4Walls magazine Issue 46

walls 4

THE ART AND FRAMING MAGAZINE FOR PROFESSIONALS

WELCOME

Welcome to Issue 46 of 4walls, featuring the talented Ben Jeffery on our new front cover design.

We ran a survey last year to get your views on the magazine and thank you again for all your input. I was delighted at how positive the responses were and hence Issue 46 shows some evolution but not revolution!

The length of 4walls, overall content, layout and design all got a resounding approval rating of between 88% and 97%.

Interestingly, 74% of you read the paper version and 21% read it both online and the hard copy.

Enjoyment of 4walls got an average rating of 8.2 out of 10 which we were extremely pleased with and the most popular features were product information, the masterclass and customer stories.

Suggestions included more information on trends, more business guidance and technical best practice, and more details on product back stories. This is reflected in Issue 46.

I am delighted that Jo and Alec Palmer from The Framing Lot in Dawlish have joined the editorial team as experts and they will be contributing going forward alongside the awesome Jon Price. You can see the full contents list below but I would like to thank all our contributors for their words and images – I think this is a cracking edition! I hope you agree and do let me know your impressions of the updated look and contents’ focus.

You told us that we need to make it easier to find out more about the mouldings featured on the pages of 4walls. QR codes have been added so you can instantly link to our website.

Wishing you a successful spring and summer.

@Larson-Juhl UK

Matt George, Editor mgeorge@larsonjuhl.com

CONTENTS

NO. 46. 2024

3. Larson-Juhl overview

4. No stone unturned

Ruth Stone from Limited 2 Art tells her story

6. Larson-Juhl manufacturing

A profile on our premium production site

8. Foamboard – more than just a framing essential

The latest Masterclass from Jon Price

11. Frames of the highest rank

With Kenney Murray from Elite Framing

12. Chevrons under the spotlight

Featuring Brampton Picture Framing and Ragdolls Fine Framing

14. Upselling by design Focus on Croft Design Studio

16. Customer content

Showcasing some of our favourite customer posts on social media

18. Ask the experts

Insight from Jo and Alec Palmer – making the most of your Morso

19. The boys Dunn good With Dunn’s Imaging and Woz McCabe-Smith

20. Talking Trends

Thoughts from Indigo Arts’ Chrissie Granger

22. New products

24. Sky high!

Featuring Chaucer Picture Framing

25. Larson-Juhl Scholars

Meet Jo Nunn and Amy Mayes

@larsonjuhluk

26. Made in Martock Mandy and Jim Dodd share their story

27. Savagely Talented Meet Tracy Savage

28. All About Training With All About Framing!

30. Chop Shop

The case for chop

31. Website resources Free services for customers

Front cover: Mr Shelby by Ben Jeffery courtesy of Buckingham Fine Art

All Larson-Juhl’s industry-leading moulding collections are on display in our Bedford Head Office. On pages 6 & 7 you can learn about the unique manufacturing process at our factory in the Czech Republic which makes our premium frames so special.

Do drop by our Bedford showroom for a visit and browse mouldings of the highest quality that no other supplier can offer. Relax with a coffee and our expert team will be on hand to guide you through L-J’s moulding collections.

Contact your area manager or call 01234 852777.

Larson-Juhl’s mountboard is unrivalled for quality and choice. The range meets the requirements of the most stringent conservation jobs to everyday, budget mounting. The full manufacturing process happens in the beautiful English county of Cumbria, made with sustainability at the heart of the factory.

The Fine Art Trade Guild’s four levels of framing make it easy for you to identify the qualities of our board and levels of conservation. You can order a free Larson-Juhl mountboard selector on the website or to see the full range pay us a visit for a coffee and chat about mountboard!

2024 is a very exciting year for the dynamic Ruth Stone, owner of Limited 2 Art in Retford, Nottinghamshire. 4walls caught up with her to find out more.

unturned No stone

unturned

Ruth is celebrating 20 years in business and will shortly be moving to a prestigious new location that she will own outright. She says: “A number of publishers have told me that this is going to be one of the biggest galleries of its type in the country – no pressure! It is an absolutely awesome space, though, so I do have very high hopes!”

The new building, which is listed, will feature art on three floors as well as housing a viewing room, where customers can study their potential art purchases in relaxed comfort, and also a framing consulting room – which will allow all three elements of her business to thrive: the gallery, picture framing and publishing.

The gallery and picture framing are the established areas of Ruth’s offer. She has built up a very loyal following and an eclectic collection of talent. Indeed, 4walls was delighted to see that a number of Ruth’s gallery artists have featured on the front cover of the magazine including Edward Waite, Danny Abrahams and Leigh Lambert. Ben Jeffery who painted the awesome ‘Mr Shelby’ on this issue’s cover is now added to that list.

Ruth framed in a giant Hampshire moulding

Ruth’s current gallery

Martin Reid’s adorable elephant

In terms of publishing, this started in lockdown. Ruth explains: “I first noticed Tracey Krupianka on Instagram. Her colourful, uplifting style is really stunning and she was posting one painting a day as a sort of art therapy for all. I am absolutely thrilled to now be publishing her work.”

Ruth often frames Tracey’s work in LarsonJuhl’s classic Lincoln range, which is a personal favourite and really makes the art pop. ‘Trip To The Coast’ and ‘Glorious Dales’ (pictured) are just two examples of Tracey’s stunning work. As it says on her Instagram

page @tracey.krupianka: “I’m a professional artist and I love bright, vivid colours! Love painting bold, happy paintings!”

Martin Reid is another of Ruth’s own artists whose work is absolutely flying – which is not surprising given the example featured here. Martin primarily works in charcoal –the results of which are often mistaken for photography. His quirky two images in one is something of a trademark, which also gets a fantastic reception. These can be seen on Ruth’s website.

Artistic eye

When it comes to framing, Ruth clearly has a naturally artistic eye as some of her customers often just leave it to her to choose what she thinks is the best moulding for the subject in hand.

When Ruth first launched her business she did a two-day course under Mary Evans, a former Fine Art Trade Guild president, and from then onwards she told 4walls: “I just immersed myself in art and beautiful imagery and very quickly became a self-confessed framing nerd! I just love my mouldings!” Ruth’s framing clientele clearly love this about her as they have followed her to five different premises! She continues: “The best thing about my customers is that many have become friends. I get invited to weddings, birthday parties, and sadly, also funerals – but that is the point. My relationships with my customers are genuine”.

Not surprisingly, word of mouth plays a key role in Ruth’s marketing. From one early customer, who was in the Police, she has accumulated 15 other customers!

Other tactics include social media and ‘Meet the Artist’ events, which she runs four to six times a year and brings benefits to all sides of her business.

Back story

Prior to Limited 2 Art, Ruth spent eight years in retail management for a huge high street brand and this was followed by 15 years in professional fundraising. Both of which gave her a brilliant foundation for her current career. Ruth’s husband, Wayne, now works alongside Ruth, bringing a range of complementary, practical skills that are perfect for an expanding business.

Throughout her 20 years in the art world, much has changed but one constant has been Larson-Juhl’s area sales manager Richard Clayton, who she really values. She says: “Richard’s product knowledge is very, very good and he has of course got to know my business really well – so I trust his judgement and respect his views. He will know what new products I will love, although I have to say I do have a few perennial favourites too, like Confetti, which given the rise in demand for colour, is perfect!”

Tracey Krupianka’s ‘Glorious Dales’ in Lincoln 473000107

Tracey Krupianka’s ‘Trip To The Coast’ in Lincoln

LARSON-JUHL

Many of Larson-Juhl’s premium mouldings are made at our Lira manufacturing plant in the Czech Republic. The site started life over 140 years ago and got its name from the two initial syllables of the words ‘mouldings’ and ‘frames’ in Czech.

