Picture Framing Magazine - August 2019

EMAIL MARKETING SUCCESS PROFITABLE PRICING FOR GLAZING NEW PRODUCTS FOR FALL

Contents

PFM is a member of:

Volume 30, Number 8

PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders

On the Cover There's no better time to stock up on the latest in framing materials and equipment before the fall and winter holiday rush. In our New for Fall Product Showcase, top suppliers highlight their newest innovations to hit the market. To view this special six-page showcase, see page 36.

Features 24 Gold in Interior Design

Columns 12 28 18 32 46

The Mat Doctors Retailing Success Marketing Methods Successful Retailing Panel Style Snapshot

12

Departments

46

8 10 30 36 42 44 45

18

Editor’s Note Industry News Crossword Puzzle Product Showcase Distributor Spotlight Index of Advertisers Calendar of Events

24

Picture Framing Magazine® (ISSN 10529977) is published monthly, plus one issue by PFM Publishing, LLC, 83 South Street, Unit 307, Freehold New Jersey 07728; phone 732-536-5160; fax 732-252-2270.

Subscription Office: Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612; phone 888-238-0049. Subscription: $20 per year U.S., $40 U.S. Dollars per year in Canada and Mexico, $60 U.S. Dollars per year for all international. Single copies, $5.95. If a paid subscription magazine is returned by the U.S. Postal Service as non-deliverable, Picture Framing Magazine will maintain the subscription for one year. If after one year a new address is not provided, Picture Framing Magazine will cancel the order. No refund will be available for that account. Periodicals class postage paid at Freehold, New Jersey, and at an additional mailing office. Entire contents © 2019 by PFM Publishing, LLC. Printed in U.S.A. Picture Framing Magazine registered in the U.S. Patent and Trademark Office.

Postmaster: Send address changes to Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612 Agreement Number 1691910 Disclaimer The opinions and information in this magazine are not necessarily those of the publisher and are therefore not to be viewed as such. No part of this magazine may be reproduced without the expressed written consent of the publisher. PFM does not knowingly accept false or misleading advertising or editorial, nor does the publisher assume any responsibility for the consequences that occur should any such material appear.

PFM and PFM Publishing assume no responsibility for content, text, or artwork of advertisements appearing in PFM except those promoting PFM. The Publisher reserves the right to review all advertising materials submitted for publication and to not accept any such material deemed inappropriate for any reason.

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PFM Publishing

83 South St., Unit 307, Freehold, NJ 07728 • Phone 732-536-5160 • Fax 732-252-2270

PICTURE FRAMING MAGAZINE www.pictureframingmagazine.com Bruce Gherman • bgherman@pfm-group.com • 848-444-5202 Kimberly Biesiada • kbiesiada@pfm-group.com • 848-231-3510 A RT D I RE C TO R Jin Dong • jin@wcafexpo.com • 848-231-4082

E X E C U TI V E PU BLI S HE R E D I TO R

Mail letters to PFM 83 South Street, Unit 307, Freehold, NJ 07728

CONTRIBUTORS

Jay Goltz • PRE S E RVATI O N E D I TO R Hugh Phibbs • M O U N TI N G E D I TO R Chris A. Paschke, CPF, GCF M AT D O C TO RS Tim Franer, CPF • John E. Ranes II, CPF, GCF • Brian Wolf, CPF William B. Adair • Ken Baur • Jared Davis, MCPF, GCF Paul MacFarland, MCPF, GCF • James Miller, MCPF, GCF

B USI N E S S E D I TO R

ADVERTISING SALES

sales@pfm-group.com • 848-444-3058 Ellen Blatt • ellenhobbypub@cs.com Bruce Gherman • bgherman@pfm-group.com Rob Gherman • robgherman77@gmail.com Sean Kliemisch • sean@wcafexpo.com CIRCULATION

Call (732) 536-5160

D I RE C TO R O F A U D I E N C E D E V E LO PM E N T

Maureen Robertson • maureen@wcafexpo.com PRODUCTION

A D V E RTI S I N G C O O RD I N ATO R

Jin Dong • ads@pfm-group.com

SUBSCRIPTIONS TOLL FREE: 888-238-0049 pictureframing@omeda.com

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Fax to (732) 252-2270 Attn: PFM Editor

A division of Hobby Pubco • www.wcafshow.com

Deborah Salmon • dsalmon@wcafexpo.com Mindy Gruenbaum • mindy@wcafexpo.com E X HI BI TO R S E RV I C E S Maureen Robertson • maureen@wcafexpo.com TRA D E S HO W C O O RD I N ATO R Gary Coughlin • gary@wcafexpo.com C O N F E RE N C E C O O RD I N ATO R Alan Pegler • alan@wcafexpo.com TRA D E S HO W D I RE C TO R BU S I N E S S M A N A G E R

WCAF EXPO SALES

sales@wcafexpo.com

CONTENTS

E-mail to editor@pfm-group.com

AD INDEX Letters may be edited for space and clarity

6 PFM August 2019

PFM PUBCO • BOOK DIVISION BOOK SALES COORDINATOR

pfmpubco@pfm-group.com

PFM PUBLISHING, LLC PRE S I D E N T

Bruce Gherman

FROM THE EDITOR’S DESK

S

An expanded fall Product Showcase, e-marketing strategies, pricing advice, and more await you in this issue.

CONTENTS AD INDEX 8 PFM August 2019

ummer is still in full swing, with many people still taking vacations, relaxing oceanside (or lakeside or poolside), and otherwise enjoying some time off from work and school. But fall is just around the corner, and with it, a pickup in business. What better time than now to turn your eyes toward improving your products and services?

For many retailers, fall—particularly, the weeks leading up to the winter holiday period—is the busiest time of year. With that in mind, we at PFM have focused our efforts on bringing you the most up-to-date information on the season’s new products and trends.

In this issue, our special “New for Fall” product showcase (page 36) highlights the moulding, matboard, miter saws, and more that are newly available to add to your shop’s roster. The showcase includes product descriptions, photos, and contact information for ordering.

Once you’ve stocked up on the latest products from the industry’s leading suppliers, you’ll want to make sure you’re charging what your work is worth. In the final installment in his series on point-of-sale software

pricing (page 28), Ken Baur explores the unique challenges involved in pricing glazing, and discusses how to overcome them to ensure profitability.

Just as important as carrying great products and putting correct pricing in place is marketing your work to consumers. In her latest article (page 18), Ginger Hartford demystifies the world of strategic email marketing campaigns so you can showcase your offerings to customers effectively.

Before the hustle and bustle of fall, make sure your business is ready to draw in new customers and continue to impress returning ones. Putting in some extra effort behind the scenes now will set you up for success for the rest of the year. And since it is still summer for a few more weeks, it’s perfectly appropriate to reward yourself with an ice cream cone. You’ve earned it!

Kimberly Biesiada Editor

INDUSTRY NEWS Museum Exhibitions Market Worth $5.9 Billion, Report Finds A new study released by exhibition-matchmaking platform

• Art exhibitions have higher-value objects and tend to be more logistically complicated in terms of loan negotiation and insurance than science exhibitions

Vastari values the global museum exhibitions market at $5.9

Although the data in the report is anonymous to subscrib-

billion, equivalent to almost 10 percent of the entire global art

ers, it is not to Vastari—the platform hopes to use this data

market.

to target partnerships with more precision for its clients while

Vastari unveiled its findings in its new “Exhibition Finance Report—Market Size Analysis,” which builds on its “Exhibition Finance Report” released in October 2018. Vastari, a sub-

protecting their confidentiality. To view the full report, subscribe at vastari.com.

scription-based forum linking museums, collectors, exhibition

Tripar Partners with Canadian Distributor Candym

creators, and the private sector, commissioned the report to

Tripar International, Inc., a leading distributor of displays and

analyze the state, scope, and trends of global museum ex-

home decor, recently announced a new partnership with a

hibitions. The study sought to discover why institutions host

leading distributor in Canada, Candym.

or tour exhibitions, what their budgets are, who they will and

Candym is an experienced distributor whose lines of es-

won’t establish partnerships with, what their priorities are in

tablished home decor and gifts offer complementary products

setting up those partnerships, and what they expect from

that will support and strengthen the Tripar brand. For addition-

such ventures.

al information, contact Tripar at tripar.com.

“What this report does is use extensive data to expose business trends within the touring exhibitions market,” says

Framerica Donation Supports Young Artists

Vastari CEO Bernadine Bröcker Wieder, who launched the

Framerica continued its decades-long support of The Alliance

company with COO Francesca Polo in 2012. “This will not

for Young Artists and Writers by donating the moulding used

only save organizations time and money, it will also help them

to frame finalists’ art-

better target partners and budgets, assess risks such as that

work.

for co-producers, as well as help them shape the nature and

held its annual awards

content of the exhibitions they put together.”

ceremony at Carnegie

The

Alliance

According to Vastari, there are an estimated 55,000-

Hall in New York City

80,000 museums worldwide, of which the largest 20,000-

and featured works of

35,000 account for the bulk of spending on touring exhibi-

art selected from sev-

tions. The report, which focuses on the activities of 20,000

eral hundred thousand

members of ICOM (International Council of Museums), sur-

entries.

veyed more than 500 institutions between August 2017 and

“It’s

a

terrific

Framerica donates moulding to Alliance

July 2018 before comparing the results with Vastari’s August

event and an honor to

2018 marketplace data on over 350 traveling exhibitions.

have attended,” notes Kevin Milano, senior sales director. “The

It found that, on average, museums hold around seven exhibitions a year, with the largest museums staging 2.5 times as many as the smallest. Some other key findings of the report include:

CONTENTS

• The main reasons institutions host touring exhibitions are to expand their audiences, raise their profile, enhance their reputation, and generate revenue • 65 percent of institutions host externally produced touring exhibitions

AD INDEX

• Photography, prints, and drawings under the “works on paper” label is the most popular category for touring exhibitions, accounting for nearly half of the desired themes • Demand outstrips supply for traveling fine art exhibitions • Art institutions tend to have lower average hosting budgets than science institutions 10 PFM August 2019

talent of these young artists is truly inspiring.”

