PERFECT CORNERS EVERY TIME
BOOST YOUR BACKROOM EFFICIENCY LEASING VS. BUYING EQUIPMENT
Contents
PFM is a member of:
Volume 32, Number 6
PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders
On the Cover Since getting your joins right—not just sometimes, but every time—is crucial to maintaining a good reputation, new and experienced framers alike can use Jared Davis's guide to making perfect joins using an underpinner. For the full story, see page 22. Image courtesy of Fletcher Business Group
Features 16 Shop Productivity: Building an Efficient Fitting Area
Columns 12 22 28 38
28
Goltz on Business Framing Fundamentals Mastering Mounting Design of the Month
22
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
16
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.
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 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
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 June 2021
Bruce Gherman
FROM THE EDITOR’S DESK
T
This month, a closer look at how to boost your productivity by optimizing your fitting area. Also, a special equipment showcase, the pros and cons of leasing equipment, and more. CONTENTS AD INDEX 8 PFM June 2021
here are many pieces of equipment a framer needs in their shop: saws, choppers, joiners, computerized mat cutters, and mounting machines, just to name a few. This month’s issue takes a closer look at equipment from a few different angles to help you get what you need to grow your business. PFM Business Editor Jay Goltz— entrepreneur and owner of Artists Frame Service in Chicago, among other businesses—explores the question of leasing versus buying equipment in his latest column (page 12). He outlines a few different avenues a shop owner could take when looking to get a new tool or machine, and crunches the numbers to demystify what can be a complicated area of business. I think you will find great value in his expert insight and honest discussion as you weigh your options. Joining is, of course, an integral part of the custom framing process, and something that is worth revisiting regularly. This month, Jared Davis covers how to get that perfect join every time using your underpinner in our Framing Fundamentals column (page 22). Since getting it right—not just sometimes, but every time—is crucial to maintaining a good business reputation, new and experienced framers alike can use this guide. When you think of equipment
like CMCs and underpinners, your mind may travel to the so-called “back room.” Wherever it’s located, is your fitting area running as efficiently as it could be? In his latest article, Kevin Meath offers a comprehensive list of the tools he finds essential for a fitting area and gives proven tips for how to keep things neat, clean, and organized so you and your staff don’t waste precious time trying to sift through clutter (page 16). This issue also features an Equipment Buyer’s Guide (page 32). This guide, which takes the place of our regular Product Showcase this month, includes what’s new and hot in the equipment universe, from CMCs to miter saws and more. Those articles and more await you on the following pages. I hope they prove helpful to you as we enter a summer season that may look very different from the last one. Retailers and suppliers across the board have reported high volumes since reopening, which is great to hear. I hope that continues—but don’t forget to take a well-deserved break once in a while!
Kimberly Biesiada Editor
INDUSTRY NEWS M-D Building Products Acquires Cardinal Aluminum Co.
sent the perfect fit. Our philosophies, values, and capabilities are
Oklahoma City-based M-D Building Products, Inc., a family-owned
aligned, and we believe Cardinal’s future as part of M-D is bright
company involved in developing, manufacturing, and marketing a
as America’s manufacturing sector expands over the next several
range of residential and commercial weatherization, flooring, caulk-
years.”
ing, and specialty extrusion products, has acquired the assets of Louisville-based Cardinal Aluminum Co. and its subsidiaries, Car-
Off-Duty Italian Cops Find Stolen Statue
dinal Architectural and Designer Moulding.
Italian law enforcement recently recovered a first-century Roman
Founded in 1946, Cardinal Aluminum Co. provides custom aluminum extrusion, fabrication, and finishing to customers across North America. Cardinal Architectural provides an industry-leading
statue that was stolen from an archaeological site in 2011, according to police and the Associated Press. The “Togatus” statue, which depicts a headless Roman wear-
motorized louvered roof system, and Designer Moulding provides
ing a draped toga, was discovered
metal and wood picture frame mouldings.
in an antiques shop in Belgium by
“This acquisition strengthens our already diverse product
two off-duty Italian art squad po-
portfolio and supports our strategic growth plans by expanding
lice officers. It is valued at 100,000
our current offerings and deepening our internal vertical integra-
euros and was looted from the Villa
tion while opening new markets and advancing our position as
Marini Dettina archaeological site on
an industry-leading consolidator,” said Loren Plotkin, CEO and
the outskirts of the Italian capital, ac-
chairman of the board for M-D Building Products. “Similar to M-D,
cording to the AP.
Cardinal has a long history of engineering and manufacturing cus-
Two members of the art
tomized products. As two privately held, family-owned companies,
squad’s archaeological unit were on
we share similar core values, and we are pleased to welcome the
assignment in Belgium, where they
Cardinal family to M-D.”
took a walk after work in a Brus-
“Togatus.” Image copyright Carabinieri
In addition to M-D’s leading position in residential and com-
sels neighborhood known for its antiques shops. They spotted
mercial weatherization, caulking, flooring, and installation markets,
the statue, suspected it was from Italy, and cross-referenced the
the company is one of the nation’s largest aluminum extrusion
piece with a stolen antiquities database, where their suspicions
manufacturers. The acquisition of Cardinal expands M-D’s man-
were confirmed. An Italian businessman using a pseudonym was
ufacturing presences and capabilities and provides Cardinal the
referred to prosecutors for further investigation into allegations he
opportunity to leverage its technical, manufacturing and marketing
received and then exported the statue abroad, the art squad said
abilities on a larger scale.
in a recent statement.
“As Cardinal celebrates 75 years of business, we recognized
The Carabinieri Art Squad, also known as the Carabinieri
it was time to secure the long-term future of the company by join-
Command for the Protection of Cultural Heritage or Carabinieri
ing with M-D, one of the top manufacturers in the country,” said
TPC, was established in 1969 as the world’s first specialist police
William “Chip” Edwards, president and CEO of Cardinal Aluminum
unit for combating art and antiquities crimes. The force investigates
Co. “We have admired M-D and the Plotkin family for years as
clandestine excavations, the theft and illicit trade in works of art,
they have grown their company through several strategic acquisi-
damage to monuments and archaeological zones, the illegal ex-
tions the past decade. Cardinal and M-D Building Products repre-
port of cultural property, and fakes. PFM
CONTENTS AD INDEX 10 PFM June 2021
GOLTZ ON BUSINESS
by Jay Goltz
Lease, Buy, or Do Nothing? Want new equipment but don't have the cash? There are other options for you.
