Dylan Lloyd THE ART AND FRAMING MAGAZINE FOR PROFESSIONALS
NO. 37. 2020 Brought to you by
Wiltshire summer garden
One Wall Two Walls Three Walls Four Walls
WELCOME! Welcome to Issue 37 of 4walls which is full of content that we hope you will find useful and interesting. We are all getting used to a new way of life, and while I know that some of you will still be adjusting and there are various challenges ahead, there is much to be optimistic about and we are featuring a number of artists whose work we hope you find uplifting. Cover artist Dylan Lloyd being a particular favourite. Life is certainly changing for me. After 42 years with the business, I am retiring. Indeed, as this issue is published, I plan to be in my garden topping up my tan! I am sorry that due to the pandemic, the furlough situation etc,
I have not been able to say goodbye to the huge number of customers who have become friends in the usual way, but I have many, many fantastic memories, and I hope that some of us can keep in touch (I will still be on email at Pauline.Hutchinson@larsonjuhl.co.uk).
the world and I look forward to reading future issues of 4walls.
On pages 23 and 24, at the insistence of the Larson-Juhl family, there is a feature on my Larson-Juhl career – it will hopefully raise a smile! Larson-Juhl is a great company to work for and I’ll also miss our sister companies in Germany, France, Netherlands, Norway, USA, Australia and Czech Republic.
Thanks for everything.
I know that Jonathan, Matt and Steve will ensure that Larson-Juhl continues to be part of the largest group of framing companies in
Please send your suggestions and comments for 4walls to Jonathan.Burrage@larsonjuhl.co.uk and please follow us on social media.
Pauline Pauline Hutchinson, Editor pauline.hutchinson@larsonjuhl.co.uk @4wallsbyLJUK @4wallsbyLJUK @4wallsbyLJUK
3. Bellissima!
Our Micro-tech Italian Veneers
4. Putting the art in Dartmouth Checking in with Dart Gallery
CONTENTS NO. 37. 2020
6. Design trends from Alys Bryan Editor of Design Insider magazine
8. Portfolio Fine Arts
Showcasing artists Tony Black and Bob Cosford
10. Making friends with Cath
Interview with Cath Friend of Emerald Frames
12. A Wall-singham of colour 16. Guild Scholarship 17. Welcome to the world of webinars A review of our recent series of webinars
18. Online with Jonathan Burrage
Exploring how the business is adapting to the digital world
20. Joining the ranks
Interview with photographer Beth Young
22. Thank you Pauline! Reminiscing over 42 years! THE ART AND FRAMING MAGAZINE FOR PROFESSIONALS
24. Taking Holt of the business! Steve Todd of Holt’s Framing
25. Days to keep in mind… 26. Virtual marketing
Your guide to the online world
27. Get Framous 2020
Our latest competition announcement!
28. Frame Design
A masterclass with Jon Price GCF (APF)
31. Ask the experts How to frame medals
2
Walsingham Gallery & Framing
14. Thank you Bev!
Edge Bespoke Picture Framing and the “Thank You” Gallery
80928 Mocha - 8213 cream
80927 Light Walnut - 8065 hayseed
80926 Charcoal - 8145 alabaster
80925 Light Grey - 8001 snow white
80924 Nordic Oak - 8977- bright white
BELLISSIMA!
For this issue of 4walls, our product focus just had to be on one of our most successful launches yet‌ our Micro-tech Italian Veneers. This range of veneers has been incredibly popular with our customers, so here is just a little reminder of what the range has to offer. Composed of high quality, high specification raw materials, combined with Italian technical innovation and efficiency, Micro-tech Italian Veneers have been one of our most exciting releases to date.
This product has been designed with both current mass market trends and tones in decor in mind, whilst also being extremely cost effective. The features and benefits of our Micro-tech Veneers eliminate many of the shortfalls experienced with other mouldings in this space, and set a new benchmark for the category. Available in five colours; Nordic Oak, Light Walnut, Mocha, Light Grey and Charcoal, all offer a new ultra-thick, high performance solution to other mouldings you may have used within your work.
The range is also available in three sizes: (1) H38 x W19 x R28 (2) H21 x W31 x R16 (3) H38 x W28 x R28. With truer, longer lasting colours, these veneers are superb to the touch, and have high quality finger-jointed pine substrate. Every veneer in the range also features an exceptional adhesive layer and bond-locking primer coat. The newest and most affordable Italian icon! We have heard your requests and as many of you have been asking for us to showcase some ideas to help inspire the way you use the range in your work, above are five lovely examples that we hope will be of use!
3
Firing down the fairway - Jan Nelson
PUTTING THE ART IN DARTMOUTH Dart Gallery in Dartmouth is both stunning in terms of aesthetics and also very impressive in commercial terms – even given the challenges of the last few months. After establishing and selling a successful gallery in the New Forest, owners Ed Reach and Tom Butcher took over Dart Gallery six years ago. Scrolling through @dartgallery
MEET DYLAN LLOYD Cover artist Dylan Lloyd is currently showing at Dart Gallery and getting a fantastic reception for his uplifting garden collection. Dylan has a studio on the Island of Portland in Dorset and his work is a ‘painterly’ response to the classic subject matter of the garden. The paintings balance photographic depth of field and pixilation with traditional painting techniques. Built up through thin layers of oil paint, there are areas of intense detail balanced with brushwork, encouraging the viewer to enter the space and be transported into a verdant landscape alongside being absorbed by the surface of the paintings. Many of the gardens are imagined places but they are also a response to the formal and wild gardens of Dorset, Wiltshire and Normandy. From walled gardens to wild hedgerows and beautiful planting in French villages, Dylan looks at rich layers of plants for his imagery. Contemporary developments in garden design, film and photography are important ingredients
4
on Instagram is very therapeutic in itself – so much gorgeous artwork, much of which celebrates this beautiful part of the world. Ed and Tom have got a great business – with a very proactive approach to marketing and total buy-in to being as digital as possible to save time and improve efficiencies, while delivering a very personal service.
in the work and allow Dylan to respond to an ever-changing subject matter. Dylan has built a great relationship with Tom and Ed over the last couple of years. He told 4walls that:
“We started with a set of seven or so pieces and this evolved over time. They communicate really well about possible exhibitions, commissions and customer feedback. They understand about the production of work and are very keen to get the right balance between the way the work is developing but also showcasing a variety of scales and imagery.” In terms of where framing comes in to play, he says: “It’s really important to show the work in the best way possible. I always frame thinner profile canvases and the work I make on linen boards. Partly to make sure that they can stand their ground around other work but also to ensure that they are not lost on a wall or overpowered by the backdrop. The white or grey space around them has become increasingly important as the work has become more intense and layered. Larger work needs a feeling of being complete. Good quality deep canvases can give you that, but thinner profile work often needs a space around the edges and the sides to lift it from the wall and add clarity to the image.”
DART GALLERY IN THE FRAME Dorset summer garden III - Dylan Lloyd
Ed Reach and Tom Butcher
Dart Gallery is located in the bustling harbourside town of Dartmouth in Devon, at the heart of the South Hams area of outstanding natural beauty and a short distance from Kingsbridge, Salcombe, Totnes and Brixham. It is a beautiful area benefitting from loyal local residents, second home owners and holiday-makers alike.
Over the last two decades, the gallery has earned a reputation for consistently offering high quality contemporary British art. Spread over two floors, there is a constantly evolving collection of work involving established artists and newcomers alike. Gallery artists featured in upcoming shows include Harry Brioche, as well as Jan Nelson, Jo Quigley and front cover star Dylan Lloyd. Issue 31 of 4walls featured the totally awesome Scott Naismith who is also shown at Dart Gallery.
AND NOW FOR MEMORIES AND BEING UPLIFTED As we all return to differing levels of normality, life has changed for us all one way or another. In terms of trends going forward, Ed is expecting to see particular demand for art that “celebrates treasured memories as well as images that uplift the soul!”