Framerica Welcomes Megan Littman Megan Littman has joined Framerica’s marketing team. Littman is a graphic designer and expert social media professional with an extensive marketing background.

“Megan has given our marketing team a fresh voice and new perspective on social media and digital marketing,” notes

Megan Littman

Josh Eichner. “We are thrilled to have her.”

For more information, call 800-372-6422 or visit www.

Framerica.com. PFM

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THE MAT DOCTORS

By Brian Wolf, CPF, GCF

Drop Shadows Giving your mat the drop shadow treatment adds interest, depth, and color to the design.

I

n almost every double mat, the inner reveal surrounds the image with a perfectly even outline of color. This im-

proves every picture, and its popularity will not diminish anytime soon. However, there are different directions for different effects.

The drop shadow is an old attention-grabbing graphic device to add dimension to a flat shape—usually lettering. The process to add a drop shadow to a decorative cutout is not as direct as it might be, but the steps in the design program are simple, and it finishes with one quick step in the drawing program.

Designing a Drop Shadow Opening Though a rectangular opening may not become the most common use for drop shadows, it is the clearest example for showing the steps of the process.

To begin, enter a single layer opening for the picture, then copy and paste to make a

CONTENTS

duplicate. Position the copy directly on top of the original opening, then move it a little down and a little to the left or right. In typography, there are examples of drop shad-

AD INDEX

Brian Wolf began framing pictures while attending Iowa State University. In 1973, he won the Janice Petersen Andersen award for outstanding design student. He began demonstrating his hand-carving technique for mats at conventions and teaching for the PPFA. Brian started his own framing business in Cedar Rapids, IA, in 1983. Since 1989, he has focused on leading workshops around the world on his matting techniques. He has authored books, appeared in videos, and contributed to trade magazines.

He joined Wizard International, where he contributed his artistic touch to product development. He continues his work with Wizard through education, events, and design content.

12 PFM August 2019

Framers include letters and numbers in designs all the time, but plain characters are seldom as arresting as their drop shadow counterparts in the typography world.

Designing drop shadows for letters, numerals, and openings requires a few extra steps in the design program.

The chance to present a unique attitude in your frame design is worth the extra effort of experimenting with drop shadows.

1

2

4

Step 1: Make a single layer opening for the picture. To begin the shadow effect, copy it and add a duplicate opening. It is positioned ПИ down and СЕК to the right of the original opening.

Step 2: The openings are grouped so the overlapped openings become one shape. This will be the opening for the top layer in the final design. Its odd shape at the bottom and right creates the “shadow.”

3

5

Step 3: Add another copy of the original opening.

Position it exactly onto the upper left corner of the grouped shape. This will be the opening of the bottom layer in the final design.

Step 4: In PathTrace, both shapes are bright blue, indicating that they are both set to cut on the layer that is shown. The arrow at the lower left points to the current layer. In this program, layer 1 is the bottom.

Step 5: Change the current layer to 2 (arrow at the lower left). Both shapes will become faint blue. Select the grouped shape with the two offset corners (arrow at the lower right), and set it to cut on layer 2.

ows both to the left and to the right. In this example, it is

be cut on the bottom layer, and the grouped rectangle

3⁄16'' to the right and ¼'' down. The arrow keys on

shape need to be cut on the top layer. Every program will

the keyboard work great for this; they move items only in

accomplish this in different ways, but in the Wizard pro-

the direction of the arrows, and they move items a specif-

gram, this must be done in the drawing program called

ic distance per click.

PathTrace.

moved

CONTENTS

Select both openings and group them. The outside

Send the design to PathTrace. Change the cutting in-

perimeter of the overlapping rectangles will remain. The

structions so that the grouped rectangle shape will cut

resulting shape will be a bit strange; it will have two rect-

the top layer and the plain rectangle will cut on the bot-

angular corners and two offset corners. Paste again to get

tom layer. The project is now finished and ready to cut.

AD INDEX

another copy of the original opening. Position it onto the upper left corner of the grouped shape, directly on top of

Creating the Seven

the original rectangular opening.

Adding shadows to letters and numbers is of interest be-

All the pieces are now in place. The design looks

cause so much of decorative typography uses this drop

complete and ready to cut. However, everything is now

shadow formula to add zip to a monogram or a caption.

set to cut on the top layer. The plain rectangle needs to

This process may spark particular interest for picture

14 PFM August 2019

The upper right corners of the overlapping sevens could form a more interesting shadow if the corner of the gray seven was a bit lower and if the line was horizontal.

The new horizontal line at the upper right has been integrated into the shadow. Every drawing program will have a different process for this.

framers because there is always a photo opening font in

pair after grouping. The change is only artistic. There was

computerized mat cutter programs. Each character is in-

a line at the top right of the seven’s shadow that was too

tended to be an opening for a snapshot. They are designed

angled and too high. This was caused by its rotation and

for maximum exposure, seldom for beauty. This drop

extra height. A new line was drawn and joined to improve

shadow accent can dress up these photo letters and im-

the look of the shadow.

prove the impression of the caption.

The process for creating the drop shadow for the sev-

Assembly

en is the same as for the rectangular opening. There are a

In this example, the seven and the opening—both with

few artistic liberties taken here, though. The primary sev-

their drop shadows—were positioned in one mat design.

en is 2.375'' tall, and the seven that will create the shad-

Cut the two layers and assemble them like any other dou-

ow is a little larger—2.625'' high. This is to make the shad-

ble mat. The only oddity is that, unlike other double mats,

ow more pronounced at the bottom. The second seven is

the openings’ bevels will line up exactly on the top and

also rotated 3 degrees counterclockwise to accentuate the

left. There will be no dark gray showing along these sides.

shadow on the right side of the descending stroke.

The dark gray layer will be visible only along the bottom

Align the two sevens at their top left corners. Use the

and the right.

arrow keys (and the Rotation tool) to fashion the shape

There is a sheet of blue paper taped behind the seven.

of the shadow. This is entirely an artistic process. Group

In this example, there is a spacer between the mat and

them and add a second copy of the original seven at the

the blue paper to create depth. If the intent is to make the

top left corner. Reset the bevels just as in the preceding

decorative element as interesting as it can be, why not

instructions to finish.

add drama with this extra depth?

CONTENTS

Framers want to include decorative elements to help

AD INDEX

Improving Upon the Seven

tell the story for an informal presentation like this. The

Any time the curves and angles of letters are overlapped

prevailing instinct is to keep the decoration small so that

and merged in a cut design, there may be need for a lit-

it is not intrusive, but the real reason for diminishing the

tle re-drawing to make it look better and cut better. When

role of these cutouts is that they are usually lackluster.

complex shapes are grouped, it is common to generate ac-

This drop shadow treatment adds interest, depth, and

cidental artifacts like random sharp points and awkward

color. Suddenly, it becomes interesting. Make it larger, and

unattractive junctions. Repairing these is usually a simple

it becomes a welcome part of the presentation. Perhaps

drawing program fix.

drop shadow openings will prove interesting enough to

In this example, there were no uncuttable spots to re16 PFM August 2019

use them on your next snapshot array. PFM

MARKETING METHODS

By Ginger Hartford

Guide to Strategic Email Marketing

What to share in emails to your customer base — and how best to share it

I

time you take advantage of this easy market-

prospective customer relationships, email

ing tool.

marketing is critical to your business strategy

f you aren’t using email marketing to be top of mind when customers are ready for your services or when they might re-

engage or refer you to a friend, then it’s high

Email marketing is a top strategic digital

in building and maintaining subscriber lists.

marketing trend for 2019. Your business will

Consumers have changed their digital path

reap long-term benefits by focusing on grow-

to purchase, and staying relevant in a highly

ing your subscriber list and systematically en-

visual manner while building value is of the

gaging your buyers, collectors, and prospective

utmost importance.

clients. Email is highly beneficial, and nothing

Your greatest asset is your customer mail-

will convert better—not even SEO, display ads,

ing list. Did you know 94 percent of internet

or social media lead generation.

users use email and 75 percent of adult us-

CONTENTS

Email provides direct access to your cus-

ers state a preference for receiving marketing

tomer base in promoting your business, goods,

communications directly in their inboxes?

and services. It creates significant opportuni-

Are you truly making the most of this, and

ty to cultivate long-term relationships, which

are you ready to take it to the next level? For

in turn create repeat customers. Additionally,

some it’s daunting just understanding where

the relative low cost of implementation as-

to begin—but it needn’t be! Let’s build out the

sociated with email marketing makes for an

modernized framework your business needs

astonishingly high return on investment; the

to optimize and master strategic marketing

average return for email marketing is $38 for

with email marketing.

every dollar invested, or an ROI of 3,800 percent (source: Salesforce).

To build and engage current, new, and

Growing Your Subscriber List Email marketing allows for smart cross-chan-

AD INDEX

Ginger Hartford is a career veteran of the art and design industries formerly with Larson-Juhl.

