Picture Framing Magazine - August 21

CMC DESIGNS THAT MAKE A STATEMENT Demystifying Paper Choices • Using Instagram as a Sales Tool

Contents

PFM is a member of:

Volume 32, Number 8

PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders

On the Cover This month, we hear from three framing retailers who created show-stopping designs using the industry's leading computerized mat cutter solutions. For the full story, see page 12.

Photo courtesy of Valiani

Features 12 Creative CMC Designs 18 Attract Customers with Instagram

Columns 22 24 28 38

22

Mat Doctors Digital Imaging Mastering Mounting Design of the Month

28

Departments 8 10 32 34 35 36 37

Editor’s Note Industry News Product Showcase Distributor Spotlight Crossword Puzzle Index of Advertisers Crossword Solution

38

18

Picture Framing Magazine® (ISSN 10529977) is published monthly, plus one issue by PFM Publishing, LLC, 330 Mounts Corner Dr. #313, Freehold, NJ 07728; phone 732-5365160; 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 © 2021 by PFM Publishing, LLC. Printed in U.S.A. Picture Framing Magazine registered in the U.S. Patent and Trademark Office.

Postmaster: Send address changes to Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612 Agreement Number 1691910 Disclaimer The opinions and information in this magazine are not necessarily those of the publisher and are therefore not to be viewed as such. No part of this magazine may be reproduced without the expressed written consent of the publisher. PFM does not knowingly accept false or misleading advertising or editorial, nor does the publisher assume any responsibility for the consequences that occur should any such material appear. PFM and PFM Publishing assume no responsibility for content, text, or artwork of advertisements appearing in PFM except those promoting PFM. The Publisher reserves the right to review all advertising materials submitted for publication and to not accept any such material deemed inappropriate for any reason.

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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

Mail letters to PFM 330 Mounts Corner Dr. #313, Freehold, NJ 07728

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 Brian Wolf, CPF • John E. Ranes II, CPF, GCF • Tim Franer, CPF William B. Adair • Ken Baur • Jared Davis, MCPF, GCF • Paul MacFarland, MCPF, GCF James Miller, MCPF, GCF • David Lantrip, 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

Call (732) 536-5160

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

Fax to (732) 252-2270 Attn: PFM Editor

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

E-mail to

pfmpubco@pfm-group.com

editor@pfm-group.com AD INDEX Letters may be edited for space and clarity

6 PFM August 2021

PFM PUBLISHING, LLC PRE S I D E N T

Bruce Gherman

FROM THE EDITOR’S DESK T

Mat designs, digital printing, and more in our August issue, which spotlights the benets of computerized mat cutters.

CONTENTS AD INDEX 8 PFM August 2021

here’s no time like the present to review the equipment in your shop and determine if anything is due for an upgrade or replacement.

The investment you make today will give you the tools you need to deliver top-of-the-line framing jobs that stand out from your competition.

This issue takes a closer look at a hugely helpful piece of equipment: the computerized mat cutter. In “Creative CMC Designs” (page 12), we look at three inventive framing projects from retailers who used three different CMCs to bring their visions to life. All of them take advantage of the expanded cutting abilities and user-friendly software programs offered by today’s leading models.

In his latest Mat Doctors column (page 22), Brian Wolf provides several examples of framing projects in which vertical columns of text are used to great effect. This design is easily achieved on your CMC’s drawing program, and can add visual interest when horizontal arrangements aren’t the best t for a project.

Another piece of equipment that has helped boost many frame shops’ bottom lines is the digital printer.

Keeping up with innovations in the world of digital printing can take an art and framing business to the next level—but the technology is

rapidly advancing, and it can become overwhelming to stay on top of it all (on top of everything else you do as a business owner). In “Printing, Papers, and Framing: Paper Choices Demystied” (page 24), Jeffrey Smith, product manager at Epson, covers several fundamental topics, terms, and frequently asked questions as a helpful jumping-off point into the world of professional printing.

Those articles and more await you in this issue, which will be my last before taking some time off to welcome my rst child into the world. In my absence, Chris Paschke—owner of Designs Ink in Tehachapi, CA, National Conference instructor, and PFM’s longtime Mounting Editor—will assist the rest of the editorial team with the production of upcoming issues. I know many of you are familiar with Chris and her decades of contributions to this magazine. I’m thrilled to be able to leave PFM in her very capable hands while I spend time with my expanding family.

As always, send questions and feedback to editor@pfm-group.com.

And I will be back later this fall!

Kimberly Biesiada Editor

INDUSTRY NEWS Epson Launches New Line of Production-Class, Wide-Format Printers

ing, complete front operation, easy automatic roll loading, and optional, adjustable production stackers.

Focused on the current market needs of production-class print provid-

“With print service providers producing more personalized photo

ers, Epson recently introduced a new line of SureColor P-Series photo-

products, decor, and graphic art, there is a rising need for higher quali-

graphic and graphic art wide-format printers.

ty and higher productivity at lower costs,” said Marc Aguilera, product

The new SureColor P-Series models are designed specifically for

manager, Professional Imaging, Epson America, Inc. “The new produc-

high-volume photo fulfillment, retail photo labs, and poster and graphic

tion-class printers are engineered for the performance, quality, and reli-

art production. The new production-class SureColor P-Series 24- and

ability print service providers demand. As our first available model in the

44-inch models are slated to launch this year, with the initial SureColor

new line, the SureColor P8570D wide-format production photo printer is

P8570D 44-inch dual roll

engineered to achieve high quality and speed with innovative media han-

printer available first.

dling—built to enhance the way print service providers work.”

Epson’s

The Epson SureColor P8750D 44” dual-roll model will be the first in

largest 2.64” PrecisionCore

the line to ship later this year. For additional information, visit www.epson.

MicroTFP

com/productionphoto.

Leveraging

printhead

and

six-color UltraChrome PRO6 pigment inks, Epson’s new Epson’s SureColor P-Series printer

photographic

printer

line

Save The Date: PPFA Event Slated For Sept. 25, 26 in Texas

enables higher-speed per-

The Professional Picture Framers Association Central Texas Chapter

formance than previous generation models while providing outstand-

will offer the Certified Picture Framer (CPF) exam on Saturday, Sept.

ing image quality. The innovative, space-saving design provides a small

25, and an in-person education event on Sunday, Sept. 26. The in-per-

footprint for space-constrained production environments. In addition, the

son event is in addition to the popular monthly PPFA Online Speaker

latest models include several new features that improve workflow and

Series.

media handling, including dual roll, built-in take-up reel for roll-to-roll print-

Further information will be forthcoming from the PPFA and from the Central Texas Chapter (www.centraltexasppfa.com). PFM

CONTENTS AD INDEX 10 PFM August 2021

CREATIVE CMC DESIGNS Production with all ‘Pistons’ Firing Gunnar CMC

E

asyFrame is a family-owned picture framing business in Bedford, UK, specializing in e-commerce and memorabilia framing. Business owner Nick Zanna was an

earlier adopter in the UK framing market for introducing e-commerce for picture framing via their well-established website, easyframe.co.uk.

