Contents
PFM is a member of:
Volume 32, Number 11
PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders
On the Cover
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
Understanding the control of digital color is half the battle to a perfect image replica as final output. We are thrilled to have the first of a three-part series about digital color management this month. Full story begins on page 18.
Features 18 Coloring Your Workflow for Success - Part 1 22 Canvas Framing: Protective Backings 26 Joining Equipment That Fits Your Shop's Needs
Columns 12 Sales Strategies 38 Design of the Month
38
Departments 8 10 32 34 36
Editor’s Note Industry News Product Showcase Distributor Spotlight Index of Advertisers
22
12
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 I N TE RI M E D I TO R Chris A Paschke • cpaschke@pfm-group.com A RT D I RE C TO R Jin Dong • jin@wcafexpo.com
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 848-444-5164 maureen@wcafexpo.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
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PFM PUBLISHING, LLC PRE S I D E N T
6 PFM November 2021
Bruce Gherman
FROM THE EDITOR’S DESK A
It’s all about journeys this month, from sales to color workow to the roaring 20s!
CONTENTS AD INDEX 8 PFM November 2021
month of introspection to education is in this issue. Understanding the journey of your customer may be the key to your business success. Being a great designer is only part of the equation, from the initial engaging of the buyer to the nal display of their treasure; learn how to track their progress to create a better outcome in our Sales Strategies column (pg. 12). Another journey is mapped with Coloring Your Workow for Success by Marc Aguilera, part one of a three part series on the color, input and output of accurately printing art images for artists and consumers. And then, our fabulous Design of the Month (pg. 38) is a magnetic approach to the preservation of a 1920s apper dress and reproduced antique photo to accompany it. What a journey that is! Moving on to the business of business this month we present our Joining Equipment review that showcases the spread of potential equipment that will meet whatever your shop’s needs are (pg. 26). Then we have an educational and historical discussion from David Lantrip exploring the mystery behind the hole in the backing behind a canvas to allow it to breathe (pg. 22) Don’t laugh, that debate is still
a thing, though it has been updated. David discusses the variations in backing, what to use and why, and perhaps what not to use. Framers have always embraced continuing education and this article is part one of two with his next installment on glazing of canvases. Though there were numerous references to journeys in this issue, let us never forget that framing in itself is a journey. Taking our customer’s keepsake--be it a valuable 1870s stretched canvas or a priceless piece of grandchild’s art--from the design counter to their wall at home is what we love about this business. Yes, we need to be protable to be successful but it’s the emotional tie we all have to our customers that really makes us happy. Happy November, have a fabulous Turkey Day with those you love and who love you back!
Chris A. Paschke Interim Editor
INDUSTRY NEWS TRU VUE® Launches New Custom Framing Displays
In June, Tru Vue launched a program asking their custom fram-
When Tru Vue® asked custom framers to vote online this summer
ers to vote on four different point-of-purchase countertop displays.
for a new counter display featuring the brand’s premium glazing
Framers were asked to select the display they thought would best
product Museum Glass the response was so great that it gave Tru
show customers the clarity and protection that Museum Glass of-
Vue double vision. “We had thousands of votes from custom framers
fers. By voting, framers were automatically registered to receive the
all across the country, and the race between our top two vote-get-
winning display to use in their own frame shop, which will be avail-
ters was practically too close to call,” says Dorothy Heckle, Tru Vue
able to framers who voted for one of the two winners. Framers who
Director of Marketing. “So we declared both of the counter displays
didn’t vote for either one of the winning displays, or at all, will have the
winners! It really was quite exciting to see such enthusiasm for our
opportunity to choose which they prefer.
most popular product.”
For more information about Tru Vue or Museum Glass, visit www.tru-vue.com/solution/museum-glass/ contact Tru Vue Supports at 800.282.8788 or email framers@tru-vue.com.
Lisa Olsen Celebrates 15 Years Lisa Olsen, Framerica’s customer service director, recently celebrated 15 years with the moulding manufacturer Framerica. “Lisa is a consummate leader and tremendous customer advocate,” notes Josh Eichner. “She displays a tireless effort, an even handed approach and unmatched skill.
Lisa Olsen
We hope she stays another 15 years!” Call 800-372-6422, or visit www.Framerica.com. PFM
CONTENTS AD INDEX 10 PFM November 2021
SALES STRATEGIES
by Jared Davis, MCPF, GCF
Understanding Your Customer’s Journey Identifying all aspects of a sale makes for a better experience.
L
ife is full of journeys and buying a custom frame can be one of them. A proven way to improve your sales and
customer loyalty is to focus on improving your customer experience at every stage of their buying process. Aligning your business to match the desires and objectives of your customer is an essential strategy for delivering an optimal experience. Every business should periodically take time to methodically review each step in their business experience. This is called mapping your customer journey.
Who is Your Customer?
ited to no more than a few.
Mapping Your Customer Journey The process is to map each stage of the buying process and identify every touchpoint your
The first step is to determine who your target
business may have with your customer. Don’t
customer is and what are their needs are. Pic-
just think about this map mentally. Document
ture framing covers a broad cross-section of
this on paper or screen, so that you can record
consumers and many businesses only focus on
and share this with your team. Then collaborate
a selected bandwidth of product and customer
with them so they can also have input and ul-
type. When identifying your target customer,
timately be onboard with supporting any im-
consider factors such as their demographic, age
provements and outcomes.
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group, income, and lifestyle. Create a fictional
Every business and every customer is
character or persona for your average custom-
unique. As a result, there may be very different
er and use this as an example for your map-
journeys applicable to each situation or custom-
ping. You may find that you classify multiple
er type. Once you figure out the stages, identify
personae for multiple journeys, but keep it lim-
points where the customer is directly engaged
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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.
12 PFM November 2021
Every step, every stage along the sales journey counts towards a happy and satified customer experience.
