mistake. But I’ve
There are lots of small businesses
concluded today’s your last day. Let me
that have been pummeled, and framing
help you get your stuff together.” Unfor-
is not one of them. Customers still want
One more group. We’re now talking
tunately, you need to get over whatever
beautiful things to hang on their wall.
about management. We’re looking for
guilt you have about firing bad employ-
It’s custom; they need someone to help
someone who does more than $500,000
ees. There are some people who just
them with it. There’s no brand name. No
a year in custom picture framing and
can’t do what we do. It doesn’t make
one’s going to open a brand-name store
has more than five employees.
them bad people; they just can’t do it.
and go after you. We’re fine, and we’re
It’s your responsibility, for your custom-
going to continue to grow. I will say this,
JAY: Could you introduce yourselves
ers’ sake and your employees’ sake, to
though; you need to evolve and sharpen
first? Tell us who you are, where you’re
say to them, “This just isn’t the right job
your business skills, because this isn’t
from?
for you.”
the old days. For those of you that hav-
anyone using an SBA loan or used some form of debt to build your business?
And that’s that, and life is better
en’t been around, you just had to show
MEDI: My name is Medi Bendanna. I
the day after. At the end of the day,
up in the 1980s to do well in the framing
got into the industry about four and a
you’re in business to make sure your
business. You would do just fine. There
half years ago. I own Best Framing in
customer is happy, and to make sure
was just so much framing going on. The
Costa Mesa, CA.
38 PFM October 2020
CROSSWORD CHALLENGE Across
Down
1 Storing for long term preservation digitally 6 Ask for money 8 Load, as software 9 Company that produces fastener products and framing hardware 11 Nail or screw 13 Go down a mountain 14 Essential part 17 ___ hanger: hardware used to hang metal frames 19 Type of picture frame with ornate gold foil and intricate decoration 22 Also called a wedge: type of nail used as an underpinner, 2 words 23 International software company that produces creative multi-media programs 26 Titanium symbol 27 Determining exact width and height and other dimensions 28 Liquid used in printing 30 Carry out 31 First Greek letter 32 Ancient
1 Like paper materials with a pH of around 7, 2 words 2 Goes for 3 jpgs, pngs, gifs, tiffs and bitmaps 4 “___ need a digital image� 5 Metric measurement of paper density and weight, abbr. 6 Glass cutter, saw and hammer for example 7 Exactly measured 10 Length x width, for a rectangle 12 Make a picture frame more attractive by adding decoration or design 15 Put in proper order 16 Head __ head 18 Secondary part that extends beyond the inner edge of the top mat 20 Naming a price of a painting, say 21 Owners book 24 Place for trash 25 During 29 Young guy
SEE PAGE 45 FOR THE SOLUTION
PFM October 2020 39
AARON: My name’s Aaron Lapedis.
for $60,000. The owner literally lived
keting, we noticed our competition was
I own Fascination Street Fine Art and
in the shop. They didn’t have a single
not really into Instagram, so we focused
Frame. I’ve been in business for over 30
computer, didn’t have a credit card ma-
on Instagram. We picked one thing at a
years.
chine. From there, week one, we got
time and became really, really good at it.
FrameReady (point of sale software) set
LOREN: Jay, what do you want to
up. Week two, we set up a website, and
JAY: When you say you focused on
know about their marketing?
slowly but surely, we got set up in the
Yelp, does that mean you were man-
right direction.
aging the reviews you were getting, or
JAY: Tell us what your big hit with marketing was that worked or works.
were you actually advertising on Yelp?
