Profile Magazine Issue 69 - Autumn 2014

PROFILE ISSUE 69, AUTUMN 2014

Learn Techniques from Australia’s Award Winning Framers News, Interviews, Framing Design Tutorials, and more

Cover image: Golden Crested Cockatoo, by Andrea Wootton

PROFILE is an independent magazine with a focus on the art and framing industry. PROFILE is published in Australia and is available to members of the industry by subscription only.

All enquiries should be directed to: PROFILE MAGAZINE PO Box 1150, Mornington Victoria 3931 Phone 03 5975 3677 Fax 03 5975 9203 editor@profilemagazine.com.au www.profilemagazine.com.au Presenters of: www.theframingshow.com.au

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ISSUE 69 - AUTUMN 2014 4 From the Editor 6 Industry Update: International News 8 Industry Update: New Chairperson for PPFA 10 Artist Profile: Andrea Wootton 12 Mat Decoration with Marbled Paper 20 History and Memories Preserved in Time 28 Can You Afford the Wastage?

30 Forces on Hooks and Hangers 32 Art and Framing Crossword 34 Multi-Sided Frames 37 Framing Books and Videos 38 Classifieds

Editor/Publisher: Frank Filippone Assistant Editor: Claire Rafferty Sub Editor: Chris Filippone Production Team: Kara Luckie, Katherine Westle, Daniel Schofield, Joe Brady and Richard Howell International Correspondent: Keith Hewitt Logistics: Mick Wunderly Design: Artsource Current subscription rates: Within Australia: A$33 one year (four issues) A$60 two years (eight issues) The Rest of the World: A$50 one year (four issues) A$80 two years (eight issues)

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from the editor

We are Lucky, Afterall

D

uring the last few weeks I had the pleasure of having some old friends from North America as house guests. Besides the wonderful opportunity of recounting (and making up) old memories, it confirmed to me the fact that we truly live in a lucky country.

While we have any number of social, economic and political problems to contend with, we are positively blessed when compared to virtually every other country in the world. While most of the western world has been straining under the weight of a severe economic crisis, we have remained relatively resistant to the more extreme downturns that other countries have endured.

Some would say the framing industry has perhaps not enjoyed the same good fortune. We have seen the closing of many fine framing businesses over the last few years.

Arguably this is as much to do with the changing society we live in and the ever increasing trend to import products from overseas.

And yet we still have an industry. We still manufacture products when so many manufacturers in other industries have closed down. And we still have an industry that can match it with the very best in the world.

Australian framers, Trevor and Jenny Yates, have recently done it again by winning the PPFA Open Framing Competition at the West Coast Art and Fame Show in Las Vegas. At the same trade show Jodie Prymke from Adelaide received an International Larson Juhl Design Star award for her frame design.

These achievements, like all worthwhile triumphs, did not come easily. For instance, Jodie has spent all her working life studying design. She also travelled to Italy to study gilding techniques in Florence. Trevor and Jenny have also travelled overseas to attend classes. Like so many in the industry, they have studied and improved their skills and techniques over many years.

The framing industry has come a long way in the last couple of decades. It is not too long ago that we had an industry where MDF was the backing material of choice. It is not too long ago that many framers had no idea about framing style or design concepts. It is not too long ago we would find framers going a lifetime without ever attending a class or training session.

Now we understand we have to be professional in every aspect of our business to survive. This no doubt is easier said than done. All we have to do to stay in business is be great designers, fabulous business exponents, exceptional technicians and remarkable sales people. Of course none of us are all that. None of us want to be all that.

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But with perserverance and the pursuit of excellence we can achieve success both individually and as an industry.

And the reward is, you get to be a picture framer. An occupation which has tangible rewards many other jobs don’t offer. An occupation which can provide a level of enjoyment and job satisfaction not available to most people in the work force.

It is a privilege to be entrusted with other people’s memories and artwork. And we can carry this out in Australia. We should never take that for granted.

Frank Filippone Editor

PROFILE QUIZ If you enjoy a challenge, then why not test your knowledge in the PROFILE quiz. The best answers will be published in the next issue and might even win a prize... Send your answers to frank@profilemagazine.com.au

QUESTIONS 1. What is the oldest known example of a picture frame being used to hang an image?

2. Why do mat boards have bevelled edges?

3. Would it be rude to offer your customer a double Passe-Partout?

4. What was on the cover of the first ever released issue of Profile Magazine?

5. What happened in Richmond, Virginia, U.S.A. in 1973?

6. Which Victorian sales rep was famous in the 1990s for his distinctive long hair and pony tail?

7. Why does ‘Extra-Clear’ glass absorb less light than regular or clear glass?

8. What is the largest painting in the Louvre’s collection?

9. Which Australian moulding manufacturer was started by three migrant soccer players? (the clue is in the name) 10. Which famous musical identity coined the term “Giclee Prints”?