Online reviews are a digital version of word-of-mouth. Harvest these wherever you can, as they are highly valuable at influencing new customers to choose you first. From a brick & mortar perspective, there are also many considerations, such as signage and considering your curb appeal. Making your store more visually inviting through window displays, awnings, lighting, A-frame signs, potted trees and planter boxes are all important.
Research and document all stages of a purchase to the final sale to best assess and assure repeat business.
2. Education & Research
with your business, then assess each point and analyse the
The second stage of the process is when customers identify
details. Then ask yourself what you can do to improve or
a need or
personalise each experience.
to learn more about it. They will also start to compare their
desire for your product and start to dive deeper
There are obvious physical aspects to each stage, but
options. Most times, this stage starts with an impetus such as
don’t forget that there are also numerous digital points
needing a frame. Seasonal events such as Mother’s Day create
which are equally important. The outcome of any changes
opportunities to present ideas and inspiration which help to
or improvements should not only help you to maximise the
create purchasing desire.
value of a sale, but also the potential value of a loyal, return
All generations of consumers will research their options
customer. Keep in mind that customer journeys may not be
on their mobile devices, so be prepared to deliver any infor-
linear. Customers may enter at any stage and skip over stages
mation they are seeking through your website and social
or move backwards.
media. Whether it is store window displays or social media
To help get you started I have outlined an example of
posts, consider strategies for sharing design ideas and trends,
some key stages of a typical retail customer scenario which
offering design advice and tips and sharing stories that can
you can adapt and expand on.
resonate and relate to your target customer. When it comes to comparing options, rather than forcing
1. Awareness & Attention
your customer to choose between yourself and your compet-
This initial phase is where a specifically targeted customer
itors, offer customers numerous choices so they don’t feel a
may first
become aware of your business and you capture
need to look elsewhere, such as offering readymade frames
their attention. This is getting your business on their radar. A
as well as custom framing. You should also be accessible be-
customer may find you from a street front location, advertis-
yond face-to-face, email and phone, whether it be SMS, Mes-
ing, word-of-mouth or online. There may be one or many of
senger or DM, open your communication channels to em-
them, but every one is a potential starting point for a journey
brace all platforms.
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and needs to be considered with careful detail. From a digital aspect, ThinkWithGoogle.com reports that
3. Evaluation & Purchase
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63% of shopping journeys begin online. This means that you
This is the critical stage where a customer will go through
need to have optimised online presence. This primarily en-
a justification process, assessing and weighing their options.
tails your website, your SEO and your social media. One of the
Personalised customer service is a key element to this stage.
first things to consider is that most searches will find your
Every picture has a story behind it, so find out why they want
Google listing before they find your actual website. Make sure
to frame their project. Also learn more about where it will be
your Google listing and information is current and relevant.
hung. Consider any emotional aspects and remain sensitive
Analyse where your website comes up in searches and invest
to how the customer feels through each step of the design,
in website optimization.
always making the focus about them and their story.
14 PFM November 2021
This phase is also where objections may be encountered
days after their purchase, to assess their satisfaction. At this
and overcome. Consider these elements in detail and devel-
stage, it may also be possible to persuade a 5-star review.
op ways that you can address common objections. Noting
Keep in mind that some customers may be hidden social
a great design will overcome a cheaper price, and when a
media influencers who possess the ability to generate expo-
customer finally makes a decision to buy, always make them
sure at the tap of a phone screen. Encourage them to share
feel confident in their choice. The next step is to consider
photos of their artwork and share their experience with their
how you can provide a smooth transaction by offering con-
friends.
venient payment options, whether it is Amex, AfterPay, or Bitcoin.
The ultimate achievement in these post-purchase stages is to find those customers who become advocates for your business. These are not just loyal customers, but evangelists
4. The Pick-Up Pinnacle
who actively refer your business to their contacts. Their en-
The highest peak of a customer’s journey is when they final-
dorsements and testimonials influence countless others, so
ly get to see their framed masterpiece revealed for the first
it can be worth developing personal relationships with these
time, when they come to pick it up, so make it special. When
people and find ways to reward them.
you reach out to advise them that their artwork is ready, get them excited! For example, you could text/SMS them a close-
6. Retention and Repeat Business
up partial reveal of a corner of the frame to generate interest
Finally, you want to implement strategies to nurture loyal-
and anticipation for them, which encourages them to come
ty and repeat business by regularly keeping in touch with
in sooner.
your customer. Methods such as electronic digital marketing
If you know an exact time when they are coming in to
(EDM) in the form of email newsletters and social media can
pick up, put it on an easel with a cloth over it and turn the
generate opportunities and keep your business fresh in their
occasion into an official unveiling. After your customer’s ela-
minds.
tion of seeing their completed framing, perhaps you could provide a thank-you note or gift, and don’t forget to add busi-
Conclusion
ness card, brochure and/or incentive coupon to encourage
Ann Handley, best-selling author on digital marketing, said,
them to come back again. The more you exceed your cus-
“Make the customer the hero of your story.” Creating a great
tomer’s expectations and show them some love, the more
customer journey doesn’t just happen by accident. In most
chance your customers will return the love. Their journey
cases, it happens by design. Get to know your customers
shouldn’t just end with the purchase and pick-up.
and understand the journey through their eyes. Humanize
5. Customer Satisfaction
your customers and learn what they want and then figure out how you can offer it. Becoming customer-centric in ev-
There are some significant post-purchase stages which
ery aspect of a customer’s journey will help your business
should also be considered as part of the customer’s overall
rise and achieve its own journey towards the pinnacles of
journey. Develop a personalized method to reach out a few
success. PFM
CONTENTS AD INDEX 16 PFM November 2021
COLORING YOUR WORKFLOW FOR SUCCESS PART 1
WHAT IS COLOR MANAGEMENT? By Marc Aguilera
A
ll too often, an artist comes to a picture framer
these individual components must act together allowing
with an original file to make a print for framing
us to see color.
and selling, and unfortunately the output is not
Thus color management is the act of managing the
exactly what they were expecting. Fundamentally, why is
variables impacting the experience of color. For example,
there something different with the printed image compared
the light source illuminating a print is dependent upon
to the digital file? The important thing to realize is that noth-
the quality and color characteristics of that source. When
ing was done wrong; this is a normal occurrence in the world
viewing and evaluating artist files, it is best to calibrate
of printing, and on top of that, color is a subjective and very
and profile your display, which will be covered in detail in
complex issue.