Ginger is recognized as a highly accomplished business development and marketing strategist and leader in the business of design. She has collaborated with Fortune 500 leadership teams to envision, build, and deliver high-impact customer experiences. Her extensive experience includes global business development, product design, integrated marketing, and branding with leading national retailers, international online art marketplaces, the designer community, and major brands across home furnishings, art and framing, and photography. Ginger is the founder of EurDesign Studio.

18 PFM August 2019

The more compelling your visual imagery, the more likely your text will entice readers to click through and keep reading.

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vice provider (ESP) to streamline and fully optimize data.

Think of it as an expert extension of your marketing team with ensured return on investment!

When considering your options, look for strategic support tailored to your needs for customer acquisition, retention, and e-commerce. Ensure reliable inbox delivery and avoid spam due to flagged word choices or product types with an ESP that has a minimum 85 percent delivery sucFocus on these six key areas when building creative content that you can then use cross-promotionally.

nel promotion you can leverage with social media and direct links or promotions to specific content. There are many easy-to-use platforms specializing in tools and resources to help you scale and implement, such as Mailchimp, Constant Contact, Drip, ConvertKit, and Klaviyo.

First and foremost, identify key touchpoints to collect email data. Develop forms so you can always ask visitors for their email address, name, and other contact information (list email first on your form!). The internet offers many digital touchpoints to incentivize and capture new subscribers. Within your website, take every blog or page view opportunity to incorporate a signup box or link to subscribe for your newsletter. Socially, Instagram stories offer a great way to lead your audience to your website with its popular “swipe up” feature, and fantastic plugins like Linktree allow for Instagram profiles to offer a direct link to your “Contact Us” page or newsletter subscription form. Facebook also allows retailers to directly add signup forms to business pages.

Consider your retail brand’s tone of voice and don’t include boring language like “Sign up for our newsletter.”

Consumers love when retailers get creative and have fun while appealing to them, such as “It wouldn’t be a party without you!” At signup, incentivize with a freebie such as free shipping or special access to particular services or even downloadable content. For example, EurDesign Stu-

cess score. They also have experts, educational resources, and systems for performance reporting with easy-to-understand analytics so you can measure what matters.

Designing and Scheduling Your Emails Your business can create beautiful branded emails and design like a pro with dynamic design templates to help convey your messages in style. Top ESPs have a vast library of beautiful templates to customize and fast-track your efforts. Design tools like these help elevate your communications to look ultra-professional and stand out among your competition.

Many templates are also preformatted for mobile, desktop, and tablet views with drag-and-drop designer programs to easily manage your content, edit photos, and work collaboratively either in-house or with campaign managers. Keep in mind, 49 percent of all emails sent are opened on a mobile device. As smartphone users increase, this number is likely to rise, too, so keep your email communications concise, mobile-responsive, and visually appealing. Mailchimp, for example, has many readymade layouts, themes, and featured templates to select a starting point for your communications.

Once you have your email platform provider established, you’ll need to determine the frequency of your communications. It’s recommended you send an email out once a month at minimum, and it’s important to be consistent with your schedule. Data reports the best times

dio offers my branded freebie, “Top 10 Artful Display Tips,”

CONTENTS

as a value add at opt-in.

A side note about subscriber emails: your business must stay compliant with General Data Protection Regulations (GDPR). Businesses must gain consumer consent

AD INDEX

with form checkboxes and disclaimer text to collect and process yet protect your customers’ data.

Getting Support from an ESP Ultimately, today’s top retailers are using data intelligence to improve their business. Invest in a workhorse email ser20 PFM August 2019

Creating a subscriber list, leveraging cross-channel promotion, and using templates are crucial building blocks to marketing success.

tries. Transaction rates were 49 percent higher (0.09 percent compared to 0.06 percent) and revenue per email was 73 percent higher ($0.15 compared to $0.08) with personalization, according to Experian.

“Consumers expect their interactions with a brand to be dynamic and personally relevant,” says Shelley Kessler, manager of reporting and analytics for Experian Marketing Services. “A brand that recognizes a subscriber by name in the subject line of an email is able to establish an immeInvest in an email service provider (ESP) to streamline and fully optimize your data. Think of it as your extended marketing team.

diate, personal connection with that subscriber and that is reflected in our research—campaigns with personalized

to send emails are Tuesday at 10 a.m. or anytime between

subject lines achieve higher open rates than those with

8 p.m. and midnight.

subject lines that are not personalized.”

Automation and Segmentation

Content is King

Automated emails triggered by user behavior are invalu-

Just as we live in a highly visual world full of distractions,

able and don’t rely on just a content calendar. Email au-

customers expect communications to be of high caliber

tomation can be set to trigger a response and preformat-

and serve their needs. What to share? Consider new prod-

ted email, such as a “Welcome to the party!” email for

uct introductions or announcements, highlighting your

new subscribers. Automated communications can also be

creative process behind the scenes, event or artist features,

segmented and apply to user behavior in post-purchases

popular trend insights, or decorative guides to help cus-

made online, or if consumers abandoned their cart.

tomers “get the look.” Aligning with your social and digital

Consider ways to segment your email list based on

marketing strategy, I’ve highlighted several key areas your

purchase history, demographics, events, and engagements

business can build creative content and post calendars

(in-store or online), interests, cart activity, or subscriber ac-

around to then use cross-promotionally:

tions (i.e., newly subscribed, emails opened, links clicked).

1) Design and Creativity. What kind of framing designs,

Look for email platform tools that allow for basic segmen-

installations, or preservation services do you special-

tation yet have the capability to scale with the needs of

ize in?

your growing business and subscriber list. It’s worth not-

2) Art, Artists, and Location. Who do you represent, what

ing that Mailchimp reports 14.64 percent more opens and

styles or artist themes can you highlight, or what art-

59.99 percent more clicks with segmented emails than

ist events are coming up? Work your location to ad-

non-segmented communications.

vantage by highlighting your store in the context of community and online reach. Keeping your communi-

Personalization

cations informative, feature content based on collec-

When a new subscriber signs up, their interest in your gal-

tor offers, gallery events or artist receptions, and press

lery and services is at its prime. This is the moment your

releases to build value.

CONTENTS AD INDEX

captive audience is most excited to learn more about your

3) Lifestyle. Attracting your dream customer begins with

business. Personalized emails can drive first-time buyers

speaking their language in the aspirational context of

and return buyers to increased sales activity while deep-

how your products and services can serve them best.

ening customer relationships. Some newsletter examples

Millennial moms, for example, are big spenders with

that I’ve enjoyed feature exclusives, press releases, videos,

a great interest in decorating. Acknowledge this de-

product and new designer spotlights, trending goods of

mographic settling down in their new family abodes

the week, brand journey highlights, and content that tells

and becoming the fastest segment of art collectors as

a story.

they design their interiors. A campaign could be set up

Per Experian Marketing research, including a customer’s name in an email subject line boosted open rates by 29.3 percent—but the effect varied widely across indus22 PFM August 2019

to highlight art sourcing for nurseries and how you’d style the custom framing to suit their style.

4) Quotes. Always a creative graphic that relates to

the business. Consumers love designer, art, and artist quotes. Make it personal with your own branded quotes, too! Don’t forget that today’s consumers prize authenticity.

Above all, storytelling is key in every facet of your digital marketing strategy. Email marketing helps deliver your brand message in a meaningful way to share your story. It also has the most potential for your business as the leading source for customer and collector engagement. You’ll want to pay attention to the quality of your imagery. The standard is light and professional-looking images, not dark or unprofessional shots. Invest in yourself and your brand by sourcing high-quality imagery or hire trained photographers. (For example; Waiting on Martha, a popular, independent omnichannel retailer, has a monthly standing appointment with her photographer for product shots and her content is paying off big!)

It’s also helpful to understand that email marketing and blog posts are not the same thing. You don’t need to overwhelm readers with too much text, or they’ll delete.

Try for 300 words by choosing one concrete topic of value that solves a problem for your customers and three sub-

Tools like Mailchimp are user-friendly and easy to learn, saving you time when crafting an email marketing campaign.

when explaining how to book a consult, connect, or purchase, and feature button links to simplify the path to purchase for your customers. Build value your customers look forward to and are more likely to engage with long term.

Good luck and sign me up! PFM

points. A call to action is critical for growth. Be specific

PFM August 2019 23

By Daniel Beauchemin

he worlds of interior design and picture framing

malleability and resistance to tarnish made it enjoyable to

have enjoyed a long history with gold. In today’s

work and play with. Because gold is geologically dispersed

stylish homes, gold can still be found as designers

all over the world many different early societies discovered

put their fresh spins on the classic precious metal. As cus-

it around the same time. Nearly everyone who found it was

tom framers, it’s important for us to understand how gold

impressed with it, and so were the people in their respec-

is being used in trendy, desirable ways in our industry and

tive developing cultures. In this way, gold became the first

in the interior design industry so we can offer our custom-

metal widely known to our species.

ers the best products to suit their style. To do that, let’s take

When discussing technology’s progress through his-

a look at the evolution of humanity’s use of gold over time.

tory, many consider the development of iron- and cop-

We’ll also explore the best uses of gold in today’s hottest

per-working as the greatest contribution to our species’

interior designs and how framers can use this knowledge

economic and cultural progress—but gold came first. Gold

when selling to their customers.

occurs in a virtually pure and workable state, whereas most other metals tend to be found in ore-bodies that pose some

OUR LONG, SHARED HISTORY WITH GOLD

difficulty in smelting. Gold’s early uses were no doubt orna-

Gold was first discovered by people in its natural state, in

mental, and its brilliance and permanence (it neither cor-

streams all over the world. It quickly became a part of ev-

rodes nor tarnishes) linked it to deities and royalty in early

ery human culture. Its brilliance, natural beauty, and great

civilizations. The “value” of gold was accepted by people all over the world, and it became a currency—and remains one to this day.

