4 Walls Magazine Issue 43

One Wall Two Walls Three Walls Four Walls

WELCOME!

Welcome to Issue 43 of 4walls. It is proving to be a busy summer and we have launched a number of new product ranges (see page 3) which have been met with a great reception. Our new mountboard selector and chop service are also featured in this issue (pages 9 & 13 respectively) along with more website best practice tips (page 31).

Our cover artist is Danny Abrahams - who is with Pomfret Gallery in Pontefract, run by Richard Pennock. See pages 4 & 5 for the full story.

This issue features a very exciting mix of framers – a number of whom are celebrating significant milestones. The Gallery/ Picturecraft in Holt recently celebrated their 50th anniversary (pages 22 & 23) and on page 24 & 25 we hear about Alan Watt’s business up in Aberdeen. Alan was one of the first framers to achieve Fine Art Trade Guild Commended status.

Mark Jones moved from a career in the music industry to the world of framing in 2019. He is achieving amazing things at his Art Of Treason gallery in Worthing and we showcase his creativity on pages 6 & 7.

Robin Eade of Pretty Like Pictures tells his story on pages 10 & 11 and we hear from Paul Raby about The Framing Centre on pages 20 & 21.

We featured Lhouette a few years back when he won our Get Framous competition – he has just launched an awesome new business and you can find out more on page 12.

Lindsey Alexander took over his father’s business just before the pandemic hit and despite the challenges has transformed the former gift shop into a thriving gallery and framing enterprise (pages 14 & 15).

On pages 16 & 17 we feature some excellent user generated content from our social channels and highlight the products used.

We review the first Fine Art Trade Guild weekend for three years on pages 18 & 19 and also pay tribute to Graham Miller who retired in May after a hugely impressive 33 years with the company. Area sales manager Richard Clayton is featured on page 26.

Jon Price delivers another fantastic masterclass on pages 27, 28 and 29.

David Wilkie answers a framer’s question about cutting extra thick mountboard on page 30.

I hope you enjoy this issue of 4walls and if you have any suggestions or comments, I would love to hear from you. Please do follow us on social media to keep up with what we’re doing!

3. New product showcase

Introducing four new ranges!

4. Piece of cake for Pontefract business Richard Pennock tells his story

6. Keeping up with the Joneses

The story of Art Of Treason in Worthing

9. New mountboard selector

16. Product showcase

18. Review of the FATG weekend

19. Thank you, Graham Miller!

20. The Framing Centre

A tribute to art, framing and music!

22. Here’s to the Hills The Gallery, Holt celebrates 50 years

10. Pretty Like Pictures

Success by design

12. Art for art’s sake

The latest from Lhouette

13. Chop in action

14. Alexander the Great Feature on Colinton Arts

24. Watt a framing hero

Focus on Belvidere Gallery

26. Richard Clayton

27. Moulding masterclass – the magic of fillets

30. Ask the experts

How to cut extra thick mountboard

31. ‘How to’ website tips

NEW PRODUCTS

Larson-Juhl has launched a host of stunning new products over the last few months – here is a summary:

LJ BLACK AND WHITE COLLECTION

Larson-Juhl has also launched a new black and white LJ Collection, all of which are FSC certified.

COASTAL WOODS

The new Coastal Woods floats have been finished around the entire profile, with a 31mm depth or 45mm depth, available in

TOUCHRUSTIC

The gorgeous new TouchRustic collection is made of high quality finger-jointed pine, available in 11 profiles - eight flat, one float and two pyramidal. The wrap of this moulding imitates the warm texture of Nordic light wood, which makes it very versatile and can be used with other mouldings.

COLORATO

Colorato is a new Larson-Juhl Collection consisting of two profiles with different depths of 21mm and 34mm. They come in seven colours: wenge, white, green, blue, dark grey, dark ocre and red.

PHOTO WHITE MOUNTBOARD

Larson-Juhl is now stocking Whitecore mountboards in a new colour option – Photo White. Available in whitecore, blackcore and creamcore, standard and jumbo sizes as the name suggests, it is ideal for photography commissions.

FOR PONTEFRACT BUSINESS LIFE IS SWEET

You could say it’s a piece of cake for the Pomfret Gallery on Pontefract’s deliciously named Liquorice Way!

They’ve been Yorkshire’s premier picture framing specialists since 1987 and art is most definitely in the blood – with founder Chris Pennock (alongside his wife Linda, but now both retired) a renowned land and seascape artist and still in residence.

Since spring of this year, the business is now headed up by son Richard (above), who’s been soaking up all of mum and dad’s knowledge and experience for the last 12 years. And as the younger generation it’s been Richard who has driven their phenomenal online growth, with over 25,000 regularly engaged Facebook followers and highly visual Instagram reels also taking off in the last few years and delivering quality leads.

E-commerce route

He explains: “I guess I was an early adopter of the e-commerce route to market and it especially took off at the start of lockdown and spread our fan base far and wide, so we now ship all over the UK. Our free Visualiser service has also helped as we can superimpose our pieces onto blank wall photographs supplied by the customer and it gives context and helps makes the decision for them.

“Additionally, since fully re-opening again we’ve been super busy with customers old and new who prefer to see their art up close and personal, so we really do have the best of both worlds. We have the area’s largest selection of picture frame mouldings at over 500 pieces and the staff who take your framing order also look after your picture from start to finish - and customers do appreciate that extra personal touch.”

Richard says that while timeless black frames still make up 60% of their orders, metallics are currently in demand, as are minimal and flatter frames. Colourwise it’s the pastel shades currently dominating home interior trends that are in vogue. His latest favourite Larson-Juhl collection is the new Coastal Woods floats, which is going down a storm with customers and artists alike.

3D framing

Over the years they have become Yorkshire’s leading business for sports memorabilia and 3D item framing - regularly mounting sport shirts, guitars, boxing gloves, medals, bridal bouquets and baby shoes to name but a few.

A recent commission was the ‘golden’ boot of Spurs striker Son Heung-min, thrown into the crowd on the last day of the season and snapped up by a Pomfret regular, while the skins and sticks of Elvis’s drummer D.J. Fontana was another challenging but rewarding job.

Pomfret Gallery also has two floors of original art and limited edition prints which can be purchased online with free mainland UK delivery. Many are extremely valuable (such as the likes of Damien Hirst) so Larson-Juhl’s conservation products come into their own.

Leading artists include urban visionary Craig Everett, rising new floral talent Tina Earnshaw, plus fittingly – as Richard is a fellow

Coastal Woods

Richard with jacket

The Protector by Hamish Blakeley

football supporter – Danny Abrahams, whose unique paintings hold a special and varied tribute to Leeds United’s history.