11. Which Italian Cities have hosted Picture Framing trade shows?

12. What kind of hat was worn by Profile’s annonymous international correspondent, and what is his true identity?

13. Who Said, “The most important thing in art is The Frame... without this humble appliance, you can’t know where The Art stops and The Real World begins.”?

industry update

Third Time Success for Gladstone Framers

I

n what must be an unprecedented success, Gladstone framers Trevor and Jenny Yates of Just Frame It have this year won their THIRD consecutive international framing competition.

The Professional Picture Framers Association (PPFA) held its annual International OPEN and PRINT Framing Competition during the PPFA 2014 convention, held concurrently with the West Coast Art & Frame Show in Las Vegas, Nevada, in January. The International competition is the grand finale of PPFA Chapter level competitions.

After being awarded first prize in the OPEN competition in 2012, the Just Frame It team amazingly went on to win the PRINT category the following year in 2013. Now in 2014, they have done it again and been awarded First Prize in the OPEN category. Their continued success at the international event is staggering.

The winning piece in the OPEN competition comprised photos of workmates at a coal mine company and a specially made case containing a mine safety lamp and letter. The First Place piece was created by the Just Frame It team, who also won a Judges Award sponsored by Larson Juhl for Shadowbox Design & Execution.

In addition to this impressive achievment, the couple received an Honorable Mention for their entry in the PRINT competition category.

This is an incredible reward for the hard working Australian team behind the winning entries, and one the local framing community should be extremely proud of.

The construction of their entry was a very complex process that involved building a case made up of 108 individual pieces. Trevor and Jenny have generously shared an insight into the process behind the creation of the winning piece in this issue (see page 20). â–Ş 6 PROFILE

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industry update

New Chairperson for PPFA

T

he PPPA Australian/New Zealand chapter has a new Chairperson. Jenny Yates has taken on the role after Bob Smith CPF resigned due to personal reasons.

Jenny is a long time PPFA member and framer and admits that the role will be a challenge.

“It’s a big ask to follow in the footsteps of our previous Chairs, Quentin Webster MCPF, Ormond Williams MCPF and Bob Smith CPF. Luckily, I have some experience of what is required having held the position of Vice Chair over the last 18 months. My plans for the future of the PPFA here in Australia and New Zealand are much the same as my predecessors’.

The PPFA is here to help fellow framers. Whether that is through education such as CPF or MCPF qualification, seminars at our Framing Shows, The Framers Forum, or simply making contact via email or phone to ask for help with projects that they are unsure of. The more knowledge that we have, the better off our business will be. The

positions on the PPFA committee are all voluntary.

Through the commitment of our committee, to keep our members informed as to what’s happening in the industry, we have increased our local newsletter publications to every two months.

The biggest challenge for our chapter in Australia is distance. Unfortunately, this challenge will always remain. Unlike our American Chapters where the distance between other members is less restrictive, we have to make the best of what we have.

I have visions of uniting framers, new and old, by making our Framing Shows the best experience, educationally and socially. In a world where Framing events are catering less for educational seminars, here in Australia, we are lucky. We have the forward vision of Frank Filippone who in conjunction with the PPFA, look forward to presenting framers with world class events for many years to come.” ▪

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8 PROFILE

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art & frame

artist profile

Andrea Wootton Andrea’s artworks explore the playful, vibrantly coloured side of nature, a satirical view of life and all its wonderful creatures.

Andrea didn’t formally study art at University, however she has always enjoyed the time spent with her artistic family developing her painting skills, travelling the world and exploring all of its galleries.

This year her focus has been drawn back into her art and as such she has found herself screen printing in New York and drawing in Paris.

How did you become involved in art?

I didn’t really become involved in art I was born with it. My sister was studying Fine Art at Monash University and my father was Head of Art at Camberwell Grammar, so my life involved visiting galleries all over the world and many school holidays spent in the Art Department of various schools. Our living room library was floor to ceiling art books so while most children were reading Dr Seuss I was trying to work out what Francis Bacon was doing. I had easy access to some of the greats and my father always encouraged me to find what appealed to me and not follow what necessarily appealed to the masses.

What is your preferred medium or style?

Predominantly I work with Acrylics but I love to experiment with all kinds of mediums and mix them all up onto one canvas and hope that it sings How has your approach to art evolved over time?

I always found a white canvas or white piece of paper so intimidating and now I love it!! Something fresh and new to get my brush stuck into.

So a “No Fear” approach to art helps me stay outside the lines and try everything. When I first started out I had no patience, if I started something I had to finish it as quickly as I could but now I love to have a few paintings on the go in a few different styles and I work on whatever I’m feeling on any given day.

What kind of audience does your work usually appeal to?

My work appeals to contemporary funky people who love colour, vibrancy, and all things quirky . So there is no age box to tick or personal profile in this category of people I think you just have to have a good sense of humour.

Where has your work been exhibited or distributed in the past?

1991 Santorini Palace Greece, Group Exhibition, 1998 Linden Gallery St Kilda, Group Exhibition, 1999 Beach Street Gallery, Port Melbourne, Artsistar Spring Flower Show, 2002 Customs Wharf Gallery, Williamstown, Artsistar Exhibition, 2013 Cheryl Petersen Gallery, Somerville,

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art & frame

This page and opposite: a selection of paintings by Andrea Wootton Group Exhibition, 2013 Art & Frame Show, Artsistar Exhibition, 2013 - 2014 Currently exhibiting at South Yarra Art House What are you working on at the moment?