Lira has a wonderfully rich history in the framing world having been founded in 1880 by a man named Leonard Schönbauer, who manufactured gilded picture mouldings. In January 1881, he started production in a newly built factory in Domoradice on the outskirts of Český Krumlov. Over the next 12 years, his business grew to employing nearly 100 workers with products sold all over the world, and the outstanding quality of these ranges was recognised with a number of international awards throughout the late 19th century.

Fast forward to the 1960s and 70s, Lira continued its rise to fame and became the largest manufacturer of picture mouldings and frames throughout Europe, exporting more than 50% of its production to England, the Near and Middle East, Germany, the US, Spain, Australia, Canada and Scandinavia.

Lira was privatised in the mid-90s and their largest customer, the English Magnolia Group, became the majority shareholder. Magnolia was later bought by Larson-Juhl in Atlanta, providing further opportunities for Lira to build on its global reach and then in 2019 Lira adopted the Larson-Juhl name.

Let’s take a look at this site’s incredible pedigree and its legendary production process. Quite simply, it begins with the purchase of wood and ends with the sale of products, using both modern machine technologies as well as classic manual procedures based on historic traditions.

The sawn timber is stored in a wood warehouse according to a strict layout, and by thickness and dimensions. The timber retains its bark to eliminate cracks and is left to dry naturally to achieve the best quality parameters before going into a mechanical dryer.

In the dryers, the wood loses its residual moisture and any unwanted ‘tension’. A gradual and gentle drying regime was chosen based on years of experience.

3. Wood warehouse

1. Purchase of wood

The production cycle of mouldings and frames begins in the forest. The purchase of trees is the responsibility of our specialist wood buyer, who oversees the quality and grading of the raw material and then buys in accordance with our sustainability certifications.

2. Log cutting

The sawmill is equipped with frame cutting technology. For maximum use of wooden logs, they are sawn with a single cut.

4. Kilns

The timber is further processed into battens. Defects are detected by a scanner and then cut out with an automatic saw. The battens approved for production are then milled, finger-jointed and glued back together to make our 3-metre lengths.

Operations such as applying metal leaf, patinating, lining, brushing and other operations requiring skill and expertise are performed on the prepared surface of the length.

A thin film with a large variability of designs is applied to the bar. This also includes machine pressing of ornamental finishes.

Paints, varnishes and patinas are applied to the finished length.

Sustainable Manufacturing

This site has a closed production cycle. All wood waste is reprocessed into briquettes or incinerated in the boiler room. A briquette is produced by pressing wood waste under pressure and temperature without the use of glue.

MANUFACTURING

This closed technological cycle is one of the many elements that sets this factory apart in the industry.

The Larson-Juhl brand offers an unrivalled premium collection, manufacturing 20 kilometers of picture mouldings every day!

5. Making an infinite join

6. Profiling and sizing

The length-adjusted battens are glued further in the assembly line to form an outline form, and then profiled into a shape that is checked by a calibration sheet and metal template.

8. Hand finishing

9. Machine finishing

10. Spraying

7. Gessoing

A thin layer of chalk, kaolin and glue is applied to the wooden bar by extrusion through a precisely machined steel template so that the perfect surface for finishing the length is produced.

Foamboard – More than just a framing essential

A MASTERCLASS WITH JON PRICE GCF (APF)

I know that foamboard doesn’t appear to be the most riveting subject. I don’t imagine that my extolling the virtues of Larson-Juhl Premier Foamboard during a Friday evening at the Dog & Duck, would hold my fellow drinkers enrapt, their pints and pickled eggs all but forgotten. But, bear with me. Although, for many of us, foamboard is a framing essential, we can forget the creative opportunities it offers. When it’s done right, creative means adding value for the customer and increased job satisfaction and higher profits for the framer.

The boring bit

Foamboard is made from facing papers and inert (not chemically reactive) polystyrene. It comes in three colours: white, black and grey, and in 3mm, 5mm and 10mm thicknesses. Approximate sheet sizes range from 760 x 1000mm to 1.5 x 3 meters. What makes foamboard such an essential is that it is lightweight, rigid and versatile. It’s easy to cut and store and it’s inexpensive. The ‘facing papers’ used on foamboard include standard, conservation, polyethylene coated, aluminium coated, kraft lined, self-adhesive and drymount adhesive. So, depending on the type or combination used, foamboard can be particularly resistant to humidity and temperature changes. It is ideal for dry mounting large inexpensive artwork and excellent as a strong, lightweight backing board. Foamboard is also particularly useful when it comes to framing textiles and is the basic component for many textile support techniques. There are more practical applications, such as sink mats and fillers. But what I want to draw your attention to is foamboard’s creative applications.

Shadow mounts

A shadow mount is a mount, or mounts, that have been lifted up away from the artwork, by means of a hidden spacer. This gives the effect that the mount is hovering above the artwork. The spacer can be placed between mounts or between the mount and the artwork. A shadow mount can be utilised when artwork requires increased space between it and the glazing, or when you want to add visual interest to a frame’s design (see my article ‘Adding Depth to your Frame designs’ in Issue 45). The lift can be subtle, using a single layer of mountboard as the spacer, or it can be more extreme. Which is where foamboard, with its different thicknesses, comes in handy. I often use shadow mounts as a way of increasing the space between artwork and glazing on both 3-D textiles and float mounted art. A shadow mount is also useful when framing pastels, where the minimum airspace between the pastel and the glass should be at least 5-6mm.

A subtle shadow mount, spaced with 3mm foamboard

Float Mounts and spacers

Float mounting provides two opportunities to make use of foamboard. The most obvious is as a spacer between the artwork and the undermount. You don’t have to lift the artwork in this way, but the shadow effect adds interest, and particularly enhances deckled edged paper.

When ‘floating’ artwork, you need to find a way to maintain airspace between the art and the glazing. If you have floated the artwork with a spacer, or the artwork doesn’t sit flat, a single mount is unlikely to be adequate, unless it is shadow mounted. Another option is to use spacers which

sit in the rebate of the frame, between the undermount and the glazing. Larson-Juhl sells a good range of spacers. However, pre-made spacers tend to be made from either wood or plastic and are generally available in bare wood, white, black, or clear plastic. Although pre-made spacers are useful, they do limit your options. In my opinion, a spacer that doesn’t match the moulding, or the mountboard, colour and texture looks terrible. This means, using a pre-made spacer limits you to using a frame moulding with a matching colour and finish. Another option is to make your own frame spacers out of foamboard faced with mountboard. This means you can match a

Lining boxes

The mountboard/foamboard spacer technique that I explained above can also be used for lining the sides of a box frame, for example when framing a 3-D object. When you build a box on to the back of a frame the box construction can protrude out beyond the frame’s lip. To hide it, it is usual to use a window mount against the glass and, if the box is quite deep, to hide the internal sides of the box by constructing the type of spacers described above. A really effective variation on this is to sit the spacers further in to the frame. Have a look at the framed roses in the picture and you’ll see how the sides of the box have been brought in. The roses were from a funeral and had been hand dried. Some petals had fallen off and would continue to do so. I wanted to make this a feature, rather than a problem. So I brought in the box sides to display the fallen petals. In the other pictures you’ll see how I used foamboard layers to space and support this ‘box within a box’.