Hawk Fine Art Publishing

Their artistic pedigree has additionally led to the launch of sister company Hawk Fine Art Publishing, as trade suppliers to galleries across the UK and representing an exciting collection of talented artists. They strive to bring bespoke and quality, original products using real wood frames and art reproductions on the latest printing technology.

Feature artists they represent include the highly acclaimed human figure muse Hamish Blakely, stunning new Swedish talent Malin Ostlund and local portrait specialist Adrian Hill, most recently famous for his striking Peaky

Cover star Danny Abrahams is a self-taught Yorkshire artist. He was a late comer to the art world after his girlfriend bought him his first set of paints at the age of 32. But painting helped Danny fill the creative void he was missing after no longer playing in a band.

Born in Bradford in 1977 Danny remembers his childhood during a carefree time of innocence filled with fun, adventure and playing out till it got dark. Danny certainly captures this feeling through his work. Danny Abrahams said: “Growing up in the eighties, I’m from a generation of kids who ‘played out’… Use your imagination and fall into my world, where summer holidays last forever and snow falls so deep that it goes over the top of your wellies. Never stop dreaming.”

Blinders collection and appearing on Sky Portrait Artist of the Year. Hawk Fine Art is proactively on the lookout for emerging artists and strives to give them the platform they deserve within the art industry.

Richard adds: “The name for the new business came from my wife, Hayley, who is a keen birdwatcher and when heavily pregnant managed to attract a sparrow hawk into our kitchen. The next day our beautiful daughter Annie was born and we saw it as a sign – making Hawk her middle name and the focal point of our other special and personal journey. It’s all about keeping it in the family after all...”

https://pomfretgallery.co.uk/ Instagram @pomfret_gallery Facebook

Richard with two stunning Malin Ostlund pieces framed in Coastal Woods

35 years of the Pomfret Gallery LeftRichard (aged 6) and father Chris RightRichard and son Seb (age 4)

Art of Treason Framing & Art is a beacon of light and colour on the creative Sussex coast.

KEEPING UP WITH THE

JONESES

Deliberately located in less crowded Worthing, by Brighton entrepreneur Mark Jones, the company has only been in operation just over three years - but is already the highest rated framer in the South East with close to 200 5-star Google reviews and rapidly counting.

He’s proud to offer an eclectic range of fine mouldings and particularly likes bright vivid colours, luxurious gilded frames, rust and carbon effects, but is equally passionate about the difference quality mountboard can make and especially matt linen, sensual suedette, plus gold and silver metallics.

Artistic appreciation

Mark (age 57) might be late into the business, but his music industry background as a press officer and record mogul has certainly shaped his artistic appreciation and sense of creative adventure.

He explains: “I saw my first punk band, The Damned, aged just 14, in the heady days of 1978 and to say it blew my mind is an understatement. So much so, I ended up being their press officer five years later, which in turn led to working with global artists like Kate Bush, Queen and Pink Floyd.

“I then launched my own record label, Jeepster, in 1996, and broke new artists like Belle & Sebastian and Snow Patrol, before becoming an art dealer in 2004. I was one of the first to switch onto Banksy – and sold on his guns and bomb-themed early work as my daughter became more socially aware, big mistake! –but it’s a tough, competitive business and especially in London-on-Sea, as Brighton is sometimes known.

Highly creative solutions

“A friend suggested framing and I took a course at West Dean College of Arts in nearby Chichester –Salvador Dali studied there in his youth no less – and I took to it like a duck to water and really enjoyed the work. As someone who’s had 1000s of pictures framed for various galleries that I’ve been involved with, I quickly realised that I have a keen eye, pay strict attention to detail and can offer highly creative solutions for customers who are looking to enhance and protect their artwork.”

The latest Dan Hillier print in a Colosseum (275877) frame, which

Mark has just completed using his favourite 8508 linen mount.

Colosseum

Confetti 115 634

Sofia 200 752 Bowie 140649/8640/AR70

The majority of Mark’s customers are delighted with moulding options they’d never even considered and work is usually turned around within a fortnight. He frames a lot of Banksy and Hirst prints and valuable artwork, and uses only the highest conservation standard materials including anti acid materials and museum glass.

He treats his work like a prominent piece of furniture and says that coming out of Covid enthusiasts are being more bold and adventurous in their colour schemes, which in turn unleashes his creative and fluorescent punk soul.

Splash of colour

Mark adds: “Customers are readily buying into maximising their piece of art and Larson-Juhl mouldings are by far the best and never let me down. I love the Confetti collection because it promotes that splash of colour, while all the metallics are spot on and the Sofia range brings a sophisticated Renaissance feel to the resurgent antiquated trend.

“Over 80% of my work is now AR70 glass too, plus I’m always looking to push mountboard colour to pop a picture. Matching it with just a tiny splash of colour in the piece really helps and my customer entries for the summer shows at the Royal Academy are living proof, as they have told me this approach has tangibly pushed sales and interest.”

Despite his long-standing punk DIY ethos, Mark also appreciates the traditional values of quality and craftsmanship and says his Fine Art Trade Guild membership does help him to differentiate in his conservation specialism. It also promotes word-of-mouth endorsements and perhaps explains why he doesn’t have to rely on time consuming social media – apart from the occasional Instagram – to win new and repeat business in and around Worthing.

Interesting commissions

He reckons he’s framed just about everything – aside from his bread and butter maps, pet and sport memorabilia, plus music posters – but interesting commissions like the framing of a charcoal boulder by renowned sculptor David Nash makes the job extra rewarding.

He also still champions artists with a similar dark taste, like ‘steampunk’ pioneer Dan Hillier, and street artist Horace, Worthing’s version of Banksy, who has produced and sold 25 canvases in the last three months. Both feature prominently in the Art of Treason gallery space.

Mark concludes: “Business is booming to be fair. I get over 80% of the jobs I quote for and I do put a lot of that down to the sustainable partnership I have with Larson-Juhl. I get on famously with area sales manager Derrick Hicks and he’s a kindred spirit. Their materials are top end, but competitively priced, and that translates into attracting customers that will pay a little bit more for a superior product, aesthetic and finish.”

https://www.aotframing.com/

The Blue Surrealist by Grace Pailthorpe 400752/8541

Introducing our brightest WHITE mountboard...

Our brilliant NEW Photo White FSC® mountboard has been specially created to work with pure white prints...even photographic prints.

Available in whitecore, blackcore and creamcore, standard and jumbo sizes.

5 sheet jumbo size packs, 1400 microns FSC®

5 sheet standard size packs, 2400 and 3500 Microns FSC®.

5, 25 or 500 sheet standard size packs, 1400 microns FSC®

25 sheet standard size packs, 1300 microns FSC®

larsonjuhl.co.uk

@4wallsbyLJUK @larsonjuhluk @larsonjuhluk

Spoilt for choice

Coming soon ... the full range of Larson-Juhl’s 320+ mountboards, presented in our new, easy-to-use selector, has been designed to satisfy your every whim and need.