OWN ART Dart Gallery is a member of the Own Art scheme, which is part quality mark and part finance package. Customers can pay over 10 months, interest free, on artwork costing up to £25,000. For more information visit ownart.co.uk dart-gallery.com
Solace - Harry Brioche River walk - Jo Quigley
LIFE IN LOCKDOWN Ed and Tom have built a very strong online business, which absolutely helped to get them through lockdown. Ed told 4walls that: “The last few months have accelerated the importance of online trading for us. And this has been a very positive experience for us.” They still place face-to-face relationships at the heart of their business. During lockdown, the guys were keen to keep in touch with their customers and social media played a key part, of course. They ran an awesome initiative called Homework, whereby they called out on Instagram for people to share Dart Gallery work in situ. The response was phenomenal with over 30 posts!
Tom explains: “So we then had to do something else! The idea of a Young Masters competition meant we could showcase art that could by no means be considered competitive to our artists while also providing an idea for parents who were home schooling. We have been totally overwhelmed – great feedback, and big thanks to Larson-Juhl for sponsoring the competition and providing product to frame the winning entry, which was Aneya Chauhan’s beautiful painting of trees against a night sky, judged by artist Chris Forsey.” Lockdown also meant time for redecorating and Dart Gallery reopened on 15th June looking fresh, well-loved and ready for what will hopefully be a busy summer.
5
Alys Bryan is editor of Design Insider magazine and a highly respected furniture designer. She has worked with Larson-Juhl on a number of projects and this article summarises the insight she shared with us in her recent webinar. During recent art, design and interior events it has been wonderful to discover prominent displays promoting artwork, production methods and materials which address the need to create a sustainable world. It is understandably important to know the sustainable credentials of the products you sell, such as the Forest Stewardship Council (FSC) accreditation awarded to many of Larson-Juhl’s mouldings. An FSC mark is accredited to products produced using materials with the highest environmental and social standards, promoting responsible forestry and protecting the world’s forests.
NATURE, JOY AND SHOPPING LOCAL Sustainable design can take many aesthetic forms, however, there is an ongoing trend to reflect sustainable design using natural materials and a neutral colour palette. Textures such as rattan add depth to this pallet, with white walls creating a contemporary balance, punctuated by black accents. The ongoing trend for biophilic design (the inclusion of materials which link us directly to nature) has brought plants into the sustainable scheme, allowing for the colour palette to extend to include the full spectrum of greens, as well as the wellbeing benefits of being in spaces incorporating nature. The LJC Barefaced Ash Moulding FSC ® 119300000 allows for a natural or waxed finish as well as the opportunity to stain the timber in a green tone.
LJC Driftwood FSC ® 232170985 is an ideal moulding. Maintaining a timber grain and biophilic texture whilst extending the contemporary white backdrop of this trend.
6
LJC TouchWood Art Moulding Walnut 991099116 is a sophisticated option, drawing the trend into a refined material pallet whilst maintaining the sustainable and biophilic benefits.
Consider the use of linen mounts to show attention to detail and textural interest e.g. LJC MB Cons Linen Calla 1600 TTT008502. 119 300 000 Natural Barefaced
The pink and yellow colour trend has been building for many months but perhaps the current crisis has accelerated the popularity of this joyful trend, bringing cheer at a difficult time. This palette is more versatile than you might expect, and the impact can be dramatically changed by varying both the depth of colour and the amount of pink and yellow used. For a pared back scheme choose soft lemon yellow with a pale dusty pink. If you are feeling brave select a vibrant yellow and match it with a bold and punchy pink. Add depth to your scheme by selecting multiple tones of each colour.
YELLOW AND PINK
Texture also plays a strong role in the trend. You can add further impact by selecting accessories with a gloss finish or layer your scheme with luxurious textures including the everlasting popularity for velvet. Soft pink mouldings such as LJC Harlequin Moulding 342703004 create a subtle interpretation of the trend and can by married with either a crisp white mount or matched with a pink mount to create a striking block of colour. LJS Confetti Moulding 130148000 is a great choice for a bolder pink. Select a contemporary white mount to allow the pink to be the star of the show. DM 38404 Jollipop Yellow 380404000 is a fantastic slim yellow aluminium moulding. This is a perfect statement of colour on a slim scale. In contrast you could select LJC En Vogue Moulding 150632000 for a dominant yellow frame. There are several mount options for this scheme including bold yellow LJC MB Cons Primrose 1400 FSC ® TTT008149, which you can match to a yellow moulding or even contrast with the soft pink. LJC MB Cons Odessa Pink 1400 SSS008064 and LJC MB Cons Pale Pink 1400 TTT008601 and two tones of pink which could also be used with a white, black or timber moulding for a subtle nod to this trend.
After many weeks of lockdown, many of us will have developed new habits, especially in the ways we shop. We have found new places to buy from and changed how we buy from our favourite stores. As lockdown continues to ease this trend will evolve. In many towns and cities retailers have adapted to offer a delivery service which they didn’t have before and groceries, veg boxes, dried goods and baked goodies can all now be delivered to your door.
SHOP LOCAL
But what does shopping local have to do with an interior trend? By having the strongest, best possible, offering for your customers you will enable them to follow many of the latest interior trends. You will retain your long standing customers and cement your relationships with your new customers as they look to expand their support for local businesses.
7
Two of Larson-Juhl’s most recent mouldings to have been launched are Coastal Woods and Italian Micro-tech Veneers. The good news is that these both fit seamlessly into the trends we have discussed. The subtle texture of Coastal Woods (LJC Coastal Woods Moulding 436000127) is ideal as part of a sustainable scheme. Or use it to let a bold yellow and pink piece of artwork shine with a crisp white mount. The Micro-tech Veneers collection (LJS Micro-tech Veneers 80917) creates an elegant interpretation of the sustainable trend. The warmer veneer tones also work perfectly with a pink mount to add depth to the yellow and pink colour scheme.
CRIMINALLY TALENTED TONY BLACK Portfolio Fine Art has recently launched its first collection with renowned crime author, award-winning journalist, and Edinburgh-based contemporary artist Tony Black.
Boots on the ground
Tony’s ambition to paint was put on hold after his novels took the world by storm. Described as Irvine Welsh’s favourite British crime writer, Tony’s work has been shortlisted for The Guardian’s Not the Booker Prize, and has been nominated six times for the Crime Writers Association Dagger. However, his ventures with writing fiction showed him that there were limitations of the form, which led to his further pursuit of visual art. He now paints every day in his own unique and spontaneous style. The “power, style and street swagger” Welsh uses to describe Tony’s central protagonist, Gus Dury, can be seen across his art. Using bold colours, thick lines, and abstract reappearing characters, Tony shows he is a storyteller both through visual and written work.
His work artistically depicts stories from his time as a journalist, his personal views and experiences living in Scotland, his Australian heritage and his dark yet humorous anecdotes from his day-to-day life. Each painting tells a story, with the use of characters in both his art and his novels. This allows his collection of art to follow its own unique narrative. Tony believes that in an internet age where the written word has been greatly weakened, only radical imagery now has the power to reveal the human spirit. The Roper
His audacious and daring style, influenced by Pop Art, German Expressionism and Fauvism, is derived from the art he enjoyed throughout his childhood. The Great Philanderer
8
In contrast to the inflexible approach of planning and writing gritty crime fiction, Tony Black’s art encompasses vibrancy, quirkiness and spontaneity. Tony Black and Portfolio Fine Art are very excited to have just launched a collection of three limited edition box canvas prints and a plethora of his vivacious originals. A free print is available with the purchase of a set of prints. You can find all of these and more about Tony at www.portfoliofineart.com or by emailing sales@portfoliofineart.com.
Bob is the man who created the iconic Grange Hill flying sausage which appeared in the title credits of the much loved TV school drama.