I wanted to bring the sides of this box in to display the fallen rose petals. Layers of foamboard, glued together to form blocks, supported these sides

spacer to the frame’s mount, instead of the moulding, which frees you up to choose from a much wider range of mouldings. Of course, you don’t have to match the mount. You could contrast it. You also have the advantage of being able to make spacers to any depth and of making them with conservation materials. Most frame rebate lips are around 6-8mm wide, making 5mm foamboard and 1400 micron (1.4mm) mountboard the perfect thickness for a spacer. These can then be glued inside the frame rebate, holding the glazing in place, before placing the float-mounted artwork in position.

Ref: 999010608

Float-mounting adds depth and enhances deckled edged paper. Here I’ve used 5mm foamboard as a spacer between the undermount and artwork

Deep bevel mounts

If you have the right tools, such as a Keencut mount cutter, you can bevel cut foamboard, up to 5mm thick. This makes foamboard ideal for deep bevel mounts. Here are some ways of producing these.

Bevel wrapping tape, aka mountboard cover paper, is self-adhesive and comes in rolls approximately 50mm wide. The colours available are normally white, off-white, black and gold. You can produce bevels up to approximately 40mm deep by layering bevel cut foamboard and covering it with bevel wrapping tape. In the example pictured I have used three layers of 5mm mountboard, giving me a 17mm bevel. Effective, isn’t it? If you’d like to create your own deep bevels using bevel wrapping tape take a look at my instructional video: https://larsonjuhl.co.uk/larsonjuhl/masterclass/videos.

Well done! You got through an entire article on foamboard. I’m hoping that it was more interesting that you expected. I suspect that, whilst reading this article, many of you were thinking that it’s all well and good knowing about these creative ideas, but ‘how do I sell them?’ and ‘customers won’t want to pay for them’. The answer is simple. Lots of framers do sell more creative ideas and charge a profitable amount for them. The way to sell them is to display attractive examples and make up chevrons. I’ll set you a challenge:

The only disadvantage of bevel wrapping tape is the limited range of colours it comes in. However, my second option circumnavigates this issue. This time, once you have bevel cut the foamboard, paint the bevelled edge with acrylic paint. With this technique, avoid layering the foamboard because the layering is too visible. This limits you to 5mm deep bevels. However, if you feel the need for very deep colourful bevels (and who could blame you?) you can combine these two deep bevel methods by bevel wrapping layered foamboard and then painting it.

make one creative chevron, for example, an off white deep bevel mount chevron. Price it according to the time and costs involved and present it to your customers at every suitable design opportunity. Bet you sell some!

Jon Price GCF(APF) owns www.pictureframingtuition.uk, offering industry leading framing tuition and business consultation. He has over 25 years’ professional training experience and is a

Fine Art Trade Guild Accredited Trainer. Jon has run his own framing business for more than a decade, during which time he has framed for world renowned museums and exhibition spaces, as well as the works of internationally recognised artists, photographers, designers and musicians.

www.pictureframingtuition.uk

17mm deep bevels, utilising three layers of 5mm foamboard and bevel wrapping tape

Bevel cut foamboard painted with acrylic paint

Ref: 999010602

FRAMES OF THE HIGHEST RANK

When framing first sparked an interest for Kenney Murray back in 1993, he never dreamt that his much-loved hobby would lead him to the successful, independent business that he is the proud owner of today. As a team of just one man and his dog, Kenney has built an excellent reputation for Elite Framing in Cupar, Scotland, and most importantly, has thoroughly enjoyed every minute of it.

With 30 years of experience and a ‘never-say-no’ attitude, Elite Framing has become the preferred choice for a wide range of customers, from those looking to frame a family heirloom, to local artists and photographers.

Larson-Juhl has supplied Elite Framing for many years, and Kenney has found this relationship to make all the difference. Having a pleasant, attentive and knowledgeable area sales manager in Robert McKeown really sets the basis of a great partnership.

Kenney has a true passion for his line of work, with each customer presenting a new challenge, often putting his skills to the test. His Royal Air Force background makes him the framer of choice for a large amount of military commissions, especially for those feeling apprehensive of who to trust with their valuable or sentimental pieces.

People trust Kenney’s instinct and ability to create an exceptional final product, no matter the request. In recent months, a local customer set the task of framing military memorabilia in honour of a family member and was even moved to tears in the showroom when they saw the final piece.

As an independent business, Elite Framing has found its reputation to be a vital asset, so word-of-mouth referrals stand out as the most effective marketing strategy available. A considerable amount of work comes from RAF recommendations, so Kenney often finds himself sending framed military prints, certificates and medals to bases all over the UK.

These referrals work both ways, particularly in support of local artists such as Gordon Corrins, who creates incredibly lifelike wildlife paintings and regularly has airbrush and scratchboard paintings framed at Elite Framing. Kenney is continuously impressed by Gordon’s work, which he loves explaining to customers while proudly showing them a painting of his dog, created by Gordon after seeing a photo canvas of Paisley during a visit to the studio.

Looking ahead

It’s no secret that picture framing is a luxury that some may have to live without, and the cost-of-living crisis has certainly not helped in this respect. But up in Cupar, business has been positively relentless since the Covid pandemic, with a steady flow of customers running alongside the expected seasonal peaks. So, future hopes are high for Elite Framing, but Kenney’s perfectionist approach, which he owes to his engineering background in the military, makes him hesitant to share his workload, and is therefore balancing his aspirations to grow with his enjoyment of running the business alone.

Despite this, he does see the advantage in the recent shift towards a younger generation taking an interest in framing and joining the industry – an opportunity for independents like Elite Framing to gain fresh, new perspectives and customers alike.

www.eliteframing.org

Elite Framing owner Kenney and his dog Paisley

Owner Kenney with the extensive chevron display at Elite Framing

Artist Gordon Corrins with a selection of his lifelike wildlife pieces

A selection of military memorabilia commissions 890073880

Chevron displays are a brilliant way to showcase a wide range of mouldings in a showroom. They provide real-life examples for customers to truly understand and visualise their options and, more often than not, customers leave with an entirely different product to the idea they arrived with, having had the chance to explore a more expansive range of possibilities than they had ever dreamt of initially.

There really is no substitute for seeing mouldings in person and chevron displays work to elevate the customer experience, giving people far more involvement in the consultation process. The size, shape and layout of each gallery and studio is, of course, different and luckily chevron displays can be adapted to suit whatever that may be.

Given their undeniable value, it’s important for these displays to be as prominent as possible to customers. Many framers choose to have their chevrons displayed on fixed boards behind the counter which has proved to be a neat and concise way to display them. However, others – especially post-lockdown –have found themselves looking for alternatives that remove the physical barrier and encourage customers’ curiosity.

Chevrons under the spotlight

Having chevrons within easy reach for customers to actually touch and feel can put them at ease when making their purchasing decisions which, in turn, can considerably boost your sales. In particular, certain elegant, detailed ranges like LarsonJuhl’s Signature can have even more of an impact when touched as this gives an insight into the quality and work that goes into the making of each moulding.

Some larger showrooms have a centre counter where customers can handle frame samples themselves, empowering them to get involved in the process and leave with a piece they feel is truly theirs. Others, like Brampton Picture Framing in Chesterfield, have opted for more unusual and innovative ways like large panels on tracks that can slide back and forth – a great option to save space while still displaying an impressive range of stock.

A chevron display with an artwork example of the Larson-Juhl Linden range Ragdolls’ wall-mounted flip boards

Brampton’s showroom has many space-saving strategies likes these wall-mounted monitors surrounded by their chevron displays

4walls caught up with Rebecca Jacques from Brampton Picture Framing, a business that started with buying and selling paintings back in 2002, and then naturally progressed into the world of framing.

