Picture Framing Magazine - February 2019

UNIVERSAL ARQUATI’S WEALTH OF EXPERIENCE • WINNING DESIGNS FOR SPORTS COLLECTIBLES • TIMELESS MATTING TECHNIQUES

Contents

PFM is a member of:

Volume 30, Number 2

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

On the Cover In this month's Supplier Profile, Universal Arquati's Mark Gottlieb (from left), Avi Feigenblatt, and Jon Bromberg discuss their company's growth over the past two-and-ahalf decades. For the full story, see page 24.

Features 18 Sports Memorabilia Framing 28 Timeless Mat Designs 36 Fabric-Wrapped Matting

Columns 12 24 32 46

24

Mat Doctors Supplier Profile Retailing Success Style Snapshot

28

Departments 8 10 42 43 44 45

Editor’s Note Industry News Distributor Spotlight Classified Ads Index of Advertisers Calendar of Events

46

36

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.

PFM GROUP

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 Kimberly Biesiada • kbiesiada@pfm-group.com

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

CONTRIBUTORS B USI N E S S E D I TO R

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 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

M AT D O C TO RS

ADVERTISING SALES

sales@pfm-group.com • 732-536-5160 ext. 222 Ellen Blatt • ellenhobbypub@cs.com Bruce Gherman • bgherman@pfm-group.com Rob Gherman • rgherman@hobbypub.com Sean Kliemisch • sean@wcafexpo.com CIRCULATION 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

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

WEST COAST ART & FRAME EXPO • NATIONAL CONFERENCE www.wcafshow.com Deborah Salmon • dsalmon@wcafexpo.com BU S I N E S S M A N A G E R 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 A S S O C I ATE E D I TO R Sara LaPonte • sara@wcafexpo.com M A RKE TI N G A N D C O M M U N I C ATI O N S C O O RD I N ATO R Alexis Orlacchio • alexis@wcafexpo.com TRA D E S HO W D I RE C TO R

WCAF EXPO SALES

sales@wcafexpo.com

PFM PUBCO • BOOK DIVISION BOOK SALES COORDINATOR

pfmpubco@hobbypub.com

CONTENTS

PFM GROUP STAFF PRODUCTION

Gary Coughlin • gary@wcafexpo.com Jin Dong • jin@wcafexpo.com C O O RD I N ATO R Jin Dong • ads@pfm-group.com

A RT D I RE C TO RS A D V E RTI S I N G

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PFM PUBLISHING, LLC PRE S I D E N T

PFM PFMseminars PICTURE FRAMING MAGAZINE

6 PFM February 2019

Bruce Gherman

Excellence in Art and Framing Education

WEST COAST ART & FRAME

EXPO & THE NATIONAL CONFERENCE

FROM THE EDITOR’S DESK

N

Creative use of matting materials, designs, and techniques will result in truly custom framing your customers will love.

CONTENTS AD INDEX 8 PFM February 2019

ow that you have a little more time on your hands than you did during the holiday bustle, it’s a great opportunity to roll up your sleeves and work on some inpirational designs to showcase to your customers. Our February issue focuses on creative mats and matting, and highlights some beautiful techniques and designs you could add to your own repertoire.

How about incorporating the classic appeal of fabric into your matting? In his latest article (“Timeless Fabric Designs,” p. 28), Tim Franer explains, with visual detail, how he has successfully employed fabric mats in an array of projects. And in “Adding Custom Appeal with Fabric-Wrapped Matting” (p. 36), David Lantrip offers step-by-step insight into a whimsical, tiki-inspired frameing project which was enhanced by the specialty fabric wrapped around the mat.

Only a portion of frame shops offer custom fabric-wrapped matting, so having it as an option for your customers means you’ll be a cut above the rest.

There is plenty of inspiration to be found in the area of mat cutting,

as well. In his latest Mat Doctors column (page 12), Brian Wolf discusses how to easily add ornamentation to the bottom of your openings by taking advantage of ready-made shapes in your CMC design program. By capitalizing on templates, you can achieve this standout look without the time-consuming drawing process.