W
erything), this will be more of an academic read for you. When I talk to framers and ask them why they don’t have some piece of state-of-the-art equipment, the frequent answer is, “I can’t af-
hile picture framing is not a par-
ford it.” As far as I’m concerned, that phrase
ticularly “capital-intensive” busi-
has no place in business. There is “I don’t
ness, there are some pieces of
think it will pay for itself (ROI),” which is le-
equipment that can benefit your bottom line.
gitimate, or there is “I don’t have any cash,” to
This would include point-of-sale software,
which there are some solutions. Just because
computers, saws, choppers, joining devices, computerized mat cutters, printers, glass cutters, and laminating and mounting machines. When you add it all together, it can add up to some real money. Before I go any further, I want to “frame” this one-way discussion. I have always operated my business with the desire to grow it, to give the best product to my customers, or, at the very least, to be as efficient as possible. In order to do that, I have in fact invested in all of the tools and equipment mentioned above. Invested is the key word; it means I have cal-
you don’t have the cash doesn’t mean you don’t have a way of financing the equipment you want. And even if you do have the cash— assuming it is not unlimited—that doesn’t mean it’s a good idea to use it for this purpose. As you grow your business, there are other demands for cash that cannot be easily financed. This would include increasing inventory, hiring new staff, advertising, increasing your finished goods inventory, making framing samples, and improving the looks of your store. If you decide that there is a good enough ROI to buy something, here are some options to consider.
culated some return on investment (ROI) that made it worth the money. It is through this lens that I am going to
Leasing Leasing is frequently misunderstood. Unless
CONTENTS
go through some options on various ways to
you are leasing a car or getting a computer-
acquire some or all of this equipment if you
ized mat cutter that includes some kind of
don’t have endless cash available. If you are
maintenance package, most equipment that
sworn off of debt, have horrendous credit, ar-
you lease is really another form of financing.
en’t sure you want to still be in business in a
You don’t just give it back to the vendor at the
year, or are as happy as a clam (I’m not sure
end of the lease and get a new one; you prob-
why clams are so happy, but I can’t know ev-
ably have some kind of buyout at the end.
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Jay Goltz is president and founder of Artists Frame Service, Inc., the world’s largest custom picture frame shop, and Bella Moulding. With more than 40,000 square feet and 50-plus employees, this facility is more than 20 times the size of the average picture framing company in the U.S. He also owns Chicago Art Source and Jayson Home, located adjacent to his framing business in Chicago. Jay has received numerous business awards and is a frequent public speaker. Artists Frame Service was featured in the book "Small Giants-Companies That Choose to Be Great Instead of Big" by Bo Burlingham (editor of Inc.). Jay is also the author of "The Street-Smart Entrepreneur." 12 PFM June 2021
This is what the IRS calls a “capitalized lease.” That means
Other Options to Get Cash
the piece of equipment will depreciate and will be treated
There are numerous companies out there that advertise to
the same as if you purchased it.
small businesses about their easy-to-get business loans.
Knowing this, you might ask, why not just borrow from
Since the pandemic, they have been largely underground.
the bank? Good question. I hate to break this to you, but the
My guess is they will be back. Here is something to look
bank doesn't really love you. They do love making money,
out for; if the “loan” is to be paid back over six months,
though, and it is really hard for them to make money on
that is not really financing—it is a short-term loan, and the
a small loan for equipment that has a questionable resale
law does not require them to show an annual interest rate.
value. Maybe you do have a bank that is interested; you
Here is an example of how it goes. You call. They ask
should ask, as I haven’t talked to every bank in the country.
you how much your monthly revenue is. You tell them you
But if I turn out to be right, there are other options.
need $20,000 for whatever—they don’t really care. They tell
There are many equipment finance companies out
you they can do the transaction and that all you need to do
there that actually want your business. How do they do it?
is pay back $4,000 per month for the next six months. You
They charge more interest—but that isn’t necessarily a bad
do the math—or at least you think you do the math. $4,000
deal. Depending on your credit score and the size of the
x 6 = $24,000. That would be $4,000 in interest. You figure
transaction, the interest rate will probably be between 5
that is a 20% interest rate (20% x $20,000). You would have
and 12%. If you have calculated a return on investment of
figured wrong. The loan was only for six months, not a year.
20-100%, this might be a bargain. They usually have easier
So you have to double it to 40%, right? Wrong again. You are
credit requirements than the bank, so even if your credit
paying back the loan every month, not all at the end. You
score is so-so, it is worth looking into.
have to double it again to about 80%.
There is probably another bonus of this approach, too;
Yes, 80%! That is how they can afford to advertise so
if you lease or even borrow through your company, it will
much and to absorb the high default rate from people who
not necessarily show up on your personal credit file. This
get in over their head. I called one of these companies to get
can be important if you need more personal credit for a
the numbers provided here. In the end, I told the friendly
house or car loan, or a luxury boat that you probably should
person on the other end of the line, wow, that is about 80%
not be buying—that’s what rich friends are for!
interest! She asked me how I figured that out; she was sur-
Using a Credit Card Calm down. I know the interest rate can be anywhere between 10 and 30%. This is about math. If the ROI is high
prised I did. I’m sure there are situations where it is worth it, like a big, profitable job for which you need to buy materials. But I wouldn’t recommend it for buying equipment. Finally, a word of warning: I am an entrepreneur. I do
CONTENTS
enough, it could be well worth it. Some equipment could
the math. I take chances. I do not live in fear. I look for op-
either generate enough extra revenue or save enough
portunities to grow my business. If you ask your non-entre-
money to make the ROI so good that paying a high interest
preneur father, mother, spouse, accountant brother-in-law,
rate is well worth it. At the very least, find out what the
or hairstylist what they think of these ideas, you are likely
interest rate is. Call them. Sometimes they have special
to hear some hysteria or well-worn clichés. I get it. I am
programs that are really a good deal. The banks are sitting
not normal; most people who know me will attest to this.
on a lot of cash, and they are looking to put it somewhere.
But what I’m illustrating here is hardly investing in Bitcoin
Sometimes the “cash advances” are as low as 3% or so for
or penny stocks. If I were normal, I would have become an
a year and a half (they will be called “zero interest,” but
accountant. Being an entrepreneur has worked out for me. I
there is a 3-5% transaction fee).
want it to work out for you, too, if that is what you want. If
Part of the reason they can do this is because some
you’d be happier being able to tell everyone “I have no debt,”
AD INDEX
people cannot pay it off at the end of the program, so they
then it might make more sense for you to buy some new
end up paying the high interest. If you are making enough
equipment outright that will help you grow.
money and are confident you can pay it off at the end, this is a really good deal.
So, there you have it. New equipment can give you a new lease on life. I’m not sure where that phrase comes from, either! PFM
14 PFM June 2021
SHOP PRODUCTIVITY: BUILDING AN EFFICIENT FITTING AREA By Kevin Meath
A
re you as efficient as possible in your fitting area?
Dust cover trimmer: used for quickly and accurately
Here are some proven ideas that can help you save
trimming dust covers. There are several types available. I use
time and boost profitability in your frame shop.
a double-sided one; it is disposable but has good life, and I
One common question I am asked is, what are the cor-
rect tools to have at a fitting station? If you have been framing for a long time, you most likely have more tools in your fitting area than you need. I urge you to look at what you have and make sure it all needs to be there. There is no use in hav-
don’t have to change blades. #2 Phillips screwdriver: used for assembling metal frames and applying hardware. 3/16'' Straight screwdriver: used for driving screws and assembling metal frames.
ing a rarely used tool taking up precious space in this area;
Wire cutters: used for cutting hanging wires and pulling
for those kinds of items, I suggest keeping them in a separate
nails and staples. I use the longer 8'', diagonal-style pliers be-
communal box to be brought out when needed.
cause they have more leverage for cutting and are easier on
Cleanliness in the fitting area is imperative; clutter and messiness get in your way, cause re-work, and cost you money! In this article, I have provided a list of tools that I think
the hands. Scratch awl: used for marking and making a starter hole for hardware screws. Can also be used to pull staples.
are mandatory for setting up an efficient production fitting
Small hammer: this should be in the four- to six-ounce
bench. Keep this as a handy reference guide when building a
weight range. Used for driving tacks and tapping the scratch
fitting area for the first time or doing some spring cleaning in
awl on harder wood frames.
an established shop.