Paper and Paint, a mix of paint, foils, pastels and charcoal on watercolour paper.

What future plans do you have for your work?

I would like to evolve the relationship with my sister and do more joint exhibitions as Artsistar and to exhibit at Art Basel in Miami is on my hit list for 2015.

e: andrea@ratfink.com.au ph: +61 3 5974 216779

PROFILE 11

framing design Left: This French Matting design was created by using 4 mm wide gold leaf strips and 18 mm wide marbled paper strips, adhered to the matboard with glue, between the drawn lines.

Mat Decoration with Marbled Paper

by Jodie Prymke CGF

Introduction Mat Decoration with Marbled Paper is an easy and modern alternative to traditional French Matting. French Matting is an ancient technique using pale watercolour wash panels and drawn ink lines around the perimeter of a matted piece of art. The lines and panels around the image draw the eye inward, repeating the delicacy and contrasts of the artwork.

Being a one-person framing operation, I didn’t have the time (or the patience!) to master traditional French Matting, so I created a quick and easy solution to still achieve beautiful and unique designs for my clients.

Marbled paper from www.papermojo.com

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On the following pages you will find the simple steps I follow to create these designs using materials, tools and techniques that are accessible to all framers.

Marbled paper sheets by www.papermojo.com

Š Peter Eastway

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framing design

Step One: The Drawn Lines I use a Gunnar CMC with a Pen Tool, but your lines can be drawn by hand also.

1

The pens I like to use are Uniball Posca Markers PC-1MR 0.7mm. They are a paint pen, and give a great, smooth solid colour.

I’ve used gold in the example.

TIP: If your matboard is dark, go around twice with the pen to achieve a more solid coloured line.

The spacing I’ve used on this example is as follows. From the cut line, draw five lines: + 6mm + 20mm (the 18mm marbled paper goes between these two) + 4mm + 6mm (the 4mm gold band goes between these two) + 2mm

Gunnar CMC MatCreator screen shot

Step Two:

2

The Marbled Paper

Most of my marbled paper comes from www.papermojo.com. They have gorgeous, “real” marbled papers and even some beautiful limited editions.

The marbled paper for this example is cut into 18mm wide strips.

I use a quilter’s ruler as a guide (see photo left).

TIP: Use some heavy weights to hold the paper in place while you’re cutting it.

Left: The marbled paper for this example is cut into 18mm wide strips using a quilter’s ruler as a guide.

14 PROFILE

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framing design

Step Three:

3

The Gold Leaf Band

The gold leaf band starts as gold leaf paper, and it’s very easy to make. Start with a piece of brown Kraft paper, approximately 30cm wide x 60cm long.

Brush on acrylic quick gold size - I use a big brush 1”. Work quickly, but evenly, and ensure the gold size is not too thick. Paint a section of about 15cm x 50cm, but longer if you need longer strips.

The secret with all gilding (so the gold leaf doesn’t go “mushy”) is to WAIT....you have to wait until the size is just tacky, 5 - 10 minutes will do with quick size, depending on the room temperature.

Apply the sheets or offcuts of gold leaf (silver, bronze and copper look good also).

PRESS it into place with a cotton wool ball, don’t rub, and then leave it overnight to dry.

The next day, brush off the excess leaf and apply a thin layer of shellac - blonde shellac if you don’t want to add colour, yellow shellac is great for imitation gold leaf - it makes it look like 23k gold!

Once the shellac is dry, say one hour, you can cut the gold leaf paper into strips. In the example, the gold leaf strips are cut 4mm wide.

Above: Photographed here are handmade gold, bronze and copper leaf papers.

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SIVE U L C EX NS! O T N TO A

framing design

About the Author

Step Four: Completion Adhere the 4mm wide gold leaf strips and the 18mm wide marbled paper strips to the matboard, in between the drawn lines, using an acid-free glue stick, and then trim the corners diagonally.

And that’s all there is to it!

The great thing about this technique is that you are not only limited to antique prints and etchings, but it can also be applied to modern works on paper – all the while adding value to your clients’ artworks. ▪

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4

Jodie Prymke CGF is Adelaide’s only PFGA Accredited Certified Guild Framer and qualified designer. She has 28 years of design experience, and has been in the picture framing industry since 1996. Jodie is a Member of the Picture Framer’s Guild of Australia and the Professional Picture Framer’s Association.

Her boutique gallery in North Adelaide specializes in unique frame designs, archival quality framing and restoration: www.fineartframing.com.au To view more examples of Jodie’s French Matting designs you can find them online: facebook.com/frenchmatting flickr.com/photos/fineartframing www.frenchmatting.com.au

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USIVE L C X E ONS! T N A TO

framing workshop

Above: The winning piece by Trevor and Jenny Yates of Just Frame It. The piece consists of a custom made case containing an original miner’s lamp, accompanied by photographs and a letter concealed in a “Time Capsule”. The piece was awarded First Prize by the PPFA Competition Board as well as an additional Judges Award for Shadowbox Design & Execution.