Our ethos is to cater to as many people as possible, whether you’ve got a Damien Hirst print or a cross stitch for your first grandchild, everyone gets the same service.

With a great variety of clients from photographers and artists to hobbyists, they have a huge target audience for which they provide a true end-to-end service. “Encouraging a customer to return by providing them with a great service is easier than acquiring a new customer,” says Rebecca.

A core pillar of their excellent service is the vast range of frames they have to offer at Brampton. Despite the relatively small showroom, Rebecca and her husband have hundreds of LarsonJuhl frames in their chevron display, all of which are velcroed to carpeted walls to enable

customers to touch as well as look, and have really packed a lot into a small space, offering customers as much choice as possible, from traditionally classic or ornate, right through to modern and contemporary frames.

Rebecca told 4walls: “Some people come in and love it, some aren’t sure where to start but that’s where our training and experience comes in, as we take the time to help them narrow down the selection to maybe two or three mouldings, in order for them to make the final decision.”

They also regularly display pieces of artwork on an easel in the showroom to give a real-life example, most recently with one from the Larson-Juhl Linden range. (Pictured on opposite page.)

Ragdolls Fine Framing

Another extensive chevron display is housed at Ragdolls Fine Framing, a bespoke framer in Horsham. Their outstanding reputation spanning 30 years brings

them loyal, regular customers that come back time and time again. A great deal of their initial custom actually comes from passers-by who are often drawn in once they’ve spotted the chevrons.

Similar to Brampton, the Ragdolls showroom is fairly small, which has landed them with a chevron display initially born out of necessity, that now serves them incredibly well. The display is central to the working space and allows for customers to start serving themselves – in fact, they are encouraged to do so.

The chevrons are hosted on wall-mounted flip display boards so customers can easily flick through them and browse hundreds of different mouldings, all neatly grouped by colour. This unusual format is not only space saving – and not to mention extremely tidy – but it also empowers customers to remove the velcroed chevrons and have a look for themselves.

The potential for chevron displays really is phenomenal. We have featured a few examples but we would love to hear from customers with your own preferences via our social channels. If you would like any help with your chevron displays, please contact your area sales manager or call the customer service team on 01234 852 777.

Brampton Picture Framing

Ragdolls’ wall-mounted flip boards

Brampton’s sliding chevron panel and slip display

The central working space where customers can start serving themselves

New mouldings on display in the Brampton showroom Ragdolls’ selection of mouldings grouped together by colour

Croft Design Studio, based near Milton Keynes in Buckinghamshire, is a business that has a proven track record in premium commissions and they share some of their strategies in this feature.

The team pride themselves on providing hand-crafted artwork and framing for the interior design industry across the hospitality, property and care home sectors. By building a close working relationship with his customers, director Steve Armstrong really understands their ways of working which allows Croft to procure the best bespoke artwork and frame solutions for every job – while always having a focus on offering the highest grade quality materials. They also offer their own personal delivery and installation service carried out by professional installers.

Upselling is a theme often featured in 4walls and for many framers this is an excellent way to increase profitability while adding value to the customer at the same time.

Upselling by design

Back to black

While many customers’ go-to moulding choice is black, there are still ways that added interest can be brought into play to increase the value of the job both in terms of perceptions and charging. One of Steve’s recent favourite examples is introducing Portico I 310502002 from the Larson-Juhl Collection. “This lovely moulding really lifts the artwork and makes a statement about the calibre and charisma of the art,” he told 4walls.

Metals are another trend that is getting traction. Petite from Signature range is fulfil this type of

TwentyFive Marylebone - credit Burbeck Interiors

Art by Rajan Seth

Portico I 310502002

Upsellingdesign

another interesting getting considerable from Larson-Juhl’s is a great way to commission.

Jumping on trends

“We are seeing a big demand for oak, walnut and other natural woods in interior design at the moment,” Steve told 4walls, “so it is great to be able to offer mouldings like Touchwood Walnut Veneer from the LJ Collections range which provides a great opportunity to upgrade the framing process and deliver more profit.”

Steve continues: “It features a pine moulding with a metallic finish and is also PEFC accredited. Those customers with a strong sustainability agenda really appreciate these ranges. Anvil is another Signature product with these credentials.”

Foiled float frames from the Larson-Juhl Collection are another solution when there is a requirement for a metallic look – again bringing a premium feel and a higher margin. The Touchstone range in LJ Collections is also a popular option for those looking for a quality stone finish.

Premium glass

Steve’s gallery clients are particular fans of premium glass, as you would expect, but he believes it is always worth offering UV or even conservation grade protection for art or memorabilia with high sentimental as well as financial value.

Original art

There remains a big appetite for original work and Steve’s artists cover a broad range of styles for his customers to choose from. Framing this work in premium mouldings again helps to upsell to the end user in a very appropriate way – float frames being a great example.

Showhomes

While some parts of the property market are facing challenges, this is less the case in the luxury sector which is a core area for Croft Design Studio. A penthouse showhome featuring their work recently appeared on Britain’s Most Expensive Houses and clearly anyone operating in this bracket is potentially looking at significant margins on top-of-the-range commissions.

Steve leads a team of dedicated staff members, many of whom have been with him for over 20 years. Having joined Croft in the year 2000, he has since risen to the role of director. Among his proficient team are four workshop staff, two artists and two office members responsible for order processing.

Steve’s area sales manager is John Green, who ensures he gets to see all the latest ranges and particularly the lines that are most relevant to Croft Design Studio’s markets and offer the most scope.

upselling

Queens Gate Terrace - credit Burbeck Interiors

Left to right – Melissa Cronin, Sam Hill, Helen Baston, Steve Armstrong, Barry Chilton, Stuart Nunn, Vishal Valambhia and Rich Sunderland

Ironbridge Fine Arts & Framing (@ironbridgefinearts)

CUSTOMER CONTENT

4walls loves to see Larson-Juhl mouldings used on beautiful and unique artwork from far and wide. This issue’s product showcase holds a stunning variety of pieces and frames from a broad spectrum of valued Larson-Juhl customers.

These QR codes will take you directly to our Facebook and Instagram pages.

Beckett Framing Company (@beckettframingco)

Miles of Frames (@milesofframes)

This outstanding artwork has been created by award-winning British textile artist Claire Mort. Named the ‘Suffragettes Courage Bra’, this detailed piece of needlework has been stitched to mountboard and framed in an ultradeep, detailed gold Imperial moulding – 683IG with fitting Suffragette green and purple Confetti

slips. The piece is multi layered – you have the women, what they represent, the bra, the text and the targets.

Dorset Framers (@dorsetframers)

Beckett Framing Company named this Larson-Juhl Essentials 756287000 moulding as one of their favourites, which is why they chose to use it on this stunning original art piece.

coloured

This matte white Andover II – 237126181 is the perfect moulding to showcase Sarah Keelings’ canvas painting. Framing the artwork beautifully and giving it a floating appearance.

This perfect pairing uses Anvil II – 289630 Larson-Juhl moulding and white mount to house a stunning piece by artist, Suzi Leclercq, showing the tools of the trade.

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Gallery

This beautiful horse portrait by Isobel Emmett has been framed in a black frame with gold bevel from the Larson-Juhl Soho range – 334086. The use of a black mount with a crisp, white bevel gives a truly luxurious feel to this artwork.

This unique piece of lego art was released for the 60th anniversary of The Rolling Stones in 2022. Zanart Framing’s customer wanted it to really stand out, and this simple deep box frame with a spacer really does the job while keeping the piece well protected.