Chrome Girl - I’m Clockwork
FROM GRANGE HILL TO THE FAIRGROUND
3$ Play
Portfolio Fine Art is really excited to introduce Bob Cosford’s first collection, which delivers instant impact with a three dimensional flash of fairground fantasy. Bob spent his teenage years in the dreary London suburbs of the 1960s, where his highlights were smoking in dingy alleys and playing street football. So when the fairground came to town, everything came into brilliant focus for Bob! Those days have been a lifelong inspiration and his home is now full of art which grabs the attention – shop signs, big American cars, visions of Vegas and Venice Beach, Rock ‘n’ Roll – all evocative of the magical teenage dream. Bob is the man who created the iconic Grange Hill flying sausage which appeared in the title credits of the much loved TV school drama. Unbelievably, Bob never actually saw an episode of Grange Hill because the programme aired at 4.50pm, when he was either working or down the
pub! Other work included Match of the Day, The Basil Brush Show and Top Gear. Bob has since been nominated for a BAFTA, and tells us: “After studying for four years at Art School, I began my artistic endeavours as a freelance commercial illustrator and in the late 70s I created the animated artwork for the drama series ‘Pennies From Heaven’, Grange Hill and other BBC commissions. Later, I worked around Camden and Soho, winning awards as a creative director for film and television before returning to my creative roots in 2003 and showcasing a wide variety of work as images for print. These included elaborate photomontages with digitally hand drawn imaging, which developed into social and politically
Rogue
themed Outsider and Urban Art – with ironic references to celebrities and mainstream entertainment.” Bob now walks his whippet Jaffa on Bournemouth beach where the fairground still comes to town - its sights, sounds and smells inspiring Bob’s art, which takes us back to those hot heady nights of our teens when we rode the dodgems, screamed on the ghost train and dreamed of a life full of adventure yet to come. For more information on Bob’s work, visit www.portfoliofineart.co.uk or email sales@portfoliofineart.com
9
MAKING FRIENDS WITH CATH
4walls got in touch with Cath Friend of Emerald Frames to hear all about how she got started in the framing industry, and what 2020 has meant for her online presence.
Cath
Featured artist Ali Mackie at her recent solo show
Cath initially began in the framing industry after she was left feeling unfulfilled in her previous job in a completely different field, and deciding she needed a change of direction towards something more organic and creative. At the time, she was working full time in a corporate role, and had started volunteering at a local framers during her weekends. This was the perfect opportunity for her to explore the framing world, and through her volunteering she gained the knowledge and experience needed to decide the career change was right for her.
She tells us: “It was a leap of faith at that point, but with a love of art and creative processes, it was a very appealing career choice. So, after setting up Emerald and leaving the security of having a full-time job, I have discovered that this is the perfect job for me!� Emerald Fames is now a thriving framing business, and Cath stresses that building relationships with her customers is absolutely paramount. Because of this, they have developed speciality services for their clients, including a thriving art gallery space and artist workshops.
10
Cath and her team are all experienced, highly trained, qualified framers, which enables them to provide a first class service to their customers, regardless of the diversity of the work that they are presented with. Cath also has an advanced qualification for conservation framing, which has allowed her to work with some amazingly diverse clients and businesses in the conservation sector. Modern, progressive businesses need to be consistent and active on social media platforms. This is something Emerald Frames acknowledges because it has allowed them to continually build and evolve relationships with their clients, customers and friends. Cath tells us that she posts business related content on a regular basis to interact with potential and existing customers. She also makes use of social media to raise awareness of the services they are able to offer, provide inspiration for framing ideas and showcase some of the wonderful artwork they have worked with. Social media has been especially important during the global pandemic, as Cath says: “During lockdown, social media was very important to us, as we were able to support other people and provide some encouragement and inspiration, as well as provide updates about our status. We have gained many orders from our social media platforms and it has been a fabulous way to keep in touch with everybody.”
4walls was very pleased to hear that Cath often dips into the online Resource Centre on the Larson-Juhl website, and was very impressed with the webinars that have been featured recently. She tells us:
“Frame Design with Jon Price was full of creative ideas and inspiration, and I also noted down some key points from Jo Palmer’s excellent webinar, Selling From The Design Bench - and the very topical Reopening Your Framing Business.” We were even more pleased to hear that Emerald Frames use Larson-Juhl products on a daily basis throughout the business. Cath is clearly a big fan: “The framing range is very diverse, and the finish and quality of the Larson-Juhl range is unparalleled. My favourite moulding ranges definitely include Marais due to its stunning finishes and range of profiles, and Anvil as it is so different and looks amazing when completed.” To find out more about Emerald Frames, follow them on Instagram and Facebook: Emeraldframes, or visit their website. www.emeraldframes.com
337 593 Ebony Marais
288 620 Aged Steel Anvil
11
We got in touch with Heather Green (GCF) APF of Walsingham Gallery & Framing to learn all about the wide variety of art on offer in the gallery, and how the gallery has adapted in response to the pandemic to ensure they can keep their customers safe. Walsingham Gallery & Framing began life as the Great Walsingham Gallery in 1992, and was one of the first businesses to occupy the then newly converted traditional brick and flint barns situated on the edge of the pretty hamlet of Great Walsingham in North Norfolk.
and gallery assistant by the original owners whilst she was still at school, and continued to work at the gallery on a part-time basis whilst studying for her degree in Fine Art. After graduating, she set up a small sculpture studio next to the gallery and carried on helping out when needed. When the original owners retired from the industry in 2014, it was a natural step for Heather to take the reins, having been closely involved in the gallery’s operation for over 20 years.
Since then, Heather has put a lot of time and energy into expanding and developing the ranges of products and services available to her customers; from the art and applied arts shown in the gallery, to the busier than ever framing service offered
Showing great art and providing a comprehensive, high quality framing service has always been at the heart of the business. Heather was trained as a picture framer Wells Oak, linocut & watercolour, Nicholas Barnham
Owl (bronze), Carol Pask
A WALL-SINGHAM OF COLOUR She is ably assisted in her endeavours by her friend and colleague Charlie, and her partner Nigel.
Heather tells us: “I am proud to be a Guild Certified Framer, the framing qualification from the Fine Art Trade Guild. This demonstrates my commitment to ensuring best practice and adhering to a professional code of ethics and standards. I am hopeful that my assistant Charlie will follow in my footsteps soon and also become qualified.” The gallery is proud to be able to showcase a carefully selected, extensive range of arts and applied arts including painting, printmaking, sculpture and ceramics. Heather states: “We mainly represent artists from the eastern region with many being from or having links to Norfolk. Many of our artists exhibit with us on a permanent basis and others show for limited periods of time or for specific exhibitions. At the moment, we have a particular focus on original printmaking and ceramics. 12
Coastal Frame
Kingfisher at the Mill, linocut, Kate Heiss
PANDEMIC RESPONSE “We use a lot of mouldings and mountboards from the Larson-Juhl range. The range is so comprehensive, so there is usually the appropriate solution to be found.”
Once the gallery realised that any reopening would mean putting measures in place to protect customers and staff, they decided that a total redesign of their front of house was required: “Because our business is in a popular tourist area, the shop and gallery side of the business can be very busy in the summer months, so we needed to prepare for that. I am hopeful that the changes we have made, including protective screens and adhering to social distancing, will improve our customers’ experience of shopping with us whilst helping to keep everyone safe. It was also an opportunity to install something that I have been longing for – an entire wall for framing samples and examples!”
We were delighted when the Touchwood veneer range was launched, and we use a lot of these mouldings. It is perfect when you require a solid wood look as it avoids the issues that often are present with actual solid wood, like inconsistencies in the grain and colour etc. We also use a lot from the Coastal Woods range, and in particular the trays and floats combination that enables you to do a ‘St Ives’ style frame, which is great for coastal landscapes and other paintings on canvas or board.”