It’s nearly 360 if you include backing boards, fastmount and foamboard – and the updated selector breaks down the 11 variants available by way of an easy reference key for customers to identify the code, pack size, microns and Fine Art Trade Guild (FATG) level.

Larson-Juhl mountboards are all made in the English Lake District and milled with the natural resources of the River Kent. They all fully comply with the latest FATG Mountboard Quality Standards, which are directed to the composition, combinations and characteristics of papers and paper boards used in the framing of artwork, keepsakes and memorabilia.

The specification guide, meanwhile, details Blue Wool Scale rating, ageing test results and all technical characteristics of the board types.

Matt George, sales & marketing director for Larson-Juhl, says: “With nearly 180 colours available too, our extensive choice of quality mountboards is second to none and the new selector has swatches of every board type, so customers can compare across the range to find the right option for any framing job. It’s specifically designed to be ‘consumer friendly’ so our customers can use it during the consultation process or individually to help select the optimum board for the frame.”

They also help to give material categorisation of how these fit into four levels of framing specified by the FATG –and for extra convenience the new selector lays them out as:

Level 1 - mountboards with all parts made from 100% cotton fibres and best for Museum and Conservation level framing.

Level 2 – the best for Conservation level framing, but can be used in any framing except Museum Level.

Level 3 – not for Museum or Conservation levels of framing, but can be used for Commended level framing and below.

Level 4 - best suited to low quality and Minimum level framing, but not suitable for Museum or Conservation framing.

Matt adds: “The new selector additionally highlights our impressive choice of some 140 sustainably certified products, because we’re proud to offer the largest range of FSC™ and PEFC products in the industry. We’re also working ever closer with our forestry supply chain and manufacturers to ensure that our commitment to the environment is traceable and authentic, as well as taking steps to optimise our sustainability in other parts of the business.”

Larson-Juhl’s 320+ mountboards

PRETTY GOOD SHOWING

Pretty Like Pictures is based in the quaint market town of Thame, near Oxford, and when they recently completed a Covid delayed revamp to consolidate the business, an invite to HQ from area sales manager Simon Davies, proved to be a catalyst.

Owner and creative director, Robin Eade, explains: “I was struck by the design and layout of the showroom; it’s smart, clean and tidy and I really appreciated how their product was displayed, as it showed off their excellent array of mouldings to full effect. In terms of creating beautiful spaces, a frame can be as important as what is inside it, so presentation is very important to me.

Robin has been immersed in art all his life (his father is a celebrated artist) with a degree in Commercial Interior Design from the London School of Printing, and a successful career in interior design with leading companies including Fired Earth. His pragmatic approach for Pretty Like Pictures means he creates solutions that complement both artwork and the wide variety of living spaces that house them.

Their services range from complete bespoke moulding to a simple reglaze or mount cutting or the 3D approach for precious memorabilia, and aside from all things framing, it’s about showcasing innovative design with fresh, contemporary art – and their windows display artwork that is surprising and playful, with a story to tell.

“The HQ visit gave me the impetus to optimise the aesthetics of our refurbishment and I now feel the shop and gallery is a true reflection of where we want and need to be. We’re all about bringing eye-catching, modern art and design to the community, but at affordable prices, so I especially like the Larson-Juhl Signature collection, as it’s designer-led like us.”

Designer-led

A visit to the Larson-Juhl showroom has helped inspire an Oxfordshire customer’s impressive shop and gallery upgrade.

Imaginative selection

The Pretty Like Pictures gallery features an impressive range of original pieces, plus all sorts of unusual ephemera - all nicely rounded off with an imaginative selection of photo frames, hand-made cards and gift wrap sourced from taste makers from all around the world.

Additionally, they carry prints from a number of publishers including Aquarelle and Jealous Gallery, but include emerging and eclectic artists as well as more recognisable names like Quentin Blake’s Roald Dahl limited editions and Lauren Child’s Lola illustrations.

He adds: “I’m very quality driven and that’s why there’s a natural synergy with Larson-Juhl. Their mouldings are superior quality and the choice is impressive, plus they help create an atmosphere of expectation in the gallery and an excitement for framing.

“Their mountboards are a cut above too and the conservation grades particularly stack up and look the part. They’re very well constructed as well and made to last.

Quick and efficient ordering

“I’m also a big fan of the Larson-Juhl web ordering service, as it’s simple to use and very convenient. I can literally do it from my phone, from anywhere. Their delivery is consistently quick and efficient too.

“Anything else is sorted by Simon Davies, who’s a lovely chap and approaches business the same way as I do. He knows and understands what I want and facilitates that, plus there’s no pressure – and we just click, simple as that.”

This view is reciprocated by Simon who says: “Robin has done a wonderful job with the new look and I’m delighted that we were able to play a small part in his vision of the future. He’s a very forward thinking and positive individual and while his business might be located in a smaller town, he attracts interest from much further afield - as he’s ahead of the curve.”

https://www.prettylikepictures.com/

Pretty Like Pictures also benefits from a loyal and appreciative customer base, who know what they want - whether it’s more traditional framing or ultra modern solutions. Word-of-mouth referrals and recommendations, rather than social media activity, are very much to the fore.

State-of-the-art technology

Now that they properly look the part upstairs, Robin also has exciting plans to improve the workshop below and make it even more slick and efficient to support the growing business. That said, it’s already equipped with the revered Morso mitre guillotine and Gunnar Aoix Mount-Creator, which uses state-of-theart technology to cut any shape or style of mount perfectly – and enables them to team up with a number of specialists on bigger framing, restoration and interior design projects.

(BartonBorn Art) for Art’s sake

4walls favourite Lhouette is launching an exciting new collaborative venture for mixed media art collections and editions from a number of fresh and unique guest artists.

BartonBorn Art, based near Luton in Bedfordshire, is the latest brainchild of the artist known as Lhouette (born Ciarán Robinson) who is regarded as one of the UK’s premier urban pop art protagonists.

Ciarán (age 36) is the recent winner of our Get Framous competition with his fantastically colourful collaboration with Purling of London called ‘More or Less Chess’. His maximalist creations are revered internationally by leading galleries and art collectors, with previous auctions and exhibitions taking stage at iconic institutions such as Sotheby’s, Christie’s and the Dorchester Collection plus he boasts influential celebrity fans like actor Antonio Banderas and music mogul Ronan Keating.

But BartonBorn Art is him diversifying, giving something back and providing a voice and platform to like-minded and unconventional artists - not yet known to the trade, but with huge futures ahead of them.

He explains: “The business up until this point has been known as Lhouette Studios Ltd, with a focus on creating my own personal collections only. BartonBorn Art, however, is an evolution of this, a progression of my own creative ambitions, operating not just as the artist Lhouette, but as a cultivator and curator of a broader collective of artists.