Offset stapler/point driver: used to permanently hold an
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ATG gun: used for adhering mats to images and applying
art package into a frame. These can be either manual or pneu-
dust covers. Make sure the gun you select can hold oversize
matic. Pneumatic is the preferred choice for high production
rolls for the best cost savings and less time spent reloading.
volumes because the operation can be very tiring and lead to
AD INDEX
Tape measure: used to check sizes and measure for
repetitive stress injuries. I prefer staples over points because,
hardware locations. I use a 12' tape because I do quite a bit of
in my opinion, the staples have better holding strength and
larger art, and I find that they have a sturdier construction.
work equally well in both soft and hardwood mouldings.
Utility knife: used for general cutting and trimming, cut-
Flexi-Tab driver: used to install removable art packag-
ting spaces to length, and opening packages. I keep a pack of
es into a frame. These can be either manual or pneumatic.
spare blades in the area as well, along with a sharps disposal
Pneumatic is preferred for high-volume production for the
unit for used blades to be safely deposited.
same reasons as above.
16 PFM June 2021
holder that is screwed to the bottom of the table top to hold the kraft paper used for dust covers. I find that 36'' covers most of what we do. If we get into special jobs that require narrower paper, it will still work with the 36'' holder. For larger pieces, we have a portable vertical 48'' holder that can be moved to the area in which it will be used. All fitting tools are kept in a drawer attached to the bottom of the bench when not in use, and everything is replaced at the end of a shift. I sourced drawer assembly units that I screw to the benches. These are available from several Keeping things neat and organized and limiting clutter will result in a smoother production process, saving you time and money.
sources for both wood and metal tabletops. Recently I started using 5S Shadow Foam to line draw-
Battery-powered 3/8'' drill: used primarily for hanging
ers. This gives an instant visual for missing tools and keeps
hardware installation and metal frame assembly. These can
everything organized. The two-layer foam is inexpensive
be electric, battery, or pneumatic. I prefer the newer battery
and easy to lay out and cut. I lay out the tools in the drawer
units as they are lighter, have very good battery life, and have
over the top foam and draw around them, then cut out the
an adjustable clutch for setting the amount of torque to not over-drive the screws and strip the hole. You must use the lightest possible torque setting that will fully drive the screw. You should always hear the clutch slipping as the screw is fully seated. I also use the battery-powered drill with a 3/32'' drill bit to pre-drill for screwing into hardwood frames, screw eyes, and turn-button installations. Accessory bits for drill driver: I use a magnetic, 1/4'' hex bit holder that has interchangeable bits. Our standard set up is a #2 Phillips bit, a 1/4'' straight bit, and a 3/32'' drill bit holder. I keep a few spares of the slip-in bits in the drawer as well. Bits should be replaced as they show signs of wear.
Turntables help eliminate scratches in frames’ finishes and help speed up the process.
Masking tape: I use inexpensive 1/2'' or 3/8'' tape to hold a “thank you” hanger to its wire. I also use it to tape order
shapes. The top foam is typically 1/2'' thick with an adhesive
tickets to completed pieces as they go to wrapping. These
layer to adhere to the 1/4'' bottom layer. With this method,
are the only safe uses for this type of tape; it cannot be used
you get a perfect shadow in the color of the removed tool.
for anything inside the art package. It is not archival and
Shadow Foam comes in many colors; I use spray paint
fails quickly with time, leaving adhesive residue on surfaces.
colors to mark the tools for each bench that matches the top
Backing paper holder: I use a 36'' Bulman-style paper
foam color. I mark the bench and the tools with the top foam color. This keeps the tools with the correct bench and helps eliminate the cost of replacing lost tools. The foam comes a
CONTENTS
range of sizes up to 4' x 9'. There are also services that will CNC cut these for you, but it is very easy to cut with an X-Acto or utility knife. In addition to the tools, I keep standard hardware at my
AD INDEX
workstation. I have set these all up in plastic cups, using different color cups for each type of hardware. (For me, wood hardware goes in red cups, and metal hardware goes in blue cups.) It’s a very simple system, is easy to replenish, and I don’t have people hoarding complete boxes of hardware. It Two turntables used to streamline the fitting process. 18 PFM June 2021
becomes a simple visual check at reorder time. One thing to
Some essential fitting tools needed for everyday work. There are a lot of other tools only used occasionally that can go in storage.
note is that I no longer use any of the old-style screw eyes for hanging wires; I use single-hole, D ring-style hangers. These are much faster to install, easier for my team, and they don’t
Keeping small fitting accessories organized is a quick task that pays dividends when you are trying to find something while working.
break off in the moulding. One thing I do for high-volume, repetitive sizes is pur-
As we all know, even a light tool can feel heavy by the
chase a premade hanging wire. I get them from Frameware
end of the day. I have been using tool balancers for some
(they are called Snap-Ups). They are ordered in 100s and are
time now to help prevent repetitive stress injuries. It is all
made with a screw-eyelet permanently attached to the wire.
about ergonomics, the study of workers’ efficiency in their
This takes a significant amount of labor out of installing the
working environment. I know our team will get used to the
hanging wire.
tools, but I can make the job easier, the workload lighter, and
With high-volume products that these would be used
the process both faster and safer by paying attention to er-
on, I make an acrylic template for marking the correct screw
gonomics. I didn’t have to find lighter tools, just a way to
location and install the Snap-Up with two screws, one on
make them seem lighter. A tool balancer will do just that—it
each side. This eliminates measuring and cutting the wire
can make a three-pound drill driver seem almost weightless.
along with lacing and twisting the wire. This simplifies the
A tool balancer holds the tool at the correct height,
entire hanging wire process and dramatically speeds it up. I
getting it off the worktable, and takes some of the weight,
keep the wires, separated by size, stored in cardboard tubes
making it seem lighter. Balancers come in many weight
screwed to the side of the table. For most wood frames, I use
categories, from very light to very heavy. I use them on bat-
a #6 x 1/2'' sheet metal screw with a Phillips head.
tery-operated drill drivers, pneumatic drill drivers, and even
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I have been using turntables for any task that requires
air nozzles for blowing off artwork. Balancers can be hung
turning a frame. This helps to eliminate scratches in the fin-
from the ceiling or, in cases where the ceiling may be too
ish and speeds up the process. The smaller (30'') table tops
high, there are systems that will hold the balancer and all
ride on a 12'' circular bearing for a lazy Susan; for the larger
pneumatic or electrical needed for them to operate. Balanc-
units, the ride on furniture castors on a plywood base. Ours
ers are relatively inexpensive compared to the benefits they
are made in-house by sawing the circle from 3/4'' plywood
provide and are a huge help to productivity. I suggest you
with a saber saw. I drill the mounting holes, attach the bear-
investigate them if you are using handheld power tools in
ing assembly, and cover the surface with bubble wrap or mi-
your processes. PFM
cro-foam to protect the frame surface. The turntables I use in touchup are covered with 6mm Sintra-style expanded polystyrene for easy cleaning.