The awards were presented at the West Coast Art & Frame Show in Las Vegas, Nevada.

20 PROFILE

framing workshop Trevor and Jenny with their winning entry from 2012.

History and Memories Preserved in Time

W

e all know that the life of a picture framer can vary from day to day. Some days are great. Customers love your work and appreciate the effort that goes into providing a quality product. Other days, well, the end can’t come quick enough!!!

It’s not often that you get a client who lets you create an award winning design, but that’s exactly what happened to Trevor and Jenny Yates from Just Frame It in Gladstone Queensland.

Receiving First Place in the 2014 International PPFA Open framing competition in Las Vegas and a special Judge’s Award for Shadowbox Design and Execution was not the objective when this project started. Trevor explains……

ORIGIN OF THE CASE A client’s request to frame two images for her grandmother changed considerably after I enquired about their origin. She informed me that they were images of her grandfather and workmates taken at a coal mine company that they worked for. Not long after the images were taken, her grandfather was tragically killed in a mining accident.

Her grandfather, “Snowy” Pearson must have been a popular man. After his death, his workmates banded together, constructed and presented to his widow and young family, a specially made case containing a mine safety lamp.

Life in the early 1930s for the average worker was basic, poverty was rampant. That’s the only explanation that the family could give as to why sometime later, it was stolen…. never to be recovered.

I suggested to my client that I might be able to reproduce the case and include the photos as a backdrop.

I had access to an original Miner’s Safety Lamp; all we needed were some photos of the original case.

Unfortunately, none existed. My only other option was to visit her 99 year old grandmother and get a description of the case. I was surprised at how vivid her memory was, right down to the inscription on the plaque.

We all knew that an exact replica could not be made.

The original never had photos or coal within, neither was the lamp secured, but the outpour of emotion when the case was presented to my clients’ grandmother told me that it didn’t matter.

While the case was in construction, I asked my clients’ grandmother to write a letter of her life experiences that she would like preserved for future generations to read.

The letter was sealed in a Ragmat envelope. Although not incorporated in the original design of the case, a “Time Capsule” has been included within the case. The letter is securely stored inside the capsule. (Access from underneath the top.)

TECHNIQUE Construction of the timber case was completed by using a combination of several moulding profiles; sized and routed timber; one inch dowels; modified fillets; and Cast Polyester.

Creating the correct profiles required some mouldings to be cut or spliced (see following page for images).

Other profiles were created from raw timber by sizing and routing. After all profiles were modified, they were either, glued and joined on the underpinner, nailed, screwed or doweled together.

Construction was done in sections, ie. base, top, inner back, pillars and outer back. The total of individual pieces used to construct the case numbers 108.

PROFILE 21

framing workshop

CONSTRUCTION

Moulding for base is cut from original on right. Cut centre piece is discarded. Piece highlighted with arrow is turned on its side and mounted to bottom of base.

Mouldings used for top. Two of which were modified by routing and splicing.

Moulding surrounding images is cut from original on right. Black portion is discarded.

Rebate is added to required piece.

Wedges made to required angle used to join components on underpinner.

22 PROFILE

framing workshop

Base components before assembly and trimming the back.

Assembled base before trimming the back to correct size.

Top components before assembly.

Top components together after modifying the top and bottom mouldings, before trimming the back.

PROFILE 23

framing workshop Left: Silicone rubber mould ready for pouring the polyester resin.

Below Left: Cast Polyester resin after removal from silicone mould.

BACK PLATE Recreating a Polyester cast replica of the original cast metal back plate firstly required a template to be fabricated. This consisted mainly of timber. The decorative features were designed on a CMC and cut from 8ply matboard. The plaque was reproduced using a debossing tool and cut on 4ply matboard designed on a CMC. All of these pieces were glued to the timber back board. Two coats of sealer were applied in readiness for constructing a silicone mould.

Once the silicone mould had cured, polyester resin was mixed and poured into the mould. After several additional days of curing, the polyester cast was ready for painting.

The same moulding process was used to produce the two piece conservation mount for the lamp and plate for the Time Capsule.

LAMP MOUNT Preparation for constructing the two piece polyester lamp mount was completed by placing pieces of coal on a bed of modelling clay. In between the coal, a paste resembling small coal particles and coal dust was brushed. The paste consisted of Vermiculite and black acrylic medium. All pieces were sealed to enable the making of silicone moulds.

Painting the cast polyester to replicate coal was achieved by after priming, spraying a base of black acrylic, and then spraying a fine mist of grey acrylic.

Everything was sealed with mat acrylic. To reproduce the shiny shimmer seen in authentic coal, gloss acrylic was dry brushed on in places. Lineco rebate tape is used to further protect the lamp.

The two piece mount is secured in place with screws. Although not visible when encased, the lamp has a lip on the base. The mounts are moulded around the lip, further securing the lamp.

Removal of the lamp is by simply unscrewing the two piece mould.