In “Playing Ball with SportsThemed Frames” (page 18), Meg Glasgow showcases four frame jobs she completed for customers who brought in sports memorabilia. All reflect creative matting techniques, including home plate and fence shapes which were cut into a mat surrounding two baseball jerseys.

As important as it is to be creative with your framing, it’s equally important to price your product correctly. In his Retailing column (page 32), Ken Baur covers pricing matboard in your point-of-sale software system. Get inspired, get designing, and remember to charge what your one-of-a-kind work is worth!

Kimberly Biesiada Editor

INDUSTRY NEWS Framerica’s Fundraising Drive a Huge Success

England and Florida, respectively. He has earned multiple sales awards over the

Framerica’s annual fundraising effort to raise monies to help lo-

years and has a solid reputation across

cal families was its best

the industry for consistently providing out-

yet. This year, employ-

standing customer support and service

ees donated gift baskets

levels that exceed expectations.

which were raffled to other employees. Framerica matched all donations, which were then provided to Long Island Cares, an organization seeking Framerica’s annual food drive was a great success for the company.

to help those hungry on Long Island. “It is an honor to do it and a great

Brian Fenske

He believes in the importance of conducting business with integrity and forming

effective, consultative partnerships with customers. Fenske is excited about the opportunity to work with Universal Arquati Moulding and to assist new customers in reaching their goals.

He can be reached by email at BrianF@universalarquati.com.

Santos Celebrates Decade at Framerica

tradition for Framerica,” notes Corinne Ferrara. For more infor-

Al Santos, Framerica’s director of shipping,

mation, call 800-372-6422 or visit www.framerica.com.

recently celebrated 10 years with the company. “Al is terrific,” notes Jay Van Vecht-

Fenske Joins Universal Arquati Brian Fenske has joined Universal Arquati as a sales representative in South Florida. Fenske comes to UA with a successful 24-year sales career in the industry serving customers in New

CONTENTS AD INDEX 10 PFM February 2019

en, executive vice president. “His ability is matched only by his consistency and dedication. We are fortunate to have him on our team.” PFM

Al Santos

THE MAT DOCTORS

By Brian Wolf, CPF, GCF

Add Ornamentation Easily Using CMC Templates Ready-made shapes in your program can save time and look fantastic.

A

n ornament at the bottom of the opening is a classic touch. But why spend time drawing them when

there are so many ideas waiting in the template library?

Sometimes we work too hard at things; mat decoration cut with a computerized mat cutter, for example. Page through any previous article about mat decoration and you will find the same key attributes: delicacy, accents of color, the look of complexity, and the illusion of depth. What are the usual tools? The drawing program. It seems it is always necessary for a framer to invent new layers, change bevel types, alter shapes, and draw new artistic shapes freehand.

As rewarding as the drawing program can be, have we overlooked a less complicated way to include decoration? Every program’s template library is full of arresting shapes. It has been noted that most of these shapes are

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more useful to make decorative grooves and debossed lines than they are for openings.

In the quest for complexity and detail,

Why not find a way to adapt these shapes for

one unsung aspect of using template shapes

cut decoration, too?

as decorative additions is that a

⅛'' reveal on

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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 February 2019

The diamond merged into the top two layers of this opening is УМ wide and СИhigh.

The top of the inner diamond should be very close to the bottom of the rectangular opening’s middle layer, but not so close that the overruns of its cuts on the back disturb the bevel of the rectangular opening.

gin with three-layer rectangular openings for the picture.

The narrow inner reveals are ⅛'' and the larger reveals are

5⁄16'' wide. The decorative elements are all two-layer shapes with a ⅛'' reveal. They are centered and overlap the bottom of the openings, like little jewels. The shapes are merged into the top two layers of the rectangle so that they become part of the opening, not just an added shape.

All these examples show the decorative element centered at the bottom of the opening. The intent is to present this idea as simple as it can be without too many auxiliary processes to explain. However, opportunities for variation abound for any good decorative idea. Another attractive placement formula would be to mirror the elements on the sides of the opening. They could be close to the bottom, where they would read as corner elements. They could also be near the center of the sides.