Today, as in ancient times, gold has a near-universal appeal to humans: it evokes feelings of hope, stability, and eternity. Gold, beauty, and power have always been intertwined, as evidenced by gold shrines and idols, plates, cups, vases and vessels, and of course, jewelry.

GOLD VS. SILVER CONTENTS

To understand how gold had trended over time in interior design and in the picture framing industry, it’s helpful to look at how it compares to silver. Silver also attracted humans’ fascination for many thousands of years. Ancient civilizations

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found silver deposits plentiful on or near the earth’s surface.

Relics of these civilizations include jewelry, religious artifacts, and food vessels formed from the durable, malleable metal. This metal took on near-mystical qualities in markGold doesn’t have to mean old—today’s top framers are using modern shades and profiles for fresh takes on a classic.

24 PFM August 2019

ing important historical milestones throughout the ages and served as a medium of exchange. Mesopotamian merchants

Humans’ long-standing fascination with gold remains true today. Trends pass, but this metal will always be around in the design world.

were doing just that as early as 700 BC.

and 90s was followed by an upswing to gold. Not only is gold

In 1792, silver assumed a key role in the United States

back in vogue today, but new golds have also emerged: whit-

monetary system when Congress based the currency on

er, cooler, and toned golds have appeared on the market in

the silver dollar and its fixed relationship to gold. Silver was

increasing number. This trend became apparent at the end

used for the nation’s coinage until its use was discontinued

of the twentieth century, when society embraced a new era

in 1965. The dawn of the twentieth century marked an im-

and craved the stability and prestige associated with gold.

portant economic function for silver—that of an industrial raw material.

Gold had historically been the metal of choice in ornamentation, including framing. The great framers of Europe became master craftsmen, gilding their frames with true gold leaf. To the elite, silver was initially considered vulgar, and white metals like platinum became the choice for jewelry—but over time as this trend evolved, silver became the “new” metal of choice in framing and decor.

Whether we are talking about gold, silver, platinum, or other metals, people’s preferences are constantly evolving.

As society swoons from gold to silver and back again, so do industries like fashion, interior design, and picture framing.

GOLD IN THE TWENTIETH CENTURY Interestingly, as the price of gold goes up, so does its place in interiors and fashion. Early modernists of the twentieth century were followed by a new style, Art Deco, which brought with it much use of silver and white metals. The 1940s and 50s saw a brief surge of brass and yellow metal, followed by silver and chrome in the 1960s and 70s.

In the framing world, an upsurge in silver in the 1980s

A wall of mirrors in ornate gold frames of varied sizes amps up the drama and visual interest in an otherwise subtle bathroom design.

PFM August 2019 25

mixes in interiors, are presenting contemporary pieces in ornate, gold frames. Gold frames in simple shapes are also used extensively in gallery-style hanging and salon-style hanging.

The resurgence of gold accessories in the home (hardware, handles, metal work, tables, and the like) encourages the homeowner or designer to accent with gold frames. This all ties in with a return to classic styles.

Well into the twenty-first century, designers are trying to establish a “style.” It seems all purity of style disappeared after the 1980s. Post- “Pop” and Mid-Century Modern, we entered a time where mixing and matching became the norm.

This transcended into Eclectic, Eclectic Chic (higher-end), Boho Chic (a more colorful and Bohemian approach), and Hippie Chic (over-the-top, 1960s and 70s inspired designs— still very high end).

These style trends were followed by a return to all things industrial. Industrial and Industrial Chic (higher-end), as well as Farmhouse and Farmhouse Chic, enjoyed a boom in the world of interior design. Even in these settings, a resurgence of brass fittings and hardware opened the door to using gold.

Contemporary artworks such as this one can be served by the addition of a gold frame as well as antique artworks.

Typically, trends are embraced in higher markets first.

In all these styles, even though there is a place for white metals as well as pure, specific bronze, pewter, and other classics, gold is a must.

As luxury brands gave this “new-again” material exposure

Custom framers who work to accessorize clients’ homes

in media, others followed suit. An interesting thing to note

must make sure they understand emerging and trending

is that this phenomenon occurs much more quickly today

styles and have products ready to show clients that reflect

than ever before. Historically, the high-market-to-low-mar-

those styles. In addition to supplying classic styles and clas-

ket trickle effect took place over a five-year cycle. With glo-

sic golds, we must also offer contemporary, modern versions

balization and social media, the same cycle can happen in

of gold. Many closed-corner frame manufacturers have em-

a fraction of the time. In many cases, high-priced items are

braced new finishes. “New classics” have emerged, which are

copied almost immediately after they are introduced; this

often period style frames with a modern twist. Cooler golds

bridges the gap between markets, but it also shortens the

less saturated with orange and green have been used in such

lifespan of trends.

styles, infusing them with an exciting freshness.

While for some, “gold equals old,” for many of today’s

CONTENTS

GOLD IN TODAY’S DESIGNS

leading designers, gold is something new, exciting, and

In fashion—both our personal fashion and our home’s fash-

fresh. Whether you personally like or dislike today’s trend-

ion or design—we are influenced by what we know and see.

ing styles, being aware of what is old, what is new, and

That said, there will always be room for the classics. French,

what is new again is important as you think about how to

Italian, and Spanish styles are typically seen in variations of

offer the best products to serve your clients’ needs. PFM

gold. Most moulding suppliers carry variations of these classics, and they are an essential offering for most frame shops due to their suitability for antique artworks.

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There are also many contemporary artworks that are well served by classic frames. Again, many of our clients are influenced by what they see and know. Most museums still use the “classics”— usually originals. More and more galleries, aware of the fact that there is a resurgence of eclectic 26 PFM August 2019

Daniel Beauchemin Daniel studied architecture with focuses on furniture design, art history, and interiors. After a decade of professional experience, he moved to New York City and purchased Chelsea Frames in 1995. By 2009, it had become one of the most renowned studios in the U.S. with a global client base. It was during this time that Beauchemin accepted a design opportunity in Europe with Larson-Juhl. After six-and-a-half years in the corporate world, he returned to his first love, the framing studio, in 2016.

RETAILING SUCCESS

by Ken Baur

Pricing Glazing in your Point-of-Sale Program Understanding the unique challenges of pricing glass will help your profits.

T

accommodate the project being priced. It will also allow you to capture the correct cost of the glazing being used if you set your system up to contain accurate costs in the pricing tables. This is important because glazing prices

his is the final part of our pricing discussion, which has already covered tips for pricing moulding, mat-

board, and mounting/stretching services in your point-of-sale software system. Like the other areas we have discussed, glazing has its own unique challenges when it comes to creating competitive and profitable pricing.

Since glass is available in precut sizes, waste is far less of a factor in pricing glazing when compared to length moulding and matting.

As we learned, the waste in those materials is very high, since most custom framing projects are smaller than 40 united inches—or on average, just slightly larger than a 16'' x 20'' project. This meant we had to calculate the cost of waste when creating profitable pricing for length moulding and matboard.

However, because glass is sold in many precut sizes, waste is drastically reduced and rarely a factor in pricing. For this reason, it is best to set your POS pricing by selecting the

CONTENTS

“lite” option as the unit of measure for glass instead of square foot. By doing so, the POS system will select the correct size of glass to

are not automatically updated like moulding and matting costs are, meaning that you must remember to update glazing costs manually whenever a price increase occurs. Fortunately, glazing costs have been relatively stable over recent years—but when costs do increase, it is very important to reflect those changes in your pricing tables so that retail prices can be increased.

Selecting “lite” as the pricing option for glazing means that the system will apply the multiplier you set up in your pricing tables to the total united inches of the project. This method works well for glass because of the minimal amount of waste. However, it is a different situation for acrylic, which is only available in large, uncut sheets. This means that in most cases, a large amount of the acrylic you purchase will not be used in your project. For this reason, pricing for acrylic is best done by using square feet or square inch as the unit of measure instead of “lite.” Doing so will allow you to price the portion of acrylic being used in the project in a profitable manner without having to consider the

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Ken Baur is president of KB Consulting, a business helping framers with pricing, profitability,

website development, e-mail marketing, gallery display, statistical analysis, team growth, and sales programs. In addition, he is a featured writer for PFM and conducts numerous seminars for The National Conference, industry open houses, and national conventions.

28 PFM August 2019

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Subscriptions Manage your account online!

Whether you’re signing up for the first time or making a change.

• Renew Your Subscriptions • Make Address Changes • Contact Customer Service

http://www.pfmsub.com/Renew

PFM August 2019 29

unused portion as waste.

profitable on the projects you sell.

This may seem counterintuitive. In our discussions

If this concept seems challenging to accept, look at

about matboard and length moulding, I talked about the

how you price glass. Glass lites come in a box with sever-

importance of being profitable on these materials in every

al other lites, so you must purchase far more glass than

project, even if there was a high amount of waste. Now, I

what you need for one project. Everyone understands

am saying that in acrylic pricing, we don’t need to factor

that we do not try to recoup and make the profit we need

in the unused portion of the acrylic sheet when setting

on the entire box; we only are concerned about being

our pricing. Why? Because unlike matting and moulding

profitable on the one lite of glass being used. It’s easy to

where there are thousands of colors and styles, acrylic

understand that the remaining lites in the box are back

only comes in a handful of varieties, making it much eas-

stock, waiting to be used for the next project. If we view

ier to sell the unused portions of a full sheet. For this rea-

the unused portions of acrylic sheets in the same man-

son, consider the unused portion of the acrylic sheet to be

ner, it is much easier to price acrylic competitively.