JAY: You’re actually going to have to deliver some meat on this, because
MEDI: Right now, we spend about
MEDI: For us, we focused on branding.
everyone’s thinking, “Well, that’s nice
$3,000 a month on Yelp. We grew our
We brought in a firm that helped us set
to know. But what did you do?” Tell us
business from $180,000 to $2 million in
up a good style guide. We worked on our
what you did that made a difference.
four years. Yelp was a small part of it.
culture and which direction we want to
Tell us a marketing thing you spent
take our business. We looked at what
money on.
customers need, what our competition
When I got into the industry, I knew I could figure it out, but one thing I didn’t have was experience. What I did was,
is doing, and how we could position
MEDI: For example, I joined the Face-
during my first year in business, I came
ourselves so that our competition can’t
book groups and learned that almost
(to The National Conference) with three
compete with us. From there, we ran
everybody hates Yelp. I said, “Cool. I’ll
people, and we took as many classes as
into the same problems you ran into,
pick that.” If nobody else is competing
we possibly could. We did that year af-
Jay, starting with two employees and
with me there, then I’ll be number one.
ter year after year, trying to learn more
growing from there. I bought the shop
I’ll focus on that. When it came to mar-
and more. We asked someone how
CONTENTS AD INDEX 40 PFM October 2020
much we should spend on marketing, and they said 3-5%. Okay, we’re going to spend 5% no matter what. We’re just going to try things. Some things won’t work, but we’ll keep going until we isolate something that works well. Yelp got us really good traffic. Now, Yelp isn’t for every city. The reason why we went with it is, we learned some things that they do. They’re really good at SEO. They always come up first (in internet searches). The way it works is, somebody searches for a frame shop. Yelp comes up first, because of their SEO marketing that they’re spending in Orange County, CA. They click on that, and I’m all over that. By setting up good SEO through Instagram, Pinterest, Yelp, everything targeting to our website, our website started coming up higher. Now, when you search in my area, I have an ad running on Google. I have Yelp coming in first, and then I have my website. I’m landing three or four times in the first page when you search for custom framing.
JAY: You’re spending $100,000 a year in advertising at this point.
MEDI: Probably more. JAY: If you’re spending more than 5% advertising, at some point, is that eating away at your bottom line? I would agree with three, four, five percent. If you’re spending six, seven, eight percent, at some point, it chews away at your bottom line.
MEDI: Last year was our most profitable year. It comes out of our marketing budget, and sometimes when we get a quote, we might push that budget a little bit more. We’re still very comfortable with that marketing budget. PFM PART 4 COMING NEXT MONTH. PFM October 2020 41
Distributor Spotlight
www.GildersPaste.com
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 AD INDEX 42 PFM October 2020
Index
Advertiser
Page
Advertiser
Page
888 Manufacturing Corporation ................................................22
Gluefast Company ....................................................................42
888-338-3318
800-242-7318
www.888mfgcorp.com
Active Sales ........................................................................19, 42 800-937-2255
www.activesalesco.com
Alpina Manufacturing, LLC ........................................................42 800-915-2828
www.fastchangeframes.com /bannergrip.com
Arlo Spacemaker Products, LLC..................................................41 800-332-2756
www.reevesextruded.com
Artist Supplies & Products..........................................................42 262-797-8101
www.gilderspaste.com
www.gluefast.com
Hoffmann Machine Company ..............................................31, 42 866-248-0100
www.hoffmann-usa.com
Jack Richeson & Co. ..................................................................42 800-233-2404
www.richesonart.com
Michelangelo Moulding .............................................................11 877-422-8812
www.michelangelomoulding.com
Bella Moulding .........................................................................37
Picture Framing Magazine.....................................................9, 13
888-248-6545
800-969-7176
bellamoulding.com
C J Paste ..................................................................................22 cjpaste1@gmail.com
cjpaste.com
Capax-Frame It ........................................................................39 800-942-2729
www.capax.com
www.pictureframingmagazine.com
Pro Tapes & Specialties..............................................................33 800-345-0234
www.protapes.com
Rhonda Feinman Custom Frames .................................................6
CMI Moulding ...........................................................................42
800-297-1566
301-476-7440
Studio Moulding, Inc. ................................................................35
www.cmimoulding.com
Connecticut Saw & Tool .............................................................43 203-318-4302
www.ctsaw.com
Decor Moulding & Supply ..................................10, 27, 29, 40, 45 800-937-1055
www.decormoulding.com
800-262-4174
www.rhondafeinman.com
www.studiomoulding.com
The Fletcher Business Group ......................................................15 800-843-3826
www.fletcher-terry.com
Designer Moulding....................................................................41
Tru Vue ......................................................................................7
800-634-0032
800-621-8339
www.designermoulding.com
Fixons ......................................................................................42 714-526-3455
www.fixons.com
Foster Planing Mill ....................................................................42 323-759-9156
www.fosterplaningmill.com
Frame Specialties ......................................................................23 800-777-3165
www.kooltack.com
Framerica............................................ 2, 3, 4, 10, 27, 39, 45, 48 800-372-6422
www.framerica.com
www.tru-vue.com
Universal Arquati ..................................................................5, 21 800-668-3627
www.universalarquati.com
Wall Moulding ..........................................................................47 800-880-8315
www.wallmoulding.com
Wizard International .................................................................17 888-855-3335
www.wizardint.com
FrameTek .................................................................................42
Z Hardware ..............................................................................42
800-227-9934
800-880-9315
www.frametek.com
www.zhardware.com PFM October 2020 43
Product Showcase Decor Moulding
Delta Picture Frame Co.