Faam Picture Framing

Faam Picture Framing used one of their favourite framing methods for this piece, the floater box frame in Ponti – 208503740, giving the appearance that these two pages of Oliver Twist are floating inside the frame. A carefully selected linen mount complements the delicate beauty of this piece and UV-filtering provides extra protection.

Picture This Art & Framing has been carefully restoring a collection of old oil paintings and giving them a new life, finishing off with a coat of varnish and new, Larson-Juhl gold Fenice – 464502 frames.

Any framer knows that picture framing is more than “just” four pieces of wood, but getting those cut correctly is fundamental to ensuring the quality of the finished frame. The Morso isn’t the most glamorous piece of equipment but it is vital. Which is why, when we are training the Larson-Juhl Scholars, we always start by focussing on it.

Often a Morso is sited below racks of moulding or other places with less-thanideal lighting. Reading and setting the stops correctly is essential to accuracy, so if the overhead lighting isn’t ideal, this can be supplemented with a more directional lamp, whether free-standing or one that clips onto a shelf. Being able to fully utilise the full length of the left and right-hand supports means you can be more efficient with cutting – but if that isn’t possible then some framers resolve this with a hole punched through a wall to feed moulding through for the first cut.

Correctly sharpened blades are essential. They must be hollow ground and with enough cutting face to ensure they are deep enough to cut correctly.

Many new framers are reluctant or wary about changing blades. We demonstrate for the Scholars a tried and tested method that ensures careful removal and refitting and setting of the new blades.

MAKING THE MOST OF YOUR MORSO

Jo and Alec Palmer, both GCF(APF) Adv from The Framing Lot in Dawlish, have joined the 4walls editorial team. They will be sharing insight and advice going forward and this series starts with a look at the Morso.

Adjusting the fences can close up any gaps that appear in the front or rear of the cut angle when you pin the frame together – this can be a common problem; when teaching Alec has made a small guide to illustrate this. Because, as all framers have discovered, an error that can be “hidden” when pinning the first mitre, becomes four times larger by the final mitre leading to open corners and a weak joint.

When training, it has been clear that many new framers struggle to adjust the rebate supports correctly. This is much more about the “feel” and it is good to practice until you feel the support “kiss” the underside of the rebate. It shouldn’t bear up against or move the moulding.

Learning the Morso Dance comes with practice – moving the rebate supports and adjusting how you hold and support the moulding for each cut as you move the blade head. A bit like learning to drive a manual car, at first you can be all fingers and thumbs and tripping over your own limbs. But after a while you just do it without thinking about it.

About Jo and Alec Palmer

This husband and wife team launched The Framing Lot in Dawlish in 2006. Between them they have over 50 years’ experience as bespoke framers and industry educators. Today, their base is a large specialist workshop where they cover all aspects of the framing process, and have achieved an enviable reputation for first-class service. They both hold the Fine Art Trade Guild’s Certified Framer qualification, along with all three Advanced Accreditations – Conservation Framing, Textile Framing and Mount Design & Function. They are Guild Examiners, members of the Guild’s Framers Committee and Guild Accredited Trainers. They offer a full range of specialist training and business consultation as part of PictureFramingTraining.com.

www.theframinglot.co.uk

www.PictureFramingTraining.com

Alec’s teaching aid –to visualise how moving the fences adjusts the cut Holding

Alec Palmer Jo Palmer

Changing

Directional lamp for additional light when setting stops

THE BOYS DUNN GOOD

Paul Schnellmann is Dunn’s laboratory manager and one of his favourite talents is Warren “Woz” McCabe-Smith and his collection of celebrity portraits and VHS creations.

Woz (44) graduated with a first class honours degree in Fine Art and he initially worked in a video store but after five years decided to follow his creative instincts and become a professional artist. Initially, he did celebrity and pet portraits. He was hooked on films by this time though and had a collection of around 2,000 VHS tapes: “I love the sound of a VHS engine playing – it’s like a real film showing!” Then he had the idea of using them in his art…

Dunn’s Imaging has a long and highly respected history of photographic work alongside framing services for the likes of Etsy, Not On The High Street and an impressive portfolio of artists.

After considerable experimentation, he cracked the right formula in terms of sealant, paint and how to best work with the plastic VHS cover.

Woz receives commissions alongside his own preferences when he will pick a freeze frame image that he thinks would make a fabulous painting – which is generally a celebration of that production. The actual VHS tape is then paused at that place with the scene then recreated on the cover/s.

Each piece is framed in 619167000 float moulding, which is supplied by Dunn’s Imaging complete with linen tape and a metal bracket to hold everything together. Woz then applies Danish oil to bring out the grain in the wood.

Today, Woz works out of The Art Yard in Cradley Heath alongside other creatives. About 50% of this iconic work is sold online and 50% from the gallery. He also runs weekly art classes.

619167000

More information is available at: www.dunnsimaging.co.uk www.wozart.co.uk

You can also see more of Woz’s work on Instagram @wozartist.

Indigo Art specialises in creating artwork schemes for a wide variety of clients from all over the UK, Europe and beyond – from hotels, bars, pubs and cruise ships to care homes and offices. The team there is known for its creativity, diversity and resourcefulness and they use numerous Larson-Juhl products in their projects. Chrissie Granger is one of their associates and in this feature gives us some fascinating insight into current and emerging trends in terms of framing in the context of interior design.

“For interiors, the green and botanical/ biophilia trend has certainly endured but we are seeing warmer and more earthy tones in the greens and complementary colours, such as olive greens, burnt ochre and terracotta. These colours lend themselves to pairings with brass metal frames and more gilts in terms of accessories.

TALKING TRENDS

“The demand for natural materials and finishes is also continuing at the luxurious end of the spectrum – reflected in the specification of cotton, velvet, heavy linen, and wool boucle fabrics.

“The impact on artwork has translated to softer finishes with less heavy frames. For example, if we use a black moulding, they tend to have a visible timber grain rather than a solid painted finish.”

Chrissie Granger

Classic black mouldingswith a twist

Looking for longevity

“Classic and timeless frames remain popular and we are even seeing contemporary and very modern artworks framed in more traditional frames for longevity. For example, for The Gate project in Aldgate, we commissioned a photographer to take photographs of the local street art and graffiti, and these were framed in black frames with an inner gilt edge so the contemporary and edgy subject matter could be delivered in a classic and upmarket way.”

Some of Chrissie’s other recent projects featuring LJ mouldings include The River Restaurant in the Lowry Hotel, where she used brass metal frames with accent pink and red mounts for interior designers Goddard Littlefair.

Another example is Horwood House, which again used brass metal frames and jewel-like tones for the framed artworks from the Petite I and II collection.

Braver choices

This year, Chrissie expects the trends described above to continue but is seeing braver choices being made on framing and mounting. She says: “As there are so many readily available black and white frames on the high street, there is an important need to differentiate interior spaces from those you would have at home, to provide luxury, elegance, and an elevated experience from art for the home. This is evidenced by more colour – I feel like there has been a reverse reaction to the grey interiors of a few years ago.” “

I am also noticing a demand for earthy and neutral colours as we look to nature for grounding, and a move away from a throw-away culture for art that will endure and last.

Sustainability

“Sustainability is hugely important to us as a company, and there are a number of best practices we have put into place as standard. For example, our paper, mount and boards are FSC certified, and we only use water-based inks. Larson-Juhl has an excellent range of PEFC and FSC mouldings to support this.

“There is a lot of talk in the industry about ‘designing for dis-assembly’ to ensure materials are not mixed during production so they can be recycled at the end of their life. Framed artworks are the perfect example of this as they can be 100% constructed from recyclable materials and easily separated into their component parts from the glass and timber frames down to the metal security fixings for recycling.”