“back stock” instead of waste, since it is likely to be used

Another challenge in pricing glazing is how to price

relatively quickly. Doing so will insure that you are profit-

premium varieties. A common mistake is to use the same

able on the pieces of acrylic you sell in a project without

markups on expensive materials as you use on materi-

marking up unused portions of the full sheets. This will

als with far lower costs. This mistake leads to overpricing

allow you to price acrylic competitively while still being

premium products and missed sales. For this reason, con-

LIKING THE CROSSWORD? SEND US YOUR FEEDBACK! Call 732-536-5160, Fax 732-252-2270 Attn: PFM Editor or email editor@pfm-group.com

CROSSWORD CHALLENGE

CONTENTS AD INDEX SEE PAGE 45 FOR THE SOLUTION 30 PFM August 2019

Across

Down

1 Wood which has visibly closed pore structures 4 Features of fall 9 It’s used as a primer coat on wood panels, canvas and sculpture 10 Type of photo print 11 Precise, as a measurement 13 Former 14 Shades 17 Motifs 18 Blend together 19 Fashionable 22 Fixed in position 24 It describes the small bottom or the middle mat board left visible in a double or triple mat application 27 Panel 28 Not having a lot of, in stock 29 Type of frame design, 3 words 32 It holds the artwork away from the surface of the glazing 33 ___core

1 Coloring material 2 It how acidic or basic a substance is, 2 words 3 A while back 5 Type of hanger 6 Mat board with a smooth, texture free surface 7 Instant, for short 8 Loses color, as paper does due to light changes 12 Current style 15 Smooth a wooden surface 16 Gray-white color 20 Fall color 21 Printed cotton fabric 22 Fall color 23 Sandpaper choices 25 Terminate 26 Internet laughter letters 27 Father 30 Victorian or Georgian 31 Dawn time

sider focusing on the profit generated by premium prod-

glass + 3 times $48.44). Although you would be reducing

uct sales instead of the markup.

your gross margin from 77 percent to 67 percent, three

One method of doing this is called the Rule of Three.

times as much money would be added to your bank ac-

This rule helps you price premium products by calculat-

count. In addition, you would be offering a price that is

ing the profit you receive on your lower-priced materials

much more competitive and is likely to grow additional

and then calculating the price of the premium product

interest in premium products over time.

by multiplying that profit by three. Although this meth-

The Rule of Three works very well in helping you cre-

od slightly lowers gross profit on the premium projects,

ate profitable and competitive pricing for more expensive

it makes them more affordable and guarantees that you

glazing products. The same rule can be applied to premi-

will collect three times as much profit by selling the pre-

um acrylic and could open the door for selling many more

mium product instead of less expensive basic materials.

creative and unique materials that would not exist if you

Here is an example:

tried to capture full markups of those products.

You pay $14.40 for a piece of 32'' x 40'' regular clear

Like most other framing materials, glazing presents

glass and you sell it for $62.84, meaning that you profit

specific challenges when you are setting your pricing

$48.44 ($62.84-$14.40) and have a gross margin of 77 per-

structure for it. Since waste can be eliminated as a pric-

cent ($48.44/$62.84).

ing factor, though, pricing glazing can be easier than some

If you were to apply the same markup to a 32'' x 40''

of the other materials we use such as moulding and mat-

piece of premium glass, which costs you $70, you would be

board. Remembering to focus on profit dollars instead of

trying to sell it for more than $300—something that would

gross margin for premium glazing materials can make you

present a challenge to many shops. However, if you sold

more competitive and ensure profitable growth for your

the piece of premium glass using the Rule of Three, you

business. PFM

would be offering a retail price of $215.32 ($70 cost of the

PFM August 2019 31

SUCCESSFUL RETAILING PANELISTS

MODERATOR

CUSTOM FRAMING: A CHANGING LANDSCAPE

Jay Goltz

Meg Glasgow

Jim McNickle

Kevin Meath

Ginger Hartford

President and Founder, Goltz Group, Inc.

Owner, Finer Frames

Director of Marketing, Fletcher Business Group

Consultant to the picture framing industry

Founder, EurDesign Studio

This is the first in a series of articles from the Breakfast Panel Discussion at the 2019 National Conference. This annual event brings industry experts together to discuss successful approaches to overcoming challenges in the art and framing industry.

Part 1: Adapting to Changes in Marketing, Hiring, and Design Styles Jay: Good morning. Today we’re going to talk about where

has evolved significantly; we have infrastructure now, we

we’re at and where we’re going. We’re going to talk about

offer business education. And yes, the industry has had a

change. There’s a lot of change going on in the framing

rough 10 years since the crash. But I really feel like it has

industry, and I believe that we’re getting to a new place

stabilized. The frame shops that are around today are the

where things are kind of settling in.

ones that have embraced art, framing, and business. All

First, let me say this: I really believe if you look at

those things work collaboratively.

what’s happened in the industry since the 2008 econom-

Today we’re going to talk about the changes going

ic downturn, the people who have been coming to this

on in the framing world today. We’re going to talk about

show—the people who are getting educated, who are

what’s working and what might not be working. We have

learning about business and design and technology—they

a great group of panelists here who cover a lot of different

are the ones who are surviving and growing. So good for

things: we have people who have been working for large

you for taking that step.

businesses and have seen the industry from the vendor

CONTENTS

I want everybody to think about where this industry

side, we have people with a design perspective, we have

was 20 years ago, when the West Coast Art and Frame Expo

people who have visited hundreds of frame shops. So with-

started. This industry has changed dramatically in that

out further ado: tell them why they should listen to you.

we’ve really become more design-driven. We’ve gotten into

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printing—most of us weren’t into printing 20 years ago.

Meg: Good morning, everyone. My name is Meg Glasgow,

Vendors have changed the styles of their products, and

and I’ve had my company, Finer Frames in Eagle, ID, for

how we’re buying from them has changed.

20 years this year. I’ve certainly seen the ups and downs

I feel great when I look around after all these years

and the challenges you all face. I’ve been very blessed with

and see how many people are coming here to expand their

the opportunity to help other framers through education,

education. That was unheard of 20 years ago. This industry

seminars I’ve been teaching, coaching, writing books, and

32 PFM August 2019

all of that. So, I feel a tremendous honor to be able to share

managing their print room. I’m getting very well versed in

with you my perspective as an independent framer and

all the changes for art and substrates that are coming at us

opportunities that I see for growth. So, thank you for in-

very quickly. Thanks for being here.

viting me.

Ginger: Hi. Good morning, everyone. I’m Ginger Hartford, Jim: Good morning. My name is Jim McNickle, and I’m the

and I’m very, very thankful to be here. I worked for over 20

global marketing manager for the Fletcher Business Group.

years with Larson-Juhl, and currently I run my own com-

I’ve been in marketing for 35 years; I’ve worked for compa-

pany, EurDesign Studio, which does consulting for stra-

nies like Loctite Corporation and Gerber Scientific. I’ve got

tegic marketing and business development. Coming up

a lot of multimarket experience. And hopefully today I can

through the industry and working with retailers, framers,

share with you some marketing ideas for your frame shop

and galleries across the country in sales, I really got to un-

that we use and that you might be able to use as well. So,

derstand the counter and the consumer. And then moving

I look very much forward to giving you my recommenda-

into strategic marketing and business development, I had

tions.

a chance to kind of round out that 360 perspective in working across channels with online art marketplaces, home

Kevin: Good morning. My name is Kevin Meath, and I

furnishing companies, ecommerce, and major marketers.

am a consultant to the framers. I’ve been in the picture

So, I want to bring that perspective. I’m also known as

framing industry about 35 years. I’ve worked everywhere

a research queen; I enjoy really leaning into what’s hap-

except at the sales counter. I’ve worked with very large

pening at large. And at the end of the day it’s about the

companies, I’ve worked with very small companies, I’ve

consumer. So, I’m happy to share that here with you as

designed molding, I’ve made molding. I’ve basically done

well. Thank you for having me.

it all. Today I’m also working with a digital print company

Have a question or comment?

Tell PFM what you think.

Mail letters to PFM 83 South Street, Unit 307, Freehold, NJ 07728 Call 732-536-5160, Fax to 732-536-5761 Attn: PFM Editor or E-mail to editor@pfm-goup.com PFM August 2019 33

Jay: Great. So, Meg, tell us what you’re seeing out there.

Tell us where the great big opportunity is today. And then tell us where you think people are missing it.

Meg: Because everyone is so busy, I think the biggest challenge that many retailers have is coming up with a concentrated marketing plan—a strategy for how to reach new buyers and a younger demographic—and really understanding how to offer better service to your customers and how to attract new buyers to your business.

Jay: Give us a specific that you think somebody should put on their to-do list when they get back home.

Meg: Well, the first thing I encourage people to do is approach your shop as if you’ve never been there before. You walk up the steps to the front door. Is it clean? Is it tidy?

How do the merchandising displays look? Are your wall displays the best they can be? I look at the walls in my shop as my resume. That is how potential customers coming into my shop judge whether they can trust me. The second thing is having a good strategy for online marketing, digital marketing. And that goes back to having a tactical plan on how to do that.

Jay: Your framed pictures on your wall are your resume.