Introducing Soho, a new line featuring six large, black and white gloss mouldings in very contemporary profiles. Widths range from 1 1/2'' up to 3'', and rabbet heights from 7/8'' up to 1 3/4''. Soho: classic beauty combined with contemporary profiles and glistening finishes. Order corner kit #CS-SOHO to get these high-demand styles on your walls today.
This collection of 2 3/8'' brushed silvers and blacks is a great go-to for black and white photography, mirrors, and artwork with metallic accents. For samples and pricing, please contact the office at the phone number below. Call: 800-327-5482 www.deltapictureframe.com
Call: 800-937-1055 www.decormoulding.com
Framerica
Michelangelo Moulding
Traditional Spumante, featuring gold leaf markings and a sleek champagne tone, is now available in the company’s BW275 profile. The 1 ¼'' profile has a scooped lip and face coupled with a flat top and concave back. “This pairing provides a traditional gold option with an incredibly useful valued-added profile,” notes VP Josh Eichner.
For autumn 2020, Michelangelo Moulding is offering its very popular 3'' flat, 253 Series in four new finishes. Available in radius-edge stainless steel, walnut, gray, and black barnwood, the 253 Series now also includes black, warm silver, white, and espresso radius models.
Call: 800-372-6422 www.framerica.com
Call: 877-422-8812 www.michelangelomoulding.com
Omega Moulding
Sepp Leaf
Edge by Omega Moulding is a collection of multiuse 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).
Liberon Black Polish: premade Ebony Shellac is ready to use; just brush or pad on. This generous three-pound cut of shellac can be thinned with alcohol. Ebonize your frames! An outstanding, shiny, French-polish finish can be achieved. Using Liberon’s superfine 4/0 Steel Wool in conjunction with this product is recommended. Imported by Sepp Leaf Products NYC.
Call: 800-289-6634 (US) 877-452-3799 (Canada) www.omegamoulding.com
Call: 212-219-0770 www.talasonline.com
CONTENTS AD INDEX
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 collection of upscale and quality design mouldings. The full collection consists of 50 brand new items, various finishes, and unique profiles, all made in Italy! Stock and samples of the new Arquati Signature collection, and the collections within this brand, are available now! Please contact your local sales representative or UA by phone or fax (661362-6263). View these mouldings as well as UA’s entire collection online.