Background

Chrissie joined Indigo Art in 2018 and has now worked in the commercial art sector for nearly 15 years.

In terms of sources of inspiration, Chrissie loves the opportunity to view artists’ work in the cities where they lived and worked as it provides context for the creation and choice of colours and scale.

She never misses the Royal Academy Summer Exhibition. She says: “I love the abundance of art and the maximalist way all the pieces are displayed. It feels like such a celebration of the discipline of art and sculpture, as if saying, look how much new talent is out there, we’ve had to squeeze out as much wall space as we possibly can to fit everything in!”

Lowry, Manchester

Classic black mouldings - with a twist

Horwood House

LATEST LAUNCHES

Larson-Juhl has launched ten new ranges in recent months and here we showcase all the different options – something for everyone!

CLARK

Clark by Larson-Juhl, is an innovative new aluminium range that seamlessly blends aesthetics, quality, and contemporary design. With a stunning collection of profiles and finishes, crafted with the utmost precision and excellence, Clark float mouldings redefine the art of framing, providing the perfect canvas showcase for your masterpieces.

LINDEN

Our Linden collection is more than just a decorative accent; it’s an invitation to curate experiences that leave an indelible mark. From earthy tones that resonate with tradition to bold, modern hues that make a statement, our colour selection adds a touch of personal flair to your frames. Linden wood boasts a unique grain pattern, and is prized for its softness and workability, to create frames that are not just functional but pieces of art in their own right.

RUSTICA

Dive into the timeless allure of Larson-Juhl’s Rustica collection, a symphony of rustic sophistication, available in six captivating colours.

SPACERS

Introducing six new paperwrapped spacers. They come in three different sizes and two colours – black and white.

VENATURA

Venatura is inspired by the intricate beauty of wood grain. The name Venatura is derived from the Italian word “grain”, and it perfectly encapsulates the essence of this exceptional collection. This collection offers unparalleled versatility for framing projects of all kinds and is also FSC ® accredited.

KRAFT BOARD

Pure Kraft board 999129000 stands out with its five-layer construction. With a commitment to maintaining a consistent colour throughout, experience the unbeatable combination of strength, consistency and affordability.

COASTAL TRAYS

This style of moulding is called “cassetta”. The term “cassetta” is Italian and translates into “little box”. Cassetta frames are characterised by their box-like structure, featuring an inner and outer moulding separated by a flat frieze or band. This design creates a recessed central panel, giving the frame a distinct profile. These frames were commonly used for panel paintings during the Renaissance, emphasising the artwork within a well-defined border.

BAUHAUS GLOSSY FLOATS

Our Bauhaus Collection, with its glossy finish, adds a touch of modern elegance to your framed piece. These glossy float mouldings come with a specially designed protective film, which not only preserves the glossy finish, but also guards against scratches and potential damage during handling and assembly.

LUSSO

Inspired by the allure of European grandeur and finesse, Lusso redefines the concept of exclusivity, presenting an unparalleled fusion of style and substance that resonates with those who demand nothing less than perfection in every detail. Its sleek design and flawless finishing epitomises the embodiment of luxury, making it an exquisite choice for the connoisseurs of elegance and finesse.

GALLERY

Elevate your framing experience, explore the Gallery range, and discover how the perfect frame can transform your artwork into a gallery-worthy masterpiece. Your art deserves nothing less than the best – and the best is found in Larson-Juhl’s Gallery range of mouldings.

Congratulations to Sallie Pickering of Chaucers Picture Framing in Moulsford, Oxfordshire who celebrates 25 years in framing and restoration this year. She has had many highs over this time, and one of her favourites is framing the work of Morag Caister, who won the Sky Portrait Artist of the Year in 2022.

Framing and restoring art is a significant part of Sallie’s business and in line with this passion for creativity, Sallie supports the RISE charity initiative – part of the Henley Festival, which follows on from the Regatta every year.

RISE supports talented young performers, artists and creative professionals who want to pursue a career in the arts industries, and when Sallie discovered that Morag had been asked to exhibit, she offered to help with framing.

Morag is a London-based figurative portrait artist working mostly in oils and pastel on okawara paper and calico or raw canvas, and up to 1.6m x 1.2m in size!

Sallie decided to floatmount Morag’s work on pale ivory jumbo mountboard with Larson-Juhl’s Touchwood oak moulding 991093115 with a spacer made from foamboard and the same colour mount board.

Having been named Sky Arts Portrait Artist of the Year, Morag’s painting of Sir Lenny Henry now hangs in the National Portrait Gallery. Morag was back on TV last year when Sky invited all its portrait artist winners to paint Dame Judy Dench; although Sallie and her husband Dean’s personal highlight was Morag asking to paint them as a thank you.

Morag was also one of thirty creatives named in the Evening Standard’s Art Power List 2023.

SKY HIGH!

Conservation

Conservation is another key area of work for Sallie and her team of specialist restorers. She regularly receives restoration projects for paper, oil and textiles from private clients as well as institutions such as Stowe School, and The National Trust. Restoring and preparing for framing of a Royal bedspread, large oil paintings from a school chapel, 17th century wall paintings and memorabilia items from past generations are just some of the numerous items that Chaucers have restored and framed – passionate about ‘Caring for tomorrow – today’.

Whatever the job, Sallie’s eye for detail alongside her ability to listen to and understand clients’ briefs means that she is never short of work. She has trained up assistant Scott Green to cope with the volume of commissions, which also include photography and memorabilia.

Sallie started her working life in catering, then after a stint in Hong Kong she came back to the UK. She had started picture framing as a hobby and been to night school, then while working as an estate agent, she came across a framer looking to sell his equipment. Sallie bought it and the rest, as they say, is history. She undertook a professional conservation framing course and has not looked back!

4walls was delighted to learn that Sallie is buying more and more stock from LarsonJuhl and looks to “the lovely Simon Davies” for advice. She also speaks very highly of the customer service team, stock availability and high-quality product range.

www.chaucersframing.co.uk

Sallie Pickering

Morag and Sallie

Sallie and Morag

Frames in the frame

LARSON-JUHL SCHOLARS

Amy Mayes

Amy Mayes - Black Hut Framing, Farnham

Despite having joined the framing industry just 18 months ago, Amy Mayes of Black Hut Framing in Farnham has impressively landed herself a Larson-Juhl scholarship with the Fine Art Trade Guild.

After serving in the Army for six years, Amy moved on to working for the Royal Household for a further 16 years and then went on to run the private office for the renowned architect, Norman Foster, in the Battersea HQ. Thanks to her underlying passion for creativity, Amy decided on a change of path and built a beautiful framing workshop hut in her very own back garden. “It’s lovely being in the garden – I loved it so much, I decided the whole company had to be built around it, hence the name!” she told 4walls.

Amy recently went on her two days’ training as part of the scholarship, where she learnt a huge amount being immersed in the lives and practices of experts in the field.

“I’m very grateful for the support network you get from the Fine Art Trade Guild”, says Amy as she looks forward to taking her exams and becoming certified in 2024. “Having that recognised standard means a lot and ensures your customers can trust you, and the quality of your framing.”

Larson-Juhl believes strongly in raising the standard in the framing industry, and has been committed to supporting the Fine Art Trade Guild scholarship since 2017.

The scholarship offers two places, twice a year, to help framers achieve the Guild Certified Framer GCF(APF) accreditation. Training and a rigorous exam provides framers with confidence and knowledge to offer the best service to their customers. 4walls chatted to the latest Scholars, who will be looking to sit their exams in 2024.