That’s very good. Now, are you hiring? Do you have any young employees?

Meg: I do. There are three of us at the shop, all full-time employees. And I have an employee who’s a millennial who also happens to be my daughter, so I’ve got that wonderful dynamic.

Jay: So you didn’t screw that up too much.

Meg: Yeah, so far, so good! But it does pose a challenge as

CONTENTS

a business operator on how to work and train. Luckily my daughter has grown up with the frame shop her whole life, so it’s kind of second nature to her. But there are still challenges there. She also brings a great, dynamic excitement

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and a different perspective. Many times, that’s challenging. But learning is tough sometimes, as you know.

Jay: I want to talk about millennials for just a second because I always hear, “Oh, it’s hard to hire these millennials.” I found a great quote that I think is interesting: “They 34 PFM August 2019

have exalted notions, because they have not been humbled by life or learned its necessary limitations; moreover, their hopeful disposition makes them think themselves equal to great things—and that means having exalted notions. They would always rather do noble deeds than useful ones. Their lives are regulated more by moral feeling than by reasoning—all their mistakes are in the direction of doing things excessively and vehemently. They overdo everything: they love too much, hate too much, and the same with everything else.”

If you thought that quote was about millennials, it wasn’t—Aristotle said it. He’s not a blogger, for those of you in the audience who are younger. That was like 384 B.C. So I’d like to lead the charge of “let’s stop picking on the millennials.” I have lots of great, wonderful millennials working for me. Are there some you interview that you don’t want to hire? Yeah, sure. And do some of them feel entitled? Sure. But is it worse than it was 10, 15, 20 years ago? Maybe a little. But there are wonderful people out there looking for jobs, and you need to find them. You need to put an ad out. You need to interview a lot of people. So, I’d like everybody to stop picking on the young people, and maybe they’ll stop picking on us old people.

Jim: I’d like to make a follow-up comment to what Meg said about developing your marketing plan. There are some key things to keep in mind there. A marketing plan is a working document. You’re always changing. You’re always reacting based on the results you’re getting back.

You’ve got to look at what’s working for you from a marketing standpoint for the investment dollars that you’re putting in.

But keep in mind you don’t just want to do one thing.

You don’t want to only do a Facebook post. You want to maybe do something inside the shop as well. You might want to do something like go to your local Chamber of Commerce and introduce yourself to people like that.

There are different avenues based on not only marketing but also networking, because that’s where a lot of your referrals are going to come from.

When we talk about change in the industry, the two things I see the biggest changes going on in right now are material selection and printing. Five years ago, aluminum composite was nonexistent at this show. It is very popular today. Now you’re able to broaden your offerings by using different materials rather than just your traditional mat

So, those are the kind of things, at least from my perspective, that are changing that might help you from a design standpoint.

Jay: You have to keep trying different things.

Jim: You have to measure; you have to see what’s working. You want consistency in your branding. If you’re putting anything up on your website or on social media, your store has got to look like that. It’s important to have some of what I call “image recognition” to really promote your business.

Jay: Some of it doesn’t work. And some of it does work, and it makes up for the stuff that didn’t work. My worst one…this is a real story. Thirty years ago, there’s this big art fair in Chicago, the Gold Coast Art Fair. Thousands and thousands of people. And I thought, ‘I’m going to get one of those airplane banners that says ‘Artists Frame Service’ and fly over all these people going to the art fair. So, I pay for the plane, and I go down there. And I look up, and I realize, no one except me is looking up. I’m downtown. There are big buildings everywhere. A plane only works when you’re sitting on the beachfront or at a baseball game, and you’re looking out over the horizon. I don’t know that anyone saw this thing. You have to be careful with salespeople from companies like that because they’re just going to take your money. The second I looked up, I realized how stupid it was. And I know the guy had to have known that!

He’s probably never sold a banner to go over downtown in the middle of the day.

Kevin: I’m going to kind of tag onto Jim on some of the new substrates and materials that I’m seeing out there, the hard substrates. If you walked around the show floor and visited exhibitor booths as Jim alluded to, there’s a tremendous amount of dye-sub aluminum, dye bonds, and face-mounted acrylics being sold. If you look at some of the pieces framed on the show floor, I think you’ll agree that you need to start thinking about having those in your shop, even if you buy it from somebody else. You have the ability to frame those products exquisitely. And it changes the look totally from a very cold, modernistic piece to a very warm, friendly, family piece. So, think about having those on your resume wall. PFM

and glass. People are getting into other areas right now.

PFM August 2019 35

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CONTENTS AD INDEX

Canadian Art Prints/ Winn Devon Art Group

Canvas Stretching Machine, LLC

“Strawberry Sundae” by Jill Charuk.

Available through Canadian Art Prints and Winn Devon Art Group on paper or canvas. Choose the size and finish.

The Gallery Stretcher and ProMod product line are fully pneumatic canvas stretching machine engineered to produces tight uniform gallery wraps and regular stretches in about two minutes or less. Manufactured in the US and sold online directly to picture framers, galleries, print-on-demand services, art publishers, and artists since 2008.

Call: 800-663-1166 www.capandwinndevon.com

Call: 614-861-4582 www.GalleryStretcher.com

36 PFM August 2019

CJ Paste

Crescent

CJ Paste is a corner and joint finishing paste developed for the picture framing industry. It is water-based, easy to use, easy to apply and easy to clean up. It dries, has some flexibility, and can be sanded and painted over. Made by framers, for framers.

By scanning the back of your Crescent matboard with Crescent’s free app, you can earn reward points toward products, tools, and prizes! Download the free Crescent Rewards app for iPhone or Android at the website below. Earn rewards with every Crescent matboard!

Call: 0427 534 432 www.cjpaste.com

Call: 847-537-3400 www.crescentcardboard.com/ rewards

Decor Moulding

Decor Moulding

Introducing Versailles, a modern collection with a feel for the old. Consisting of four intricate compo mouldings with antique highlights on the gold and silver finishes. The reverse scoop profiles in 1'' and 1 5/8'' widths and rabbet heights of ½'' and 5/8'' give this line great flexibility when framing so many types of art.

Order corner kit #CS-VERS to get these styles on your walls today.

Announcing the introduction of Tacoma, a new line of 10 distressed styles in five very attractive handstained finishes of Beach Wood, Black Wash, Gray Wash, Hibiscus, and White Wash. The Tacoma line features rough sawn and embossed profiles in two classic widths of 1'' and 2'' with rabbets of 7/8'' and 11/16''. Order corner kit #CS-TAC to get these styles on your walls today.

Call: 800-937-1055 www.decormoulding.com

Delta Picture Frame Co. Delta has just released this collection of slim-faced floater frames. Measuring 1 1/2'' wide by 2'' tall with a 3/8'' face, this profile has a modern appearance. Available in gold, silver, black, white, and espresso. To see other recently introduced collections, please visit the new products section of the website.

Call: 800-327-5482 www.deltapictureframe.com

Evonik Cyro Acrylite® Gallery non-glare (P99) acrylic reduces the unwanted glare and reflection that is created by light sources. Non-glare acrylic has a soft matte finish formulation that maximizes the unhindered viewing of framed artwork and prints alike as well as resisting fingerprints.

Acrylite® Gallery non-glare is backed by a 30-year warranty against yellowing.

Call: 855-202-7467 www.acrylite.co

Call: 800-937-1055 www.decormoulding.com

Epson The Epson SureColor P10000 and SureColor P20000 Production Editions feature breakthrough imaging technology, including a high-performance 2.6'' printhead and archival pigment ink technology. Including ONYX RIPcenter workflow software these printers offer powerful color management tools and support for Epson’s diverse media library to enable production customer to achieve consistent high-quality output.

Call: 800-463-7766 www.epson.com

Fletcher Business Group Patented Power Twist technology pulls 45-degree and 90-degree joints tightly together for greater performance strength and smooth penetration when applied using proprietary silicon. For use in a range of joining materials, including softwood, hardwood, MDF, and plastic. Available in 3-15 mm sizes in convenient packages or in bulk.

Call: 800-843-3826 www.fletcher-terry.com

PFM August 2019 37

New for Fall Product Showcase FrameReady

Framerica

FrameReady 11 interfaces with Quickbooks and Gunnar CMC. Also added are tools to help get reviews, create your own glass pricing charts, back up easily, cover new joining fees from suppliers, store multiple shipping addresses, capture images easily with iPad or iPhone, help with corporate sales, print gift receipts, and more.

Framerica’s Chalked Collection, featuring “cerused” woods, now includes Greige. “Chalked Greige is the combination grey and brown with familiar back-lit chalked graining,” notes Corinne Ferarra.

“We then added a powder overlay for an extra rich look.” The Chalked Collection is available in profiles ranging to 3''.

Call: 888-281-3303 www.frameready.com

Call: 800-372-6422 www.framerica.com

Framerica

Frametastic

Framerica’s Spumante Stainless a sibling to the hugely popular original Stainless, which captivated the interior design market for more than a decade. Spumante is the coloring of the Italian sparkling wine of the same name—a soft golden metallic with subtle undertones.

Spumante is a Framerica exclusive.

Available in profiles ranging to 3''.

Frametastic’s hand-crafted Reimagined Rustic Series takes barn wood into a new dimension. All five designs are painted on reclaimed barn wood and are eco-friendly. All the styles are available in five widths and cap style as length, chop, and join. In addition, they come as photo frames complete with UV protective glass and gift box.

Call: 800-372-6422 www.framerica.com

Call: 973-962-0286 www.frametastic-llc.com

Framing Fabrics

Gemini Builds It!