Pure joy of creativity

“This new venture is also about going back to grass roots, discovering kindred spirits to work with for the pure joy of creativity. The best works can come from the excitement and electricity of collaboration – and we have already started building collections with three super talented new guest artists to BartonBorn Art.

“They’ll benefit from my own experience in concept and collection building, and all the practical solutions from my studio team and have the time and backing to grow into their new career pathway, without all the commercial pressures that can take over.

“As the business has grown over the years with our partner galleries the setup has become very comprehensive, with a main art studio workshop, design and large format printing rooms, picture framing and CNC cutting departments. There are also plans to add in a new paint throwing unit later this year.”

Ciarán adds: “The fresh, new talent we bring in will have access to all that, plus they’ll benefit from my excellent relationship with Larson-Juhl. Presentation is a vital part of the business and Larson-Juhl’s diverse range of mouldings is great for mixing things up and playing with conventions.”

ALEXANDER THE GREAT

Colinton Arts, established in 1981, is an Edinburghbased, family run gallery and framing business serving the city itself and the central belt of Scotland.

Today it is owned and run by Lindsey Alexander, who took it over from his father Bill in 2019.

Lindsey had always planned to relaunch the business with a focus on art and framing but the pandemic brought the changes forward as he spent much of lockdown refurbishing the property and sourcing new lines. Switching from being a sole trader to a limited company was a very wise call, bringing vital support at a crucial time and helping to fund that period of uncertainty and the investment needed to relaunch the business. Lindsey has transformed what was a much-loved local framers and gift shop into a fully-fledged fine art gallery and respected framing business.

Artists on show

Today, Colinton Arts has a new exhibition every four to six weeks. Next up, from 8th September to 8th October is Rosie Playfair and Stephanie Pijper with ‘Woodland and Wonders’.

The launch of each show is a great opportunity to invite customers and friends of the business to view the art and enjoy a few drinks to the soundtrack of some jazz.

A key part of Lindsey’s sales strategy these days is to encourage artists and people buying art to use his framing services and for his framing customers to be inspired by art. And it is working, as people are travelling from further and further afield to enjoy the Colinton Arts experience.

Lindsey says: “We have a real mix of customers, from serious art connoisseurs to those new to the creative world. The property market has gone crazy here as more people move up from London to enjoy a better quality of life – and that includes buying bigger homes with more wall space that requires suitable pictures!

“But we don’t just want customers, we want advocates. We want people to be so happy with their art that they can’t wait to tell their friends and family about us - and having more happy customers means we get to do even bigger things!”

Colinton Arts is very much a quality offer, with a focus on skill and craftsmanship. The calibre of Lindsey’s team is truly impressive. “I am really proud of the team who bring serious talent as well as energy to our business,” he says.

Left to right: Bill Alexander, artist John Byrne and Lesley

Stunning use of Micro-tech Veneer

Meet the team

Lindsey is a South African born entrepreneur with a passion for beautiful spaces. He has full support and assistance from his creative wife Cath (who also works for the NHS in the speech and language department), gallery manager Lesley Briggs, framer Mhairi Green and framing and restoration technician Yotam Sivan.

Lesley joined Colinton Arts in May 2021. After spending much of her career in fashion, Lesley took her passion and knowledge of fine art to new levels with an MA in History of Art, membership of the Association of Women Art Dealers and a series of art business courses at Christie’s.

Mhairi joined Colinton Arts in 2017 after completing her degree in Design. Finding inspiration in art she will work with the customer to find the ideal frame for them. Whether it’s art, tapestries, shirts, medals, watches or jigsaws, she loves to find ways to frame all the objects that come into the workshop and show them at their best.

Cath, a successful South African author, has been integral in sourcing and purchasing art and gifts for Colinton Arts and has now handed over the new dedicated role of fine art curation to gallery manager Lesley, who adeptly seeks out new and exciting trends and talent both in Scotland and internationally.

Hailing from Haifa, Yotam arrived in Edinburgh with his girlfriend at the end of 2019. In 2020, he started his Master’s degree in Art at Glasgow School of Art and puts his technical skills to good use helping to fix and restore damaged artworks to their former glories.

Mouldings

Lindsey buys Larson-Juhl mouldings for his premium framing commissions, with Microtech Veneers being one of his favourites –please see left.

4walls was delighted to hear that area sales manager Lisa Frazer Orrick is highly rated by Lindsey. He says: “Lisa is always available, and whenever I ask for something, it is sorted quickly. We have built a really strong relationship and it’s good to be working with someone who is so reliable, who you can ring anytime.”

Spreading the word

Lindsey and his team are firm believers in the power of marketing and invest in monthly newsletters, a quality website and social media activity. Colinton Arts also sponsors a local junior football team – for whom Lindsey and Cath’s son Harry plays.

Looking to the future, Lindsey is planning to grow both the art and the framing sides of the business. For example, attracting more corporate clients needing framing on a regular basis, from certificates and parchments, to conservation and restoration of art. They are also actively seeking out strategic relationships with hospitality venues to showcase fine art.

Lindsey Alexander

Left to right: Mhairi, Lesley and Cath

PRODUCT SHOWCASE

Every month on our social channels Larson-Juhl receives lots of fantastic tags – thank you – and 4walls wanted to share a few of our favourites and explain a bit more about the mouldings involved. Hopefully, these examples will provide further inspiration!

We know that weddings result in all sorts of romantic framing requirements from dresses to bouquets. The idea of framing the seating plan was an idea that we thought could be applied to all sorts of other special events too. Picture This Art & Framing used Florence 740071000 for the small frames and Florence 737071000 for the outer one.

The Art Works Otley has used our Confetti moulding in orange with a black mount to really make this piece pop! Confetti’s popularity continues to grow - offering a bold range of colours for every occasion. Slip moulding is Confetti fillet 115634 ; moulding is Confetti 140634

EasyFrame UK produces a regular roll of commissions for rock stars, often featuring vinyl records and other formats and pieces of memorabilia and art, like album covers. This is one that particularly stands out – featuring 411000167

Mandy Mac AKA Girl Framer from Kingston Gallery loves her poppies. This white Coastal Woods moulding 411000127 looks absolutely stunning! Coastal Woods really is ideal for 3D commissions.

Many framers are talking about the increase in the number of commissions for big artwork and photography and we love this one from Edinburgh Framer. You could use any of our black floats - 611167000, 638167000, 619167000, 639167000 , 237126171, 328000167, 511000167

Holt’s Framing posts a regular stream of classic and contemporary artwork. Owner Stephen has done a particularly fantastic job with this one using Canaletto 415303

Ironbridge Fine Arts cares hugely about the environment and sourcing products with FSC and PEFC accreditation, and more and more of their customers are requesting sustainable mouldings. Pedraza 234902870 is a popular example.