AD INDEX
Turntables have helped us increase productivity, eliminate stress injuries from stretching and turning frames, and reduce re-work from damaged frames that were scratched when slid on the table surface. Our team likes that their day is easier, and I like that productivity increased with less damage from sliding the finish. 20 PFM June 2021
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.
FRAMING FUNDAMENTALS
By Jared Davis, MCPF, GCF
How to Make Perfect Joins Every Time with Your Underpinner Stacking V-nails? Tall or narrow moulding? Use these tips to guide you.
T
hey say the reputation of your business is based on the quality of your work. Therefore, it’s worth taking
some time to refine your knowledge of one the most fundamental processes of our craft: creating the perfect join. In 1977, a French engineer named Antoine Cassese invented the world’s first V-shaped wedge (also called a V-nail) and an underpinner to insert these from underneath a clamped
miter is not accurate on your cutting device. If
frame join, which led to a revolution in the
the blade angle of your cutting device is off by
way picture frames are made. Before this, the
even 1°, this error can compound out multiple
most common method of joining a miter was
times by the time you get to your last corner.
a time-consuming process of clamping, drilling,
Even the best underpinner can’t transform a
nailing, and puttying.
bad cut into a perfect join.
Even with the advanced technology we
Spend time to ensure that your cutting de-
have today, obtaining a perfect join can still be a
vice is cutting perfectly. A good test is to cut four
challenge. Here are some tips to consider when
short lengths of a relatively wide moulding and
it comes to achieving consistently perfect joins
make a small frame, only joining three corners.
when using an underpinner and V-nails.
Any gap or opening in the final unjoined corner will soon highlight imperfections in your cut-
CONTENTS
Cut Quality
ting angles. Ideally, the perfect cut should mean
The first requirement for a perfect join is a per-
you don’t have to use putty or filler to hide gaps.
fect cut. When you can’t seem to get a good join and have unsightly gaps—especially on the last
Setting Up a Workspace
corner—it’s usually because the angle of your
The working position of your joiner and moulding can have an impact on both your productiv-
AD INDEX
Jared Davis has 30 years of industry experience and is the business development manager
for Frames Now, Australia. Jared has previously worked in roles including business development, strategic marketing and product management for companies such as Larson-Juhl and Gunnar International. In addition to writing for PFM, Jared has traveled extensively as an educator and speaker, teaching framers at many industry shows and seminars around the globe, including The National Conference at the WCAF Expo.
22 PFM June 2021
Working from behind the underpinner can give you a closer view of the join and easy access to loading wedges.
ity and the quality of your joins. Many framers adapt their
joined frame at the expense of trying to save a few cents by
underpinner and workspace to be able to work from behind
using a lesser-quality V-nail.
the joiner to join their frames, which has the benefit of giv-
V-nails are available in a variety of heights and two com-
ing them a closer view of the join and easy access to load
mon styles, softwood and hardwood, which can greatly in-
V-nails. Also, when it comes to supporting the moulding
fluence your join. It comes down to the penetration angle of
lengths you are joining, some framers build their underpin-
the V-nail as it drives into the timber. The primary difference
ner integrated into a corner of a custom bench so that the
between softwood and hardwood V-nails is in the sharpen-
edges of the bench will support the lengths of frame for join-
ing. For example, Cassese’s patented softwood V-nails are
ing. This can also make the most use of your shop’s space.
sharpened on one side, whereas their hardwood V-nails are
Ensure that the surface height of your support bench or
sharpened on both sides. This means the penetration angle
joining table is approximately 1-2mm lower than the height
of softwood V-nails will slightly curve back, allowing them
of your joiner, so that there is no risk of the cut moulding
to expand and “spread their wings” as they are inserted into
and frame being slightly lifted by the table, distorting the
the timber join. This action creates a constant spring tension
joining process. In this situation, a raised table surface could
on the join from the shape memory of the metal, providing a
cause an open gap on the underside of the join.
strong, active tension that constantly pulls the join together. Hardwood V-nails are sharpened so the penetration an-
Wedge Selection Principles
gle is more neutralized to resist spreading and bending. This
There are many different types and manufacturers of
makes them more suitable for the denser grain of hardwood,
V-nails. Like anything, the quality and type you choose can
thus reducing the issue of blowouts when stacking close to
influence the quality of your join. This is governed by the
an outer edge of the frame. Given that hardwood V-nails do
V-nail’s design and shape, the precision of sharpening, and
not spread their wings as much as softwood, it is generally
the grade of steel used. Some V-nails even come lubricated
better to use a softwood V-nail wherever possible, even in
for ease of penetration. Generally speaking, when it comes
some harder timbers, for stronger tension on the join. One way to help identify whether a softwood or hard-
the cost of replacing damaged materials (and possibly the
wood V-nail will work best is to use your fingernail to try to
quality of your product), it may not be worth risking a poorly
scratch or indent the underside of a piece of moulding. If it
When joining narrow, gallery-style mouldings, stack two 15mm V-nails in the front-inside location and one in the rear location. This avoids any stacked V-nails blowing out of the rear outer edge.
Most of the joining tension is placed on the innermost and outermost V-nail locations. It’s generally unnecessary to use more than two or three positions across the width of a join to locate where your V-nails will be inserted.
CONTENTS
to quality, you get what you pay for. When you think about
AD INDEX 24 PFM June 2021
Some of the hard metal surfaces of your underpinner can be lined with removable masking tape to help soften the contact points between machine and moulding.
is too hard to make an impression, then a hardwood V-nail may be more suitable. For special materials such as synthetic or MDF, it is best to use a hardwood V-nail or, in some cases, even a specialized wedge for that specific material.
Wedge Positioning Principles Using more V-nails doesn’t necessarily result in a stronger join. Interestingly, most of the work and pressure is placed on the innermost and outermost wedge locations of a join. Thus, if you can make the distance between the inner and outer V-nails as great as possible, you will create a stronger
When applying glue on mouldings made from porous timber, smear a very thin layer on over the surface of the cut first, then let this dry for a minute before applying a second, more generous layer of glue for the join itself.
join. Note that additional V-nail locations positioned in the middle between the inner and outer locations won’t contribute as much to the overall tension and strength of the join, and in many cases may only be offering a “placebo” benefit. Depending on the type and quality of V-nail you’re using, it is generally not necessary to use any more than two or three positions across the width of a join to locate where your V-nails will be inserted. If you prefer to use more V-nails, it is likely better to stack as high as possible through fewer positions across the join rather than single stacked V-nails
PFM June 2021 25
spaced out in multiple locations across the width of the join.