Part 2 of this series.
Whether you have already made the investment in a printer and are looking to fine tune your workflow or you are considering the impact of color management on a future investment to expand your studio’s revenue stream, this article will cover the basics and provide some guidelines to help understand the complexities of digital color from file to print through a three-part series: 1) What is Color Management; 2) Input: Optimizing Your Studio and Display; and 3) Fine Tuning Output by implementing an ICC workflow.
What is Color? What does color mean to you? What is the science of color? How do we define color? Ultimately, every person experi-
CONTENTS
ences color in their own unique way based on the physics and the observation of light interacting with an object. To understand this, it’s helpful to break color down into three components:
AD INDEX
1. The observer is the artist, the production operator, the printer, the framer, and the print buyer; 2. The light is the type and quality of lighting in a house, studio and any indoor environment;
What is Digital Color? A monitor or display is made up of pixels, which are red, green and blue emitted light, or RGB. Each of the red, green and blue pixels are encoded as a number in the range 0 – 255, with 0 meaning zero light and 255 meaning maximum light. For example, (red=255, green=100, blue=0) is a color where red is maximum, green is medium and blue is not present at all, resulting in an orange hue. However, that orange may not look the same on every display, even with the same recipe of RGB. Display RGB is device dependent, meaning the color you see is dependent upon the characteristics of the display. Things like the age of display (computer screen, monitor), brand of display and how much light is in a room will impact the orange you see from display to display. A core concept in color management is the understanding that RGB values on your monitor are device dependent. The RGB values captured from your digital camera and scanner are also device dependent. The same holds true for the output
3. The object, in the case of a print, is the characteris-
side of things. Printers use percentage values of ink colors.
tics and properties of ink and media selected. And each of
The recipe for red on one printer, ink set, and media is not the same for another printer, ink set, and media. These ink
18 PFM November 2021
Image files like JPG, TIFF and PSD will either have an embedded profile as mentioned in the working spaces above, or a device dependent color space from a scanner or digital camera, or the file will be untagged. The color you see on your monitor is dependent upon the characteristics of the display and a default display profile that lives in your operating system. Part 2 in this series will cover managing color on your display and how to calibrate your display for targets like luminance, white point, and gamma.
What is an ICC profile? The age of the display--also referred to as computer screen or monitor--brand, and how much light is in a room all impact what you see. percentages are also device dependent and can sometimes vary greatly. So, what can you do to help manage this? Luckily there is a way to translate or manage these device dependent values from the file to the display to the print. This framework of a color managed workflow is the process from a digital file moving through a device independent connection space to your display and to a particular printer, ink and media profile which will be addressed in Part 3 of this series.
The Journey of Your Source File Understanding the journey of the file and its impact on color reproduction is important. For example, you may receive an image file with an embedded profile that may be ProPhoto RGB, Adobe RGB or sRGB, but what does this mean? Adobe RGB 1998 is a device independent digital working/editing space that is well suited for print. It’s one of the preferred color spaces for editing color for print in Adobe® Photoshop. Many digital cameras have an Adobe RGB col-
As we’ve established, every device produces color differently. A monitor is dependent on the individual characteristics of the display and a printer is device dependent on ink chemistry and media characteristics. One way to describe an ICC profile is to compare it to a unique fingerprint of color. It is also sometimes called a characterization of color. From one color space to the next, an ICC profile ensures consistency across devices along the journey of the file--defining a mapping between source color space and destination color space. This is typically done through a device independent color space that acts as a PCS or Profile Connection Space. A common PCS is L*a*b*.
What is L*a*b*? Based on human vision and device independent, L*a*b* uses three values (L, a and b) to specify colors. L*a*b* Color works more like the human eye, expressing color as three values: L* for perceptual lightness, and a* and b* for the four unique colors of human vision: red, green, blue, and yellow. It is not based on the characteristics of any device and acts as a translator in color engines to convert from one color space to another.
or space setting and RAW files can process into Adobe RGB 1998. sRGB is arguably the most common device independent color space and is the color space used by most internet
CONTENTS
browsers. For artists and photographers who want a quality inkjet print, it is advisable to use something other than sRGB because of its limited color gamut or range of colors. ProPhoto RGB is a wide gamut device independent
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working space and well suited for professional photography and wide gamut professional inkjet printing, especially if working in 16 bit. RAW files can also process into ProPhoto RGB. Screen capture compares ProPhoto RGB to an Epson Legacy Platine profile for the SureColor® P7570/P9570 12-color inkjet printer. 20 PFM November 2021
ProPhoto RGB is a wide gamut device independent working space and well suited for professional photography and wide gamut professional inkjet printing
they have a different embedded profile, a warning will tell you there is a mismatch and you can choose to use embedded profile or convert to working space. If you intend to print the file with little to no color editing, choose use embedded. If you intend on making a range of color edits, then it can be beneficial to convert to the working space you configured. These settings are important for a print workflow. And you can save the settings and synchronize across Adobe applications by using Adobe Bridge to synchronize. Managing
Within computer color settings you are able to set your working space for new files created in Photoshop, as well as policies for opening files from customers.
color by managing the files you receive from customers as well as files you create is the first step in creating a color managed workflow from file to display to print.