Do keep sharing your commissions that feature our mouldings – we love to see what you are working on!

Why Not Gallery’s retirement commission features suedette mountboard 8520 along with moulding 233167000 . What a lovely way to celebrate someone’s career!

Graham Miller retired at the end of May after a very impressive 33 years with Larson-Juhl/Arqadia/Arquati.

GOODBYE GRAHAM

Graham says: “When I first started at Arquati in May 1989, I was living in the South East and was brought in to cover various southern territories. Arquati was well into its stride having started trading in 1975.

“A year later, my wife Fiona and I took up the opportunity to move to the South West area, where I was born and raised.

“Arquati went from strength to strength under the direction of Derek Masters. We worked hard and played hard! The Spring Fair exhibitions were definitely a highlight of the year when the industry came together for the big battle to win new customers and show off our products. A lot of the stories from these times still come under ‘what happens in Birmingham, stays in Birmingham!’.

“Arquati became Arqadia in 1998, with Mike Brown taking over the helm in the early Noughties. I was promoted and joined the key account team covering the west side of England and also Wales. I was now clocking up 50,000 miles a year! The industry was starting to change. More major high street retailers and the DIY sheds were starting to offer readymade frames, mobile phones and laptop computers were here to stay, and the internet

was showing signs of taking off! Things moved at a much faster pace and we all had to adjust to it.

“In 2007 I was appointed regional sales manager and took on responsibility for some of the sales team, got involved with training and recruiting, but all in all making sure everyone was happy. I still had some key accounts, was given some projects in Europe and enjoyed many a trip to Sweden, The Netherlands and Ireland.

“The reason I stayed so long? The people. My great colleagues. And my customers. I tell my wife that each day I go out and meet my friends and, yes, I want to sell to you but that doesn’t mean you can’t have a friendly, professional experience and one or two laughs along the way.

“I thank you all for making me so welcome and being a small part of your lives. But the time has come to move on, leaving the speed cameras, motorways and parking fines behind - oh and the large cases. It’s time to reconnect with old friends, visit far away relations and enjoy my close family. Yes, I am going to try and master golf and improve my DIY skills - with both I am starting from a very low base!”

Guild awards

Hat-trick for Lucy

Lucy Pittaway won the Most Popular Published Artist –sponsored by Larson-Juhl - for the third time. Based in North Yorkshire, Lucy’s work celebrates rural life and it is no surprise that she gets such great recognition. Graham Miller presented Lucy with her award.

Honour for Pauline

Pauline Hutchinson’s commitment to Larson-Juhl and the industry was recognised by her being welcomed into the FATG Hall of Fame. Lyn Hall – who has been one of our Larson-Juhl experts for over six years – also retired recently and was honoured alongside Pauline.

Jo Palmer’s tenure as Master of the Guild came to its conclusion at the AGM on the Sunday, when she handed over to Mark Wallington. Larson-Juhl sales & marketing director Matt George was elected to the board.

Huge thanks to Jo for all she has done for the industry under the most challenging of circumstances. She has worked with Larson-Juhl on webinars and round tables – both physical and virtual, as well as providing advice and support. Thank you, Jo, we really appreciate all you have done!

What a wonderful weekend!

After a two-year absence, the Guild Weekend returned in all its glory on 14th & 15th May at the Crowne Plaza in Stratford-uponAvon. Framers, artists and suppliers took part in a busy schedule of workshops, demonstrations, meetings, and - of course - the Master’s Dinner.

Professional advice and best practice were showcased by a number of exhibitors and experts. This included:

■ Textile framing – Jo Palmer GCF(APF) Adv demonstrated various solutions for attaching and fr aming textile articles.

■ Colour washing – Mark Wallington GCF(APF) showed his technique for producing washlines and panels.

■ Box frames – Alec Palmer GCF(APF) Adv demonstrated how to construct box frames and extensions.

■ Morso – Klaus Pedersen advised on blade sharpening and digital measuring systems.

■ Conservation hinging – Jon Price GCF (APF) and Nicole Wall GCF (APF) presented a workshop on Level 2 (High/ Conservation) hinging and support techniques.

■ Artwork for digital printing – Jeremy Pridgeon from the Imaging Warehouse demonstrated how to scan artwork.

The Fine Art Trade Guild had a wide selection of Guild publications to buy and stocks of leaflets to take away, and Simon Flavill and Graham Miller of Larson-Juhl UK shared our commitment to sustainability and our range of 345 FSC/PEFC mouldings and 215 accredited mountboards.

Framing good service and reputation

When your motto is ‘custom framing down to a fine art’ that’s a lot to live up to, but The Framing Centre on Fareham’s High Street has consistently done that for nearly 40 years.

It’s a friendly, independent, family-run business established in 1985, originally as Fast Frame, which husband-and-wife team Paul and Helen Raby (centre and right) took over in 2006 when the original owners retired to Spain. The team is completed by Kevin Hoar (left) who is a Fine Art Trade Guild Commended Framer and the team has nearly 70 years’ framing experience between them.

Paul and Kev make everything in the back workshop, serve the customers and they assemble all the work together, with Helen also helping and a welcoming front-of-house presence for customers old and new.

Business is split 80% framing and 20% limited edition prints sales – with Paul and Helen having always dealt with the big publishers like DeMontfort Fine Art – and they’ve been blessed with a consistently busy word-of-mouth workload and a fiercely loyal customer base from all walks of life since taking up the reins.

Left to right: Kev, Helen and Paul

Paul adds: “I can’t recommend it highly enough; in fact over 90% - and rising - of my mouldings are now Larson-Juhl, on top of all our mountboards, and it’s down to the convenience of this system. I just can’t be doing with the hassle I used to get from stocking lots of different suppliers.

“Besides, all Larson-Juhl products are quality and lovely to work with, plus the mouldings especially give a superb join and finish. White and black are still classics, while oak is a perennial favourite and I do a lot with the Essentials range which is always popular.

“Our personal favourite is the Sofia range, it is popular with our customers who want that something extra special and we actually have it in our own home.

Paul explains: “I reckon three quarters of our business comes from repeat, so we’re hopefully living up to our motto - and we do attract people from all over Hampshire and beyond. We frame literally anything, including some strange items recently, like a bat and piranha.

“With a lot of naval bases down here we frame sets of medals and military memorabilia too. During the pandemic a few framers nearby closed, so we have picked up some extra business, we’ve never been busier. It all adds up to a very busy workshop and means we’ve never had to advertise from day one, plus there isn’t any time for social media.”