Have you ever crushed a delicate moulding profile? Con-
Timber displacement can sometimes cause a broad gap
sider the pressure of your top clamp and pressure pad when
to be exposed in outside corners that may require filler or
joining. There are some mouldings that can be soft and del-
putty. To prevent this from happening, try to avoid position-
icate, not requiring much pressure to join. Other mouldings
ing any V-nails within 5/16'' (8mm) from the back edge of
can be harder, requiring greater pressure to assisting the
a join. Keep in mind that, when required, you can still join
joining process. Depending on your underpinner, you may
narrow frames with only one V-nail location (close to the in-
need to learn how you can adjust the pressure settings for
side edge of the join). This may be necessary for thin, certif-
your clamping mechanism.
icate-style mouldings. Even with only one V-nail per corner,
Some difficult moulding profiles may require special
a frame will have stronger structural integrity once all four
considerations when joining such as pressure settings,
corners have been joined and combined with wood glue.
clamping options, or wedge locations. In these cases, you could record pertinent information onto a label and stick it
Wedge Stacking Principles
to the back of the corner sample for easy future reference.
For convenience, some framers choose to only use a shorter
In addition to standard clamping options, some framers
V-nail (such as 7mm) and, when required, stack multiple in
improvise by making their own accessories for joining chal-
each location. This is done instead of changing over to a tall-
lenging profiles. Examples include a leather paper weight,
er, more suitably sized V-nail for the moulding height (such
which can be a useful way to add padding to a complex, or-
as 12 or 15mm). However, this practice doesn’t provide you
nate scooped profile; a padded spacer block made of stretch-
with the strongest join. In principle, you will achieve a stron-
er bar with a matboard or foamboard liner, which can be
ger join when you use V-nails that are as comfortably high
useful for joining a float frame; and a large, padded triangle
as possible for the moulding profile position you are joining.
of plywood with wetsuit rubber, providing a larger contact
For example, one 15mm V-nail will provide a stronger and
surface that can be helpful for amortizing the pressure of
better join than stacking two 7mm ones. Ultimately, if you
a top clamp over a great surface area for fragile mouldings.
want the best possible join, it is best to minimize unnecessary stacking where possible.
Some delicate moulding finishes are easily scuffed or damaged when handled, especially when they come in con-
When it comes to joining narrow, gallery-style mould-
tact with hard, metal surfaces such as joining clamps on
ings, it is advisable to stack two 15mm V-nails only in the
underpinners. In these cases, consider lining the metal sur-
front-inside location and just one in the rear location. This avoids any stacked V-nails blowing out of the rear outer edge of the frame, but still provides a secure overall join of the frame. This is especially applicable to hardwood mouldings.
Joining Principles and Tips Have you ever accidently joined two long or two short sides of a frame by mistake? When joining frames, a helpful practice to avoid mistakes is to always join the two L sections first the same way (e.g., long on left, short on right), and then
CONTENTS
join these two Ls. Consistent adherence to this joining sequence can save you from accidentally joining a short side with a short side. With such variation in moulding styles, shapes, and
AD INDEX
profiles, understanding how to best use your machine and configurable clamping apparatus can be an art in itself. Most underpinners offer various types of clamps and bungs that you can change. Flatter clamp bungs are more suitable for flatter profiles, whereas rounder, softer-shaped bungs can be more adaptable to complex shapes and fragile finishes. 26 PFM June 2021
A triangular piece of plywood with a soft rubber surface such as wetsuit rubber can be fabricated to assist when joining sensitive moulding positions prone to indentation, such as the tip of a ridge. The plywood helps spread the pressure load across a broader surface area.
faces of your underpinner with removable masking tape to
the second application of glue from soaking into the timber,
soften the contact points between machine and moulding.
thus providing a much stronger bond.
When trying to join a twisted frame, there is a high
If you like to use glue and are concerned about keep-
chance that several corner joins may open up once you
ing the joining mechanism of your underpinner clean, one
come to joining the last corner. One method to prevent this
handy idea is to recycle moulding wrapping waste. Mould-
from happening is to only glue and join three corners first,
ing wrapping can be cut down into square pieces that can
which will leave the last corner open (and likely temporar-
then be positioned on the table sandwiched between your
ily offset). Allow several hours for the glue to properly dry
moulding joins and your underpinner joining mechanism.
in the first three corners, then glue and join the last corner.
These disposable squares can help capture any residual ex-
This should help keep the first three corners closed. A strap
cess liquid glue before it drops down into your underpinner.
clamp or corner vice can also help in some cases. If you have a gapping or open join and don’t have a strap clamp or cor-
Underpinner Maintenance
ner vice handy, you could also use removable backing tape to
The best time for your machine to break down is never. Pe-
help hold a corner together while the glue is drying.
riodically take care of your underpinner and try to keep the wedge driver mechanism clean and lubricated. Take note
Bonding with Glue
of other mechanical areas of your machine that also re-
There’s no doubt that using glue will provide a stronger
quire periodic lubrication and implement a schedule. Don’t
join, especially with larger frames that need to carry weight.
forget to regularly empty moisture from your compressor,
When applying glue on mouldings made from porous tim-
too. Moisture build-up in compressed airlines can gradually
ber, smear a very thin layer on over the surface of the cut
damage and deteriorate the seals of pistons and other com-
first, then let dry for a minute before applying a second,
ponents, which can be time-consuming and costly to repair.
more generous layer of glue for the join itself. This will help
When you take the time to look after your equipment, your
pre-seal the open pores of the timber and reduce much of
equipment will continue to look after you. PFM
PFM June 2021 27
MASTERING MOUNTING
by Chris A. Paschke, CPF, GCF, CMG
Synthetic Materials: Part 2 Including reference charts for a number of popular materials.
A
rchival mounting is a preservation treatment that is totally reversible if removed from the housing. Artists
often request archival mounting for their original art, but don’t understand that fusing an original to a backing is often not an option for a framer. What they really desire is for their art to
dyed, painted, stained, and heat cockled as
be well bonded to an acid-free backing for 100-
part of the art presentation. In the photo above,
year long-term bonding that is reversible and
notice the visual difference between the lacey
non-invasive—which can be a difficult ethical
visual effect Lutradur polyester delivers when
decision for a framer.
melted versus the smoother, bubbled effect of
We have been taught never to mount origi-
melted Tyvek polyethylene. Though the melt
nal art, but there are times when we bend those
temperatures are higher than most mounting
rules. Mixed-media art is very popular with nu-
adhesives, synthetic sensitivities should be
merous synthetic materials used in these orig-
noted and may occur at lower temperatures.
inal creations. In the first part of this two-part
Synthetic materials have variable heat tol-
article series, assorted synthetic papers, fiber
erances. The highest melting point is Evolon
synthetic paper, and stone paper were identi-
and TerraSlate that come in at 446°F, but thinner
fied and discussed. Here, we’ll look at tempera-
synthetics melt at much lower temperatures be-
ture tolerances, present warnings, and make
tween 275°F and 320°F—still much higher than
suggestions for display presentations, never
dry mount temperatures. Yupo melts at a 320°F
forgetting that textile art is original and unique,
but could pose a problem if other synthetic fab-
generally requiring preservation treatment.
rics with lower melt points were included in a mixed-media piece like both Smooth Texture
CONTENTS
Heat Sensitivity
or Soft Texture Tyvek, or TerraSkin. A household
The practice of heat distressing fiber synthet-
iron set on wool runs 300°F, shriveling the Ter-
ics for tactile and visual texture is common
raSkin sample from the high heat. The same
in mixed media as these materials are often
sample was tested with a non-rheostat tacking
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 June 2021
Notice the visual difference between the lacey visual effect Lutradur polyester can deliver when melted vs. the smoother, bubbled effect of melted Tyvek polyethylene.