Jo Nunn - The Framing Gallery, Leominster

4walls also caught up with the successful Jo Nunn, another Larson-Juhl scholar for 2024.

Jo started framing just over two years ago, joining the industry postlockdown where she learnt everything she knows from her dad, Nigel Lewis, the owner of The Framing Gallery in Leominster.

When first working with her dad, it was initially to keep on top of the gallery’s admin, but Jo soon got roped into framing and discovered her new passion. “I just love it, it’s so interesting and different.” she told 4walls, explaining how her dad trained her the exact same way he’d been trained years before.

When first working with her dad, it was initially to keep on top of the gallery’s admin, but Jo soon got roped into framing and discovered her new passion. “I just love it, it’s so interesting and different.” she told 4walls, explaining how her dad trained her the exact same way he’d been trained years before.

Jo found the scholarship course to be an incredibly valuable two days spent down in Devon. “The thing I took from it most was that they really, really wanted to help and encourage – they don’t want to keep the industry secrets to themselves.” Now, having returned to Leominster, Jo’s been able to implement some of her learnings, from small tweaks like swapping to a different type of tape, to larger business changes like revisiting their pricing structure.

Despite the natural nerves, Jo is looking forward to booking her exam in early 2024 and plans to put all of her training into standard practice before that, so that the answers are already in place at The Framing Gallery!

Amy Mayes, owner of Black Hut Framing

The ‘black hut’ of Black Hut Framing built in Amy’s garden

Jo and her dad Nigel

Left to right - Jo Nunn, Amy and Jo Palmer at their scholarship training

MADE IN MARTOCK

Last year, Mandy and Jim Dodd decided to follow their longawaited dream of working for themselves, and with Martock Gallery in Somerset up for sale at the time, they jumped at the chance to take over from the current owners who were set to retire. Well-established for over 30 years, the gallery was the couple’s perfect new challenge.

“I’ve always had a natural artistic instinct,” Mandy told 4walls. Coming from a successful career in financial services, the gallery was a complete change in direction that allowed her financial knowledge and organisational skills to finally marry up with her creative side. Similarly, Jim has always had a passion for creativity, previously working in manufacturing and, more recently, working part-time for a local cabinet maker, as well as creating his own wooden furniture and accessories.

Coming from head of operations at a financial services firm, Mandy brings impeccable organisational and management skills, which, along with Jim’s carpentry skills are now a real driving force behind Martock Gallery’s renowned customer service.

Thanks to a detailed log of every order, Mandy knows the exact moulding, mount colour and glass chosen by every customer. Unsurprisingly, this system makes a real impression and has proven particularly valuable for returning customers and artists looking for uniformity across their collections.

It’s the level of service that people truly love about Martock Gallery, and the more time spent building a rapport with each and every customer, the more involved they feel in the process. “We feel very privileged to frame our customers’ treasured possessions and many are moved to tears when they see the final result,” said Mandy.

Equally, Mandy also told 4walls how she admires Larson-Juhl’s “absolutely outstanding” customer service especially from their area sales manager, Derrick Hicks, whose brilliant support makes her life so much easier.

We haven’t had a single day without a customer coming in for picture framing,” says Mandy, whether that’s artists preparing for exhibitions, or simply people who love their home and want some wonderfully framed artwork on their walls.

As well as framing artwork, memorabilia, sports shirts, medals and artefacts, they also receive a lot of rescue requests – a rewarding part of the job where people often can’t quite believe the new life their piece has been given. A particular example was a large, poorly framed rhino print that a customer was unhappy with, so they brought it to Martock where it was dry mounted, mounted and framed in LarsonJuhl’s Andover II moulding with art glass –and the results were truly stunning.

Best practice

Martock Gallery’s layout includes a gallery and separate workshop, which helps customers understand the various processes that are involved in making their frames. In the gallery, the extensive chevron display is complemented by real examples of artwork framed in available stock, a feature they have found to be useful for customers struggling to visualise what their final piece may look like. The gallery has been transformed and the couple work with artists and artisans predominantly based in the South West of England, offering unique pieces of work for sale.

Whilst the overall framing process remains traditional, the couple have introduced systems and procedures to maximise efficiency and quality – and they’ve reaped the benefits, making over 6,000 frames since June 2022.

They have also condensed their carried stock, meaning they place weekly orders with LarsonJuhl and avoid over ordering.

The couple are fortunate to have the wonderful extra pairs of hands from the previous owners, who despite having sold the business to retire, couldn’t stay away from Martock Gallery and so come back a couple of mornings a week to offer their invaluable 30 years of experience in the framing industry.

www.martockgallery.co.uk

Mandy and Jim outside the gallery the day before they opened in June 2022

A great range of artwork and frames on display at Martock The rhino print rescue request in LJC Andover II 252802471 in black/orange. LJC Linden 363324116 in Lilac

A unique display request from a Martock customer – a joist, covered in bark that needed to be replaced

The Tracy Savage Gallery in Scarborough is the epitome of best practice, dedicated to exhibiting the work of this renowned local and award-winning artist. The gallery is a stunning Victorian building, exhibiting over two floors, in a beautiful interior space with tall windows. Situated in a great location with coastal views, it’s not surprising that the gallery has become something of a landmark.

Popular with locals and holidaymakers in equal measure, Tracy’s work is the ideal purchase to both celebrate and remember the area.

Tracy Savage draws her inspiration from the coastline and landscape. Her paintings are bursting with subjects she finds fascinating, capturing the imagination with her individual and dramatic style.

Landscapes, seascapes, alongside local points of interest feature in her work. Interestingly, only eight or so of Tracy’s pieces are of specific buildings – the theatre and Grand Hotel, for example –

others are a combination of the real and the imagined, telling a story with a nostalgic or subtly humorous twist.

The gallery is run by manager Kaye Hampton-Ashmore, working alongside Adrian Bolland who looks after the printing of Tracy’s limited edition art on canvas and also the framing.

4walls was delighted to learn that Tracy’s framed limited edition prints come in Larson-Juhl’s 513287000 tray frame. Kaye says: “Whether dark or light, Tracy’s paintings are colourful and detailed, so the black textured wood finish provides contrast and enhances the print definition.”

SAVAGELY TALENTED!

Tracy’s story

Born in Warwickshire in 1963, Tracy has always loved drawing, painting and creating from her imagination. She excelled at anything artistic at school and from there embarked on a Graphic Design Technician course. She went on to study Fine Art (Printmaking) at the West Surrey Institute of Art & Design, graduating with a BA Honours Degree.

After raising a family, Tracy worked in the printing industry and later in education. In 2005, by now painting professionally, she opened her first painting studio to the public in Hornsea and in 2013 opened her Scarborough gallery.

Between selling limited edition canvas prints, she periodically sells her original pieces too. Her collection of original works can be viewed privately, by appointment, in her fabulous studio. Tracy has written and illustrated a series of children’s books. Based on two adventurous friends, these stories are both delightful and inspirational. A large selection of greeting cards are also available to purchase at the gallery and online.

Tracy busy painting

‘The Moon’ by Tracy Savage

Tracy Savage

Fine Art Gallery

Kaye at work

‘The Florist’ by Tracy Savage 513287000 513287000

A LL ABOUT TRAINING

Larson-Juhl regularly receives positive feedback from customers about the team’s knowledge and understanding of their businesses, so it’s important that the area sales managers are kept informed about current developments and trends in the market as well as being able to view the world from the perspective of a framer. To this end, the sales team recently spent a day with Kieran McDonald at All About Framing who created a bespoke training session for them.