Heather has many hopes for the future of the business, including expanding the offering in the framing department, continuing to hone their skills and to increase their online presence through their social media channels. To see more of the gallery, follow them on Facebook and Instagram @walsinghamgalleryandframing, Twitter @WGandF, or visit the website. www.walsinghamgalleryandframing.co.uk Touchwood Frame
13
THANK YOU BEV! 4walls spoke to Bev Saunders from Edge Bespoke Picture Framing about her beginnings in the industry, the opportunities Edge has given her and how she spotted the potential during lockdown to give thanks to our key worker heroes. Bev’s ambition had always been to pursue a creative career, and this influenced her to qualify as a printed textile designer. Through working with fabric printers, interior designers, and with Berger Decorative Paints as a colour consultant, Bev has had an incredibly diverse interior design-based working life that has developed her knowledge and background, ultimately assisting her in her framing career. During the early 90s, she worked on a part-time basis with a picture framer in Bristol who she had originally visited to have her own work framed. She tells us: “It was meant to be a stop gap for both of us. Aza Adlam of Decent Exposure had just lost her business partner to a new venture, so needed an extra pair of hands to help her over the ‘hump’ - and I needed an income top-up. Aza was a talented intuitive framer with many years’ experience and, luckily for me, was happy to pass on her accumulated knowledge. This was my introduction to picture framing and the more I did the more I loved it, which is probably why I stayed so long.” After her husband’s work moved them to Kent, Bev thought she had left her creative career for good, and was left unsatisfied in her new job until a friend opened the framing world back up to her:
“He had just bought a whole studio of second-hand picture framing kit and offered to let me use it when I told him I used to frame. He wasn’t interested in creating a business or a partnership and it wasn’t practical for me to run up and down the M20 to work on odd projects, but his offer rekindled my creative interest.” This inspired Bev to convert her garage, which she describes as having become an unused dumping ground, into a studio with a lantern roof, and build a large porch as a reception. An investment in a couple of benches and a second-hand framing kit then followed. Bev then set up her website, started networking and was up and running. She hasn’t looked back since!
Bev has faced a couple of hurdles along the way, but tells us that working from home with no high street presence has probably been the biggest challenge she has faced due to the lack of footfall. She states: “I obviously knew and understood this from the beginning, so was prepared for the business to take a little longer to become established. However, it took far longer than I had imagined.
14
On the other hand, I’m well placed and surrounded by a discerning clientele so all enquiries I receive are serious, I love the work and understand feedback that comes through when I’m talking to clients.” Bev has an incredibly upbeat attitude towards her work and tells us “there are pros and cons for all business models, but as long as you concentrate on the positives, I think you can overcome most issues.”
The heart-warming “Thank You” Gallery to send in artwork and images showing their support for everything our NHS, essential and key-workers are doing for us in extremely difficult and dangerous circumstances. It was also a way for me to support artists because I was able to acknowledge them and share their online presence in my social media posts.”
When the lockdown was announced at the end of March, Bev found her workflow rapidly reducing until she was left with no fee-paying work. She knew she needed to do something to keep her business in the public eye, ready for when she could open up and trade again, and saw potential in a build-up of small lengths of leftover mouldings she had in her studio.
She tells us: “I made up a collection of little frames then put out a call on social media. I encouraged the creative community
When it comes to Larson-Juhl products, Bev tells us she has a passion for all the metal-look ranges: “I used Foundry for a large limited edition print which looked stunning, the client loved it. For sheer brutal industrial clout, I love working with the Anvil range, and for celebration and playfulness it’s got to be Confetti!” To see more of Bev’s work, and the fantastic “Thank You” gallery, follow her on Facebook @edge.framing and Instagram @edge_bespoke_picture_framing, or visit her website.
Bev then turned the fence at the front of her studio into the “Thank You” gallery pictured here, as a way to brighten people’s day and acknowledge those who are going above and beyond to save lives and keep life moving.
332 903 Rust Foundry
140 642 Pale Green Confetti I and II
288 620 Aged Steel Anvil
edgeframing.co.uk
15
Guild Scholarship Ever since the idea of a framing scholarship was discussed by the Fine Art Trade Guild Framer’s Committee in 2015, Larson-Juhl have been closely involved and fully supportive. Because Larson-Juhl continue to believe that raising the standard of framing services provided to customers is good for the industry, they are committed to supporting the scholarship for the foreseeable future.
The Scholarship offers two places, twice a year, to help framers achieve the Guild Certified Framer GCF(APF) accreditation, which offers Guild member framers a recognised certification for framing professionals. A rigorous examination with an approved examiner, backed up by an accessible Continuing Professional Development (CPD) programme, provides framers with the confidence and knowledge to offer the best advice to their customers. The scholarship is designed to help framers who are either at the start of their careers, or who have no formal training. Having at least 12 months’ framing experience to build up essential knowledge and skills is highly recommended.
Barbara Watt
Applicants for the scholarship can either be running their own business or be in employment as a framer. It is widely recognised that the scholarship initiative, which went live in 2016, helps framers to develop both their technical and business skills. Toby Bradley
To date, 20 applicants have been successful gaining a scholarship place, including the two most recent from the Spring 2020 round, Barbara Watt and Toby Bradley. Many congratulations to them!
16
19 out of 20 of the successful applicants for the scholarship remain a member of the Guild family today, and are continuing to benefit from their membership. Barbara and Toby, and the two winners from the Autumn 2019 round are not yet ready to take the examination. Of the winners prior to that, 13 are now proud to call themselves certified framers, and continue to take an active part in the CPD programme. Most customers know the principle of CPD, and it is a reassurance to some that their framer is keeping up to date with industry changes. You can find out more about the Larson-Juhl Scholarship, along with details of how to enter here: https://www.fineart.co.uk/larsonjuhl-scholarship.aspx
Matt Gorge
WELCOME TO THE WORLD OF WEBINARS Many people were probably a bit cynical about webinars pre-lockdown, but here at Larson-Juhl we are now huge fans! As we pondered how best to communicate with customers while we all reeled from the initial shock of lockdown, webinars seemed worth a go. Our American colleagues had dabbled and so we thought ‘let’s get on it’!
Sales director Matt George’s log cabin is now quite legendary in its status as home of the Larson-Juhl webinars, and during the course of April and May, the momentum really built as did the confidence of all our participants. Matt told 4walls that:
“We learned a massive amount through those first eight sessions and, overall, we received lots of positive feedback around: the mix of topics, the fact that people can watch the webinars at a time to suit themselves, the availability of CPD points and a chance to put questions to some of the industry’s most popular and respected experts. We are all getting used to new ways of working and indeed better ways of working in some cases, whereby things can happen faster, saving time overall, and we are kinder to the planet in the process.”
We have to say a huge thank you to our US colleague Manni Walia who got us started with digital marketing, and particularly Master of the Guild Jo Palmer GCF (APF) Adv from The Framing Lot, Jon Price GCF (APF) from Handmade Picture Framing, Graham Perryman of Dragonfly Framing and our favourite furniture designer Alys Bryan. Many thanks to those of you who took part in our surveys on webinars and round tables. Going forward, the plan is to flag different sessions more overtly e.g. technical masterclasses for experienced framers and more elementary workshops for those new to framing or people who consider themselves more of a hobbyist. Business development and marketing have always been popular topics and these will be signposted accordingly. Essentially, Larson-Juhl is planning a programme of online gatherings and best practice sessions to help customers develop their skills and grow their businesses. Watch this space!
17
All the webinars can still be viewed online – and we really do recommend a watch. • All about digital marketing •F raming masterclass with Jon Price GCF (APF) •S elling from the design bench with Jo Palmer GCF (APF) Adv •D eveloping your USP with Graham Perryman •C ovid-19 business continuity with MHA accountancy • Re-opening your framing business • Interior design trends • Frame design – Jon Price GCF (APF)
ONLINE JONATHAN BURRAGE
WITH
4walls was keen to get the views of Larson-Juhl managing director Jonathan Burrage on how the business is adapting in the evolving digital world.