A household iron set on a wool setting (around 300F) shriveled TerraSkin from high heat.
ly bond to synthetic paper. Past testing has verified that 100% polyester encapsulated charts heat bond well on many HA products, while polyethylene, polyIt’s not about temperature and time but actual bond, sheer, and tear strength. Since synthetic papers do not absorb adhesives, they will only hold as aggressively as the adhesive allows.
propylene, and nylon may not. Heat-activated (HA) boards <150°F
iron, and it was fine since the tempera-
Dry Mounting
ture was lower. All synthetics should
would be a fine temperature, but might
Since Yupo cannot be used with laser
be tested at the edge or with a scrap
not meet tear strength criteria for bond
printers, many people consider it to be
from the artist prior to mounting.
strength after fusion. And perhaps a
heat-sensitive, but those are two sepa-
I’ve created a Synthetic Reference
selected adhesive may be ill-advised
rate issues. Sheet polypropylene has a
Chart for helping to identify the regis-
for use with original fine art. If mount-
temperature tolerance of >275°F with
tered manufacturer name of the prod-
ing for matting and glazing, HA boards
a melt point of 338°F. In a laser print-
uct, material of origin, general melt
may bond, but ask your artist for a
er, paper passes through rollers in the
point, suggested mounting options or
synthetic scrap to test first. Also, if you
fuser assembly, which heats to 390°F
tolerances, and possible techniques
opt to mount their original, a signed re-
to bond plastic toner to paper. A dry
and uses. The chart obviously cannot
lease allowing you to do so should be
mount press is far below that tem-
cover every synthetic material that
kept with their records.
perature, so the question is not press
may be encountered in the decades
Yupo falls into the above category
temperature but internal temperatures
ahead, but the materials may be sim-
since it generally remains smooth and
used by laser printers, and the question
ilar, so keep this for reference.
flat even after painting completion, but
is which HA or P-S adhesive will actual-
PFM June 2021 29
fiber synthetic papers like Evolon, Lutradur, and Zeelon may not. Since TerraSlate has a low-end heat tolerance around 280°F, it would probably not tolerate dry mounting; but since it is most often used for signage, menus, or labels, it’s not likely to require framing mounting treatment.
Test Results In heat bonding tests completed for this study, a cross-section of common rolled adhesives, HA boards, and SA boards were tested for tear strength and bond. Refer to the Synthetic Mount Chart for results. It’s not about temperature and time but actual bond, sheer (vertical pull), and tear strength. Since synthetic papers do not absorb adhesives, they will only hold as aggressively as the adhesive allows. Always honor original art and use preservation practices—even when these synthetics tolerate heat.
P-S Mounting
A quick-reference chart with company names, descriptions, and temperatures.
carbonate, and aluminum substrates.
and PVA are routinely advocated as a
Gudy 831 uses a long-fiber, non-woven
viable wet adhesive by mixed-media
paper carrier coated on both sides with
artists for bonding porous materials,
high-tack, water-based, acrylic adhe-
but synthetics do not absorb. Liq-
sive, is acid- and solvent-free, and has
uid medium is very lightweight and,
passed the Photographic Activity Test
having no viscosity, soaks into a po-
(ISO-18916). Though it is aggressive for
rous board, leaving little bonding ca-
bonding synthetic materials with a roll-
pability for non-absorbent synthetic
er laminator, when manually applied,
paper. Bottom line: bond failure is
gudy 831 did not meet tear strength
possible.
requirements. KoolTack InstaMount is
Golden Extra Heavy Gel Medium
a commercial pressure-sensitive board
is a thick paste that will bond Yupo to
that has tested well with both Tyvek
an absorbent rigid substrate, but the
and Yupo, but has not been tested with
end results may not have desired tear
TerraSkin or Evolon, which both have a
strength. Golden Artist Colors do not
more textural fabric feel.
endorse the use of their gel products with Yupo, and use of it must be con-
Mounting with pressure-sensitive ad-
sives may be manually applied, it is not
sidered experimental by nature. This
hesive (PSA) is very common for Yupo
the best application technique because
is not a technique to be used with
art, with Sintra often pressure-mount-
even when properly applied and weight-
synthetic materials.
ed to a cradled box with the Yupo orig-
ed, bond failure can occur. For efficient,
inal mounted to that Sintra. Neschen
even pressure, use of a cold roller lami-
Bond Failure
gudy 802 is a transparent, two-sided,
nator with aggressive, high-tack PSA ad-
When working with synthetics, the
high-tack, permanent, water-based,
hesive—which does not allow for repo-
incompatibility of materials allows
polyacrylate (polyester) PSA film for
sitioning—is best when done in a clean
for bond failure. The above-men-
mounting photos or digital graphics to
room to control dust and dirt. With a
tioned gel is a fabulous adhesive
smooth PVC, Gator, polystyrene, poly-
roller laminator, there are two steps to
for the fusion of porous materials.
a successful mount—adhesive to sub-
The gel will bond to the porous sub-
strate, then art to adhesive—and the
strate—hardboard, panel, or box—
larger the mount, the more difficult the
but cannot aggressively hold to the
application.
Yupo, allowing it to be pulled from
CONTENTS
Though pressure-sensitive adhe-
the substrate. The adhesive remains
AD INDEX This is Tyvek that has been properly applied with a squeegee to Elmer’s Permanent SA and weighted 24 hours. Two weeks later, there was bubbling because of the polyethylene, not the adhesive. 30 PFM June 2021
Gel (Wet) Mounting
well-fused to the board; it’s the Yupo
The internet is full of artist solutions
bond that lets go. Since Yupo cannot
for mounting completed originals to a
absorb, any guarantee of long-term
rigid backing, which perpetuates the
fusion is simply not possible.
thought in the artist community that
The same is true for pres-
it is acceptable to mount a completed
sure-sensitive adhesive (PSA). Only
original. Liquid acrylic mediums, gels,
select high-tack films or self-adhesive
Mounting with pressure-sensitive adhesive (PSA) is very common for Yupo originals. Black or white Sintra is pressure-mounted to a cradled braced box with the Yupo mounted to that Sintra.
products will effectively bond layers for dependable, long-term fusion. In an attempt to achieve surface smoothness, Yupo artists are requesting Gatorboard, Dibond, or Sintra as a substrate. Like Yupo, Dibond and Sintra do not absorb, so only high-tack PSA is an option for bonding. Coda Cold-Mount, KoolTack InstaMount, and Neschen gudy all tested well with non-absorbent synthetic materials.