Paul puts a lot of that longevity and success down to great teamwork, his relationship with Larson-Juhl and especially his area sales manager, Derrick Hicks, who he describes as a “brilliant professional and the loveliest fella to deal with.” He says: “Derrick just gets on and sorts things for us and it means we can consistently deliver to our customers and never let them down.”

He’s also a big fan of the Larson-Juhl online ordering system, because it is so easy to use and means that checking stock levels reliably and accurately keeps him one step ahead of lead times and the current supply chain issues affecting all industries.

“Post pandemic though, people are becoming more adventurous again, with striking grey, silver and metals in big demand and also the Farrow & Ball-type hues. And having recently received samples of the latest Colorato mouldings range - that went down a storm with six jobs using it in only the first week!”

Outside of work, Paul is guitarist for one of the UK’s top tribute acts ‘Whitefake’ (covering all the hits from legendary rock and power ballad combo, Whitesnake) and they gig all over the country at a semi-pro level.

He concludes: “A lot of musicians tend to be frustrated artists, and vice versa, so I meet a lot of fellow musicians who work in similar or related industries. We have to be really on the ball, as fans expect us to sound just like the band themselves, but it’s a good release from the day job and my own way of expressing myself creatively –as I was only ever A Level Art standard at school.”

https://framing-centre.com/

HERE’S TO THE HILLS

This spring, The Gallery in Lees Yard celebrated its 50th anniversary under the ownership of Clare and Adrian Hill FRSA. Following in the footsteps of his grandparents and parents, Adrian now represents the third generation to be involved with the ongoing development of this highly respected family business.

An evening of champagne, music and cake was held for family, friends and colleagues on 1st April this year and while the weather was not kind, a brilliant time was had by all.

The award-winning gallery lies in the heart of the historic Georgian town centre and is renowned for its continual programme of fine exhibitions interspersed with major solo shows. While refurbishments and rebranding exercises have evolved over the years, The Gallery has retained its unique display system and continues to further its deep-rooted links with the local community.

Alongside The Gallery are the bespoke picture framing services of Picturecraft of Holt which were built from the humble foundations of a hobby in the early 1960s by Ruth and John Hill. It was when their son Michael officially joined his parents on leaving Fakenham Grammar School in 1968 that the rapid growth of the business was to see the integration of artists’ materials and a small ‘homespun’ gallery. It was the success of these interlinking, art-related businesses that secured the purchase of the Lees Yard site in 1971 for £9,750. One of the major buildings on the site became The Picturecraft Gallery - subsequently renamed The Gallery, Holt in September 2019.

The Gallery has attracted artists and visitors from all over the world, including a visit from L. S. Lowry RBA RA in 1973. It remains at the forefront of promoting fine art and continues to enjoy worldwide interest through its close association with Kieron Williamson – whose work has regularly been exhibited (most recently earlier in July). Other events scheduled for 2022 include a pastel exhibition featuring selected Members of the Pastel Society in August, a major solo exhibition in oils by Graham Webber ROI IEA in September and a “Best of British 2.0” mixed media exhibition in the autumn.

On 1st April 1972 the doors of an ambitious new business venture in Holt, Norfolk, opened to the public for the first time.

Coastal 241 000 137

Set of Snooker Balls

A fascinating project demanding of ingenuity and a concealed support system to overcome the combined weight of a full set of snooker balls. The requirement to provide a simple but highly effective presentation was only made possible by the strength of Larson-Juhl’s 411 000 167 Black 29mm Coastal Woods with its incredible 67mm rebate depth. The use of speciality glass was especially successful for this particular project.

Grandfather’s Pipe. The 40mm rebate depth of Larson-Juhl 292 630 Oiled Steel Anvil II could not have been more perfectly suited for this interesting project. The customer wished to feature the pipe sitting inside its leather case which provided a most attractive layout design.

Speciality anti-glare glass was supported by a bespoke foamcore upstand covered with the identical colour mountboard to the background.

The Picasso connection

In the pipeline, Adrian is curating the second exhibition by Lydia Corbett at the Mall Galleries in London, featuring over 120 paintings. A renowned French artist, still painting at 87, Lydia initially rose to fame as ‘Sylvette David’ one of Picasso’s muses whom he painted as the ‘Girl with the ponytail’.

Picturecraft

Despite recently turning 70, Michael and his wife Teresa remain very actively involved on a day-to-day basis as joint directors of Picturecraft of Holt Limited.

4walls was delighted to speak to Michael, who explained: “My role these days, apart from administration, is to personally undertake highly specialised framing orders which are particularly demanding of time and ingenuity.

“Having been a professional picture framer since leaving school in 1968, you could say it has been a ‘life-sentence’! But I absolutely love it –and am so pleased and proud that the family is involved, taking the business forward in such an entrepreneurial and creative way.

“My connection with Larson-Juhl stems back to the very earliest days of Arquati UK, subsequently Arqadia before becoming Larson-Juhl, and I have enjoyed a very good business association and friendship with the team over the years, latterly working with John Green.

“I have always been deeply impressed with the quality and consistency of Larson-Juhl mouldings. We frame for a very discerning customer base who entrust quite diverse, complex and valuable items into our care. It is essential that we have reliable sources at our fingertips to obtain framing materials which can meet the very highest expectations of finish.

“I have seen trends in framing come and go, and sometimes return again, but I am greatly encouraged to see the demand for ‘traditional framing practices’ remaining firmly at the core of our business.

“Recognising that artists sometimes look at ways to ‘cut corners’ with regards to saving framing costs, I was particularly disappointed to see a leaning towards the acceptance of oil paintings on canvas being displayed without any frame. Thankfully, this practice now appears to have been surpassed with the modern trend of tray frames but, in my opinion, there has never been anything aesthetically pleasing about viewing the outer edge of a canvas!

“I am saddened to see a trend towards using narrow frames, particularly with respect to oil paintings. We have encouraged artists to ‘look again’ at their work and have used the Larson-Juhl 84mm Coastal 241 000 137 Ivory to tremendous effect in order to prove the point. Its contemporary clean appearance underlies its traditional profile and the use of slips can also incorporate an additional dimension. Where professional artists have stepped-up to use this moulding - for even the smallest paintings - they have been quick to see sales of their work dramatically increase.

“I find myself these days more in an advisory capacity to oversee complex specifications in order to provide explanations of the framing processes to customers and to prepare detailed framing instructions for the workshop staff.