To stop the lamp handle making contact with the Acrylic, it has been secured with polyester thread.

24 PROFILE

framing workshop

Image below shows rubber silicone moulds for two piece lamp mount prior to pouring of polyester resin. Surrounding images are the finished result. The smaller polyester mount that the lamp is placed on is secured with screws to the larger mount prior to securing into the case.

PROFILE 25

framing workshop

Left: This is the upside down view of the Time Capsule. The Capsule is lined with Lineco Rebate Tape.

The letter is encased in Ragmat , sealed with Rebate tape. A lid that has a beading of Volara Tape is screwed on to seal the Capsule.

TIME CAPSULE Underneath the top of the case, a void lined with rebate tape has been incorporated into the design to create a “Time Capsule” large enough for provision of a letter. Access to this area is by unscrewing the cover plate labelled “Time Capsule”.

Left: Modified fillets have had the lip that would normally support a matboard removed.

PILLARS The pillars are constructed from one inch dowels. Creating the channelling for the Acrylic is achieved with modified fillets attached by glue and nails.

Filler is then moulded onto the dowel to form the desired shape. The back pillars have been routed to accommodate the inner back plate.

26 PROFILE

framing workshop

IMAGES The two images were copied and hinged with Japanese papers and wheat starch onto a mount board of Crescent Ragmat, that has been book hinged along the top to the window Ragmat with Linen tape.

The window mat has been ‘aged’ with Ranger PH neutral inks to create the perception of foxing/acid migration consistent with being framed in the 1930s.

Slight overcuts on the mat are intentionally included to resemble the mat being hand cut as it would have been done in the 1930s. The Ruling pen lines have been “faded” by light scuffing with a blade.

Artcare archival Foamboard is placed behind the mount board. The package is sealed with Lineco backing paper using Lineco PH neutral adhesive. This is then covered with the back plate that is screwed in place.

Optium acrylic protects the images.

The rebate has been sealed with Lineco Rebate Tape.

FINISHING Reproducing the “aged patina” started with sealing, priming, undercoating and applying a base coat of black.

Two top coats of “Cottontail” acrylic were then brushed on. Next stage was dry brushing on an emulsion made from several colours of pigment dyes mixed with blonde shellac.

Particular attention was paid to applying more emulsion in the crevices and channels to recreate a build-up of grime. Steel wool of OOOO grade was used to bring out the base colour to create wear. Finishing off the patina is the application of Black Satin Bees Wax, buffed back with a cheesecloth. ▪

PROFILE 27

tips & techniques

Can You Afford The Wastage?

Think Before You Cut

T

he materials that framers regularly use can be divided into three groups: those that are measured by the lineal metre, like moulding, fillet and wire; those that are measured by spatial or square area, like glass, matboard and foamcore etc.; and those that are measured by volume, such as glue, paints and varnishes.

If our aim is to minimise waste, and therefore minimise costs and improve efficiency, then the following strategies will be useful.

Volume Measures The simplest of these to discuss is the last one, volume materials. Apart from sloppy usage, spills and poor container seals there is not much to do but, well, use only what you need and no more.

The problem of avoidable wastage only really arises when there is some break in a continuity of supply. For example, if you had an endless length of moulding you would never get an offcut. Just keep chopping to your heart’s content without avoidable wastage.

Volume materials are a little like that, as you can move seamlessly from one lot to the next. Open a new can of paint and you can mix the remains of the last batch on the same job; assuming the batches are identical. So the only action to take here is 28 PROFILE

to ensure that the supplies you get are consistent.

We include in volume materials such things as D-rings, V-nails etc.

As bulk materials they are, for our purposes, essentially the same.

Length Measures Next consider ‘length materials’. As a roll of wire or string is generally sufficient for hundreds of jobs, wastage only occasionally arises – at the end of a roll. So for them there is no real issue.

As mentioned, an endless length of moulding would solve all our problems. Unfortunately moulding and fillet usually come in lengths around three metres.

Since moulding is also often the most costly and significant component of the framing job, it is therefore the area in which wastage will be most problematic.

The wastage arises, of course, at the end of the stick - i.e. at the final cut. When to make this cut, and when not to, is central to wastage management. Unless you are regularly able to turn short offcuts into saleable products, you need to ensure the offcuts are long enough to be used.

First you must determine for that particular moulding an offcut length that is ‘acceptable’ to throw away.

About 3 or 4 times the width of the

moulding is a rough start, but you may add a bit for cheaper moulding or deduct some for broad, expensive stock. This is something you can determine yourself, based on how much you will accept hitting the dumpmaster.

Close to zero wastage can be achieved, but only if you have massive stocks of that moulding and a long time to use it.

The width of a moulding is usually roughly proportional to the size of the frame that will be made from it. That is, broad mouldings are normally (though not always) used in bigger frames than narrow ones. In a typical manufacturing situation a couple of frame sides will have been cut from a stick and there is, say, a metre or so left.