Having owned several different Gunnar CMCs over the past 15 years, EasyFrame recently invested in the latest production-level Novex Décor to help improve their CMC capabilities and keep up with increasing production capacity.

Zanna said initially, he and his team were interested in the

Piston guitarist Jack Edwards became the first in a long line of EasyFrame customers seeking custom-framed vinyl records.

Gunnar Novex Décor for its ability to cut acrylic and other materials. However, the unprecedented demand for online

records in the UK. Zanna said vinyl records have become a

framing during the Covid-19 lockdowns allowed the busi-

re-emerging new market, with many artists now releasing

ness to comfortably keep up with the influx of online mat

their music on collectible, limited-edition vinyl rather than

cutting orders for their specialty matted products.

just digitally. It gives the fans something physical and col-

Nick’s wife, Jo Zanna, is the accounts manager for EasyFrame and a massive fan of an emerging UK rock band

lectible to support their favorite bands, even if they never physically play the record.

called Piston. Piston recently released a new, collectible, col-

Of course, offering a creative framing solution can be an

ored vinyl double album, which Jo eagerly bought and need-

ideal way to show off your music memorabilia. Recognizing

ed to have framed. Wanting to do something special, Nick

this, EasyFrame has targeted this market by making their

framed the album with a special triple-layered mat design

product accessible and their pricing reasonable with a range

using the Gunnar GMC software’s merging feature for join-

of online “DIY frame kit” options for vinyl records. Their

ing apertures.

matting and mounting method for vinyl records is also safe

CONTENTS

Delighted with the outcome, Jo posted images of her

and reversible, supported by a consumer-friendly DIY video.

newly framed double vinyl on her Instagram and tagged the

In order to meet e-commerce consumer expectations,

band. Within a couple of hours, Jack Edwards, Piston’s gui-

Nick said EasyFrame chose to lead the online framing mar-

tarist, messaged Jo after seeing her frame and asked her for

ket in the UK by aiming to offer a two- to three-day produc-

help in framing one of his own vinyl double albums. The oth-

tion turnaround. When you combine this requirement along

er band members followed suit, and each of them promoted

with exceptionally high volumes, EasyFrame needed to em-

EasyFrame to their social media followers by posting pic-

brace the latest industry-leading technology and automa-

tures of the finished framed pieces and tagging the business.

tion to be able to streamline their production across various

This launched a domino effect of exposure and demand for

parts of their business, including mat cutting.

AD INDEX

EasyFrame’s custom framing solutions for vinyl albums—all because of one Instagram post!

Since framing the vinyls for the musicians of Piston, Nick and Jo have developed a personal relationship with the

As a result, Zanna and EasyFrame have since framed

band and have been taking care of all their custom fram-

memorabilia and vinyl for some of the UK’s biggest music

ing jobs. They’ve also been offered backstage passes for Pis-

festival headliners and top-selling UK artists, positioning

ton concerts—a worthwhile reward for a really cool frame

EasyFrame to become the market leader for framing vinyl

design!

12 PFM August 2021

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

A Box of Memories Valiani CMC

F

raming memories is delicate and intricate work, and it has the potential to pay off in more ways than one.

Mariska “Mikki” Kavich, MCPF, owner of Mikki’s Frame

Shop in Crossville, TN, knows this firsthand. In her 35 years of framing, some of her fondest memories have been of preserving the memories of others.

This design in particular stood out to Mikki as one of those moments. Two sisters that had recently lost their father came in with a box of his personal sports memorabilia.

There was his old football jersey, his old letterman sweater, pictures of him wearing them in his youth, and several other mementos of his life as an athlete.

Using CorelDRAW and Valiani’s V-Studio software, she was able to make precisely sized and shaped foam inserts for the two jerseys and create intricate openings in the matboard. “My Valiani has made everything so much faster,” she said. “There are so many things you don’t think of that it saves time on. Even just the equal distancing and sizing of

A box of scattered sports memorabilia became a beautiful, personalized display with the creative design choices of Mikki Kavich, owner of Mikki’s Frame Shop in Crossville, TN. because the jerseys and other items have some depth, this design also required some thick foam spacers behind each

all the small openings for the pictures would be a whole long

of the front mats. Mikki was able to make these cuts with her

process without it.”

CMC’s 90-degree cutting tool.

For Mikki, a major benefit of this increase in creativi-

The main openings in the top matboards that show

ty and productivity is her ability to grow her business and

each jersey are built-in designs, but Mikki used V-Studio’s

preserve more memories for her customers. Seeing people’s

shaping tool to create the small picture and letter windows

reactions when she creates something special has always

that overlap the large openings for the jerseys. “The shaping

been one of her favorite parts of the job. “That’s why this

tool is really handy,” she said. “The ease of using V-Studio is

project is so important to me,” she said “They cried when

one of the things that sold me on Valiani.”

they saw the finished product. That’s a really great feeling.”

Mikki’s MatPro Ultra BC started paying for itself as soon

Whether it’s family pictures, memorabilia, or framing

as she got it. Her work improved, her business grew, and she

for local high school sports teams, Mikki has found her Val-

was able to keep up with the growth because of the speed

iani to be a useful tool to increase her productivity, improve

and ease of using her CMC. During Covid lockdowns, when

the quality of her work, and acquire new business. “Being

many people found the time to go through their old posses-

able to cut exact logos for the schools has been huge for me,”

sions and found items to frame, Mikki found herself with

she said.

an almost insurmountable workload. “I don’t think I would

CONTENTS

Naturally, this design is really two designs—one for

ever have been able to keep up with the Covid framing in-

each of the two sisters. In order to make a design for each

flux if it weren’t for my CMC. When people tell me they’re

sister, Mikki first had to distribute the items so each told

thinking about whether or not to buy one, I just say do it. It’s

part of their father’s story. But there was another challenge;

a no-brainer.”

AD INDEX

she wanted them to match so they might hang together at some point in the future. Her customers plan to pass these down to the next generation, and that leaves the possibility that they might hang together someday. For this reason, the colors match, the materials are made for preservation, and the jerseys and other items are sewn in place by hand. And 14 PFM August 2021

Mikki was always a skilled framer; “I always thought I could do whatever the CMC machines were doing,” she said.

But when she went to the West Coast Art & Frame Expo and saw what a Valiani could do, she realized “Yeah, maybe with a whole lot of hours, I could do that. But not as easily, not as quickly, and not as perfectly.”

A Direct Line into the Drawing Program Wizard CMC

O

ne promise of any CMC is that individualized decorative work will be easy enough to be an everyday thing. At Wizard, there have been many

improvements to the machine that make every step of the cutting nearly automatic. However, if the project needs drawing program work, there have always been interim steps for opening designs in the drawing program, whether it was the drawing program inside the CMC software or an external vector drawing program. Then there were more steps getting finished designs back onto the design screen to complete final details and cut them.

These transition steps always raised practicality questions; not with complex artistic projects, where extra effort is expected, but with simple alteration projects. When improving a design is little more than deleting a few segments, the steps for getting into and out of the drawing program are rightly seen as the greater effort of the project.