Managing Color Settings in Adobe® Applications
The visual display side of color management will be the
The color settings accessible in Adobe® Photoshop can be
focus of Part 2, concerning the optimization of lighting in
accessed by clicking Edit > Color Settings for both macOS and
your studio and calibrating your display. PFM
Windows. Within color settings you are able to set your preferred working space for new files created in Photoshop, as well as set policies for opening files from customers. These settings all have a purpose, however based on my experience for a high-quality inkjet print workflow, I would recommend either Adobe RGB 1998 or ProPhoto RGB as your working space and Preserve Embedded Profiles with mismatches and missing profiles all checked. When you open files and
Marc Aguilera Marc is a product manager for Epson Professional Imaging at Epson America, Inc. where he is responsible for the SureColor P-Series product line of aqueous pigment inkjet photographic printers for the professional photographic community. With over 20 years of experience Marc is passionate about sharing knowledge of implementing color managed ICC workflows from capture to print.
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WWW.PPFA.COM PFM November 2021 21
CANVAS FRAMING:
PROTECTIVE BACKINGS by David Lantrip, MCPF, GCF
I
t used to be that framing a canvas was a quick and easy process: build a frame, fit the canvas, add hanging hardware and call it done. It has been done that way for hun-
dreds of years, but like so many things, tradition does not mean it’s the best or only way. Framing a canvas to newer standards with better preservation and protection as the goal is not difficult or complicated; it simply requires a few extra steps. The first step is to provide protection to the verso, or back, of the canvas. The traditional theory has been that the back of a can-
An aged canvas will often become brittle, making it even more prone to tearing. Take note of the heavily soiled and discolored appearance of the canvas. Photo courtesy of The Conservation Center the next older canvas to come through your doors will show it is a very real concern.
vas should be left open to breathe, perhaps meaning there
A canvas may also be damaged by vibrations. Normal
may be some benefit for allowing airflow behind the canvas.
air currents--such as air conditioning cycling on and off and
This has never been proven or even clearly articulated. What
doors being opened and closed--cause the canvas to flex
has been proven, and should be obvious, is that an open canvas back is an invitation to damage. There are many ways a canvas may be damaged, and most can be easily avoided by including a rigid backing behind. Punctures, tears and dents are common forms of damage--something professional conservators repair on a daily basis--most commonly occurring during storage, through careless handling, or mundane accidents. Soiling of the canvas verso is another result of leaving a canvas exposed. The back of a canvas, over time, will collect dust. This is not only unsightly, but dust holds moisture
CONTENTS
against the back of the canvas, which may lead to the growth of mold and mildew. Dust and dirt is also abrasive, and over time will slowly abrade and weaken the canvas fibers. Being dark and protected against a wall, the back of an open can-
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vas is an invitation for insects to set up home. These insects will leave behind debris and droppings, and some may make a meal of the canvas fibers. The area between the stretcher bars and the canvas in particular is a favorite area for insects to lay eggs. The issue of insects and soiling is not just a theoretical issue left to the ivory towers of museums; a look at 22 PFM November 2021
slightly. Although these movements are slight, over time they can accelerate cracking of the various layers of the painting, including the ground and varnish. A solid backing helps isolate the canvas from the environment, greatly reducing the flexing it will encounter. Similar to air currents, swings in temperature and humidity will cause the canvas to expand and contract, and this flexing can damage the various layers of the painting. Museums have the resources and knowledge to create very carefully controlled environments with stable temperatures and humidity levels, but the average home or office is unlikely to have the same conditions. A backing provides a buffer, slowing changes so that they are not as drastic and take place over a longer period of time. One more possible source of harm is water vapor, or humidity. Other than the fact that humid environments are conducive to the growth of mold and mildew, water vapor passing through a canvas can interact with the various layers and cause adverse chemical reactions. Excluding all water vapor would require the creation of an airtight framing package, an option which is rarely practical or necessary.
can be attractive to insects so adding a dust cover over the back of the frame, or sealing the open ends with tape helps. Once in a great while it is desirable to view the back of a canvas.
The back of an unprotected canvas will gather harmful dirt and debris, including loose keys. Notice the large amount of insect debris along the bottom edge, between the canvas and stretcher bars. Photo courtesy of The Conservation Center
CONTENTS AD INDEX 24 PFM November 2021
There may be information relating to its provenance, notes from the artist, or conservators may want to inspect its condition periodically. This can be accomplished with a backing of acryl-
A proper backing can greatly reduce
ic, which can be fit into the frame like
the possible damage rather easily, as-
any other backing, or screwed to the
suming normal climate control such
back of the frame. If attached to the
as that found in an average home or
back of the frame, this can add ad-
office is used. It does not grant per-
ditional support to a narrow or weak
mission to display a framed canvas in
frame. When only a small area needs
a bathroom or outdoors.
to be viewed, a smaller piece of acryl-
By now the benefits of a rig-
ic may be fitted into another backing
id backing should be quite clear, so
material, creating a small window,
the choice presented is what type of
helping reduce the weight and cost.
backing should be used. There are a
Vivak is a backing material to
number of options, each with its own
consider when a high level of protec-
benefits and drawbacks, and the se-
tion is desired. A transparent copoly-
lection should be based on the nature
ester, similar to very thick Mylar, Vi-
and value of the work, and the level of
vak differs from most plastics in that
protection desired.
it is a very good barrier to water va-
Matboard is one option, and it is
por. It can be screwed to the back of a
certainly readily available and easy to
frame with a Volara gasket to provide
work with. Because it will not be seen
protection from dust, insects, water
any scrap of sufficient quality can be
vapor and physical damage, all while
used, keepings costs down. Its den-
allowing visual access to the back of
sity provides decent protection from
the canvas and reinforcing the frame.
punctures. As with any paper product
Regardless of the backing mate-
though, it will absorb and hold mois-
rial chosen, incorporating it into the
ture, and there is a risk of bowing or
framing is not a difficult task. It can
mold growth. Foamboard has many of
be treated like an additional layer of
the same characteristics as matboard,
material and fit into the frame like
but is less dense and offers less pro-
the backing on any other work. One
tection from punctures.