Larson-Juhl recently conducted a customer survey. What did it tell you about how customers are embracing the digital world? Our industry has been slow to embrace technology but we are now seeing more and more customers see the advantages of digitising parts of their operations. Whilst the skill and creativity of a bespoke framer will forever be a human interaction, smart phones and tablets enable customers to focus more time on the consumer and less on the back office processes. Whether it’s an integrated POS system, accounting software or simply online diaries, customers are finding ways to free up time spent on activities that do not drive sales.
To what extent is Larson-Juhl now a digital business? We have made significant investment to accelerate the digitisation of our business over the past 12 months. We have listened to what our customers need and adapted many of our systems and services to ensure we meet, if not exceed, their expectations. Does this mean we have developed everything requested from our customers? Absolutely not. Does this mean the digitisation process is complete? Quite the opposite. This is an evolving, never ending process of improvement for us and there
18
is so much more to come in the coming months. This is just the start of our journey. Our ability to deliver great quality products and services at competitive prices requires a highly committed team of individuals across all parts of our business. For us, like our customers, digitisation means we spend less time on back office processes and more time focussed on the needs of our customers.
Please can you take us through what this covers? The majority of our customers have a simple need from Larson-Juhl. Great quality product at a competitive price available when they want it. Furthermore, they want to know that they don’t have to wait for a ‘milk round’ delivery that only delivers to them once a week on a predefined day. The majority of our customers wait less than 36 hours to receive an order. In many cases, it’s less than 24 hours. That’s a service that the average consumer expects from Amazon! (I appreciate that delivery times have been significantly longer during the coronavirus lockdown but I would hope our customers understand the reasons for this). Our website is the most visible example to our customers of the improvements we have made over the past year. This is the easiest and quickest way to place an
order with Larson-Juhl. Our customers can access live information on all the products they need at their fingertips. Favourite lists can be set up making it easier to find those items that are ordered week in and week out. Furthermore, for those ordering a long list of items, there is an ‘Instant Order Upload’ enabling users to import a single CSV file in a matter of seconds. Behind the scenes, we have streamlined the way web orders reach our warehouse. Arriving quicker than any other orders, we have a dedicated team picking goods within seconds of the customer clicking the “PAY” button on our website. Beyond ordering online, our website provides a hub for customers to review all aspects of their financials with Larson-Juhl. Statements, invoices, receipts, credit notes (to name a few) can be accessed and downloaded within a matter of seconds. It’s complete account control at your fingertips.
And also the reasons for the decision to move to totally digital communications? Our primary goal has been to deliver a frictionless experience for our customers. That doesn’t mean we aren’t available to see people face-to-face or talk over the phone. It means that customers have access to systems that streamline their
operations. It is up to each customer to determine the extent to which they want to move in this direction. All I would say is that for those that have already started that journey, they tell us that their businesses are easier to manage and more profitable too.
pride ourselves in delivering the best in customer service. How we define customer service is changing and we need to ensure we continue to be best in class. Many of our colleagues are also undertaking training to ensure they too understand the opportunities of a more digital world.
The coronavirus has also accelerated our desire to move away from paper-driven communications and rely on digital. Anything that we can do to reduce the movement of people will help to cope with any second wave of infection. Every time we post an invoice, a statement, details of a new product launch or a 4walls magazine it increases the risk to our colleagues and the wider public. The activities required to print, post and deliver all require human interaction and we are committed to limit any risk.
What excites you most about the digital transition?
Some customers may find moving to digital systems a bit of a challenge. Is Larson-Juhl able to offer any assistance in this area and what form will this take? Absolutely! Whether it is help to set up an online account or greater guidance in how to create a consumer website or use social media to promote their business, we are developing the tools required to help our customers. As I said before, we
There is a huge amount of creativity and talent across the framing community. Digitisation enables all of us to focus more on our customer-facing activities, moving faster and more efficiently for the good of our customers. This is what truly excites me about becoming more digital.
How do you see the new normal emerging? This will depend on the speed at which our customers want to move. We want to take everyone on the same journey but, if some find the journey more difficult than others, we are committed to adapt our operations to ensure we take everyone with us. At the same time, we will continue to encourage our customers to challenge our pace and direction, seeking out further improvements to the way we service this wonderful industry.
What are you most optimistic about as the country moves forward out of lockdown? From adversity comes opportunity. We have an incredibly resilient industry and I am confident that we will all benefit from the impact that lockdown has had on other aspects of our lives. Many of us have either had holidays cancelled or decided not to book holidays until next year. I expect to see a spike in home improvement projects over the coming months and an opportunity for us all to be a part of that consumer spending. Looking more long term, it’s going to be a tough few years as we deal with the financial impact of 2020. We have been around for a long time and we have lived through economic downturns in the past. We were there for our framing partners then and we will be there for each and every one of them as we navigate our way out of lockdown and into the future. Please follow Larson-Juhl on Facebook, Twitter and Instgram, Please connect with Jonathan on LinkedIn https://www.linkedin.com/in/ jonathanburrage/
19
4walls caught up with specialist military photographer Beth Young to learn more about how her and her husband pulled together to become the go-to framers for the Army Foundation College in Harrogate. “Over 20 years ago we had a small gallery and framing shop in Knaresborough. Tony and I had just married and were looking to set up our own business where we could utilise both of our skills sets. Tony has always been a framer and worked originally for Palace Galleries who were a large print supplier, and because of my interest in photography and art, it just made sense to set up a framing shop with a fine art gallery. “The business was split quite evenly between bespoke framing and ready framed prints. One day we were approached by an officer at the Army Foundation College to take a photograph of the lads in his platoon, and the direction of our business then changed dramatically. I did photography as part of my BA Hons in Fine Art and Design, so this was an offer I was pleased to accept. “The Army Foundation College provides young soldiers who are aged between 16 – 17 years old with initial training in the British Army. They receive education and all arms training, and
JOINING THE RANKS
20
are assisted as they decide which regiment they want to join once they have completed their training.
“Over the years, the business developed as did our relationship with the college, and we now work within all parts of the college providing photography, framing and presentations. We do work with a few other military establishments, but the majority of our business has always been with the AFC. “Because we are on site most days of the week, it enables us to collect items from the permanent staff and deliver back the framed pieces. As most of the staff at the college are only there for two years and tend to have photos from the majority of postings, we often reframe a whole career’s worth of photos in matching frames. This work typically requires more traditional wooden gold frames and occasionally dark wooden modern frames, and Larson-Juhl is our go to supplier for this type of look. “We tend to use just a few basic Larson-Juhl mouldings, though having said that, we have framed some amazing and unusual things over the years. These include tarantulas, hip joints and hair to name but a few! Our work can be incredibly varied, I have lost count of the number of rugby and football shirts we’ve framed, and very often we frame
commissions and warrant certificates that have been in tubes for years. We have also rubbed shoulders with Royals and high-ranking soldiers and have photographed some impressive names including Prince Charles, Prince Edward and Princess Anne!
480 455 Gold Lille
“Tony has developed our work with Gurkha Company at 2ITB, Catterick and we have been able to meet some wonderful people over the years. We count ourselves very lucky to have been given the opportunity to work with the Army and have enjoyed every minute of it... well, nearly every minute!
“We have been supplied by Larson-Juhl since we started and have found the company to be the only ones we can really rely on for deliveries and quality. Our rep, Richard Clayton, has been invaluable to us.
“In terms of our ambitions for the future, we are enjoying what we do at the moment and working with the Army has been totally awe-consuming, so it takes a lot of time to keep up with all the work that is coming in. During lockdown we were incredibly lucky. We do four big parades per year where we photograph all of the new intakes,
and had managed to do this just before the lockdown was announced, so had enough work to see us through the whole three months! The Army has remained very loyal to us, as if you do a good job and put yourself out there for them (which we do!), they will continue to use your services.”