Once the alteration is finished, there is a “To Designer” button at the top of the drawing program to send the finished shape back to the design screen for final inspection and cutting.

This project is an example of an everyday alteration project. The illustration in the software shows the ornament at the left that needs to be integrated into the sides of the middle layer using the drawing program. How do these pieces get into Trace (the drawing program inside Wizard software)? In the recent versions of FrameShop, right click on the design and choose “Convert to CutArt” from the list. The elements from the design screen appear in Trace instantly.

Make the changes to the design. Delete the sides of the middle layer, snap the ornament into place at the side, move it to its vertical position, then mirror the ornament onto the opposite side. When the alteration is complete, there is a button at the top of the Trace screen that reads

CONTENTS

“To Designer.” Click it. The altered design appears on the design screen.

Once the alteration is finished, there is a “To Designer” button at the top of the drawing program to send the finished shape back to the design screen for final inspection and cutting.

Remember that the button to send the design to the

AD INDEX

drawing program was called “Convert to CutArt.” CutArt is

There are a dozen simple drawing program alteration

the file type that can be used in Trace. When the altered

projects that could be part of a framer’s everyday work. They

design is returned to the design screen, it is no longer an

may simply change a bevel or delete a few lines. These sim-

opening and an ornament; it is now a single CutArt file.

ple projects are far less daunting knowing that just one but-

Despite this changed file type, it is still possible to make

ton will take the design directly into the drawing program,

final adjustments to border widths and outside size on the

then another button will return the completed project to

design screen before cutting it.

the design screen for the finishing touches. PFM

16 PFM August 2021

How to Attract and Better Serve Your Customers with

By Micah Ruiz here is no magic formula for social media success.

tos while trying to maintain a small business. And trust

The magic is in finding the formula that works for

me, there have been plenty of times that I’m overwhelmed

you. After some trial and error with my shop’s Insta-

with work and the day just slips away without posting

gram account, I feel like I’ve really found our formula, and

anything. Between designing with clients, ordering and in-

the results have been so positive—and surprising.

ventory, managing production and deadlines, payroll and

I knew Instagram would be a great way to document

timecards and taxes, and, and, and…it never ends. Time

and archive projects we’ve worked on, but I didn’t realize

is definitely our most precious commodity. But I cannot

it would end up being such an invaluable design and sales

stress enough how sacrificing that few minutes a day can

tool. And I knew it would be another outlet for people to

really pay off. By making posting a photo part of my nor-

see us, but I didn’t anticipate it being a new avenue for

mal routine, it has become almost effortless and has really

clients to find us directly. The public gets a sneak peek at

helped me to stay consistent.

CONTENTS

our shop and what we’re capable of 24 hours a day. The

I have a daily train commute from Oakland to San

photos you post can help them visualize their own framing

Francisco, and I use that time each morning to create my

projects and start building their trust in your design and

posts. I know once I get to the shop, the likelihood of me

craftsmanship abilities. We’ve been given the opportunity

actually posting drops dramatically. Maybe for you, the

to easily begin the design process with clients before they

best time to post is during your morning coffee or break-

even step foot in the door.

fast; whenever you decide to schedule it, once you get into

AD INDEX

There used to be kind of an eyeroll response from

a groove, it just keeps getting easier to stay on top of it.

some of my peers when I would bring up Instagram or so-

I ask every single person that walks through my door,

cial media. It’s easy to get distracted by the idea that it’s

“How did you find us?” It used to be mostly word-of-mouth

all about chasing followers and “likes,” but it’s not, and it

(which is still totally viable and really important in an in-

can be such a useful resource for a frame shop. I totally

dustry built around reputation), and then moved on to the

understand that it can be hard to prioritize posting pho-

majority of clients finding us on Yelp, then Yelp was traded

18 PFM August 2021

wanted to have tons of posts to create a catalogue of projects we’ve worked on. People can look through our page and see finished pieces to help them imagine the potential their projects could have. It’s impossible to have an example of every variety or framing and mounting option onhand at your shop, but you can have a photo of all of them in your pocket! You could come into my shop with any type of project imaginable, and I would be able to pull up a reference photo from our account, on the spot, to give you a visual aid in how your piece could turn out. A photo really is worth a thousand words, and that aspect alone makes posting regularly totally worth it. I literally pull my phone out to show clients photos throughout the day, every single day, and it really works.

I get calls daily from clients that want a sense of what their framing project will cost. Most of them have never framed before and all they know about framing is that

This limited edition print by @matttaylordraws was designed for a special screening of the film “Inherent Vice” at the Roxie Theater in San Francisco, CA.

they’ve heard it’s expensive. After asking the basic questions about dimensions and media of the piece, I always ask if they had anything in mind as far as style or color.

for Google, and now…Instagram? That’s right! It’s amazing

The most common answer (one which I’m sure all framers

the amount of people that find us either directly through

have heard countless times) is, “I was thinking a simple

Instagram, or after being told about us by a friend or find-

black frame.” From my experience, most of the time when

ing us online, go immediately to Instagram to look us up

someone asks for a “simple black frame,” it’s not because

and get a taste of the shop. I have found that most new

they think it would be the perfect design for their piece,

clients have already looked at our Instagram page before

but because it’s easy. They feel overwhelmed by the idea

coming into the shop. That is why it is so important to find

of having to come up with a design when they don’t even

your voice and aesthetic and post regularly.

If you look up my shop’s Instagram account @underglassframing, you will find a well-groomed, cohesive, and active page. We have tons of posts and thousands of followers, but that did not happen overnight. When I took over the shop’s Instagram seven years ago, we had 17 followers—if you were to weed out the employees and employees’ partners, we really had about half that. Not because we weren’t doing great work, and not because people didn’t care about seeing art and the framing process as much as they do today, but because we didn’t put ourselves in a position to be seen by people. You have to put yourself out there and push, push, push. Consistency is everything.

As soon as I took over the account, I decided I wanted to make it successful. By successful, I don’t mean having tons of followers and “likes” for the sake of becoming “Insta-famous”—that’s never been on my radar. I want to have followers because the more followers and activity you have on your page, the more your page is seen. And I

We kept the design very conceptual for this one! We used a mirror frame in place of shadowbox walls to mimic the water in this rad piece, and floated it on black silk.

PFM August 2021 19

pending on the client and flow of the conversation, I will at least send them to our page before hanging up. I will often have them pull up our Instagram while I’m on the phone with them and talk them through pieces on the page or ask them for their Instagram handle and start sending them posts that directly relate to their project. It’s really good to know what’s on your page to be able to quickly reference photos and pull them up. Seeing all the options can really open up their mind to the possibilities and will usually get them excited enough to bring the piece in so we can go over the options and hone in an exact price.

Once they come in, you and Instagram have already done the legwork, and you’ll have a great sense of what they’re drawn to design-wise. All you have to do then is seal the deal.