“The challenges can sometimes whet the appetite for a more personal hands-on approach, and I have never lost the enthusiasm and interest to resolve some quite difficult projects myself - and the self-satisfaction to accomplish a particularly difficult assignment is incredibly rewarding.”

to sign the

that

Collecting dead butterfly wings from the ground in Africa to portray images of native birds is a delicate art necessitating very careful handling. The customer’s specifications were to provide an impactful setting where Larson-Juhl’s 19mm Komodo 241 240 Red was used to close-frame the artwork (with speciality glass) to then be surrounded by the 261 240 deep rebate 26mm version. https://thegalleryholt.com

Michael Hill and Teresa Hill (Picturecraft of Holt Limited) with their son Adrian Hill FRSA and daughter-in-law Clare Hill (The Gallery, Holt and Adrian Hill Fine Art Limited)

SweetArt by Simon Dry in 411 000 127 Coastal Woods

Frame within a frame

L. S. Lowry’s visit to The Gallery Michael Hill vividly recalls Lowry’s unexpected visit to the gallery for he had no idea who this gentleman was at the time. It was only when Lowry asked

Visitors Book

his identity was made known - which caused great amusement to Lowry!

WHAT A FRAMING HERO!

Alan Watt was one of the first framers to achieve Commended status with the Fine Art Trade Guild and so it was no surprise to discover that he has an absolute wealth of expertise and knowledge and is passionate about his craft, billing the Belvidere Gallery’s offer as ‘Traditional Craftsmanship in Picture Framing combined with Cutting Edge Technology’.

Alan opened Belvidere Gallery in Aberdeen in 1992, achieving GCF status the following year. Living and working so far north can sometimes be a challenge in terms of travelling south but this year Alan made the trip to Stratford to attend his first Guild weekend. And he loved it! “Attending workshops on specialist topics such as needlecraft and coins as well as talking to other framers and swopping notes were some of the highlights,” he says.

Hobby

“It’s a bonus when one’s passion, photography, can be combined with work,” Alan explains, “and the resulting framed images of sunrises shot along the stunning Aberdeenshire coastline, for example, have become favourite leaving gifts for American oil personnel returning to Houston. ‘Just look where I used to work’ said one!”

Thinking big

The trend that is particularly good news for Alan currently is the increase in big commissions. “Since lockdown, there has been a significant demand for big art in big frames. Oils, photography and prints, in particular,” he told 4walls, and we were thrilled to hear that Alan’s preferred mouldings for these large pieces include Coastal Woods and Normandy.

Specifically: 497000167, 241000137 , 905005 and 905105

A somewhat unusual contract with a very specific brief that Alan relished recently was the opportunity to be involved in the major multimillion-pound renovation of the Aberdeen Art Gallery.

The gallery has a unique portrait collection initiated by Alexander MacDonald (1831 — 1884), a local granite merchant and collector of fine art, who commissioned over 90 uniformly sized portrait heads - 40 of which were chosen to be displayed. A space had been allocated in the gallery with precise instructions on size, presentation and type of materials to be used.

Although the 40 paintings were of uniform proportions, the ancient stretcher frames were not - resulting in the choice of moulding 243 494 000, which has a deep rebate although not enough to accommodate the artwork. Alan then added a 12 x 15mm fillet painted in a matching rich brown colour creating an interesting 3D effect and enhancing the final presentation.

Initially the specification stated 6mm laminated glass be used as a safety measure but after promoting the lighter and more versatile 3mm Tru Vue Optium Museum Acrylic with a 99% UV barrier, Alan’s recommendation was accepted as an improved option.

Sustainability

Sustainability is very much on Alan’s radar these days and he tries to recycle and re-use as much packaging as he can.

When commissions arrive in old frames, if they are in good condition, he will donate them to charity shops to sell on, or to local artists starting out to showcase their work when they can’t afford custom framing.

Alan also supports Aberdeen Children’s Hospital by donating mountboard offcuts so that poorly children have a stiffer material to draw on while convalescing. Local schools and community centres are also recipients of materials.

Buying chop ticks the sustainability box for Alan too – and he will go with this option for the premium lines that he buys in lower volumes, although he remains a fan of length for his most popular mouldings.

Stunningly silky

Kanita Sim is one of Alan’s favourite local artists and the piece photographed looks absolutely stunning, framed in 241 000 137

Born in Thailand, Kanita grew up surrounded by the vibrant colours of the gorgeous Thai silks which were produced in her parents’ factory in Bangkok. Coming to Scotland initially to study English, Kanita found her way to Gray’s School of Art in Aberdeen, where she studied textile design.

Kanita’s love of colour and her knowledge of fabric design can be seen in her pleasing compositions and the subtle, often imaginative, colourings of her paintings, to which she has now turned full time.

Kanita’s paintings also demonstrate a diversity in styles, which she attributes to the two major influences in her life – her Eastern heritage and her adopted Scottishness.

Shout-out for Lisa

Alan speaks very highly of his Larson-Juhl area sales manager, Lisa Frazer Orrick. “I really appreciate Lisa’s regular visits. It’s always good to receive samples of new products and be kept in the picture on what’s going on generally. Now that trade shows are such a rarity, our meetings are all the more important,” he adds.

You can find out more about Alan’s business at belvideregallery.co m 905

The stunning Aberdeen coastline

Moulding business and managing expectations...

Richard Clayton has been with Larson-Juhl for over 15 years now and with that being an unusually long time for a sales job he reckons it must be a good place to work and the sign of a positive and rewarding culture!

of framed and mounted art still resonates as an affordable luxury worth aspiring to.”

His appetite for the job shows no signs of diminishing as his patch has become increasingly bigger – he basically covers all of the North, except Cumbria and Scotland, as well as parts of Wales and the Midlands – because it’s enabled him to forge strong, proper and established relationships with customers, which works well both ways.

Richard (age 55) explains: “It’s a vibrant and fascinating industry and so are the eclectic mix of characters I get to deal with. It’s strong and resilient too, because whilst many owners stepped back and reassessed their business during the pandemic, none of my customers went under and that’s very encouraging. Many have admirably dealt with previous recessions as well and it just goes to show that a beautiful and emotive piece

Before framing, Richard cut his field sales teeth at FMCG giant Cadbury, before spending most of the 90s working abroad – as part owner of a bar in the Greek Islands, but also roles in Thailand, Australia (in recruitment) and across the US. He feels this breadth of experience helps him to relate to any set of challenges or circumstances.

He adds: “I love what I do and the future’s bright. I’m also excited about our leading range of FSC and PEFC certified mouldings and mountboards, as sustainability is a topic that we are incredibly passionate about and it is becoming ever-more popular with consumers too.

“Larson-Juhl will always lead the way in technological innovation and new trends for our industry, plus let’s not forget that as a species, humans have been decorating their walls with pictures since we were living in caves – and we’re unlikely to stop anytime soon!”

Richard has two children, Annabelle and Joe, with his partner of 10 years Juliette and they live in the picturesque spa town of Ilkley. He’s a keen film/cinema buff; runs a few times a week to keep fit, likes to socialise with family and friends, and is also a keen follower of his local football team, Leeds United.