option is to attach the backing to the
A good option is fluted polypro-
stretcher bars, something that conser-
pylene board, a corrugated plastic
vators will often do upon completion
board used in the sign making indus-
of their work so that the canvas is pro-
try most commonly known as Coro-
tected whether it is in a frame or not.
plast. It is strong, lightweight, and
If this is done, the holes in the back-
highly resistant to punctures and will
ing should be made oversized and the
not hold moisture. The open flutes
backing attached with truss screws
or a screw and washer to accommodate later keying out. Otherwise fit it into the frame with the usual points, offset clips or other hardware. Please note that all of the options presented are rigid materials. A dust cover may be used in conjunction with a rigid backing but its purpose in mainly to present a neat and clean appearance. A dust cover alone does not provide sufficient protection against tears and punctures and a solid backing material is a must. Finally, let’s consider provisions for ventilation, if only to put to rest the myth. About fifty years ago some framers decided that backings were a good idea, but a few ventilation holes would help. This only created an ideal environment for insects: dark and protected with easy access. As a compromise, some framers placed window screen or fabric in the ventilation holes. This only localized damage from soiling and still allowed easy flow of water vapor. Hence, there is no evidence that airflow behind a canvas is necessary. Incorporating a solid backing into a framed canvas is not difficult and does not have to be an expensive
A solid backing can be treated just like another layer of material as when framing any other medium. When the frame has more than sufficient depth, the canvas and backing can be held in place with points or offset clips. Either frame sealing tape or a traditional dustcover of a durable material can be applied for extra protection from dust and insects and to provide a more finished appearance. proposition, but this simple step will add tremendously to the protection the frame provides. Just be prepared to tactfully explain to customers, artists and even your employees that framing knowledge is always evolving and what was correct long ago may not be the best for canvases today. PFM
David Lantrip David is the director of education for Franchise Concepts, and the franchisor for Deck The Walls, The Great Frame Up, and Framing and Art Centre stores. He has served in a number of roles in the PPFA including as a member of the International Board of Directors. David recently earned a master’s degree in mass communications from the University of Florida.
PFM November 2021 25
JOINING EQUIPMENT THAT FITS YOUR SHOP’S NEEDS By PFM Staff
W
hether you have recently opened your own
• Join either from front or back of machine
frame shop, purchased an existing business, or
• Cable adjustment for actuator pedal height
are an established retailer looking to upgrade
• Requires small footprint: 18” x 30”
your equipment, it’s important to keep up to date on the joining machines best suited to your needs.
The Cassese CS1 Series
We will take a closer look at just a few of the many join-
This is a manual, foot-operat-
ers on the market for picture framing retailers of all sizes. All
ed underpinner ideally suited
products are listed alphabetically within each section. For
to a small retail frame shop.
further detail about these machines as well as other models
The CS1 is designed to join
not listed here, contact your local sales representative or vis-
softwoods, hardwoods, MDF,
it the suppliers online at the websites below.
and poly frames. It includes
FOR THE SMALL RETAILER: MANUAL UNDERPINNERS The AMP U-200 This is an entry-level frame assembly machine for small retail operations. As a fully manual machine, it requires
CONTENTS
no compressed air or electrical power to operate. This quiet, lightweight unit allows the framer to bring the joining operation in-house for cost control and quick customer turnaround. It can handle moulding sizes up to 5 1/8” wide
AD INDEX
and 3 1/4” high. Performance features: • Pedal actuator requires limited force for nail insertion • Spring-loaded pull pin locking clamp mechanism allows quick adjustment for different size mouldings • Easy table tilt adjustment 26 PFM November 2021
an adjustable magnetic chevron hold down on a solid crossbar and features easy V-nail loading and simplified V-nail positioning. The CS1 is designed to be simple and fast and can handle moulding sizes up to 4’’ wide and 4” high. Performance features:
Cassese CS1UNI
• Aluminum profile structure • Stainless-steel working table • Adjustable, magnetic chevron hold down and solid crossbar • Easy wedge loading • Quick and easy wedge positioning
FOR THE MEDIUM-SIZE RETAILER: PNEUMATIC UNDERPINNERS The AMP U-300 This is a benchtop frame joining ma-
and heights. Performance features: • Patented, powerful, double-action horizontal clamps hold moulding tight • Self-adjusting fences make it easy to match moulding profile
chine popular with custom framers.
• Cassese’s exclusive Smart Nail
The design of the U-300 allows the op-
Drive System eliminates the
erator to set the front and back measur-
need to adjust the top clamp
ing stops for V-nail insertion. The frame
location and eliminates the need
is then moved across the nail head and
to adjust air pressure between
V-nails are driven or stacked anywhere
hardwood and softwood
along the frame joint. The V-nail insertion is actuated using a pneumatic pedal. The U-300 will join mouldings
• Adjustable and magnetic chevron top hold down • Quick and easy nail positioning
up to 3 3/4’’ wide and 3 1/4’’ high. Performance features: • Pneumatic loader to eliminate nail jams • “Soft clamping” pneumatic feature for damage-free joints
This is a high-value, bench- or pneumatic
under-
pinner that is designed to join wider mouldings. It has a single-stage
• Quick-change, magnetic pad hold
pneumatic foot pedal that engages
down feature fitting most mould-
the horizontal and vertical clamps.