The merging process is similar in all CMC programs.

The names will be different and there may be other options, but they function the same. In the Wizard program, the process is to select the overlapping items and then click the “Group Selection” button. All the overlapping similar bevel types on each layer will merge; the outside outline of the overlapping shapes will be the new cutting path.

A Black-and-White Illustration A small diamond elegantly illustrates the formula for This decorative shape is 1 ПИ wide and ПЖ high. This particular template is designed to add a round top with curved corners to a rectangular opening. Rotate it 180 degrees and make it very short, and it becomes a romantic bottom element. Note that the arcs should not be too tight (the small arcs here are ХЕК in diameter), though there are no blending points along the curves to create cutting difficulties. Also, small sizes and small parameter settings can sometimes generate odd, uncuttable artifacts in the inner layer.

Look closely and make a trial cut.

the example piece shown on page 12. There is a diamond-shaped template in every CMC design program.

The diamond here is ¾'' high. It is spaced vertically so that the top layer of the diamond overlaps the top layer of the opening, but the inner layer of the diamond is completely inside the middle layer of the opening.

After the diamond and the opening are merged, the

a second layer can be added in an instant. With one click, an added layer, a

⅛'' wide detail, and an additional color

will appear in the element. By contrast, adding intricate details and additional layers in the drawing program takes

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real effort.

Template shapes do not need to be “adapted” to make them into decorative elements. All the decorative shapes in these examples use the template shapes in obvious

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ways. There are no odd parameter settings that twist the shapes for their new roles. The triangle remains a triangle; the diamond remains a diamond. They are just smaller than they would be for openings.

The formula is the same for all the examples. They be-

14 PFM February 2019

top layer of the diamond becomes a break in the top layer of the rectangular opening. The bottom layer of the diamond remains a cutout in the middle layer of the opening.

The colors for all these examples are fairly sedate, but the top two layers of this mat are both very light gray.

Many framers use this white-on-white formula to imitate a groove. Their observation is that there are always adjustments and tweaks to cutting a groove, while cutting a double mat is routine. Plus, there is depth provided by the extra layer.

The diamond and its inner opening add detail to the bevels of the top two layers, creating the illusion of a decoratively cut groove. If there is ever fear of decoration be-

tan matboard between the rectangle and the decorative shape on the middle layer should be as narrow as possible. Cutting realities dictate that this strip of matboard needs to be about 0.2'' wide. Every program’s alignment tools will measure and set the spacing differently, so there is no helpful advice with actual numbers. Experience with the program and a few test cuts will be the easiest way to determine the distance.

Never discount the many benefits of test cuts. The cutting questions will always be settled with a test cut; however nice something may look on a computer screen, there is no better way of evaluating the size and proportion of a decorative element than by cutting it in actual matboard and seeing it next to the picture.

An Art Deco Print In the previous two examples, the top layer of the decorative shape merged with the rectangle, but the inner layer of the decorative shape cut as an opening in the middle layer of the mat. In the example on this page, both layers of this rounded triangle shape merge and break the layers of the opening; a small difference, but one that can add another measure of variation to the designs.

Of greater concern is the triangle itself—more accuThe template here makes a curved top triangle, but it is rotated 180 degrees to shift the curve to the bottom. Though this shape could be cut smaller, it is 0.7'' wide to make the proper impact for the size of the picture. The parameter for shaping the curve is set to 0.13''. With decorative shapes this small, decimals offer more artistic flexibility than the traditional ПЕК'' increments for these settings.

The triangle is almost an inch high, and it is positioned vertically so that the break in the middle layer is ПИ'' wide—a good distance that ensures that the overruns of the cuts at the points of the break do not nick nearby bevels.

ing too forward, this white-on-white formula is the perfect

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execution.

A Photograph The lilting, rounded shape merged into the bottom of the

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opening that is shown on page 14 is another template used exactly as it was designed. The arcs, however, are intended to be at its top. To function as this decorative element, the shape is rotated 180 degrees so that the arcs are at the bottom of the shape.