The golden rule is that if cutting the last piece from a length leaves an offcut that is shorter than a typical length for that moulding, but longer than your ‘acceptable’ offcut, then don’t make the cut. Put the piece away and get another stick. Even if it is half a stick, or longer, don’t be tempted to cut – put it away!

With this approach you will garner a collection of that particular moulding in various lengths – all of which are useful. But this buildup of pieces will not go on indefinitely. Another job will arise for that moulding, and most likely you will have a piece there close to the length required.

tips & techniques

That is, a piece which when cut, will leave an offcut which is within your determination of ‘acceptable’ for that moulding.

The basis of this approach is that you are selecting a piece of moulding from a continually evolving range of lengths rather than identical full lengths. Where possible, always choose a piece which when cut will deliver an ‘acceptable offcut’– and only start a new stick when necessary.

If you are doing big job lots with many of the same sizes, the approach is the same. But in this case it is worth doing some measuring and calculating beforehand. There may be a way that, for example, three long sides and two short sides can be extracted from a stick with only an ‘acceptable offcut’ left. But if not, aim to still use the above technique – ensuring that all your offcuts are long enough to be used.

It is important to note that there are a couple of premises assumed in this approach. Firstly, you are buying moulding by the box, and have a long term approach to your business. You cannot apply this method if you are purchasing just the odd stick. But buying by the box has the added advantage that you can expect

considerable savings from your supplier.

Secondly, you need the extra bit of space to keep the ‘useful offcuts’.

And finally, you can only really do it with a moulding that is not about to go out of demand. But then if you are in for the long haul, you would recognise that as fashions come and go, most shapes eventually come around again.

Spacial Measures When it comes to two dimensional goods - glass, matboard etc. – there is a close similarity to the technique applied to mouldings and fillets. That is, only start a new sheet when necessary. ‘Necessary’ means when there is not already a smaller piece from which the piece can be cut leaving only a tolerable throwout. Because we are working in two dimensions, there is a little more to consider.

To avoid a buildup of offcuts which never get used but are too big too throw away, it is generally better when cutting from a new sheet to make the long cut first.

Let’s try and be clear about this: imagine a sheet of glass is on the bench, and you are standing facing

its long side. In other words, you are looking at it in landscape format.

The first cut ought to be made perpendicular to the near edge of the sheet, so that the cut is running away from you. Thus the long edge of your desired piece is the distance from the edge of the sheet to the position of the cut. The next cut must then be at right angles to the first one.

The exception to this is when the long measure of your desired piece is close to the width of the full sheet – within an ‘acceptable wastage’ of it. Then cut the short length first and the second cut will give you a minimal toss-out. Once again you can vary what you consider acceptable as a glass offcut based on your available space for midsize pieces ‘waiting’ for a dimension that suits them.

One thing notable about glass wastage is that the larger the original sheet, the less percentage waste you will generate. It is better therefore, to buy your sheets in 1830 x 1220 rather than 1520 x 915 or worse 1220 x 915.

Better still, if you have both sizes available you maximise your opportunities to cut a piece neatly with close to zero in the bin.

Cutting matboard is a similar situation, except there is the added complexity of the window cutout. But as the window must be cut from the piece no matter how the piece is arrived at, it has little bearing on your approach to cutting from the sheet.

And there is little you can do to avoid a pileup of ‘windows’, short of ensuring rigorously that you utilise them whenever possible.

So whatever the material you are dealing with, remember the golden rule: if you cannot cut well, do not make the cut. You will never stick it back together! ▪ PROFILE 29

tips & techniques

Forces on Hooks and Hangers

M

any people intuitively assume that slack wire on the back of a picture frame will cause the frame to hang away from the wall and be less secure.

What most people don’t realise however, is that the angle of the wire, and hence its slackness, is a key factor determining the amount of force placed on the hanging fixtures on the back of the frame.

It is commonly understood that if only one wall hook is used to hang the frame, the downward force on the hook is simply the weight of the framed picture. On the other hand, if two wall hooks are fixed in horizontal alignment, and equidistant from each side of the frame, the downward force on each hook is half the weight of the picture.

So far, this information is fairly obvious.

Less obvious however, is how the angle of the wire affects the amount of force transmitted to each screw eye or fixture, such as the commonly used D-ring.

The diagram below shows the trigonometrical formula which determines the force which is generated in the direction of the wire. From this diagram, we can draw some significant conclusions.

30 PROFILE

1 If the cord or wire is stretched taut (2°) across the back of the frame, the force through the cord on each D-ring is over fourteen times the weight of the picture.

2 Conversely, if the cord or wire is fixed somewhat slack (say 30°) across the back of the frame, the force on each D-ring is only equal to the weight of the picture.

3 Slack cord or wire does not cause the picture to fall away from the wall at the top when hanging. Generally, if you want the picture to hang reasonably flush with the wall, place the D-rings about 1/4 the way down from the top of the frame. Conversely, if you want the frame to fall forward at the top place the D-rings about 1/3 the way down from the top of the frame.