ing profiles
The DY104 can insert any number of
• Requires small tabletop footprint: 19” x 18” x 14” • Operates only with pneumatic air, no electrical hookup needed • Dual-function foot pedal for
V-nails between the front and back stops. The DY104 will join mouldings up to 6’’ wide and 4’’ high. Performance features: • Uses standard V-nails in the
separate control of clamping and
following sizes: 7mm, 10mm,
V-nail insertion
12mm, 15mm
• Designed with a unique, trou-
• Includes four interchangeable
ble-free piston V-nail driver block-
heads and two self-adjusting hy-
blade system for years of depend-
draulic clamps designed to hold
able single and multi-stacking
the moulding in place to simply
operations
piece together your corner
CONTENTS
• Operator sets front and back The Cassese CS20 Cart
stops and then uses the joystick
This is a pneumatically-operated un-
to insert and/or stack V-nails
derpinner offers excellent flexibility
AD INDEX
for small framers up to medium-sized contract framers. Simple and easy to use, with clamps for both the front and top of the moulding, produces the highest-quality corners. It is able to join a wide range of mouldings widths 28 PFM November 2021
joining machine in the AMP line. This machine is ideal for high-production facilities that require flexibility for different sized V-nail fasteners or a common mm size through a market unique configurable channel feature. With profile data storage of 5,000 different frames, the operator
The Universal Arquati DY104 stand-mounted
AMP U-600
FOR THE LARGE RETAILER: HIGH-VOLUME PRODUCTION JOINERS The AMP U-600 This is the most advanced frame
can easily recall any frame profile either alphabetically, numerically, or using the barcode reading option. The U-600 will join mouldings up to 4 1/2’’ wide and 3 1/4’’ high. Performance features: • Equipped with five individual V-nail storing channels, capable of holding up to 220 V-nails each • V-channels can store multiple sizes or one common size for production uptime and productivity • Easy table tilt adjustment for operator comfort • User-friendly touch-screen operation with data storage for 5,000 frame profiles • Bar code scanner option for production integration and efficiency • Join from front or back of machine • Machine handles all types of wood, plastics, and MDF materials
This machine is designed to join
The A-Plus Automation
softwoods, hardwoods, MDF, and
A6-MemoTS+ This is designed as a high-speed production machine. Within the same work cycle, the operator can insert and/or stack different V-nails in the different insertion positions. The programs can be operator input or downloaded from a PC. The operator can select the frame to be produced via the touch-screen or by scanning with the optional barcode reader. The machine will automatically adjust, and production can start immediately. The barcode reader can also fully program the machine using a special QR barcode. The A6-MemoTS+ will join frames up to 7 1/4’’ wide 4 1/4’’ high.
poly frames. The touch-screen tells operators which cartridge size and accessories to use. The programmable memory stores up to 3,000 profiles (unlimited profiles if full parameter barcode and scanner are used). The Mach 4 Cart will join mouldings from up to 6’’ wide and 4’’ high. Performance features: • Electronic + pneumatic memory joiner • High-speed – 3,300 cycles/hour (two nails/corner) • Cassese’s exclusive Smart Nail Drive System eliminates the need to adjust the top clamp location and eliminates the need
Performance features:
to adjust air pressure between
• Magazine composed of five
hardwood and softwood
channels which contain five sizes of special steel wedges: 5, 7, 10, 12, and 15mm
• Nine nailing positions, up to nine nails per position • Storage for 3,000 moulding pro-
• Within the same work cycle, operator can insert and/or stack wedges of different sizes in the different insertion positions • Store an almost endless number
files • Wide mouldings – 7 1/2” stroke • Super powerful, retractable Ultra clamps draw moulding tight
of programs, which can be entered manually or downloaded from a PC • Operator can easily recall the program through the touchscreen or through the use of an optional bar code scanner to restart production immediately
CONTENTS
• Horizontal, vertical, and fence clamping devices provide very precise tightening of the frame
AD INDEX
The Cassese Mach 4 Cart This is a fast, heavy-duty design for high-production
operations,
with
programmable memory and a user-friendly touch-screen interface.
30 PFM November 2021
VNAIL VS. DOVETAIL Both an underpinner/V-nailer, like the models seen in this article, and a dovetail routing machine are important pieces of equipment for a custom framing retailer. Dovetail systems are particularly useful for achieving strong joints in narrow, tall stem mouldings; deep shadowbox frames; unusually shaped frames, including multiple angles; and other mouldings that won’t easily join on an underpinner. Hoffmann Machine Company manufactures a number of benchtop and high-production dovetail routing machines. For their complete lineup and details about each model, visit them online at www.hoffmann-usa.com.
Universal Arquati DY102 The Universal Arquati DY102 This is a high-value, fully automatic, computerized underpinner. The DY102 comes with four interchangeable heads, one for each size of V-nail. Changing V-nails is a simple, three-minute task with this machine. It can store up to 2,500 individual profile setups in any alpha-numeric sequence. The DY102 will join mouldings up to 6’’ high and 4’’ high. Performance features: • Uses standard V-nails in the following sizes: 7mm, 10mm, 12mm, 15mm • Two self-adjusting vertical hydraulic clamps and an adjustable horizontal clamp • Vertical clamps have a separate pedal to allow for self-adjusting setup • Easy to set up, program, and operate • Storage for 2,500 moulding profiles
MANUFACTURERS AMP: www.fletcher-terry.com A-Plus Automation: www.a-plusautomationusa.net Cassese: www.cassese.com Universal Arquati: www.universalarquati.com
PFM November 2021 31
Product Showcase
3A Composites USA
Canon
GATORFOAM® is comprised of a unique combination of polystyrene foam core and wood-fiber veneer facers, creating an extremely rigid & durable yet light weight foam board. Its unparalleled rigidity and high-performance facers provide a sturdy, high quality solution ideal for heavy object mounting and other framing applications.
The new imagePROGRAF GP Series, the world’s first* aqueous inkjet models to include Fluorescent Pink ink. Comprised of the 24” imagePROGRAF GP-2000, 44” and GP-4000, 24” imagePROGRAF GP-200 and 36” GP-300, this series produces vivid neon colors for high value added output and graphics that will captivate consumer’s attention.
Call: 800-626-3365 www.3acompositesusa.com
Call: 631-330-5856 www.usa.canon.com
Crescent
Framerica
Crescent Select Fabric Matboards combine a wide range of fabrics and textures with conservation quality. Vintage and Shimmer Linens, Gossamer Silks, and Luster Parchments are just a few of the collections of beautiful surfaces with bright white acid-free and lignin-free core and backing.