To promote the look of delicacy, the horizontal strip of 16 PFM February 2019

rately, the kind of shapes that are added as decoration.

There is a notion that decorative shapes in mat designs should be individualized. This is thought to make decoration most effective and highly impressive. This notion sends framers to the drawing program to invent decorative shapes that echo significant shapes for each picture. The effort required with each piece renders the entire subject of decoration impractical for many framers.

Contrast this effort of inventing shapes with the ease of adding geometric shapes that are already available in your CMC design program. Even though geometric shapes may not always echo exact shapes in the picture, doesn’t it seem that geometric shapes are almost universally applicable?

All decorative elements—complex or simple, artistic or geometric—should echo attitude and add detail. Shapes like these from the template library accomplish this goal with minimal effort on the part of the framer. PFM

PLAYING BALL WITH SPORTS-THEMED FRAMES

By Meg Glasgow

O

f all the types of custom framing projects

Incorporating the fence design from their logo into

that customers bring into our shop, sports

the matting was a key part of the concept, but equally

collectibles remain at the top of list. That’s

important was the color scheme. They requested col-

not surprising when you consider the massive size

ors of white and silver—perfect! A simple color story

of the sports collectible industry. Forbes reported

would keep the visual focus on the photos and jersey

that the value of the market has reached $370 bil-

names. But to keep the project from resulting in a bor-

lion worldwide with over 200 million collectors. This

ing look, I wanted to use shapes, shadows, and layers

is a big opportunity for framers to capture a bigger

for added interest. I worked in the home plate shape at

piece of this market by promoting more shadowbox

the top and fence shapes at the bottom. The mats were

displays. Framing offers the perfect solution for col-

designed using Wizard’s PathTrace.

lectors wanting to protect their valued item while en-

The photo shows the layers inside the frame. The

joying it as it is displayed on their wall. I hope these

mat is held halfway between the backing board and

design ideas spark your own imagination when it

Tru Vue Museum Glass. It holds the baseball in place

comes to stepping up your sports shadowbox game.

and gives the piece extra dimension. Two sets of side walls elevate the mat off the backing mat and hold

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CELEBRATING THE FIRST PITCH

the glass in place.

“Swing for the fences, and swing real hard” is a phrase

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coined by Scentsy owners Heidi and Orville Thomp-

FRAMING A MIKE TROUT SIGNED JERSEY

son. At their 2017 convention in Kansas City, the pair

We wanted to create a special frame design for this

threw out the first pitch and wanted to commemo-

signed Mike Trout jersey and collector photos. Our

rate the special occasion with a shadowbox. With the

team went to work designing an elaborately cut mat

fence as the central theme of the project, I began de-

that is worthy of this baseball superstar.

signing a frame that would be a game-changer on the wall in their office headquarters.

18 PFM February 2019

Our primary objective is always to protect the items we’re framing from damage of all kinds. From

The photos were mounted to the black mat surrounding the jersey.

how it’s secured in the frame and the quality of materials used to the Museum Glass that protects it, we employ the highest standards and techniques to protect the value and preserve the items for generations. Here’s how we do it.

First, we never use any permanent glues or adhesives on the collectibles. The jersey is stretched over an acid-free board and sewn in place to the supporting backing board with needle and thread. We take great effort to hide the

This design, centered around a special golf trip, benefited from layering so as not to look too busy or cluttered. Placement was also key; like this, the viewer’s eye moves down in a zig-zag pattern.

stitches from view while ensuring the item will safely be

took hours to draw out by hand and cut with a sharp blade.

held in place. Finding a solution for mounting the pho-

Thanks to our Wizard computerized mat cutter, we could

tos poses a bigger challenge. We can’t attach them to the

design and cut the multi-layered mat in minutes. We fin-

jersey, so our idea combined a complicated mat cut that

ished off the project with at decorative V-groove carved

attached to the black mat around the sides of the jersey.

into the mat and decorative logos in the upper corners.