21
THANK YOU, PAULINE – FOR 42 GLORIOUS YEARS! Larson-Juhl has been very lucky to have had marketing manager Pauline Hutchinson with us for 42 years – she has made an incredible contribution to the business for which we are hugely grateful. She will be a Larson-Juhl friend for life, and we wish her a long, happy and suntanned retirement!
Here is her story: When I think back to my first day at Arquati (as the company was known in those days) in December 1978, we had one of the coldest winters for a long while. Invariably, living very locally, I was the only one who could make the journey into the office as the snow was so bad. Orders were taken over the phone when I joined, and hand written out. Our only computer initially was an accountancy machine for invoicing. Our range consisted of around 100 mouldings from the Arquati factory in Palma, Italy. Mountboard was a modest range of 20 colours most of which are still in the range today though the standards and quality have changed hugely. We also had a small range of swept and oval
frames. Stocktaking was done manually with all staff using trollies and an adding up machine to manually count the lengths of moulding and packs of mountboard. Computers arrived in 1980 but our six strong sales team still had to ring orders in from a phone box or send them by post! Moulding ranges in the early years were very memorable. I remember a range by Arquati called Colourwood. Coloured layers of veneer in simple profiles but so different from the usual dark wood with a gold sight edge. Also, floral mouldings with a floral wrap around existing large profiles.
10,000 new products! If I tried to count how many mouldings I’ve been involved in launching it would run
1978
22
into over 10,000 at a guess. I produced the very first catalogue back in 1990 and have been involved in every volume since!
Fun on the road My first Spring Fair was in 1979. I only visited for the day and was blown away by the size of the show. Designing the stand for both Spring Fair and shows at the Alexandra Palace and Olympia were my favourite part of the job and I loved attending and getting to meet customers. We had a Sierra Cosworth on the stand at one show when we sponsored racing driver Gerry Mahney. All our sales team drove Sierra cars and I remember we had a photoshoot with Gerry and his car and all our sales team on the Silverstone racetrack, with me directing all the cars to make sure they were in the right place.
We’ve attended many exhibitions over the years, including Focus on Imaging, Picture Business Live, SACA Bologna, Index in Dubai, Bahrain, Qatar, Sign and Digital India, Homeware in Hong Kong, Photoforum Russia plus many, many, regional UK shows. I’m sure over the years these would total to more than 100! I also took on the role as marketing manager for Conservation by Design for a few years which opened up yet more exhibitions dealing with museums, libraries and archives. Producing catalogues for CXD proved to be a major but interesting task.
So many customer and expert friends! To talk about some of the customers who have made an impact on me and made my job such a pleasure I would have to start with Len Younger from Wessex. Len would turn up driving his van with one arm and load up with swept frames - he had many tales to tell at the same time. Bernie Rose and Adrian Hollis in London were a couple of characters that made the Spring Fair shows so much fun as were the teams from De Montfort Fine Art, Washington Fine Art and Buckingham Fine Art. Those were the days when we served alcohol on our stand and after the show had finished at 6pm everyone would congregate on our stand and the drinks
would flow before security had the task of getting us out of the hall. Then it was back to the hotel, a quick shower and change before hitting Birmingham and Ronnie Scott’s or a little Italian called Lorenzo’s that seemed to attract a lot of exhibitors.
Some people say how on earth have you managed to be with a company for so long. My answer is that I have loved every minute. Seeing the industry grow to where we are now has been a fun rollercoaster ride with so many highlights.
Through our sponsorship of charities such as Willow Foundation, EAZL and Nordoff Robbins I’ve been very lucky to meet a lot of Premier League footballers (wasted on me as I don’t always know who they are) and stars including Ricky Hatton who I thought was Wayne Rooney and asked him how Coleen was. Noel Gallagher was sitting next to him and couldn’t stop laughing. Realising my mistake I just wanted the ground to open up.
I can’t say goodbye without mentioning my team Cara and Alec. Cara has been working with me for over 25 years and Alec has been our framer for nearly 40 years. They have been brilliant at handling everything I’ve thrown at them and have been the best team to work with. Cara will now work with Matt fulfilling the marketing and sales support for Larson-Juhl. I’ll be sad to say goodbye to the rest of the staff especially Steve and the sales team along with all our office and warehouse staff – many of them who have been with the company for 30 plus years.
I’ve been very grateful for the services of our panel of experts over the years who include Mal Reynolds, Lynn Hall, David Wilkie and Jon Price. Special thanks go to Mal and Lyn as their expertise and friendship over the years has been invaluable. Jon has also been a great help more recently with his videos and helping Matt with his webinars.
Two other important ladies – not employed directly by Larson–Juhl – but who have helped me for many years are Bron Eames from our PR company One Black Bear and Mandy Evans from MEDesigns. Without their help 4walls and all our catalogues would not exist.
There are so many customers who I’ve enjoyed working with including Dru and Chris from Ultimat who helped us launch our bevelled corner chevrons and many more including all our overseas customers that I’ve had the pleasure of meeting at the shows.
I hope to keep in touch with many of my framing friends – it has been the best job ever!
23
2020
Taking Holt of the business! Steve Todd of Holt’s Framing spoke to 4walls about how he got started in the framing business, and how maintaining an online presence has proved to be an incredibly useful tool during recent times. “Holt’s Framing began as part of Holt’s Art Shop in Whitehaven back in 1977. The picture framing side of the business proved so successful that I was taken on as a trainee picture framer in 1982. In 2015 the owners of Holt’s Art Shop decided to retire and I bought the framing side of the business, allowing me to retain the good name and quality offer that I had helped to build up over the years.
Embroidery, lancaster moulding
“Initially, I started off with a simple website to promote the business. I then decided to boost our social media presence by using Facebook, which has proved a great success. Being on an industrial estate means that passing trade is rare, and so social media has been a good platform for advertising and getting the name of Holt’s Framing out there. I try to keep my Facebook page regularly updated by posting a few times a week in order to keep the interest going, showing the recent work I have completed. People are now also getting in touch via Facebook Messenger to ask for advice, and most recently to make appointments in these current times. “During lockdown, I found the Larson-Juhl webinars very helpful for providing hints and tips on various topics, in particular, the webinar about opening up again after Covid-19. As lockdown has eased and shops have reopened, I am seeing a lot more needlework starting to come in. It would seem people have been busy creating while they have been in lockdown! 269 250 Tan Lancaster
Tiffany bag, float mount, Soho moulding
Deconstructed wedding bouquet
“Having worked with Larson-Juhl since they were Arquati, I’ve seen taste and choice of mouldings alter. I find that traditional black and white mouldings in various styles are still very popular. Washed woods seem to be a favourite with many of my customers too, the Lancaster range is an example of this”. “I have been asked to frame many different and unusual objects over my 38 years as a picture framer. Some that stick in my mind are a burst copper water pipe, an oyster shell, a baby’s first pair of shoes and a pair of 1930s driving goggles. Most recently I have started working with a company called Sleeping Petals and Stems, who freeze dry wedding bouquets. They approached me to see if I would be able to frame their dried bouquets. “I feel so lucky to have a regular clientele, who trust and value my expertise and experience. They have been loyal customers for many years. My aim moving forward is to promote my business more and also to try and encourage new younger customers, through the use of social media.” To see more of Holt’s Framing, follow them on Facebook @ holtsframing, or visit their website. www.holtsframing.co.uk
334 084 Black/Silver Soho
24
Days to keep in mind… If you need ideas for adding a bit of creativity into your marketing plan then look no further. We have pulled together some of our favourite calendar dates and awareness days for you to keep in mind between July and October, so read on to discover how you can incorporate these into your marketing activities...