Liners are made from poplar wood and are finger-joined in 10-foot lengths, primed, and ready to be covered. Available in length or chop, primed, pre-covered, or custom-wrapped to your specifications.

Selections include French Bevel, Scoops, Tapered, Wedges, Mat, and Shadowbox profiles. Samples are available upon request.

Gemini’s new frosted acrylic frames can be customized with or without the mirror in any size or color. Made in the US, these stylish frames are ready to ship in under 10 days, making them the perfect addition to your frame collection. Contact a sales rep at sales@geminibuildsit. com to order.

Call: 800-832-2742 www.nnigroup.com

Call: 800-323-3575 www.geminibuildsit.com

CONTENTS AD INDEX

Giò Designs

Global Art

Motivated by nature, Giò Designs’ latest collection features two new profiles (N095 and N096) in seven hardwood inspired finishes. Those finishes include Natural Birdseye Maple, Ivory Birdseye Maple, Whitewash Ash, Grey Oak, Brown Pine, Tan Oak, and Ebonized Walnut.

They are available in photo (table top) frames and wall frames in 4'' x 6'', 5'' x 5'', 5'' x 7'', 8'' x 10'', 10'' x 20'', 11'' x 14'', and 16'' x 20''.

Inspired by the fine texture of the tropical teak wood, Global Art showcases its Teak Veneer collection.

Available in light, medium, and dark colors and two profile widths, this molding offers a beautiful natural look suitable for any decor. Corner samples available upon request.

Visit Global Art’s website to see all the new moulding options.

Call: 800-674-3344 www.giodesigns.com

38 PFM August 2019

Call: 866-310-4278 www.globalartinc.com

Image Conscious

InLine Ovals

“Ocean Tides” by Lina Alattar is an abstract image published by Image Conscious. This image is available to print in multiple sizes and can be printed on substrates such as standard paper, cotton rag paper, canvas, acrylic, metal, and wood.

Sunset Gold is a shade of a gorgeous bronze with a trace of a distressed look. It is a beautiful addition to InLine’s catalog of 34 available finishes. See the online catalog to view this new shade in all its available profiles.

Call: 800-532-2333 www.imageconscious.com

Call: 800-456-1232 www.inlineovals.com

Larson-Juhl

LifeSaver Software

Inspired by the landmark bridges of Madison County, Larson-Juhl’s Madison collection reflects the finishing of rustic wood to tie together any natural space in the home.

Summertime is the perfect time to reflect and make positive changes for the fall. Convert from handwritten tickets to LifeSaver or from LifeSaver Desktop to the Cloud.

Might as well convert your credit card processor to save you time and money, too!

Call: 770-279-5222 www.larsonjuhl.com

Call: 800-381-0600 www.lifesaversoftware.com

Michelangelo Moulding Echoing the enormously popular 141 series, Michelangelo proudly announces a substantive, 1 5/8'', poly cube series in eleven different finishes including Black, White, Gold, Silver, Charcoal, Bronze, Walnut Barnwood, Walnut Woodgrain, Grey Barnwood, Light Grey Barnwood, and White Woodgrain.

Inventory and samples are available.

Michelangelo Moulding Introducing four new special styles: three are silver leaf, and the fourth is a light, speckled silver. The sizes range from 2 ¾'' to 4'' and the styling of each is classic, elegant, and transitional. Stock is available in all styles for sampling or ordering.

Call: 877-422-8812 www.michelangelomoulding.com

Call: 877-422-8812 www.michelangelomoulding.com

Morso Dan-List

Nielsen Bainbridge

Cut your mouldings dust-free, noiseless, and with a perfectly smooth surface. The automatic range of electric Morso guillotines ensures easy, safe, and clean operation. No dust, no dust extraction, no noise, no compressor— perfect for the environment. Cuts up to 6'' wide mouldings.

Bainbridge Introduces Museum Basics, which feature 100 percent virgin cotton rag fiber; traditional archival-quality protection; six musthave colors, including white and black in 40'' x 60''; and notched corners for easy identification.

Priced for greatest profits. Treat your customers to the elegance, sophistication, and archival protection of true museum-quality mats.

Call: +45 8643 5155 www.danlist.dk

Call: 888-846-6847 www.nielsen-bainbridge.com

PFM August 2019 39

New for Fall Product Showcase Omega Moulding

The Côte d’Azur Collection is inspired by the coastal colors of the French Riviera, carrying a vibrant palette that has been calmed by seafaring elements. The painted surface is distressed to reveal multiple layers of color, creating a textural refinement that enhances the depth and features in framed artwork. The combination of neutrals and colors within the collection give designers and picture framers a variety of options to form their designs according to personal tastes, art color composition, or interior design schemes.

Presto Frame & Moulding

Beckham moulding by Presto is a study in contrasts: smooth top, rough side, narrow top, tall profile.

Each metal foil top was chosen to compliment the grainy textured side. The profile features a 1 1/4'' depth and a 3/4'' width.

Call: 800-431-1622 www.prestoframe.com

Call: 800-289-6634 (US) 877-452-3799 (Canada) www.omegamoulding.com

Qik Frame

Sepp Leaf

Change it up—not everybody wants archival! Qik Frame is an exciting new evolution in home decor. Update family pictures, trendy art, inspirational quotes, seasonal decor, or showcase your latest creations. 10 times easier to install—100 times faster to change. Fresh and fun has a place in every home.

Liberon’s Set of 10 Retouch Crayons will assist in repairs like filling scratches and small gaps.

10 different wood tones, including black. Wax-based crayons will be stable in the frame repair. Finish can be applied over them. Mix multiple colors together to make perfect matches. Imported from England by Sepp Leaf Products; available through Decor Moulding.

Call: 801-810-7450 www.qikframe.com

Call: 800-937-0006 www.decormoulding.com

Sepp Leaf

Specialty Matboard

Kölner Miniatum size is designed for mirror-gloss gilding without the necessity of agate burnisher polishing. Use on flexible surfaces such as matboard, paper, vellum, parchment, fabric, manuscripts, and leather. Genuine gold and silver leaf achieve the highest luster with Miniatum. Supplied by Sepp Leaf Products.

59001 Jubilee: one of six new items in Specialty Matboard’s “Quilted” series. Color palette includes brown. Available in 32'' x 40'' Cream Core.

Call: 800-280-6287 www.specialtymatboard.com

Call: 212-683-2840 www.seppleaf.com

CONTENTS AD INDEX

Studio Moulding

Studio Moulding

Studio’s new Armour collection features four modeled metallic finishes on two gently curved contemporary profiles. Gunmetal, Silver, Bronze, and Copper give the appearance of subtle hammered distressing, although the two profiles have perfectly smooth surfaces. Please contact your regional sales manager to order samples of this fine collection.

Studio Moulding’s Lyra collection was first introduced at the 2019 WCAF Expo in Las Vegas. Lyra offers four refined wood stain finishes with bronze, copper, gunmetal, and silver metallic accents on the outer front edges of two profiles.

Call: 800-262-4174 www.studiomoulding.com

40 PFM August 2019

Call: 800-756-2184 www.studiomoulding.com

Superior Moulding

Superior Moulding

Impress your customers with the trendy look of the Vineyard collection. This series combines accent colors with a slightly rusted finish and decorative compo detail for a true custom look. Display the Vineyard collection and show your customers that you have exactly the moulding they are looking for.

Whether you are framing your favorite sport or your favorite team, the Pinstripe moulding collection is going to work perfectly. These matte black frames include a bold color stripe and a full 1'' deep rabbet to lend themselves beautifully to framing of sports images and memorabilia.

Call: 800-922-7914 www.supermoulding.com

Call: 800-922-7914 www.supermoulding.com

Tech Mark

Third & Wall Art Group

Brevetti Motta, an Italian a manufacturer of double miter saws and joining equipment, announces the Jaguar. This double miter saw was designed with improved features to ensure accuracy and safety. The Jaguar has two motors which carry saw blades with a diameter of 10 7/8''. It has a production rate of 200 cuts per hour and is available is 220/440-volt single and three phase. Brevetti saws and joining equipment are available through Tech Mark, Inc. and appointed distributors.

“Dahlia Dream” by artist K. Nari, a 30'' x 44'' acrylic on canvas, is available in Third & Wall’s Print-OnDemand collection.

Call: 206-443-8425 www.thirdandwall.com

Call: 501-945-9393 www.tech-mark.com

Universal Arquati

Valiani

Presenting the new Edge collection by Universal. This collection incorporates mid-century designs with tones suitable for contemporary interiors. The Edge collection features high-quality veneer finishes as well as high gloss and mattes in two profiles for glass framing or floater designs, with the recent addition of white wash. Samples of this collection are available now—please contact your local sales rep or UA by phone or fax (661-362-6263).

View these mouldings and more online.

MatPro Ultra BC CMC 150 Cutting Machine (Button Clamp) is the ultimate tool for custom frame shops. Comes with a computer workstation, machine stand, interchangeable cutting heads, a MatStylus drawing head, V-Studio Create software with instruction manual, Dell® Windows 10 PC with 20'' monitor, keyboard, and mouse.

Call: 800-668-3627 www.universalarquati.com

Call: 800-323-1055 www.crescentcardboard.com/ valiani

PFM August 2019 41

Distributor Spotlight

CONTENTS AD INDEX 42 PFM August 2019

DISTRIBUTOR SPOTLIGHT A complete innovative marketing section designed especially for distributors.