It used to be that cutting a complex mat design like this

CYCLING SHADOWBOX Road cycling is a grueling endurance sport that is worth commemorating; especially when it’s done by a father-andson team. This shadowbox showcases several years of competition in The LoToJa Classic, the longest one-day road race

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in the US. When these items arrived in the shop, they were a colorful bag of brightly colored bib numbers, ribbons, and photos. There was so much going on with different shapes, colors, and patterns, that I knew the best design would introduce balance and symmetry to the collection. The poster

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would take center stage with the most important photos below. The racing bibs and medals would make nice compliments to each other on either side of the poster.

The items in this shadowbox, which captures years of competitve cycling, needed a balanced, symmetrical frame design to tie them all together in a visually appealing way.

20 PFM February 2019

Cutting the double mat for the poster, photos, and medals was very straightforward. When designing the mat on my CMC, I left a wide empty space on the left where

the elevated panel would eventually be placed. I want to

the viewer’s eye would move across the items. I was care-

point out why this approach is effective in this design.

ful about placing the items so that your eye would move in

The medals on the right are visually “heavy” due to the

a zig-zag pattern through the frame. Beginning at the top

large size and 3-D shape. To create balance in the frame

with the light-colored photo, your eye moves down and

design, I wanted to bring the other items forward to give

across each item. Layering the objects keeps them visually

them more importance. I did this by cutting a white panel

connected and creates emphasis and areas of focus. With-

with two openings for the photos and a black mat under-

out layering, the shadowbox can be left looking cluttered.

neath. I top-mounted the race bibs to the mat and added

The best way to inspire customers with such sports-

the wrist bands at a 45-degree angle to mirror the medals

themed shadowboxes is to show them. Showcase exam-

on the right. That repetition creates balance. To hold this

ples of projects on your gallery walls. Include project pho-

raised matboard in place, I tucked it inside the two parts of

tos on your website with descriptions of the story behind

the side wall. Between the two sections of sides, I used ⅛''

each piece. With permission, share project ideas on your

black spacer to keep the mat in place.

social media sites. Social media platforms like Facebook,

GOLF TRIP OF A LIFETIME

Instagram, and Pinterest are great places to show sports collectors what you can do. PFM

Scotland’s famous St. Andrew’s Golf Course was a bucket list vacation for one couple, and this shadowbox commemorated their special trip. The wife in this husbandand-wife duo told me that she purchased a piece of plaid fabric; the pattern of which traces back to her ancestors.

I really wanted to incorporate it into the frame design to help tell the story of their trip to Scotland.

In designing this frame, I was thoughtful about how

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Meg Glasgow The owner of Finer Frames in Eagle, ID, Meg is a nationally recognized consultant in the art and framing field and the winner of Larson-Juhl’s inaugural Design Star competition in 2013. She travels widely around the US presenting sales and marketing seminars for small businesses, and has recently published her second book, “Recharge Your Business.” She is a popular instructor at The National Conference in Las Vegas.

SUPPLIER PROFILE: UNIVERSAL ARQUATI

By Kimberly Biesiada

The partners’ team-oriented mentality plus their wealth of combined experience equals continued success for the company.

F

or Mark Gottlieb, Jon Bromberg, and Avi Feigenblatt, the art and picture framing industry represents a lifelong career path. The trio—who serve as president, CEO,

and chairman of Universal Arquati, respectively—bring about 100 years of combined industry experience to the table. The lessons they’ve learned and relationships they’ve formed over the years have spelled success for the company, which this year celebrates its 24th year in business.

The company, which is based in a 100,000-square-foot building in Santa Clarita, CA, boasts about 100 employees and has satellite offices in Texas and New Jersey. PFM sat down with Gottlieb and Bromberg to discuss Universal’s adaptations, growth, and future within the industry.

Avi founded the company, then called Universal Framing Products, in October 1995. Where were you all previously, and how did you end up in business together?