Terracotta™, a worldwide exclusive, features a visually textured baked earth finish in traditional pottery salmon coloring. “We have been approached for years about producing a traditional terracotta design,” notes Josh Eichner. “It’s now on trend; we’re excited to provide designers with this option.” Terracotta is available in profiles ranging to 3 inches.
Call: 888-293-3956 www.crescentbrands.com/ crescent-cardboard
Call: 800-372-6422 www.framerica.com
Hoffmann
Lineco
Hoffmann’s MU3 and MU3-D dovetail joining machines feature a wide range of picture framing specific accessories and are capable of joining frame sections at any angle without risk of splitting. The MU3-D version is equipped digital displays for keyway locations and routing heights. More details and videos are on the company’s website.
We’ve taken the most popular colors of our cotton rag mat board and made it available at the lowest price. And we didn’t skimp on quality. This board is made with 100% cotton fibers, with solid color throughout. The 4-ply construction is buffered with 3% calcium carbonate. Acid and lignin free. Call: 800-322-7775 www.lineco.com
Call: 866-248-0100 www.hoffmann-usa.com
Michelangelo
Nurre Caxton
Michelangelo Moulding recently introduced a very special collection of wood shadow box mouldings, the 240 Series. A substantial size of 1” X 2”, with a 1 ⅝” rabbet, the styles have an elegant grain pattern in seven soft, delicious finishes. The colors available are: Walnut, Off-White, Grey, Black, Dark Walnut, Natural and Charcoal. All of these versatile finishes will enhance traditional to contemporary artwork and wall decor. In stock in both Montreal and Atlanta.
The Héritage Collection from Nurre Caxton is a uniquely elegant homage to the worn beauty of timeless wood furniture, featuring 6 profiles and 2 finishes. Héritage is handmade in Italy with generous rabbet depths, artisanal attention to detail, and unsurpassed quality. Perfect for traditional and canvas framing, and available now through your Nurre Caxton distributor.
Call: 877-422-8812 www.michelangelomoulding.com
CONTENTS
Penny Lane Fine Art & Licensing
AD INDEX
New artwork “Harvest Blessings” from Lisa Larson! All the artwork you see on our website is also available on Canvas and Wood Products. Select images are also available as Large Format Gicleé Prints. For more information or to place an order contact a sales representative. Call: 800-273-5263 Email: info@pennylanefineart.com www.pennylanefineart.com
32 PFM November 2021
Call: 888-293-3956 www.crescentbrands.com/nurre-caxton
Pro Tapes & Specialties Pro-410 ATG also known as STRONG ATG is a double sided tissue transfer tape with an aggressive pH Neutral acrylic adhesive. Pro-410 ATG has excellent adhesion to a wide variety of surfaces which makes it ideal for object framing. It’s compatible for use with our Pro-ATG HD DISPENSER. Call: 800-345-0234 www.protapes.com
Rhonda Feinman Custom Frames Dutch ripple adds that glimmer of light like the late autumn sky. The subtle decoration beautifully highlights many genres of artwork. Custom frames are available in 22kt and 12kt gold with or without black, made to your specifications. Call: 718-707-3203 www.rhondafeinman.com
Sepp Leaf Liberon Finishing Oil is a beautiful finish for soft and hard wood frames. Made with high quality Tung Oil, yet having a unique 4-hour dry time instead of the typical 24 hours per coat of oil. Build up layers for a high sheen. Cut back/clean in between coats with Liberon 4/0 Steel Wool. Imported from England by Sepp Leaf Products. Call: 212-219-0770 www.Talasonline.com
Studio Moulding
Superior Moulding
Liso Floaters combine modern sophistication and timeless elegance for contemporary artworks with a usable 1 ½’’ depth. The Liso collection expands the creative palette with seven sleek metallic finishes: Silver, Artic Silver, Champagne Silver, Brass, Gold, Soft Gold, and Gunmetal. Please contact customer service or your regional sales manager to order samples today.
Superior Moulding introduces Reverie, a substantial profile in silver, gold and black with red undertones. The finish is slightly hammered and has a bit of sheen creating an understated elegance. This classic profile will enhance both traditional and modern artwork. Request a color catalog today.
Call: 800-262-4174 www.studiomoulding.com
Call: 800-922-7914 www.supermoulding.com
Ten Plus
Tru Vue
Rustic PS moulding, sizes range from 3/4” 3”, available in four different colors.
We are happy to announce that our NEW Museum Glass® counter displays are ready for you to incorporate in your design process! If you have voted for one of these NEW counter display, it will be arriving shortly! Visit our website for more details.
Call: 562-404-0088 www.tenplusframes.com
Call: 708-854-2731 www.tru-vue.com
Universal Arquati Universal Arquati is excited to introduce the newest line D’Orsay by Arquati! This collection consists of 3 profiles and gold & silver tones in high quality finishes. Samples of this collection are available now! Please contact your local sales representative or UA by phone or fax 661-362-6263. Call: 800-668-3627 www.universalarquati.com.