Because you want to draw people in and quickly impress them, it’s important to curate your page to an ex-

This hand-carved frame from @daedalianframes is the perfect feel and tone for this original Hiroshi Yoshida woodblock print circa 1930. know the options or terminology; the unlimited choices can be so intimidating. If people have never custom framed anything before, how can we expect them to have a more creative idea?

This is the perfect opportunity to pull out that phone and show your potential client photos to get them excited about framing and a much more interesting design. De-

tent. You don’t want it to look too contrived, but you want your posts to represent your shop’s taste level and vibe.

You want your photos to be distinctive enough that people recognize them as your post when it pops up in their feed.

You have to find that balance. You don’t want your posts to look like an overdone, spammy business ad, but you also don’t want it to look homemade and haphazard.

Keep your photos clean and professional but still looking like there’s a real person behind the camera, and remind clients that there are real people framing their art.

You can easily accomplish a distinct look by keeping a consistent background from in or around your shop. I mostly use our enormous frame sample wall as a backdrop, and I have had great response. Always take the time to use a “fit to square” app so you don’t lose any of your image; it never pays off to cut corners in framing, and a framing Instagram account is no exception. Taking the extra time to edit your photos will really help them shine. This is your potential client’s first look into your style and attention to detail. Some people might say it doesn’t make a difference,

CONTENTS

but I say, it’s the difference that makes it. PFM

Micah Ruiz

AD INDEX We floated this chunk of the Berlin Wall painted by @thierrynoir in a deep welded steel frame from our good friends @atomicframes.

They’re a match made in neon heaven!

20 PFM August 2021

Micah has been picture framing for 20 years. He began his career in a wholesale frame shop and quickly fell in love with the precision and pursuit of efficiency.

After mastering high-volume framing, he worked his way into high-end conservation framing, and that’s where his passion really ignited. Since 2014, he has been managing the two locations of Underglass Custom Framing in San Francisco, CA. When not in the shop, you can find him in his East Oakland home spending time with his wife, Alexis, his son, Asher, and his daughter, Arrow.

THE MAT DOCTORS

By Brian Wolf, CPF, GCF

Vertical Nameplates When horizontal doesn’t work, vertical layouts can be just the thing.

E

veryone has seen horizontal nameplates for so long that the notion of a vertical nameplate seldom crosses

anyone’s mind. As framers are imagining a project that will include an opening with printed information, it is likely—even preferable—that designing and printing the information will fall to the framer. Then vertical orientation might be chosen for a couple of reasons. It is clear to every framer that there are projects where the extra opening for information would nestle better into the arrangement if it were vertical. But more importantly, there are types of information that are more naturally arranged in a vertical column.

As printed information evolves beyond names, places, and dates, vertical orientation will more often become an obvious choice.

Understand that the focus in both examples here is on the vertical nameplate. There is an indication of openings at the side, but they are

A Column of Text The example above is five sentences of text. The most orderly layout, whether vertical or horizontal, would be to make it look like newspaper copy. The advantage is that much information can be squeezed into a small space; the disadvantage is it takes effort to read.

CONTENTS

included only as a reminder that these name-

The choice for this printed information

plates will likely be part of a multiple opening

was a vertical arrangement. And to make it eas-

design. A second minor point is the objects that

ier to read, it employs a few simple typography

are included as part of the nameplate. They are

lessons from old-school advertising practice.

not essential, but they introduce ideas to make

First, add a few accents to make the body of

printed information less austere and more per-

copy more inviting to explore. In this example,

sonalized. Is it ever a mistake for an artisan to

the accents are the larger capital letters. They

take an extra step to individualize something?

were entered as graphics so that they could be

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.

22 PFM August 2021

The printed text is 4.25” high and 1” wide. The paper is trimmed to a 1.5” wide ribbon and mounted on spacers behind its opening.

Small pertinent objects can help tell the story and make any inscription less institutional. The needles are taped in place and the threads are casually wound around the ribbon of paper.

spaced separately and positioned below the baseline.

Second, break the block of text into pieces that almost read themselves to the viewer. Here, each sentence begins on a new line and is separated with a small space. Each sentence is presented individually so that it can be read at a glance.

Alternative Mounting The text is printed on paper, trimmed to width, and mounted into its opening more like a ribbon than a nameplate. A few squares of matboard space the ribbon so that it floats below the mat and above its background. This creates depth and space for the needles and the threads that are wound around the ribbon of text.

A Recipe

Small, pertinent objects can help tell the story and make any inscription less institutional. silver springs attach to the longer strip of paper to hold the printed recipe in place. Again, there are matboard spacers to lift the recipe off the background and to lift the mat a bit higher. There is no lofty explanation for why springs are used.

The example seen here is a re-creation of a customer’s proj-

They are meant to spark ideas for how twigs, wire, yarn, dried

ect. A husband framed a few snapshots of his wife chopping

leaves, or old jewelry might be included because they appear

things for his favorite dish with the recipe along the side. It

to be functional to the structure. But their real purpose is to

was a birthday present he gave to himself. He explained that

advance some aspect of the story behind the presentation.

it was a gift to be hung prominently in the kitchen. It was

Not every aspect of every frame job involves mitering

received in such good humor that on his wife’s birthday, she

corners or operating mat cutting machines. Sometimes the

presented herself with framed snapshots, too, and alongside

tools are a straight edge, a razor blade, and a bent toward pa-

was a printed list of vital instructions for foot massage.

percraft exploration. For further reading on how these ideas

Recipes separate themselves automatically into short

might align nicely with your customers’ wishes, review Jared

lines with ingredients and steps. The typography here is no

Davis’s article, “Special Occasion Framing,” in the April 2021

more complicated than spaces to separate the steps in the di-

issue of PFM. Among his insights, he mentions that personal-

rections, and most of the capital letters are a few points larger.

ization is key. When you and your customer decide that extra

Another Mounting Idea

information needs to be part of the presentation, follow a few of Jared’s general hints along with a few of the more specific

There is a longer, narrower strip of paper holding the reci-

ideas here to make the printed information as effective and

pe with spacers between them to generate shadows. Shiny

individualized as it can be. PFM

PFM August 2021 23

DIGITAL IMAGING

By Jeffrey Smith

Printing, Papers, and Framing: Paper Choices Demystified Frequently asked paper questions answered by an expert in the field.

W

hen framing photographs and works of fine art for long-term display, there are a myriad of ink-

jet papers available today for retailers who are looking to provide full-service printing and framing for their customers.

While it is very easy to fall in love with certain papers and get stuck in a pattern of using what may have worked in the past with limited testing, understanding the latest papers available and making informed recommendations for customers can increase a framer’s bottom line. However, navigating the features, benefits,

and nomenclature can be confusing, especially as frame shops emerge into a post-pandemic environment.

In addition, as you approach individual output needs, using a decision tree can help provide a framework for making the best deci-

CONTENTS

sions on paper types. For example, is the goal to accurately reproduce the artist’s work, or is the client looking for a more saturated, photographic look or a more pastel, painterly look? Is

the client looking for textures that are smooth or textured? How important is the permanence of the final print?

Paper Essentials: FAQs Keeping up with paper innovations can take a printing and framing business to the next level. As a helpful starting point, let’s take a look at several fundamental topics, issues, and terms in the world of paper choices.