Sable & Hogg’s - Autumn corner
July 30th: International Friendship Day
September 21st: First Day of Autumn
International Friendship Day is a fantastic way to help your customers understand the importance of appreciating those they hold close to our hearts. A framed photo capturing a happy memory can be one of the most heart-warming gifts to receive, so encourage your customers to share their fondest friendship photos on social media and, if possible, offer to frame your favourite one for free!
As we head into the picturesque season of Autumn, consider how you can adapt your studio or shop space to reflect the changing landscape and attract customers through the door. Think leafy displays, burnt orange themes and showcasing your most favourite autumnal art you have worked on. Take some inspiration from our 4walls Issue 36 artist, Matylda Konecka’s work here.
August 19th: World Photography Day World Photography Day is a brilliant opportunity to encourage your customers to dig out any of their favourite photographs, whilst showcasing your framing skills to show them what you can offer. Post some of your favourite photography commissions you have worked on across your social media channels with the hashtag #worldphotographyday to reach an even wider audience.
October 4: Grandparents Day Grandparents Day is the perfect way to attract your customers’ attention and showcase your skills through a variety of pieces you have worked on. Whether it be vintage photographs, family heirlooms or meaningful keepsakes, make sure you let your customers know that if they are looking to give the gift of a memory this Grandparents Day, your skills can help them.
September 1st: Back to school
Matylda Konecka’s - the concert
With the return to school being especially important this year as children and teachers head back after a far longer break than planned, be sure to encourage your customers to capture these special moments in the best way possible. Whether it be a first day of school photo or an achievement award, let your customers know that you are the go to person for preserving these special memories.
25
VIRTUAL MARKETING With the online world constantly evolving, it can be daunting trying to wade your way through the masses of digital platforms, information and advice to make sure you get your business name out there appropriately. To that end, we are giving an overview here of the guidelines on our website, with additional information for those who are looking to delve deeper into the digital world.
Social media toolkit
All about digital
Over on our website, we have a host of resources to help you get started when it comes to boosting your presence on social media. The key channels we advise you to focus on using are as follows:
‘All about digital marketing’ from US colleague Manni Walia was an excellent webinar – watch it again here.
PR toolkit If you need a hand with your public relations, head over to our website for free access to our comprehensive PR toolkit, created by industry professionals. You will find a broad portfolio of suggestions and ideas to help your business, with templated media material for you to adapt and make your own. This includes, but is not limited to, templates for the following: • Press releases • Activities
• In Store events • Competitions.
These include initiatives such as promoting your ideas and services for Christmas, the way you can capitalise on different sporting events, and how linking with other professionals in the interior design industry can help to benefit your business.
Although seven social media channels can seem overwhelming for someone who is in the early stages of experimenting with social media, we are not suggesting that you must create and maintain a profile on each and every one of these channels. Choosing even just one or two is a fantastic start to getting your name out there, and we have guides over on our website which talk you through the set-up process for each of these platforms. Social media is a fantastic way to not only stay in touch with your current customers, but
also allows you a platform for sharing your work digitally, enabling you to reach far more potential customers than simply displaying work in your shop window. On your social media pages, customers will also be able to leave reviews and recommend your services to others, helping to publicise your business further. Not only can social media attract new customers from far and wide, but you will also be able to connect with a huge community of other framers, which may help to inspire the way you work moving forward.
26
LJ PR Toolkit
GET FRAMOUS 2020 Drum roll please… we are pleased to announce that we will now be taking entries for our Get Framous 2020 competition!
If you missed the last competition, Get Framous was an incredibly popular initiative which brought together the framing community, encouraging customers to get creative with their framing and sharing their work across social media. We received around 250 entries which were judged by Jo Palmer, Master of the Fine Art Trade Guild. Lhouette’s stunning piece featured here was the winner. This year we are asking for a continuation with our ‘Gallery of Oddities’ theme, and we want to see some of your favourite work, no
matter how weird and wonderful it may be. To enter, please tag us on social media and include the hashtag #getframous or send an image of your chosen piece to getframous@larsonjuhl.co.uk. We will be in touch with more questions if you get shortlisted.
The criteria for judging will be as follows: - creativity -e ngagement on social channels
The closing date for the first quarter will be 30th September. We will be giving £250 in Larson-Juhl product vouchers to each quarterly winner, so make sure you get framing and get sharing! The July to September winner will be announced in early October.
- media coverage received - feedback from customers - f ootfall/website traffic increase - sales uplift.
27
FRAME DESIGN A MASTERCLASS WITH JON PRICE GCF (APF)
Lockdown wasn’t easy for any of us and I’m sure that things have been tough for many framers. However, one positive has been the growth of webinars; giving us the opportunity to attend seminars or workshops without the need to travel. This article is based on one of the webinars I produced for Larson-Juhl. I’ve cut down on the content considerably, so as not to fill this whole edition of 4Walls. The entire presentation can be viewed via Larson-Juhl’s website.
Considering that design is arguably the most important aspect of framing, it’s surprising that there isn’t that much written on it. The framing books I regularly refer to skim over design in a few paragraphs. Magazine articles, social media posts and other reference material is either very general or very specific and only applicable to certain scenarios. Either way, exceptions to these rules can easily be found. I want to examine apparent design rules, standard practices and frame designs that don’t follow those rules. My intent is to question preconceptions and, therefore, I don’t expect you to be in constant agreement with me. However, I hope that the designs chosen prove thought provoking and provide inspiration. I have read, on more than one occasion, that a strong coloured bottom mount of over 5mm on a double mount design will overwhelm the artwork. This is true in certain scenarios, but shouldn’t the proportions of the mount, including the bottom mount, increase in proportion with the size of the artwork? In some cases, the answer must be yes. This dominating effect by the bottom mount can sometimes be overcome by increasing the white space around the artwork. In other words, the bottom mount is ‘distanced’ from the image. In Picture 1, this additional white space has been highlighted by the white of the V-groove. I would have to conclude that the amount of a strong coloured bottom mount which should be displayed depends on the balance and proportions of other aspects of the frame design.
28
Picture 1 The same distancing technique can also allow the use of mounts that don’t quite match the artwork. By using a bottom mount that matches an aspect of the artwork very well, other not quite matching mounts can be used. Were those mounts directly against the artwork we would see that they were wrong. To see an example of this in practice, do watch the full webinar. A rarely questioned rule of frame design is that we should design with mount and frame colours that are close to the colours of the art work and/or neutral colours. Picture 2 shows the use of a combination of neutral and matching colours. A neutral grey undermount has been used to enhance the three shirts, while the three top mounts have been chosen to match their specific colours. Stacked grey mouldings have been used to balance the whole design.
Picture 2 Having just said that ‘we should design with mount and frame colours that are as close to the colours of the artwork as possible and/or neutral colours’ let’s question that rule! In other forms of design, the contrasting colours of a tertiary colour wheel are regularly used to come up with balanced harmonious designs (Pictures 3 & 4). However, I have yet to see an example of frame design where colours that contrast with the artwork have been used. As an experiment, I came up with a design using contrasting colours (Picture 5). What do you think, could they work in the right circumstances? During the webinar viewers’ opinions were very much divided. Some people suggested that a third colour needs to be added for balance but there are well known examples, such as the old Sainsbury’s logo, where just two contrasting colours have been used.
Getting back to ‘rules’. One of those more commonly expressed is that mount colours should not be stronger than the colours of the image. Is this always the case? Can there can be exceptions?
Picture 3
To frame the pastel in Picture 7, I chose three colours that were clearly in the artwork, including a brown which would add contrast by highlighting the bark of the trees. However, the dark blue and the brown were stronger colours than their counterparts in the picture. So, I placed the subtle light blue next to the artwork and cut it wide to help create distance between the strong mounts and the artwork. I like this, but many framers would say that the mount is too strong for the image. Picture 8 Don’t think that you need to rely on mounts to find colour matches. With this abstract image (Picture 9), the stronger, brighter colours in the artwork were all in the bottom left, so a balanced design using matching mount colours was difficult to find. White, black and gold are consistent throughout the image. I opted for a black mount and emphasised the gold with a Confetti range mount slip glued to the rebate lip of the black moulding. In other words, the artwork’s colours have been emphasised more with the mouldings than with the mount.