4 From an engineering point of view, you should use two wall hooks, placed as far apart as possible. This: a. Makes the picture more stable. b. Halves the load on each hook. c. Increases the angle of the wire or cord, which reduces the tension in the cord and the force on the anchor point.

tips & techniques

A Mathematical Explanation Anyone who studied mathematics at high shcool may have memories of the field known as trigonometry.

Remember Sine, Cos and Tan? Well, their fundamental properties are arrived at through the use of a triangle within a circle. And trigonometry is, before anything else, a useful tool for examining triangles. Given one side length and one corner angle, Sin, Cos and Tan enable us to calculate the other side lengths and all angles of a triangle.

Trigonometry can also be applied to the directional forces acting on a humble D-ring on the back of a frame to work out the optimum stringing arrangement.

When we use two D-rings on the frame with a wire hanging from a single mounting point on the wall, we create a triangle.

As explained previously, if one wall hook is used to hang a frame, the downward force on the hook is simply the weight of the frame. Subsequently, if two wall hooks are used, the force on each of those wall hooks is half the weight of the frame. We also learnt that the forces acting on the actual D-rings change radically according to how we arrange the hooks on the wall. Or more accurately, the forces on the D-rings change according to the angle of the hanging wire.

A fundamental formula of trigonometry tells us that the sine of an angle equals the length of the side opposite the angle, divided by the length of the hypotenuse. So we have a formula‌ Sin(a) = W/F. W is the weight and F represents the force while (a) is the angle. The weight (W) is exactly half the weight of the frame (the other half is taken by the other D-ring). The force along the direction of the string (F) can then be derived from our formula. After a little algebraic manipulation we get: F = w/2 sin(a) And what does all this mean for the average framer?

Basically, the looser the string, the larger the angle and consequently the less force acting on the D-rings. The accompanying chart (left) shows the relevant forces acting on D-rings with the string at different angles.

As we have seen, the chart shows that if the wire is stretched taut (two degrees) across the back of the frame, the force through the wire on each D-ring is over fourteen times the weight of the picture.

Conversely, if the wire is slack (eg 30 degrees) across the back of the frame, the force on each D-ring is only equal to the weight of the picture.

Above: Diagram of the back of a frame showing the increased angle of the wire when two wall hooks placed far apart and slack wire are used.

We can also see that as the angle of wire becomes greater than 30 degrees the reduction of forces on the D-rings is not particulaly great. However, you will notice from the chart that as the angle becomes smaller than 30 degrees the story is very different. Now the forces become exponentially greater on our D-rings. This illustrates the importance of keeping our hanging wire at an angle of 30 degrees or more.

Now it doesn’t take Einstein to see that there is a limit to how steep the angle can be made before the nail in the wall is visible above the frame. Placing the D-rings high up on the frame enables the frame to sit flush on the wall.

But at the same time this has the effect of reducing the angle of the wire. On the other hand, placing the D-rings lower helps with our angle, but tends to cause the frame to lean forward on the wall.

The obvious remedy is to place two hooks in the wall where possible. As well as providing extra security for the actual wall fastening, two hooks increase the angle of the hanging wire. This in turn causes a large reduction in the forces acting on the D-rings, that is especially important for heavy frames. Two hooks also make the picture more stable. That is, once you have the frame level on the wall it tends to stay that way for longer.

In conclusion, we can see that slack wire or cord actually helps to maintain the long term durability and security of the frame and its hanging device. In addition, we have shown that mathematical calculations support the argument that two wall hooks are better than one. â–Ş PROFILE 31

crossword

Art and Framing Crossword 1

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Down

Across 1 Last trade show held here 3 Painting tool 5 Attaches the artwork 6 Acidity level 7 Finish with gold 8 Curved glass 9 Popular Japanese tape 11 He made soup cans famous 13 Moulding recess 16 To droop 17 Create opening 18 Where ends meet

20 22 23 24 26 27

Mount Used for hanging Ink jet print Paper comes in it 20thc design period Colour Field painter

1 It draws crowds to Tasmania 2 A type of board 4 Keep artwork away from it 5 Holds things up 6 White and sticky 10 A canvas support 11 Mat decoration technique 12 Rectangular shape 14 Putting the job together 15 Tempera paint base 19 The K in CMYK 21 Teach a skill 25 Aged Answers will appear in the next issue

32 PROFILE

isor s Tr usted PMA Adv

e n O e or t a m f i t l p u o h th” e s h k T r “ o row W Day iness g bus

Peter Budd

Dar ren Vow

les

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William Angliss Institute Conference Centre - Flagstaff Room 5.26 Building A, Level 5, 555 La Trobe Street, Melbourne Telephone: 03 9606 2512

DIGITAL MARKETING

BUILD YOURSELF A BETTER BUSINESS

Facilitated by: Darren P. Vowles Internet Marketing Consultant, Reach Local Australia www.reachlocal.com.au 8.30am - 1.00pm Registration: 8am

Facilitated by: Peter Budd, Budd Consulting www.buddconsulting.com.au 2.00pm - 6.30pm Registration: 1.30pm

A half day workshop on “Digital Marketing”

Creating a more profitable, resilient and sustainable business is achievable and affordable. Research shows the barrier for most independent retailers is the lack of experience, resources and knowledge to effectively plan and implement the required process.