1. What are the best papers for long-term display needs? There are a range of papers available today for those who intend to exhibit and/or sell their prints. Print permanence for works of art is dependent on a combination of the ink technology used along with a specific paper. Both are critically important in determining print permanence.

For example, pigment-based ink technology used in combination with a cotton fiber

AD INDEX

Jeffrey Smith has been managing business units and marketing programs in the consumables industry for 30+ years. As product manager at Epson, Jeff sources, develops and launches unique fine art papers to exceed customer’s expectations.

24 PFM August 2021

Midnight Gallery of images printed on Epson SureColor P5000 using Epson Legacy Papers at the Palm Springs Photo Festival.

valuable print or collectible piece to change over time. However, there are situations where OBAs are desirable where long-term longevity is not needed versus prints with more contrast and impact.

4. What can a smooth or textured paper do for your fine art printing and framing? This is where the decision tree can be a vital tool for making a recommendation. The good news is, there is no right or wrong surface choice; it all comes down to taste, overall preference, and what might

Art Wolfe selected Epson’s Signature Worthy Velvet Fine Art paper to garner painting effect in final prints. paper (a paper base composed of cotton) provides longer lightfastness ratings. The term cotton rag or simply rag is the same as cotton fiber. The original fine art papers were made from rags, but today rags are no longer used in the production of fine art papers. In addition, pH buffered, acid-free, and lignin-free fine art papers ensure the base will not deteriorate over time. It is important to note that each ink technology in combination with an individual paper has a unique set of quality performance characteristics and levels of permanence.

2. How long will a print last? When making paper recommendations for collectible works of art, it is important to look to an independent third party, like Wilhelm Imaging Research (WIR), that employs industry de-facto standards for print permanence testing, including display and storage factors that can impact the life of a print.

As a point of reference, fine art prints made on many Epson Signature Worthy and Legacy medias in combination with the latest generation of Epson UltraChrome pigment-based inks offer lightfastness ratings up to 200 years for color and up to 400 years for black and white prints using Epson’s Advanced Black and White Print Mode. In addition, these prints exhibit high resistance to ozone, have very good water-resistance properties, and are resistant to damage caused by storage or display in high-humidity environments.

CONTENTS

There are a range of testing results available for manufacturers of inkjet printers and papers at wilhelm-research.com.

3. What are OBAs and how do they impact prints? Understanding OBAs is essential to making recommendations.

OBAs, or optical brightening agents, are added to a paper

AD INDEX

to increase the white point, essentially making the whites whiter and giving the illusion of increased contrast.

Over time, these chemicals lose their ability to fluoresce when exposed to UV, and the white point gradually reduces to its original starting point. In the fine art world, most collectors want prints that are OBA-free, as they do not want a 26 PFM August 2021

enhance the final print based on the client’s output goals.

In general, the smaller the print, the more influence a texture may have. Whenever possible, test different paper textures and images to showcase the variations first-hand in your shop. This self-learning goes a long way as you walk clients through the different paper options. In the case of textures, consider showcasing prints in plexiglass-free frames to allow people to touch and feel the texture options.

5. What are the canvas options available today? How do they differ, and what are the benefits? Canvas is available from some manufacturers in three different types of finishes: gloss, satin, and matte. Comprised of a blend of cotton and polyester, canvas prints have a distinctive texture, regardless of the finish type. Depending on the brand of canvas media used, both gloss and satin canvas prints offer water and scratch resistance immediately after printing, eliminating the need for a protective topcoat layer. However, most matte canvas prints often require a protective topcoat application to protect the surface. In general, it is best to stick to the printer manufacturer’s branded canvas to help ensure the highest quality and longevity. A special note: canvas prints produced with solvent-based printers do not require top coating.

When it comes to canvas, a framer also needs to be well versed in wrapping and stretching. Canvas stretching can become an additional profit center, enabling framers to offer different types of borders and wraps. There are software applications and plugins available to create customized, gallery-wrapped canvas prints.

6. What is the difference between an E-surface and F-surface paper? While both terms originated from the analog darkroom, both are still used as descriptors for papers today. An E-surface paper is a resin-coated paper with an orange-peel finish that has a slight sheen. The “F” in F-surface stands for ferrotype, which back in darkroom days was a technique to create a high-gloss surface with the print attached to a heated metal drum. Accordingly, an F-surface inkjet paper today boasts a smooth, glossy surface.

7. Are there certain paper types that help increase the DMax of prints? Papers that use PK (Photo Black) ink, such as Legacy Platine, produce the widest color gamut and highest DMax (black density). Conversely, papers with a matte finish printed with MK (Matte Black) ink, such as Legacy Fibre, have lower levels of saturation and a lower DMax, with a distinctive fine-art look.

Putting It All Onto the ‘Right’ Paper A manufacturer’s branded paper tends to be the easiest to work with and produce the best quality as the papers, inks, and printers are designed to work together as a system. The media settings and ICC profiles are optimized for the highest quality output. While there are a range of third-party media options available at varying cost levels, framers need to factor in time to search for the correct profiles and run color management workflow tests.

Thankfully, there are a range of resources, such as manufacturer websites and online tutorials, that can help take some of the guesswork out of selecting the right papers. And once you have narrowed down new paper options, make sure to first try print sample kits as an inexpensive way to

Renowned photographer Timothy Greenfield-Sanders selected Epson Legacy Fibre paper for exhibition at the Annenberg Space for Photography. start testing firsthand. Some manufacturers will also provide sample prints, which can go a long way in streamlining the learning process.

Investing the time and money to test new papers can help expand your offerings. As framing retailers navigate a post-pandemic environment, now more than ever, offering personalized insight and recommendations on the latest paper innovations helps framers create emotional connections and establish additional credibility with current and new clients. PFM

PFM August 2021 27

MASTERING MOUNTING

by Chris A. Paschke, CPF, GCF, CMG

Parchment, Vellum, and Paper Know what you have before considering mounting.

I

t is imperative for framers to properly identify any art being framed, including its base materials. As simple as the words

parchment, vellum, and vellum paper are, there can be a great deal of confusion over them. Most public exposure to skins comes in the form of documents or diplomas, and their handling is different based on their origin.

The use of vellum (animal skins) for recording history has long been in practice; skins have

singular word “parchment” or the more neutral

survived from as early as Egypt circa 2500 BC.

term “animal membrane.”

Calf, goat, and sheep were normally used, but skins of gazelle, antelope, stag, and ostrich have

Parchment

also been uncovered and preserved. Often used

Genuine sheepskin parchment is used for

in bookbinding, vellum was the proper name

printing, writing, and bookbinding, or whenev-

given for any high-quality animal skin exclud-

er excellence or distinction is desired. Though

ing sheep, an adult animal, or lamb, a baby

many people believe that most diplomas today

sheep up to one year old.

are printed on high-grade paper, many univer-

Today, the term parchment refers to any animal skin—particularly goat, sheep, or cow—

sities continue to produce diplomas on original sheepskin.