Richard (right) with BJ Fowler of The Art Works in Otley, West Yorkshire

THE MAGIC OF FILLETS

A MASTERCLASS WITH JON PRICE GCF (APF)

Many of us are aware of fillets and may even use them from time to time. But for most framers fillets aren’t exactly mainstream. And yet, unless they are done particularly badly, fillets generally look good, add value and bring a quality feel to a frame. All the more reason to incorporate them in to your daily framing.

Fillets are essentially a highlight or accent which can be utilised to add balance and cohesion to a frame design. They can also add interest, increase depth or be used to contrast a moulding or mount. In fact, there are a lot more ways to make use of fillets than you might realise. I’m all about making my frame designs stand out. I like to utilise elements that add value and increase profitability. Which means fillets float my boat, and the more innovative the way in which the fillets are used the better.

Inside the mount aperture

This is the classic use for fillets, which are designed with a flat section that fits under the inside edge of a window mount aperture. Fillets are often produced as a part of a moulding range. So they match that range’s colours, style and texture. This makes them perfect for a balanced frame design, where you have a matching window mount fillet and moulding (see Pic.1). I regularly use a similar idea, but with a narrow second mount matching the moulding colour. However, like a paper doily under a plate of biscuits, matching a fillet to the moulding is classier and adds to the frame’s perceived value. If you would like to see how to cut and fit a fillet inside the aperture of a window mount, please see: https://larsonjuhl.co.uk/haven/vids/jon-price-masterclass.

A variation on this concept, is a mount aperture fillet that matches an aspect of the frame. For example, a silver fillet matching the silver rebate lip of a moulding (see Pic.2), or a fillet which matches an accent or tone within the frame (see Pic.3). On the other hand, a mount aperture fillet can be used to contrast the frame and draw attention to details within the artwork (see Pic.4). Drawing attention back to the artwork is one of the things a mount fillet does really well, normally more so than a second mount. This means that using a mount fillet as part of a frame design can allow you to select a wider or more ornate frame which would otherwise detract from the artwork (see Pic.5). So, next time you’re thinking ‘that frame would be perfect if it weren’t so big’, try incorporating a mount fillet into the design. It is worth noting that the wider the fillet is the more it will draw attention away from a heavy frame and back to the artwork. More on that in a bit.

Pic 1

Pic 3

Under the rebate lip

Fillets are also known as mount slips, however that doesn’t mean that they can only be used inside a mount aperture. Gluing a fillet under the rebate lip of a moulding is fiddly but it can look very good. A fillet used in this way adds an extra dimension to a frame. For example, you can add a gold lip, or use a contrasting fillet colour that emphasises an aspect of the artwork (see Pic.6). You could also use matching fillets both under the rebate lip and inside the window aperture to balance a design. How about simply placing a matching fillet from a moulding range inside the rebate lip, just to add subtle detail to a moulding?

A note on conservation

Just like a wooden frame moulding, fillets are acidic. This means they shouldn’t be placed up against paper or textile based artwork when conservation framing because over time that acidity will leech into the artwork. The standard way of avoiding this problem is to line the fillet with a conservation quality sealing tape, or to use an additional window mount between the fillet and the artwork.

So there you have it, more creative ways to use fillets than there were cabinet staff at a Number 10 lockdown party. However, as you finish reading this article the question is: Do you forget it and carry on working in the way you always have done, or do you make a display frame, mount, or even just a chevron, that incorporates fillets and use that display piece to sell fillets to your customers? Choose wisely and you might just find yourself being more creative and selling higher priced framing.

Stacking fillets

Just like mouldings, fillets can be stacked. You might choose to do this just because it looks funky or because you want to use that wide or ornate moulding that we talked about earlier and a single fillet on its own isn’t strong enough to draw attention back to the artwork. Stacked fillets can match each other or you can use contrasting colours, for example, one which matches the moulding and one which emphasises an aspect of the artwork. Likewise, you could also stack a plain fillet and an ornate fillet. As always, the key is to play around, be creative and see what works.

More creative ideas

For me, one of the joys of framing is the creative process. If you want to allow time to try out new creative ideas you have to price your framing and manage your time accordingly. However, in my experience, those new ideas become show pieces that sell framing techniques to my customers. Hopefully, you will have found some new ideas in what you’ve read above, but here are a few more ways to incorporate fillets into a frame design:

■ Multiple stacked shadow mounts, each with fillets, to create depth or perspective - a good way to give a small object a lot of presence.

■ A multi-aperture mount, each aperture lined with a fillet – a good way to emphasise a collection of small or intricate items, drawing the viewer’s attention away from the frame and back to the artwork.

■ Fillets used as a miniature frame inside a larger fr ame, for example for ‘close framing’ a photograph. Obviously, there are depth limitations and the fillet would have to be cut backwards so that the part that normally slips under the edge of a mount aperture would sit under the artwork instead.

Jon Price GCF (APF) has framed for world renowned museums, artists, photographers and designers. He offers one-to-one and small group framing education and owns Handmade Framing & Gallery near Bude, North Cornwall. www.handmadepictureframing.co.uk

Ask the experts

Question: I haven’t cut thick mountboard for a while and remember it can be difficult. I have a large print to frame and want to use 3mm Larson-Juhl oyster solid core. I’m using a Keencut Ultimat Gold, so do I need to change the blade and any settings? Any advice most welcome.

Answer: The first thing to check is if there is any play in the cutting head? Lightly grip the head and try to move it left-to-right in a rotary motion – if there is any play or movement it will need adjusting. There are two Allen head screws on the right hand side of the Ultimat Gold cutting head, so slowly tighten one until it just grips the cutting head – and it won’t slide - then back it off by about a quarter turn so the head slides freely. Repeat for the second screw.

Next, change to the thin, single edged Tech S 012 blade, making sure it’s fitted the right way around (there is an arrow on the blade indicating the cutting point). Then set the depth, so it’s cutting about half-way into the slip mat.

Now you need to adjust for under and over cuts – there are two methods - and both will need some test cuts.

The usual way is to cut a single window corner, check the under/over cuts and adjust the dials on the top and bottom stops. You’ll probably find the top stop needs minimal adjustment while the bottom stop will need 2-3mm. Keep testing and adjusting until you get a perfect corner.

The second method leaves the stop adjusters as they are, which is useful if you’re cutting thick and regular boards. Make a test cut – for example, if there’s a 2.5mm overcut reduce the set dimension by 2.5mm; if the margin width is 75mm set the stop to 72.5mm; if under cutting by 1mm set the stop to 76mm. A little tip - if you’re cutting a mount with a bias I would write the required dimensions on the back of the board to make it easier to check and keep track of the settings.

Whatever the preferred method, you should be able to make the cut in a single motion, but if you find it difficult by all means make two or three passes to complete the cut.

Allen key head screws

David Wilkie GCF – Silverstone Framing in Northants

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