PFM SUBSCRIPTIONS • Renew Your Subscriptions • Make Address Changes • Contact Customer Service
www.pfmsub.com/Renew
PFM November 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 November 2021
Have a question or comment? Tell PFM what you think. Mail letters to PFM 83 South Street, Unit 307, Freehold, NJ 07728 Call 732-536-5160, Fax to 732-252-2270 Attn: PFM Editor or E-mail to editor@pfm-group.com
PFM November 2021 35
Index Advertiser
Page
Advertiser
Page
Alpina Manufacturing, LLC .........................................................34
Hoffmann Machine Company .....................................................34
800-915-2828
866-248-0100
www.fastchangeframes.com/www.bannergrip.com
www.hoffmann-usa.com
Arlo Spacemaker Products, LLC ..................................................31
House of Troy ............................................................................16
800-332-2756
800-428-5367
www.reevesextruded.com
www.houseoftroy.com
Artist Supplies & Products ..........................................................34
Jack Richeson & Co....................................................................34
262-797-8101
800-233-2404
www.gilderspaste.com
www.richesonart.com
Attach-EZ ..................................................................................34
LINC Systems (formerly Active Sales Co.) .............................29, 34
800-527-1521
800-937-2255
www.attach-ez.com
www.activesalesco.com
Bella Moulding ..........................................................................23
Michelangelo Moulding.............................................................. 11
888-248-6545
877-422-8812
bellamoulding.com
www.michelangelomoulding.com
CMI Moulding ............................................................................34
Omega Moulding Company ............................................13, 35, 37
301-476-7440
800-289-6634
www.cmimoulding.com
www.omegamoulding.com
Connecticut Saw & Tool..............................................................34
Picture Woods Ltd. .....................................................................31
203-318-4302
800-321-6522
www.ctsaw.com
www.picturewoods.com
Craft Inc. ...................................................................................25
Professional Picture Framers Association ....................................21
800-827-2388
732-536-5160
www.craft-inc.com
www.ppfa.com
Crescent Cardboard Co. ................................................................9
Rhonda Feinman Custom Frames .................................................6
800-323-1055
800-297-1566
www.crescentcardboard.com
www.rhondafeinman.com
Decor Moulding & Supply ........................................19, 33, 35, 37
Studio Moulding, Inc..................................................................17
800-937-1055
800-262-4174
www.decormoulding.com
www.studiomoulding.com
Fixons .......................................................................................34
Superior Moulding Corp. ............................................................34
714-526-3455
800-922-7914
www.fixons.com
www.supermoulding.com
Foster Planing Mill ....................................................................10
Ten Plus ....................................................................................39
323-759-9156
888-944-8899
www.fosterplaningmill.com
www.tenplusframes.com
CONTENTS
Framerica ...................................................2, 3, 4, 33, 35, 37, 40
The Fletcher Business Group.......................................................27
800-372-6422
800-843-3826
www.framerica.com
www.fletcher-terry.com
AD INDEX
FrameTek ..................................................................................24
Tru Vue .......................................................................................7
800-227-9934
800-621-8339
www.frametek.com
www.tru-vue.com
Frank’s Fabrics for Framers .......................................................25
Universal Arquati.........................................................................5
888-332-2749
800-668-3627
www.franksfabrics.com
www.universalarquati.com
Gluefast Company .....................................................................34
Wizard International..................................................................15
800-242-7318
888-855-3335
36 PFM November 2021
www.gluefast.com
www.wizardint.com
(Continued from page 38) strainer frame with rare earth magnets strategically
match the frame, and the frame attached to the front of
placed to best display the dress and to hold the weight of
the box with adhesive and L-brackets. We built up the in-
it at its strongest points. I also wanted to be sure I could
side of the box with layers of foam core that would hold
sew the dress to the backing to prevent slouching or sag-
the strainer frame and the Tru Vue Museum Glass in place.
ging of the fabric. So, after building the strainer and at-
After the foamboard was built up, I added a final layer of
taching the magnets, I stretched the strainer frame with
Perfect Mount adhesive board covered in the same gray
nylon screen and put the decorative fabric on top of that.
material that was behind the dress. Then I assembled the
We chose a pretty pinstriped pale gray to contrast with
whole project and used a 1/4” heavy duty backing board
the green dress while remaining neutral. I sewed a small
on the back, and used WallBuddies hanging hardware as
pillow with fabric that closely matched the dress and
the sturdiest hanging option.
a thin layer of quilt batting to fit inside the dress. This
It took research, brainstorming and asking other
would add form and create a cushion between the fabric
framers about similar projects in order to come up with
and the magnets.
the engineering behind this design. Upon completion it
Hazel’s photo merited its own frame, a small antique
was wonderful to know that now this beautiful memo-
looking gold molding, CMI 1766, to go with the larger out-
rabilia, part of my customer’s family history, wouldn’t sit
er frame, also a traditional style from CMI 5167. I sug-
stored away in a box any longer. It was now something
gested to the customer that we include a plaque in the
she could show off and was properly preserved. Flower-
design with a brief story of the dress, which I had made
stone Frame believes that everyone is an artist and every-
at a local trophy shop. This frame and the plaque were
thing deserves a frame. PFM
also attached to the strainer frame with magnets. The shadow box was of 6 inch plywood painted to
PFM November 2021 37
DESIGN OF THE MONTH by Anika Ferguson
The fun and freedom of the roaring 20s comes alive.
F
lowerstone Custom Frame & Art Studio expanded into a new location in Riverton, Utah earlier this year. The
enthusiasm of new customers expressing how they’ve been waiting for a good frame store in the area has filled our shop with amazing projects. This particular project was a beautiful beaded seafoam green flapper dress from the 1920s, belonging to Hazel, the customer’s mother. Handmade by Hazel’s mother, our customer’s grandmother, she wore it every weekend out dancing with her sister in Salt Lake City. The dress was paired
Top: Flapper dress displayed using rare earth magnets and fiberfill padding.
with an original photo of Hazel wearing the dress, taken at a local photography studio. Seeing the two items together was truly mag-
Bottom: The dress was paired with an original professionally taken photo from the era of Hazel wearing the dress as a flapper fairy.
ical and we were really excited to make this stunning display. The dress was well-worn and fragile, as you can imagine being about 100 years old. The slip inside was threadbare, but other than a few repairs to the beading, it was left
CONTENTS
as is. We definitely needed to approach the project with delicacy to prevent any further damage from framing or further aging. After some research and talking to fellow
framers, especially Meghan MacMillan, MCPF whose framed wedding dress was featured in the May issue of PFM, I decided to use a
AD INDEX
Anika Ferguson is the owner of Flowerstone Frame and Art Studio in Riverton, Utah. As an artist and local studio art teacher for the past 16 years, she loves the creativity of framing and how everything has a story to be told. She has a bachelor of fine arts degree from the University of Calgary, Alberta, Canada. 38 PFM November 2021
(Continued on page 37)