CONTENTS

that has been scraped or dried under tension.

The skins from sheep are whiter and oilier

Parchment originally referred only to the skin of

than vellum. To prepare them, sheepskins are

sheep and goats; however, when old books and

first pickled for storage, then in large batch-

documents are studied, it is difficult to deter-

es are depickled, scraped, limed, then finally

mine the precise animal origin either in terms

squeezed to remove moisture. They are then

of species or age without scientific analysis. It

tied to a wooden frame at 21 points around the

is for all these reasons that modern conserva-

edge of the skin, and allowed to dry for five to

tors, librarians, and archivists prefer to use the

six days. They are then scraped a second and

AD INDEX

Chris A. Paschke, owner of Designs Ink in Tehachapi, CA, is a professional picture framer with over four decades of experience. She is an artist, a National Conference educator, has authored numerous magazine series, including The Essence of Design, Design Concepts, and Digital Directions for PFM, and has four self-published books on mounting. She currently writes the Mastering Mounting column for PFM and is a contributing writer to The Artist’s Magazine, The Pastel Journal, and Watercolor Artist Magazine. She was honored with the PPFA Award of Distinction for Leadership 2008, the Vivian Kistler Recognition for Innovation Award 2010, and the PMA Distinguished Service Award 2012.

28 PFM August 2021

The 2019 PPFA International Framing Competition PRINT piece by Richard Cryer is a perfect example of vellum. Frosted and satin vellum are used both as a tracing sheet and as a printing substrate for invitations, business cards, certificates, and fine art.

This ledger page is from sheepskin, called parchment. Modern conservators, librarians and archivists prefer to use the singular word parchment or the neutral term animal membrane. third time, degreased, shaved, pumiced, purified, and whitened, all by hand. Then they are set aside to dry slowly to ensure a flat, even skin. Dried skins are cut from the wooden frame for finishing and/or cutting into smaller pieces.

The preparation process makes them sensitive when framing, and preservation or museum mounting is most appropriate. Alternative mounting procedures are often invasive, irreversible, non-archival, and may cause discoloration or damage over time. Great care should always be taken.

Also note that while you can use heat on regular wood pulpbased paper diplomas, it is ill advised to use heat to flatten real parchment.

(L to R) Manuscript calf vellum, lightweight slunk calf vellum, one-sided classic writing calf vellum, manuscript calf medium weight vellum, white goatskin, sheepskin parchment. unlike sheepskin parchment, which is also available in sized rectangular shapes. Vellums are generally creamy in color and often showcase the veining of the animal, while parchment is whiter and has a much smoother surface. Unlike paper, the preparation of natural animal skin cannot be mechanized.

Skins Today Though the use of animal skins appears to be more limited to university diplomas in the United States, in other parts of the world, it is extensively used for everything from religious documents and wedding invitations to royal procla-

Vellum Though the process for preparing vellum is similar to sheepskin, while sheepskins are sorted and selected after dewooling, calfskins and goatskins are selected prior to dehairing. After the hair has been removed, there is a long liming process lasting up to four weeks. Shaving of vellums takes much longer and is more difficult because it is easy to remove too much or too little of the skin, thereby reducing its value.

New skins are generally stored rolled, and reverse rolling will lay them flat. Most vellum is sold as whole skins,

This ledger page was incorrectly placed under heat to attempt to flatten it and creating a new counter-curve instead by the combination of tolerable heat of 180F, but excessing pressure.

PFM August 2021 29

pending upon whether they are parchment of vellum resulting from how they were prepared for use. Since vellums are originally dried on frames much like stretcher bars, when dampened, they will attempt to revert to the original shape of the animal as they dry if left under no restraints. So to reflatten vellum, it must be dampened and dried under tension or pressure, such as plate glass weights.

The sheepskin parchment 1852 ledger page shown here was incorrectly placed under heat to attempt to flatten it, creating a new counter-curve instead. Counter rolling may help cor-

First soaked in distilled water then allowed to freely air dry under no pressure, encouraging it to cockle (lower right corner). Left side was then pressed flat at 160F using a mechanical press. Top was dry mounted to 4ply matboard at 165F for 3 minutes and cooled under a glass weight.

rect this, but it may still require a sink mount.

mations. No two skins are truly alike,

able, one-of-a-kind keepsake. But

Heat Application

identifying that as part of their nat-

in order to frame it, it may require

Vellum tolerates greater tempera-

ural beauty and the basis for fram-

flattening. If it has become dry and

ture and moisture abuse than parch-

ing them true to their nature. Fully

brittle, forcing it flat could crack the

ment. Applying heat alone to skins

mounting a piece of parchment or

skin or damage painted decoration,

will not radically affect them as long

vellum using any process restricts it

so humidifying and flattening pro-

as it is not too hot. Tests show that

from the natural expansion and con-

cedures of this type may require the

temperatures of 180F for up to five

traction it craves through variations

expertise of a qualified book or paper

minutes will not do damage to ei-

in relative humidity. A skin docu-

conservator.

ther vellum or parchment samples,

CONTENTS AD INDEX

ment or diploma should be hinged,

If proceeding on your own, re-

although a tendency toward brittle-

sink mounted, or conservationally

laxing and flattening a document at

ness does begin to occur. The vellum

supported with edge strips or corner

the very least may involve humidify-

sample shown here was soaked in

pockets, but never firmly bonded to

ing in a chamber; at worst, soaking

distilled water and allowed to freely

a backing board, as was thought de-

in water. After it has relaxed, it must

air dry under no pressure, encourag-

cades ago. If a document is slightly

then be slowly dried flat between top

ing the lower right corner to cockle.

buckled, it is the nature of the beast

and bottom layers of polyester Pellon

The left side was then pressed flat at

and part of the total effect and ap-

(to prevent sticking to the skin) and

160F using a mechanical press. The

pearance. It should be allowed to

blotters (to absorb the moisture) be-

upper portion was dry mounted to

thrive.

neath an even glass or metal weight

4-ply matboard using low tempera-

during the full drying process. There

ture tissue at 165F for three minutes,

Flattening Skins

are many areas that require testing

then cooled under a glass weight.

If a cracked, wrinkled, or rolled doc-

prior to humidifying or submerging a

A combination of heat and pres-

ument is brought in and needs to be

document, such as testing for ink and

sure while damp will slightly shrink

made flat, my best advice for a fram-

paint permanence, and taking note of

most vellum almost undetectably,

er is not to suggest mounting it at

wax seals. Such seals will also limit

while it may do major damage to

all. It is the duty of the framer to ed-

the even weight pressure during the

parchment. Make certain any skin

ucate their client about proper care

drying process, so be aware.

having been dampened to flatten is

and maintenance of their irreplace30 PFM August 2021

Skins will react differently de-

totally dry and clean of all other ad-

ed colors, but also is not related to animals. Baking parchment looks like tracing vellum and is available in rolls at grocery stores sold as a release liner to prevent food from sticking, but is in no way related to real skins.