Keep Informed This article by no means discusses all the new technology synthetic materials that will be encountered by a custom framer, but hopefully gives you a good idea of what to look for and what might be used by artists. Highend crafts and mixed-media artists are using more and more synthetic, recyclable, and/or environmentally friendly products in their original art, so it is the framer’s job to be familiar with them. I highly recommend purchasing a few sheets of synthetic paper, synthetic fiber paper, and stone paper to try mounting methods so you feel comfortable discussing mounting options with your customers. That said, once there is art medium applied, they are originals that may respond differently—and remember, we should only mount originals using fully reversible preservation techniques. PFM
Have a question or comment? Tell PFM what you think. Mail letters to PFM 330 Mounts Corner Drive # 313, Freehold NJ 07728 Call 732-536-5160, Fax 732-252-2270 Attn: PFM Editor or E-mail to editor@pfm-group.com PFM June 2021 31
Equipment Buyer’s Guide
888 Manufacturing Corp.
Craft Inc.
888 Mfg.’s Trim Cutter: cuts wood and plastic fillets with extreme precision. Includes the Fillet Pro measuring device, which ensures accurate fillet cuts every time. No more yardsticks or tape measures. Fastest, most accurate method of cutting fillets.
Craft Inc. is pleased to introduce the new Champ IV Toggle Press. The Champ allows you to easily install Craft Inc.’s self-fastening hangers and easel hinges. Please call or visit the website below for more information.
Call: 888-338-3318 www.888mfgcorp.com
Gunnar Extending the well-established AiOX range of computerized mat cutters, the new Gunnar Novex Décor digital cutting platform offers best-in-class cutting capabilities with highest flexibility and modularity on material mix. And even better, full automation enablement included as a standard. Be futureproof with a Novex in your cutting room.
Call: 800-827-2388 www.craft-inc.com
Hoffmann Machine Company The Hoffmann MU3-PD dovetail joining machine is an excellent choice for custom picture framers to join moulding at any angle. It excels at joining very thin and tall stem moulding which tends to split with traditional joining methods. Different machine models and accessories specifically for custom framers are available.
Call: +41 71 775 82 20 www.gunnar-int.com
Call: 866-248-0100 www.hoffmann-usa.com
Hoffmann Machine Company
Join Rite
The full range of professional Quicksilver Miter Saw Tables, manufactured by J.A. Dawley, are offered online by Hoffmann USA. Infeed and outfeed tables with solid tops or steel rollers are available in different lengths to meet customers’ needs. Large selection of accessories including digital displays allow customizations. Call: 866-248-0100 www.hoffmann-usa.com
The Join Rite mechanical canvas stretchers take the stress out of stretching canvas. They are fast, precise, and very durable. Framers, photographers, and artists alike love the way they work. Available as 36'' or 60’'' machines that can be joined to form larger units up to 120'' wide. Call: 508-454-7477 www.joinrite.com
LINC Systems
Tech Mark
Experience the CS200 pneumatic underpinner from Cassese. Features include joystick control of nail position and driving. New EZ-adjust top clamp simplifies moulding height changes. Patented retractable “hold and push” dual-action inside clamps push moulding together for a tight corner. All pneumatic; no electrical connection required. 7 ½'' nailing stroke allows you to join wide mouldings. The CS200 is designed to give years of service to professional framers, from the growing shop to medium production.
The Jaguar double miter saw is the latest model developed by Brevetti. Its vertical cutting action uses two 275mm sawblades for a maximum cutting capacity of 3''. It is equipped with pneumatic vertical clamps, measuring scale with sliding stop, and infeed/outfeed tables. This saw along with the Prisma, Prismatic, and Prisma Maxi are available through Tech Mark, Inc.
CONTENTS
Call: 800-937-2255 www.lincsystems.com
Call: 501-945-9393 www.tech-mark.com
AD INDEX
Universal Arquati
Valiani
The Universal Machinery DY104 is a pneumatic operated underpinner and uses standard V-nails in the following sizes: 7mm, 10mm, 12mm, and 15mm, and comes with four interchangeable heads. The DY104 also has two self-adjusting clamps designed to hold the moulding in place to simply piece together your corner. You can view this underpinner, along with demonstration videos, on Universal’s website.
Nexus: 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!
Call: 800-668-3627 www.universalarquati.com
32 PFM June 2021
Call: 847-537-3400 www.crescentcardboard.com/valiani
Valiani
Wizard
Need a higher capacity CMC for greater quantities or sizes? With its size options, two cutting heads, button clamps for edge to edge cutting, and a vacuum table to hold boards in place, the Maximus V is perfect for larger production or gallery work! Comes in three sizes: 49'' x 64'', 49'' x 99'', and 60'' x 104''.
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. Its advanced features include auto-homing, digital depth control, and Wizard’s innovative new Intelli-Clamps Collision Detection and Avoidance System. You’d swear we put some tiny 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: 847-537-3400 www.crescentcardboard.com/valiani
Call: 425-374-1043 www.wizardcutters.com
Wizard The Wizard AirGlide is a powerful cutting tool that’s the perfect complement to any CMC. It’s a multi-material straight-line cutter powered entirely by compressed air. AirGlide effortlessly cuts the substrates you use most. Say goodbye to the fatigue and carpal tunnel commonly associated with manual cutters. AirGlide has been ergonomically designed to power through a variety of materials with the ease of joystick control. It’s so fun you might even feel like you’re playing a video game. Call: 425-374-1043 www.wizardcutters.com
PFM PFM Subscriptions Subscriptions • Renew Your Subscriptions • Make Address Changes • Contact Customer Service
Manage your account online! Whether you’re signing up for the first time or making a change.