Larson-Juhl’s sales director Simon Flavill loves nothing more than spending time out in the field and told 4walls that: “The more we as a team immerse ourselves in the world of framing, the more we can support our customers and be proactive with solutions, so this session was hugely valuable and we are massively grateful to Kieran for accommodating us.”

As the photographs show, the sales team got involved in mount cutting, joining mouldings, cutting glass, cutting backing and then assembling.

Responsible for the whole of Ireland, area sales manager Orin Forshaw really enjoyed getting involved at a practical level and said: “This session reconfirmed to me that picture framing is a real craft. It’s an art in itself and should be appreciated for its beauty when done properly – which is not exactly what I did! I will never become a picture framer but I love being a supplier.”

Simon Davies is All About Framing’s account manager and being set an actual challenge taught him a lot, commenting: “While I spend a great deal of time with framers learning about their businesses, attempting framing first hand was a whole new experience. It really was incredibly useful. Thank you, Kieran!”

Training courses

All About Framing offers a comprehensive range of training courses and has taught around 7,000 individuals over the years. Delegates can currently attend sessions at the company’s head office in High Wycombe and also in Manchester but this year Kieran is also looking to launch in Glasgow or Edinburgh, Leicester, Cambridge and Bristol. Indeed, if any framing professionals based in these locations are interested in becoming a tutor, they should get in touch with Kieran (full details on the website).

Kieran’s courses are perfect for those new to the industry. Perhaps you have recently taken on a new member of staff for whom some theory would really complement all the hands-on, dayto-day, on-the-job learning.

While ‘The basics of picture framing’ is a popular course, as is canvas stretching, another busy one is the ‘Art and photography weekend’ programme which is being attended by many artists and photographers looking to frame their own work.

Kieran explains: “The key thing for me is to communicate the principles of framing to ensure things are done in the right order. This saves a lot of time and stress for newcomers – and we can then build from there.

As Kieran becomes established in the new cities, his plan is to expand the offer to include shirt framing, object framing, textile framing and conservation framing.

4walls was delighted to hear that Kieran only uses Larson-Juhl products in his training!

Ricard, John and Simon under Kieran’s eye

Orin, Richard, John and Simon Davies

Course overview

Having attended Kieran’s ‘Basics of picture framing’ course, delegates receive a practical 28-page manual that covers: the components of a frame, choosing a mount, how to plan a mount, how to cut a mount, how to mount a picture, choosing a moulding, how to cut mitres, how to join a frame, how to make a perfect corner, how to cut glass, how to assemble a frame, how to pack a frame and a glossary of terms.

All About Framing also offers guidance on which equipment is best suited to particular uses and levels of framing activity, and all framing materials, tools and equipment can be bought through their website.

www.allaboutframing.co.uk

Left to right - Robert McKeown, Simon Davies, Richard Clayton, Derrick Hicks, Orin Forshaw, John Green, Simon Flavill, Matt George and Kieran McDonald

Simon Davies, Simon Flavill and Derrick at work

Kieran’s tutorial in full swing

Orin, Richard and John Orin at

Kieran McDonald

Larson-Juhl’s ‘Chop Shop’ opened back in 2019 and has since become an increasingly popular option for more and more framers by the day.

Chop has many benefits – especially for those framers with limited space. It allows you to offer a much broader range with the peace of mind that once ordered, stock will be with you the next day. Going the chop route means that you have access to all sorts of additional sizes and finishes – which is a great way to upsell.

WHY SHOP CHOP

Chop also means less wastage which is, of course, better from a sustainability perspective as well as a practical one.

FREE CARRIAGE ON ALL CHOP ORDERS!*

Chop orders, no matter what the cost, do not have a carriage charge. Order with confidence that any moulding of any size will be cut professionally and delivered free of charge. There is no reason not to give it a try! All Chop orders now contribute towards carriage free order values so combine chop and length orders to make up a carriage free order.

Many customers now use Larson-Juhl’s chop service to complement the framing they complete using their own equipment. Having chevrons on display from LarsonJuhl Signature ranges offers premium items for artwork and customers where quality and the price they are prepared to pay is not an issue. It also means more cash profit for you – win win!!

Most framers do not own equipment to cut aluminum so the Clark by Larson-Juhl range is another popular choice to order as a chop item. Clark Singlebrush black 411013123 and Clark Powdercoat white 411022253 are the best sellers.

ALL WOOD AND ALUMINIUM MOULDINGS ON CHOP

Customers have told us that they want to be able to buy all Larson-Juhl wood mouldings on chop and we have listened! Framers can now select from our full catalogue of wood and aluminum so whatever you need our expert chop team will cut it for you. We have also introduced a price cap on the premium paid for chop service on our highest quality, handfinished L-J mouldings such as LJS Prague and LJS Sevilla. So, give them a go for those special jobs where customers want the finest quality. And remember to sell the benefits of the manufacturing process. We have given you a few pointers in our article on pages 6 and 7.

Chop can actually mean considerable cost savings in the long run, as you won’t be buying any more than required for a particular job and therefore don’t end up with paid-for extra stock being held in reserve. It saves on labour costs, freeing up time whilst improving your productivity.

More and more framers are enjoying the benefit of using Larson-Juhl’s state-of-the-art workshop to chop their orders. We operate quickly and efficiently with rigorous quality control in place, careful wrapping, and boxing in tough cardboard to ensure protection.

* Uk mainland only

How it works

For more information, please visit www.larsonjuhl.co.uk/chop-mouldings

When ordering from the Larson-Juhl website, select the moulding you require, then simply click the chop service option and specify the details of your order.

A routing service is available and is particularly useful for joining hardwood mouldings and those too large for a Morso guillotine. Plastic inserts supplied with the chop can then be inserted.

Larson-Juhl’s new Resource Centre is a fantastic addition to the website. This easy-to-use tool contains a host of best practice guidance, training material and videos, helpful industry information, terminology and

Best practices

These are handy guides with useful information on topics like customer service and why relationship building should be a crucial aspect of your business to maximise sales. You’ll also find advice on boosting your marketing and brand awareness, and finding key ways to really stand out from your competitors.

Social media

Social media is a powerful tool for any business when used correctly. This section contains some advice on how you can increase your online presence and brand visibility. The fast-paced nature of framing can make it difficult to plan content and schedule your social media posts, so you can also find a few tips on how to maintain your activity and keep your audience engaged.

LARSON-JUHL

WEBSITE RESOURCES

standards. You can also find back copies of 4walls magazine.

Over the years, Larson-Juhl has built up vast amounts of expertise, so the new Resource Centre is an excellent way to share this

Framing

Here, you’ll find the Fine Art Trade Guild Four Levels of Framing, an essential resource for framers and artists alike.

experience and give extensive and varied support to customers.

If you haven’t visited already, here’s what you can expect to find:

Top tips

This section offers some industry expertise specifically for shop design. There are many variations of layouts and structures across the framing world, but there are some essential basics that can help create engaging spaces and make the most of your shop, studio or gallery. These top tips cover everything from chevrons and design counters, to successful and inviting window displays.

Videos

You can always take a break from reading to watch the range of videos available. Whether you want to know more about Larson-Juhl’s history or certain manufacturing processes, a selection of informative videos can be found here as well as links to thorough, how-to videos on all things framing.

Mountboards

Last, but certainly not least, here you can access the Fine Art Trade Guild’s Quality Standards for Mountboard to keep as a useful and accessible reference whenever you might need it.

Head to www.larsonjuhl.co.uk/larsonjuhl/ resources to see how your business can benefit from the Larson-Juhl Resource Centre.