For more information, sales@pfm-group.com

PFM August 2019 43

Index Advertiser

Page

Advertiser

Page

888 Manufacturing Corporation ..............................................................43

Jack Richeson & Co. ................................................................................42

888-338-3318

800-233-2404

www.888mfgcorp.com

Active Sales ............................................................................................42 800-937-2255

www.activesalesco.com

Alpina Manufacturing, LLC ......................................................................43 800-915-2828

www.fastchangeframes.com / www.bannergrip.com

Capax-Frame It ......................................................................................29 800-942-2729

www.capax.com

CMI Moulding .........................................................................................42 301-476-7440

www.cmimoulding.com

Crescent Cardboard Co. .............................................................................5 800-323-1055

www.crescentcardboard.com

Decor Moulding & Supply ................................................21, 23, 31, 41, 45 800-937-1055

www.decormoulding.com

Engelsen Frame & Moulding ....................................................................42 800-422-6731

www.engelsenframe.com

Fixons ....................................................................................................42 714-526-3455

www.fixons.com

Foster Planing Mill ..................................................................................42 323-759-9156

www.fosterplaningmill.com

Fox Moulding .........................................................................................33 800-341-0101

www.foxmoulding.com

FrameReady ...........................................................................................42 888-281-3303

www.frameready.com

Framerica.................................................................2, 3, 4, 31, 41, 43, 48 800-372-6422

www.framerica.com

FrameTek ...............................................................................................43

CONTENTS

800-227-9934

www.frametek.com

Framing Fabrics ......................................................................................34 800-832-2742

www.nnigroup.com

Frank’s Fabrics for Framers .....................................................................42

AD INDEX

888-332-2749

www.franksfabrics.com

Gluefast Company ............................................................................29, 42 800-242-7318

www.gluefast.com

www.richesonart.com

Larson-Juhl ............................................................................................27 800-438-5031

www.larsonjuhl.com

LifeSaver Software..................................................................................31 800-381-0600

www.lifesaversoft.com

Michelangelo Moulding ...........................................................................15 877-422-8812

www.michelangelomoulding.com

Picture Framing Magazine.......................................................................28 800-969-7176

www.pictureframingmagazine.com

Quality Saw ............................................................................................42 800-446-6622

www.qualitysaw.com

Studio Moulding, Inc. ..............................................................................17 800-262-4174

www.studiomoulding.com

Superior Moulding Corp. .........................................................................43 800-922-7914

www.superiormoulding.com/www.zelanto.com

Tru Vue ....................................................................................................9 800-621-8339

www.tru-vue.com

Universal Arquati ......................................................................................7 800-668-3627

www.universalarquati.com

Wall Moulding ........................................................................................47 800-880-8315

www.wallmoulding.com

West Coast Art & Frame Expo ............................................................11, 19 800-969-7176

www.wcafshow.com

Wizard International ...............................................................................13 888-855-3335

www.wizardint.com

Z Hardware ............................................................................................42 800-880-9315

www.zhardware.com

Hoffmann Machine Company ..................................................................42

Ziabicki Import Co. .................................................................................43

866-248-0100

262-633-7918

44 PFM August 2019

www.hoffmann-usa.com

www.ziabicki.com

(Continued from page 46)

these

er, the main dining room was elaborately terraced to pro-

frames in their time? Mid-Century Modernism. Platner

vide views for every table, intimate seating, and a sense of

produced a furniture collection that has proved to be a

drama. Paul Goldberger, architecture critic of the New York

continuing icon of 1960s modernism. Platner’s seminal

Times at the time, described the restaurant’s lush interior,

collection of chairs, ottomans, and tables, which was un-

with its soft pastels, fabric-covered walls, and what seemed

veiled in 1966, was produced by Knoll International with

like miles of brass railings, as an example of “sensuous

the aid of a grant from the Graham Foundation. Each piece

modernism.”

What

furnishing/interior

styles

accompanied

rested on a sculptural base of nickel-plated steel rods. The

Platner, who also created lighting fixtures, floor and

collection has been in continuous production since its in-

window coverings, furniture, and architectural ornaments

troduction, highlighting the enduring interest by collectors

for clients, completed many other noteworthy projects,

of Mid-Century Modern design.

including the interior design of Water Tower Place, the vertical shopping mall that opened in Chicago in 1976,

Additional comments and/or anecdotes. Platner’s design

and the 1986 renovation of the Pan Am Building lobby for

for Windows on the World, which originally opened in 1976,

its new owner, MetLife. Platner was inducted into Interior

is well known. Mimicking the interior of a grand ocean lin-

Design magazine’s hall of fame in 1985. PFM

Crossword Challenge Puzzle Solution

CALENDAR OF EVENTS ABC SCHOOL OF PICTURE FRAMING (West Islip, NY) offers a hands-on, four-day course. One-on-one and advanced classes also offered. Visit abcschoolofpictureframing.com or call 800-810-8849.

CHARLES DOUGLAS GILDING STUDIO (Seattle, WA) offers a three-day inten-

AMERICAN PICTURE FRAMING ACADEMY offer two- and four-day basic and advanced classes featuring technical, business, and design training. Call 888-840-9605 or visit pictureframingschool.com.

COMPLETE FRAMER’S SUPPLY, INC. (Fort Lauderdale, FL) offers training ranging from one day to several days based on an attendee’s individual needs. Email adam@completeframers.com or call 800-330-3263.

ART TO BE FRAMED (Mt. Shasta, CA) is an instructional and education-

SEPP LEAF (New York, NY) offers one-week traditional water gilding, glass

al custom picture framing retreat. One-on-one instruction for beginners through advanced. Visit artrobeframed.com or call 530-926-3609.

gilding, and Kolner gilding method classes. Visit www.seppleaf.com or call 212-683-2840.

ARTISTIC EDGE GALLERY & FRAMING offers a four-day, hands on, one-onone class that is tailored to attendees’ individual needs. The class tackles both the artistic and business sides of running a gallery or custom frame shop. Call 916-482-2787 or email kathy@artisticedgeframing.com.

THE NATIONAL CONFERENCE (Las Vegas, NV) offers seminars and work-

B.L. HAYMOND SUPPLY (Ukiah, CA) offers hands-on, one-on-one, two-day

oil painting restoration workshops with an experienced conservator. E-mail blhaymondsupply@pacific.net, visit blhaymondsupply.com, or call 707462-4221.

sive course in traditional water gilding with an experienced professional.

Call 206-795-8376 or visit gildingstudio.com.

shops Jan. 26-29, 2020 at the Rio All-Suite Hotel and Casino. Call 732536-5160 or visit wcafexpo.com.

VALLEY MOULDING & FRAME (N. Hollywood, CA) offers 5-day basic classes and 1-day advanced class. Visit valleymoulding.com or call 818-769-5656.

WEST COAST ART & FRAME EXPO (Las Vegas, NV) is sponsored by Picture Framing Magazine and takes place Jan. 27-29, 2020 at the Rio All-Suite Hotel and Casino. Call 732-536-5160 or visit wcafexpo.com.

PFM August 2019 45

Style

SNAPSHOT

By William Adair

What style frame is this? Sensuous modernism.

Where is it from? New York City.

What time period is it from? This frame was made in 1976 for the Windows on the World restaurant. Windows on the World was a com-

nition of a “classic” as being something that

plex of venues on the top floors of the North

every time you look at it, you accept it as it is—

Tower of the original World Trade Center com-

you see no way of improving upon it.

plex in Manhattan. It included a restaurant called Windows on the World, a smaller restau-

What design departures might be seen on

rant called Wild Blue, a bar called The Greatest

some frames of this style? As the head of in-

Bar on Earth, and rooms for private functions.

terior design at Kevin Roche’s firm, Platner created office spaces that were flexible, un-

Who was instrumental in developing this

derstated, and efficient. He chose a rich, quiet

style of frame? The complex’s initial designer,

color scheme to create a warm environment

Warren Platner (1919-2006), born Joseph Warren

and installed custom-made furniture designed

Platner in Baltimore, MD. Platner, an architect

to eliminate needless effort. Ergonomic desks

and interior designer, graduated from Cornell

included built-in telephones and special com-

University, Ithaca, NY, with a degree in architec-

partments for files and office machines. Plat-

ture in 1941. His career began with work in some

ner was a believer that a building’s design

of the most prominent and remarkable architec-

should come from within; “I try to conceive of

ture practices in the country. Between 1945 and

what would be the best atmosphere, the best

1950, he worked for Raymond Loewy and I.M.

character [for a particular building].”

Pei. He received the Rome Prize in architecture in 1955. In 1967, Platner opened his own firm,

What type of artwork would this frame most

Warren Platner Associates, in New Haven, CT.

likely house?

CONTENTS

This frame was designed to house Platner’s What are the defining/common characteris-

original Prismacolor pencil renderings to be

tics of this style? Platner described the defi-

displayed in the restaurant’s interior.

AD INDEX

William Bruce Adair received his B.F.A. in studio art from the University of Maryland in 1972.

For the next 10 years he worked for the Smithsonian Institution’s National Portrait Gallery as a museum conservator, specializing in the treatment of picture frames. In 1982 he formed Gold Leaf Studios to make frames and conserve gilded antiques. His clients have included the U.S. Department of State and the National Park Service. In 1991, he was awarded the Rome Prize in Design from The American Academy in Rome. Over the years, William has written articles in PFM that describe in detail some of the traditional embellishment techniques.

46 PFM August 2019

(Continued on page 45)

This 43 СИ x 53 СМ Warren Platner frame was displayed in the Windows on the World restaurant in New York City.