http://www.pfmsub.com/Renew PFM June 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 June 2021
CROSSWORD CHALLENGE Across 1 8 10 11 12 13 15 17 21 22 25 26 27 28 30 33 34 35
Useful framing tool, 2 words Excessively Subtractive technique Sawtooth ____ Color at one end of the spectrum Hidden ____ wood: eco-friendly material for frames Cleaned off the glass, in a way See 18 down Frame protectors Evil warrior in "The Lord of the Rings" Use a knife to make two pieces Digital pic Engrave Observe Drove in, as a nail A couple A long way
Down 1 2 3 4 5 6 7 9 13 14 15 16 17 18
19 20 22 23 24 29
SEE PAGE 37 FOR THE SOLUTION
31 32
Picture framing tool (pincers) Was unused Attempt Put the picture on another part of the wall, say Event site Rd., abbr. Sat as a model Alternative word Wheels _____graph: usually a hand-made original as opposed to a print Good deal in terms of price and quality Scand. land English princess Term used in the framing industry to describe the size of a print for the purpose of pricing, goes with 21 across Columbia's state, abbr. ____ canvas: tightly woven, heavy, plain-weave fabric with a hard durable finish Spring ____ See 24 down Hardware used as part of some hanging techniques, goes with eyes, goes with 23 down Framer who has been certified in picture framing, abbr. Much loved alien in film Medical TV show
PFM June 2021 35
Index Advertiser
Page
Advertiser
Page
Active Sales ........................................................................21, 34
Frank’s Fabrics for Framers .......................................................34
800-937-2255
888-332-2749
www.activesalesco.com
Alpina Manufacturing, LLC ........................................................34 800-915-2828
www.fastchangeframes.com / www.bannergrip.com
Arlo Spacemaker Products, LLC..................................................31 800-332-2756
www.reevesextruded.com
Artist Supplies & Products..........................................................34 262-797-8101
www.gilderspaste.com
ASF - A Street Frames ...............................................................34 800-805-7655
www.astreetframes.com
Bella Moulding .........................................................................39 888-248-6545
www.bellamoulding.com
CMI Moulding ...........................................................................34 301-476-7440
www.cmimoulding.com
www.franksfabrics.com
Gluefast Company ....................................................................34 800-242-7318
www.gluefast.com
Hoffmann Machine Company ....................................................34 866-248-0100
www.hoffmann-usa.com
Jack Richeson & Co. ..................................................................35 800-233-2404
www.richesonart.com
Join Rite ...................................................................................35 508-454-7477
www.joinrite.com
Michelangelo Moulding .............................................................11 877-422-8812
www.michelangelomoulding.com
Connecticut Saw & Tool .............................................................34
Picture Framing Magazine...................................................25, 33
203-318-4302
800-969-7176
www.ctsaw.com
Craft Inc. ..................................................................................31 800-827-2388
www.craft-inc.com
Crescent Cardboard Co. .............................................................13 800-323-1055
www.crescentcardboard.com
Decor Moulding & Supply ..................................10, 15, 27, 35, 37 800-937-1055
www.decormoulding.com
Fixons ......................................................................................34 CONTENTS
714-526-3455
www.fixons.com
Foster Planing Mill ....................................................................34 323-759-9156
www.fosterplaningmill.com
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Framerica............................................ 2, 3, 4, 10, 33, 35, 37, 40 800-372-6422
www.framerica.com
www.pictureframingmagazine.com
Specialty Matboard ...................................................................29 800-280-6287
www.specialtymatboard.com
Superior Moulding Corp. ...........................................................35 800-922-7914
www.supermoulding.com / www.zelanto.com
The Fletcher Business Group ................................................17, 23 800-843-3826
www.fletcher-terry.com
Tru Vue ......................................................................................7 800-621-8339
www.tru-vue.com
Universal Arquati ..................................................................5, 19 800-668-3627
www.universalarquati.com
FrameTek .............................................................................6, 34
Wizard International ...................................................................9
800-227-9934
888-855-3335
36 PFM June 2021
www.frametek.com
www.wizardint.com
(Continued from page 38)
rative detail to finishing, every part and step of the frame’s
density, and contrast to hold up to a heavy frame. The distinct-
making should be done carefully; but the joinery—how the
ly handmade print called for a hand-carved frame. Other than
frame is put together—is especially significant.
the cartouche flourish around the outside, the basic profile is,
All our frames are closed corner. We use different kinds
in fact, a simple, flat design carved with a low gouge.
of joinery, but this frame has conventional miters with vis-
The finish is crucial. It should protect the wood without
ible splines; i.e., triangles of wood glued into a slot cut deep
creating a barrier to touch and the tactile pleasure of the feel
into each corner.
of wood. We used our usual finish for oak, first staining it with
The third basis of the beauty of the frame I consider is its
an aniline water dye that matched the cool brown ink of the
suitability to and harmony with the picture—the adaptation
print, followed with two coats of varnish, and finished with a
of one art form to another. I therefore looked to the map for
blend of waxes and abrasives.
design cues for the frame and found that it offered several. It
It’s easy to imagine that this is a well-traveled piece. Per-
was especially rewarding to have the opportunity to develop
haps now it will settle down for a while in a comfortable, suit-
a simple baroque pattern, in part because we don’t often get
able home! The owner had these appreciative words for us:
to do that, but also because it’s a vernacular so commonplace
“Do you ever wonder which of your works might last hundreds
in the tradition and language of picture frames that framers
of years? If we assume that people continue to preserve this
tend to become attuned to it without even thinking about it.
387-year-old map, I cannot imagine anyone wanting to take it
In the instance here, where we were framing an important but
out of this frame. Surely whoever has this map in future ages
nonetheless essentially utilitarian type of work, it’s also a case
will have your hand-carved oak along with it. I think your piec-
of simplifying a style given to being overwrought. Even though
es will be floating around for centuries.” PFM
the print is finely detailed, the image has enough boldness,
Crossword Challenge Puzzle Solution
PFM June 2021 37
DESIGN OF THE MONTH By Timothy Holton
Baroque in Oak: Framing a 17th-Century Map
A
t Holton Studio Frame-Makers, it’s
This antique map was the perfect candidate for one of Holton Studio’s custom-built hardwood frames. The profile is 3'' wide with a slim, 18K oil-gilded slip.
not often that we do anything in a baroque style, but since one of our
founding principles is adaptation—a key reason we make all our frames from scratch—when a customer in Chicago sent me a seventeenth-century map to frame, I welcomed the challenge. The map’s wonderful illustrations included numerous cues for a frame design, and I settled on a scroll, or cartouche, pattern.
CONTENTS
The antique map of the Americas, which
niture shop, but all we make is frames—and I
was printed in Frankfurt in 1631, is about 15'' x 18
always consider the first basis of the frame’s
1/2''. I elected to frame it close, which we do much
beauty to be the wood itself. Quartersawn white
more often than most framers. In general, I find
oak is particularly notable for its coarse grain and
framing close more unifying, simple, and direct.
“ray flake” figure, the distinctive stripes that were
In the case of a map, its utilitarian nature—albe-
revealed when the board is sawn along the med-
it highly decorative in this instance—especially
ullary rays that radiate out from the center of the
demanded a simple and direct presentation. The
tree. Apart from being inherently beautiful, oak
profile is 3'' wide, plus a slim 18-karat oil gilded
was a suitable choice of wood given that until the
slip, and is made in stained quartersawn white
early seventeenth century, the time from which
oak. The slip, of which just 1/8'' is revealed, is ac-
the map dates, nearly all the frames in northern
tually 1'' wide and conceals a gasket mat to sep-
Europe were oak. Oak has also been long associ-
arate the print from the glass. The rabbet is lined
ated with strength and durability—all the more
with metal frame sealing tape to protect the
reason for its use as a protective setting for a
valuable antique map from the acids in the wood.
valuable antique.
We make all our frames from solid hard-
The second basis of a frame’s beauty is its
wood—the shop’s really set up as a custom fur-
craftsmanship. From wood selection to deco-
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Timothy Holton is the owner of Holton Studio Frame-Makers in Berkeley, CA. A native
Californian inspired by the art and architecture of his home state, Tim began his career in framing at Storey Framing in 1975. After earning a history degree and a brief career in live theater, Tim returned his attention to framing, honing the joining and carving skills that distinguish his work. After the Oakland Museum’s contemporary artisan gallery displayed his work in 1993, he was spurred to open his own business, which now specializes in hand-carved hardwood frames built entirely in-house. Tim lives in Berkeley with his wife, Stephanie McCoy. They have an adult daughter, Ella.
38 PFM June 2021
(Continued on page 37)
CONTENTS
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