Peter Budd is the author of Australia’s only planning and marketing booklet written specifically for the photo retail sector.

Solve the unique challenges of marketing your local business online, utilising Darren’s experience which will get the results you want – more customers.

Workshop topics include: Reputation management Online marketing for business growth Video use for online marketing Understanding your website and mobile site Using search engines to drive new customers in place of newspapers, radio and billboards  SMS event marketing and online banner advertising  Multi-screen campaigning

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Cost to attend:

Members: $395 | Non Members: $495 Prices Incl GST

Book both Workshops and get 20% discount PLUS receive a FREE one hour Online Marketing Audit for your business from Darren Vowles AND a one hour Skype session on Business Transformation or Planning Issues from Peter Budd

ATTEND | LEARN | DISCOVER | EXPERIENCE For registration please see www.pmaaustralia.com.au/whats-on or email bbryan@pmai.org. Registration by 29th April 2014 PMA Australia PO Box 932 Baulkham Hills NSW 1755 Telephone 02 9686 3188

framing techniques

Multi-Sided Frames

34 PROFILE

framing techniques A Challenge Multi-sided frames may be challenging to build but they can also create unique designs for display in your showroom as a demonstration of your skills. They can sometimes be constructed using shorter lengths of unused moulding such as offcuts, and are particularly effective as custom mirror designs.

PROFILE 35

The order form can also be downloaded from framing tips our website at www.profilemagazine.com.au

Picture Framing Books & DVDs Profile presents a range of books and DVDs designed specifically for picture framers. We still have limited copies from the Vivien Kistler collection, as well as some additional titles by Jim Miller, Barbara Markoff, and Greg Perkins, and the FATG Study Guides. To order any of these great titles or others in our range, please fill out the form in this issue, or phone our office on 03 5975 3677.

Book Collection

PROFILE 37

classifieds PICTURE FRAMING BUSINESS WANTED Established Picture Framing Business wanted to buy.

For confidential discussion, please phone: Glenn 0411 575 700

FOR SALE XTREX COLD VACCUM PRESS 60 in x 40 in In good condition More photos available PRICE: $1000 ONO Ph 07 4957 2022

Business FOR SALE Custom Picture Framing and Art Supplies in Gladstone, Queensland.

A well established business operating since 1972 returning a very comfortable income, with ample scope to expand. Huge stock and equipment with established client base including many of Gladstone’s major industries. Lease in place with original owners.

Figures available to those genuinely interested.

Gladstone offers the best of both worlds located at the base of the Barrier Reef but with enormous industry and economic growth.

For more information please contact: Ken and Hayley Ridden (07) 4972 2493 0452386072 gladstonepictureframers@gmail.com

BUSINESS For sale 14 year old well-established business in Sydney’s eastern suburbs. WI/WO All Equipment included. Training provided if necessary. All stock included.

Price $ 70,000 For further details contact Reinhard on 0408 415 553

To place an advertisement in our classifieds section send an email to editor@profilemagazine.com.au

CLOSING DOWN – BULK SALE 1000 POSTERS POSTERS, PRINTS, WALL MURALS, ROCK BANDS (from the seventies and eighties.)

POSTER STANDS, POSTER SLEEVES, POSTER HANGERS. Information: martin@graphicartgallery.com.au

38 PROFILE

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PPFA/PMA Australia Unit 9/14 Frenchs Forest Road Frenchs Forest, NSW 2086 T: 61 2 9454 2444 F: 61 2 9454 2454 W: ppfaustralia.org E: pmaaustralia@pmai.org

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This unique range of Black and White Mountboard gives a stunning effect when bevelled and produces very effective results.

This unique range of Black and White Mountboard gives a stunning effect when bevelled and produces very effective results.

What are the main features of the Monochrome?   

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Ideal for Black and White photography, Pencil drawings and Charcoals etc.

What areframing the main features of the Monochrome?

Available in a thickness of 3.4mm • Mountboard Ideal for framing Black and White size: 815 x 1200mm, Packphotography, size: 5 sheets Pencil drawings and Charcoals etc • Available in a thickness of 3.4 mm • Mountboard size: 815 x 1200Specifications mm, Pack size: 5 sheets Fine Art Trade Guild Fine Art Art Trade Guild Mountboard Standard : Commended Fine Trade Guild Specifications Fine Art Trade Guild Framing level : Commended • Fine Art Trade Guild Mountboard Standard: Commended • Fine Art Trade Guild Framing level: Commended

Colour Ranges

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ABN 37 005 350 327 ALL STATES FRAMES 45 GEDDES STREET ABN 37 005 350 327 MULGRAVE VIC 3170 45 GEDDES STREET Tel: 03-9561 7533 Fax: 03-9560 8764 MULGRAVE VIC 3170 w: www.allstatesframes.com.au PHONE: 03 9571 7533 e: sales@allstatesframes.com.au FAX: 03 9560 8764 www.allstatesframes.com.au sales@allstatesframes.com.au