Final Thought Both stretched and mounted versions of presentation are unnatural to vellum and parchment, for it

Sheepskin that has been dampened and air-dried (L). The right sample shows the unfortunate damage resulting in applying both moisture and heat to the parchment at the same time. hesives prior to mounting to avoid

to resemble the thickness and surface

any irreversible damage. The left

of parchment. An opaque imitation

sample here shows a piece of sheep-

parchment paper has been developed

skin that has been dampened and

for artists in aged, natural and white

air-dried. There is about 5 percent

colors as acid-free and lignin-free for

natural shrinkage due to the original

scrapbooking, invitations, certificates,

stretched cleaning process. The right

calligraphers, and is also available for

sample shows damage resulting in

printing and office stationery in tint-

assumes an inconsistent character from the true natural look and behavior of a skin. Preservation techniques are favored and sink mounts are often a perfect solution to a buckled keepsake, and they should be displayed in a dry location out of direct sunlight. Taken well care of, these preserved masterpieces will last for generations. PFM

applying both moisture and heat to the parchment at the same time.

Papers Heat and moisture can curl the sides of a sheet of translucent vellum as with the real animal skin. Place a scrap of vellum in the palm of your hand or under a lamp and watch the changes occur. If the edges do curl, simply counter-curl to reflatten. Paper should be stored in a cool, dry place. Be careful not to crease; always wear gloves when handling to prevent fingerprints, and avoid heat and moisture. It is used as tracing paper and as a substrate for invitations, certificates and printing. These are in no way related to, nor similar to, the skins discussed in this article.

The terms parchment and vellum are also used in the paper making industry. Parchment paper is made from cellulose fibers prepared from fir trees or plants such as cotton or flax, and papers can be made PFM August 2021 31

Product Showcase Bainbridge

Crescent

Treat your framing designs to the unique elegance of Silkens fabric mats from Bainbridge. Featuring the sophisticated look and sheen of silk, Silkens provide a palette of 14 colors ranging from classic neutrals to saturated jewel tones. With five 40” x 60” options, the Silken range is designed to meet all your elegant matting needs!

Make a colorful statement with your creative framing designs using Crescent BriteCores, now available in 8-ply and oversized!

Featuring deeply pigmented bright color cores with two usable surfaces (white on one side, plus core-matching color). Perfect for framing animation and cartoon art, sports memorabilia, or any brightly colored artwork.

Call: 888-293-3956 www.crescentbrands.com/ bainbridge

Call: 888-293-3956 www.crescentbrands.com/ crescent-cardboard

Decor Moulding and Supply

Framerica

Decor Moulding is pleased to announce that our full line of stretcher and strainer bars now has the largest inventories in the industry. Small or large orders, we at Decor Moulding have you covered. From our most popular #8609 to our gallery wrap #9820, and all sizes in between, we cover all of your stretcher bar needs. Available in length, chop, join, and box programs for immediate shipment. Order corner kit #CS-STR to get our stretcher family of 12 styles on your wall immediately.

Framerica’s Illusions profile is specially designed to appear “stacked” at a fraction of the cost of multiple mouldings. The innovative design provides endless beautiful options and unprecedented ease of use.

Each of the three available sizes includes identical lines with varying widths (1.25, 2 and 3”).

Call: 800-372-6422 www.framerica.com

Call: 800-937-1055 www.decormoulding.com

Michelangelo Moulding

Nielsen

Michelangelo has launched a series of medium height stemmed mouldings. The finishes are soft silver, bronze, gold, and pewter, measuring 3/4” by 1 3/8”. The foremost design element is the feathered sepia wash on the leading and outside edges of the face. We invite you to order samples of this new 433 series for your design plans on our website.

A true example of form meeting function, the Timberline Collection from Nielsen combines the beauty of wood with the strength and minimalist appeal of aluminum. Timberline provides a contemporary outline ideal for photography, modern art, and oversized images. Available in two finishes and three profiles to create your most cutting-edge framing designs.

Call: 877-422-8812 www.michelangelomoulding.com

Call: 888-293-3956 www.crescentbrands.com/nielsen

CONTENTS AD INDEX

Nurre Caxton

Omega Moulding

The Nantucket line from Nurre Caxton brings the warmth of summer to your walls, all year long. Featuring two versatile flat-top profiles designed to stack perfectly, and in five sunwashed wood tones, the Nantucket range infuses framing designs with casual sophistication and is the perfect complement to today’s relaxed decor styles.

Omega’s Artisan Collection consists of nine classical profiles in the plein air style. The collection evolves from the finishes and profile designs of the Omega Gallery Frames line of readymades, increasing the availability of these iconic profiles for custom framing applications. The collection features brilliantly hand-gilded silver and gold finishes upon elegant scoop and swan profiles. See the collection online today.

Call: 888-293-3956 www.crescentbrands.com/ nurre-caxton

32 PFM August 2021

Call: 800-289-6634 (US) 877-452-3799 (Canada) www.omegamoulding.com

Sepp Leaf

Studio Moulding

Sepp Leaf Products is thrilled to announce the latest color in gold leaf produced by Manetti Battiloro Goldbeaters. Rose Gold is a beautiful, 22-karat available in loose, patent, and roll forms. We hope you are as excited as we are to explore this new alloy, and we look forward to helping you expand your own creative repertoire with our family of gilding products.

Studio Moulding broadens the Sierra Collection to include two of the most popular profiles in all five hand-stained finishes. The warmth of Sierra makes this collection an ideal resource for a wide variety of art. Please contact your sales representative or Studio Moulding to place a sample order today.

Call: 212-683-2840 www.seppleaf.com

Call: 800-262-4174 www.studiomoulding.com

Tru Vue

Universal Arquati

Help consumers make their glazing decision by demonstrating the features and benefits of Tru Vue Conservation Clear, Museum Glass, and Optium Museum Acrylic. This new specifier tool is designed to help keep Tru Vue choices within your reach and is available now at tru-vue.com/custom-framing/demos-displays.

Universal Arquati is excited to introduce the new Barnwood II Collection! This collection brings two new profiles in three rustic finishes; brown, grey, and white. Sample sets are now available and this collection is in stock now.

Call: 800-668-3627 www.universalarquati.com

Call: 800-621-8339 www.tru-vue.com

Valiani

Wizard International

The perfect premium CMC for frame shops with a maximum cutting size of 40” x 60”, button clamps for edge to edge cutting, and a multi-position stand to save space. Cut, draw, and emboss custom designs with ease using the simple and user-friendly V-Studio software on the computer included with purchase!

The Wizard Z1 is the ultimate computerized mat cutter—combining edge-to-edge cutting with a suite of automation features that virtually eliminates human error. It’s the only CMC with advanced features such as: Auto-Homing, Digital Depth Control, and Wizard’s innovative new Intelli-Clamps Collision Detection and Avoidance System (patent pending). You’d swear we put some clever little robots inside (and we’re not saying we didn’t). The Z1 also includes all of the decorative design capabilities found in every Wizard Z Series cutter.