Call: 800-282-8788 www.tru-vue.com
Call: 800-668-3627 www.universalarquati.com
44 PFM October 2020
(Continued from page 46)
frame ages and the wood expands and contracts, a slight
riod like Diego (Rodríguez de Silva y) Velázquez (1599-1660).
separation will appear, but it will not disturb the carving of
They would also work well around the quintessential Span-
these magnificent corner ornaments.
ish painter Francisco Goya (1746-1828). In addition, Spanish painters who emulated the style of their predecessors, like
What design departures might be seen on some frames of
Joaquín Sorolla (1863-1923), had a preference for these kinds
this style? Spanish frames from this period had surfaces that
of frames.
were completely gilded like this one. Many also had surfaces that were partially polychromed. It would be common to find
Additional comments and/or anecdotes. This frame has
frames with gilded corner and center ornaments, and con-
punch work in the center panels, a technique discussed above
necting panels that were either ebonized or had a rich col-
and often used on frames from the seventeenth and eigh-
or applied to them. I have seen everything from a subdued
teenth century. The technique was also used again centuries
brown-black to deep turquoise to a red tortoise shell pattern.
later by early twentieth-century American frame makers. The
What furnishing/interior styles accompanied these style frames in their time? Spanish furniture from this time would also have been decorated with expertly carved ornamentation. Like the variations one sees in seventeenth- and eighteenth-century frames, we also see the use of gilded,
most stunning example of punch work I have ever seen is on an Italian frame from about the same time period as this Spanish frame. The punch work tool used to decorate the surface was in the shape of a tiny star, and the frame was textured all over with hundreds of them grouped in close proximity; it was like a spectacular Milky Way, and the frame looked magical. PFM
wood finish, and polychromed surfaces in the décor elements from this period. What type of artwork would this frame most likely house? These frames would be found around artists from the pe-
“Best of PFM” takes a look back at some of the magazine’s most popular articles on frame history as it celebrates its 30th year in publication. This article appeared in its original format in the June 2006 issue.
Crossword Challenge Puzzle Solution
PFM PFM Subscriptions Subscriptions Manage your account online! Whether you’re signing up for the first time or making a change.
http://www.pfmsub.com/Renew PFM October 2020 45
Style
BEST OF PFM
SNAPSHOT By Michele Brangwen
A look at a frame, its characteristics, and history What style frame is this? This is a gilded, Spanish frame, likely from the seventeenth century. Where is it from? Spain. What time period is it from? The seventeenth century, although it is possible that is was made in the early eighteenth century. What are the defining/common characteristics of this style? This frame is carved with a gilded surface. It has a generous profile that is 7'' wide and slopes dramatically away from the edge of the painting in the form of a cove. The corner ornaments are large, shell-like shapes, which are often referred to by framers as cartouches. Although not the accurate definition of the word, cartouche has stuck in the art world’s vocabulary as a word for the embellished shapes at the corners and centers of antique frames and is used far more often in that context than its original meaning. The center panels of the frame are decorated with a punch work design that gives them the feeling of being textured. Punch work is a technique of using a tool to make tiny indentations in the gesso before gilding.
CONTENTS
Spanish and Italian frames from the seventeenth and eighteenth century share many design and construction elements. It is often difficult to discern with the eye the exact region
and age of antique frames from this period. One defining characteristic of Spanish frame makers from this time is the tendency to take design motifs—for example, a row of beads—that would normally be quite small if used on an Italian frame, and render them in a much larger scale. Note the oversized, elongated beads along the inner edge of this frame, as well as the expansive corner cartouches that reach almost to the centers of the frame. The frame is bold and voluptuous in its deep and undulating carving patterns, which gives the framer obvious clues as to its country of origin. The frame’s four sections are joined at the back by a standard block joint configuration, as opposed to the diagonal seam we often see on later frames. The block joint seam turns at the inner edge to form a short diagonal seam that joins only the inner liner. This construction is ideal for the design of this frame because as the
AD INDEX
Michele Brangwen has worked for more than 15 years as a framer of fine art with museums and private collections. She has researched and written articles on frame design for Catalog of Antiques and Fine Art, Parish Museum of Art Journal, and Picture Framing Magazine. She has lectured on frame history for Christie’s, New York University’s Appraisal Studies Course, Museum of Fine Arts Houston, San Antonio Museum of Art, and the Maier Museum of Art. She also worked in a sales capacity at Diego Salazar Antique Frames. 46 PFM October 2020
(Continued on page 45)
This 17th century gilded Spanish frame with carved ornament and surface punch work has an opening size of 175/8'' x 14 3/4'' x 7''.