Picture 4
Picture 5 One thing I find impressive is when the texture of a moulding or mount is used to match texture within the artwork. This can be as simple as the matt finish of a mountboard or more definite such as the colour pattern or detail of a moulding. Framer Greg Perkins does this very well and I used a great example of his work in the webinar. For this Peter Reading watercolour (Picture 6), I selected a moulding whose colour and texture matches the rocks in the image so well that it appears to have been made for the artwork.
Picture 6
Picture 7 Having said that, generally, the mount colours we use should not be stronger than the colours of the image, it would be logical to say that the bolder the artwork is, the stronger the colours in your design can be. There aren’t many pictures that wouldn’t be overwhelmed by the frame in Picture 8. Notice how the top mount matches the colour of the paper. Don’t forget that any paper that is visible is also part of the artwork. I often match paper colours, particularly for top mounts. They are less likely to dominate the artwork and customers with conservative tastes often feel more comfortable with a neutral top mount.
Picture 9 This leads to the question ‘why is it that double mounts are a standard framing design format but double mouldings are not?’ In Picture 10, the colours and proportions of the mouldings used are similar to those of a double mount i.e. a wider, more passive top colour and a narrower, brighter bottom colour - but the use of stacked mouldings means this design stands out far more than a single moulding and a double mount would.
29
Stacking mouldings creates depth and leads the viewer into the picture much more than a single moulding. For this Parisian scene (Picture 13) I used two moulding profiles from the same range. The bevel of the first adds to the effect, drawing the viewer into the image.
Picture 10 Picture 13 This is the same double frame concept, except on a canvas (Picture 11). What do you think? Is matching the colours of the artwork using the mouldings rather than the mount a bad idea?
Picture 11 One area I don’t see much experimentation with is depth. This design in Picture 12 includes a shadow mount to space the medals away from the glazing but also an additional shadow mount so that all the framed objects are set back. The position of the apertures and their varying depths, combined with the consistency of double mounts draws the eye to each element.
Framers often talk about balance. How we achieved balance in a design is hard to define. Each aspect of a design has to be balanced both in relation to the artwork and to every other aspect. For example the colour weight of the artwork needs to be balanced by the colour weight of the mount and frame and they need to work together to focus the viewer’s eye on the central point. This set of medals, photograph and text box (Picture 14) are a good example. The brightness of the medals and the colour of their ribbons make them the strongest element and they could easily detract from the photograph. The text could also quite easily be lost alongside the medals and the photograph. However, the use of the subtle grey mounts complements the photograph and highlights the medals without overwhelming the text. It is the moulding that restores balance though. It matches the colours and tone of the photograph helping it hold its own against the strength of the medals.
There are endless aspects of frame design to explore. In the hour long webinar, we managed to examine a lot more examples than I have here in this article. Even so, we only skimmed the surface. We saw that many rules of framing design are only relevant in specific situations and that even the more general rules can have exceptions. What should or shouldn’t be done depends on the individual piece of artwork. Introduce a new aspect of the design and the rules change, because the size, colour and texture of that new component effects all the other components. Balance, proportion, contrast and repetition are relevant to one another and achieved by the right combination of elements. Add to this the need to draw the viewer’s eye towards the artwork and possibly a hierarchy of items in a frame and the recipe for success is bound to be different almost every time. In order to get the design recipe right we need to provide ourselves with the right tools. A source of fresh ideas is a must. There is a wealth of information on social media. I have framing books that are 35 years old and still provide me with new ideas. Also, let’s not forget framing magazines which should offer us bimonthly inspiration. Make time to play. Try out different ideas with colours, textures, proportions and depths. See how different ideas look and don’t be afraid to emulate other framers’ concepts. Playing is not something you can do in front of a customer, you need to be free to make mistakes and get things wrong. In other industries they call this research and development. It is vital to the continued growth of new products and ideas. Jon Price GCF (APF) owns Handmade Framing & Gallery in North Cornwall and provides a consultancy service for professional, amateur and would be framers. He is a member of the Fine Art Trade Guild’s Framing Standards and Qualifications Committee. www.handmadepictureframing.co.uk Watch Jon’s full webinar here.
Picture 14 Picture 12
30
Medals 1: a Royal Victorian Order and a CBE, displayed on their collarettes; with the rest of the Court mounted medals and a full set of miniatures which includes the Orders. Also visible is an oak leaf (which denotes Mentioned in Despatches) on the 1939-45 War Medal and a clasp for a particular action on the Naval General Service Medal.
Ask the experts HOW TO FRAME MEDALS QUESTION: A customer brought in their grandfather’s medals for framing and doesn’t know much about them. Some are still in their boxes from when they were issued. Is there a particular order they need to be displayed in, or can we just use an aesthetically pleasing layout? ANSWER:
Medals 2: A Court mounted set of medals from a full service career in the Army. With two additional medals for his time as a Reservist serving as an adult volunteer with the Army Cadet Force.
The Order of Wear from the Central Chancery of the Orders of Knighthood specifies the correct order of precedence for the presentation of medals. Although it can be tempting to arrange them in a pleasing or symmetrical order within the frame, it could be frowned upon by those with military connections or knowledge. The only exception would be if the recipient of the medals insists on a different layout. Medals fall into various categories and in each category, they also need to be displayed in the right order. In order of precedence these are (left to right): •
Victoria Cross
•
George Cross
•
Orders of Knighthood (in order of precedence)
•
Decorations (in order of precedence)
• Campaign Medals (in the order that the recipient served) •
Valuable Service Medals (in order received)
•
Jubilee and Coronation Medals (in date order)
•
Efficiency and Long Service Decorations (in order received)
A full list is available on the National Archives website.
Medals 3: WW2 medals stitched in place. First medal is the 1939-45 Star showing the non-symmetrical ribbon correctly. Dark blue for Navy (Senior Service), red for Army, light blue for Royal Air Force.
Medals from foreign governments should be at the end or below all other UK and Commonwealth medals. But if it is from a country where the UK Monarch is also Head of State (or was at the time it was awarded) then they are still included in the normal Order of Wear. It is important to check that: 1. The medal ribbon is the right way round as not all are symmetrical 2. The face of the medal showing is correct – remember if the face of the monarch is present then that side always faces outwards 3. If bars, clasps, oak leaves or rosettes are included that they are displayed in the right place 4. The lowest point on each of the medals displayed should be in line.
Medals 4: Court mounted sets – full size and miniature from a full service career. Plus fabric badge “Flashes” from the Royal Artillery and then the Royal Army Medical Corps.
I would highly recommend reading the Fine Art Trade Guild CPD Short on Framing Medals – Order of Precedence for more information.
The mounted ones are removable for wearing. The NATO medal is separate as it’s not a UK or Commonwealth medal – and this is sewn in as it won’t be removed and there is no matching miniature.
Jo Palmer GCF (APF) Adv - Master of the Guild and co-owner of The Framing Lot
There is also space for more medals as the individual is still in service.
www.theframinglot.co.uk
31
We are all born to drift. Catching the waves on distant shores. Before we find our way home with hearts full of memories. Introducing Driftwood. Inspired by the sandy beaches and volcanic rocks of the Canary islands, Driftwood comes in a monochromatic choice of black or white. FSC accredited and available in seven sizes, Driftwood has been finished with water-based gesso, stripped manually to create an effortlessly chic texture. A foil on top produces slight brown flexes which enables the range to transform any piece into a statement. Because everyone’s view is different. larsonjuhl.co.uk | 01234 852777
Ref 999001050/0720