Call: 888-293-3956 www.crescentbrands.com/ valiani

Call: 425-357-7278 www.wizardcutters.com

PFM August 2021 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 AD INDEX 34 PFM August 2021

CROSSWORD CHALLENGE Across

Down

1 Computerized mat cutter

1 Made-to-order

3 Slanted or angled

2 A CMC machine enables exact control

8 Catchall abbreviation

of all cuts

10 Makes match up

3 Cylindrical lining for an opening

11 Polite address to a customer

4 View

12 Computer photo, for short

5 Big

13 Understand

6 A CMC will have a maximum cutting ____

14 Paddle

7 One of the key pluses of a CMC

15 Digital copy of a painting

9 Titanium symbol

17 "That woman"

16 $1000

18 Adjusting components so they

18 Also called, abbr.

are correctly positioned in

19 Casual loan contract, abbr.

relation to others

20 Photo framing essential

22 Desktop

21 The point where pen meets paper

24 System for holding a workpiece

23 Move a picture to a new position, say

while machining, 2 words

24 Watches

28 Wizard's series of CMC models

25 Magenta for one

32 Color mixed with black

26 Dawn time

34 Remained in place

27 Permit

35 Profit after tax

29 Tire pressure, abbr.

36 Bar with one side which creates

30 Fall slightly

a line with no deviations, 2 words

31 Number ending 32 Visit 33 Barely passing grade

SEE PAGE 37 FOR THE SOLUTION PFM August 2021 35

Index Advertiser

Page

Alpina Manufacturing, LLC .........................................................35 800-915-2828 www.fastchangeframes.com/www.bannergrip.com

Advertiser

Page

Hoffmann Machine Company .....................................................34 866-248-0100

www.hoffmann-usa.com

Arlo Spacemaker Products, LLC ..................................................31 800-332-2756 www.reevesextruded.com

Jack Richeson & Co....................................................................34

Artist Supplies & Products ..........................................................34 262-797-8101 www.gilderspaste.com

LINC Systems (formerly Active Sales Co.) ...................................34

ASF - A Street Frames ................................................................34 800-805-7655 www.astreetframes.com Attach-EZ ..................................................................................34 800-527-1521 www.attachez.com CMI Moulding ............................................................................34 301-476-7440 www.cmimoulding.com

800-233-2404

800-937-2255

www.richesonart.com

www.activesalesco.com

Michelangelo Moulding................................................................9 877-422-8812

www.michelangelomoulding.com

Picture Framing Magazine .......................................10, 15, 21, 25 800-969-7176

www.pictureframingmagazine.com

Connecticut Saw & Tool..............................................................34 203-318-4302 www.ctsaw.com

Specialty Matboard....................................................................23

Crescent Cardboard Co. ..............................................................15 800-323-1055 www.crescentcardboard.com

Superior Moulding Corp. ............................................................35

Decor Moulding & Supply ..................................11, 27, 33, 35, 37 800-937-1055 www.decormoulding.com Fixons .......................................................................................34 714-526-3455 www.fixons.com

800-280-6287

800-922-7914

800-621-8339

www.tru-vue.com

Universal Arquati.........................................................................5

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800-668-3627

FrameTek ..................................................................................34 800-227-9934 www.frametek.com

800-880-8315

Frank’s Fabrics for Framers .......................................................34 888-332-2749 www.franksfabrics.com

888-855-3335

36 PFM August 2021

www.supermoulding.com/www.zelanto.com

Tru Vue .......................................................................................7

Framerica .............................................2, 3, 4, 29, 33, 35, 37, 40 800-372-6422 www.framerica.com

Gluefast Company .....................................................................34 800-242-7318 www.gluefast.com

www.specialtymatboard.com

www.universalarquati.com

Wall Moulding ...........................................................................39 www.wallmoulding.com

Wizard International..................................................................17 www.wizardint.com

Z Hardware ...............................................................................35 800-880-9315

www.zhardware.com

(Continued from page 38) finish off the design, we chose a simple, yet elegant fabric mat by Bainbridge. The textured, white fabric mat added depth while keeping the focus on the bottle.

After the moulding was cut and joined in our warehouse, our production team began to work on the mounting process. Quickly, they discovered the bottle was too heavy to mount on the backing with adhesive. They considered mounting the bottle with wire, but realized it was too visible on the translucent bottle. They went back to the drawing board to brainstorm a new solution. They decided to try floating the bottle in Optium Museum Acrylic

by Tru Vue. With the help of our graphic designer and our professional laser cutter and engraver, we traced the bottle and cut the shape into the acrylic. We had never tried this solution before, so it was a gamble as to whether or not it would work.

To assemble the frame and mat, the production team placed Tru Vue’s Museum Glass in the frame first. They then added the first layer of side mats with spacers. The cut-out acrylic was placed on top of the spacers and the bottle was gently placed in its cut-out position. To finish it

To pull off this floated look, the bottle’s shape was traced and then cut into the acrylic. off, the second layer of side mats with additional spacers was placed inside the frame, and the backing with mat was placed on top of the bottle. After securing all the layers, we were happy to see that the bottle was stable and appeared to be floating inside the frame. Even when standing close to the finished piece, you can barely see the acrylic.

We are looking forward to sharing this design with fellow framers, and can’t wait to use this unique solution in a future project! For more framing inspiration, please visit our blog at www.hallofframes.com/blog. PFM

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PFM August 2021 37

DESIGN OF THE MONTH

By Maddy Apple

Getting Creative with Acrylic

A

t Hall of Frames, we are well known for our ability to frame any 3D object.

From wedding dresses to baseball

bats to bottles, we do it all! No matter how great the challenge, we always find a solution

A unique, transluscent bottle with copper details from Brooklyn Gin showcases the potential of acrylic as a mounting and design solution.

to perfectly mount, frame, and preserve a 3D object, and with this design, that is absolutely true. Even with the challenge of mounting a translucent and heavy bottle, we were able to find a solution by getting creative with acrylic.

This design was created by myself and the marketing team to inspire gifts for cocktail lovers, amateur bartenders, and professional mixologists. We have featured this design in our gift guide, blog, and social media posts to encourage and inspire creative custom gifts.

To begin the design process, we searched for unique liquor bottles to showcase. After a few shopping trips, we landed on Brooklyn Gin, an artisan distilled gin company based in New York. We loved their translucent, turquoise bottle with copper details and thought it would be a good challenge for our production team to mount and frame.

We placed the bottle on an empty design

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table and started to shop the moulding wall and mat trays. We needed to find a moulding

ately, Fotiou’s Homestyle series stood out to us. The 1 ¾'' warm walnut finish with brushed silver leaf accents complemented the rustic-yet-refined style of the bottle. Best of all,

that would handle the depth of the bottle and

it offered enough height when stacked to fit

also complement the copper details. Immedi-

the width of the bottle with mat and glass. To

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Maddy is a digital marketing professional and performing artist currently located in Phoenix, AZ,

and is the marketing director for Hall of Frames. She holds a BFA in drama from NYU Tisch School of the Arts as well as a minor in business studies from NYU Stern School of Business. She is excited to bring her knowledge and creativity to the custom framing industry.

38 PFM August 2021

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