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Mark: I studied art in college in Miami, FL, and worked in art supply stores to supplement my income during that time. I continued along the same path when I moved to

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Los Angeles and worked for a fine art paper company. Later, I started working for a wholesale moulding distribution company, Victor Moulding, as a sales rep in Southern California and stayed there for 16 years. I joined my cousin Avi at Universal a month after he started it in 1995 and have been here ever since.

24 PFM February 2019

Top: Veteran employees of Universal with a history of over 15 years; (left to right) Rene Garcia, Cliff Uytingco, Salvador Velarde, Jesus Garcia, Carlos Zantiso, Juan Reynaga, Jonathan Glassick, Vicente Castillo, Santiago Romero, Salvador Soria, Jackie Rodriquez, and Karla Torres-Ball. Bottom: Universal’s southern California warehouse. All photos courtesy of Michael Frediani

Jon: I’ve been in the industry for 33-plus years. I worked for 12 years at a company called Alumaframe, which was purchased by Nielsen Bainbridge in 1997. I was the gen-

eral manager; that’s where I gained most of my industry knowledge. I had worked with Avi at Alumaframe before he went his own way and started Universal with Mark.

Around the time Alumaframe was being purchased, I was looking for an opportunity and coincidentally ran into Avi. We started chatting and worked out a deal where I could join the team, and the rest is history. For all three of us, our entire adult careers have been somewhere in the framing, art, and home decor industry.

How does that experience inform your decision-making today?

Mark: We feel it gives us an advantage in terms of knowing

(Left to right) Gottlieb, Feigenblatt, and Bromberg in conference outside UA’s southern California facility.

what the market’s looking for, because we’ve seen a lot.

You never know everything; adaptability is key. We’ve been

Tell me more about why Universal purchased Arquati

able to adapt to all the changes and continue to thrive as a

and what that’s meant for the company.

company. Our general business acumen, along with common sense and listening to our customers throughout the

Jon: We had an opportunity to step in and take advantage

years, have allowed us to survive when others have not.

of their strengths. It was a great addendum to our busi-

We started pretty much from the bottom, and when

ness because (Arquati) had a different type of business

you start from the bottom, you learn every aspect of the

and a different perception in the industry. It opened a lot

company. I’ve worked in retail, I’ve worked in warehouse,

of doors. We also hired new people from the company; we

I’ve worked in sales—on every level. We all have. We’re all

feel that one of our strengths is having great people. We

from-the-bottom-up kind of people.

have two fantastic sales managers, Michael Keeling and Kevin McKenna, who have extensive industry experience

Jon: We’re all from the school of working hard. Like Mark

and have been with us for over 10 years.

said, we’ve learned because we’ve done pretty much every job our company has between all of us. Another big boost

Do you have many other longtime employees?

for our company was when we acquired Arquati in 2009.

Jon: We have a lot of employees who have been here for 10-plus years, and a few who have been here for more than 20 years. Some have been on board since right after I started, and they’re still here. It’s something we feel is a tremendous strength. They have knowledge of our business at every level.

It sounds like teamwork is a big part of your culture.

Jon: Yes. With all the years of experience we have and our employees have, you need to have teamwork to persevere.

It’s a tough environment to be in business today; particularly in California, where our headquarters is located. You need to have a lot of people pushing in the same direction.

Bromberg working closely with Alicia Costin, marketing coordinator for Universal.

Mark: And over our entire careers, between all of us, there’s PFM February 2019 25

Bromberg and Gottlieb in Universal Arquati’s southern California showroom, showcasing some of the Universal Arquati moulding collections.

an abundance of relationships that have developed. And

for other people before we owned the company, so we’ve

the relationships in general have created the ability for us

all seen what hard work does.

to succeed—not just relationships with customers, but on every level of the industry.

Mark: We’ve learned a lot about what to do and what not to do.

How do the three of you work together and juggle your different roles?

How many moulding styles does UA carry?

Mark: Officially, Jon would be operations and finance, and

Mark: Approximately 1,500.

I would be sales and product development.

Where do your ideas come from, and what is the design Jon: We all have distinct titles and job functions, so to

process like?

speak, but there’s a lot of overlap because we all have relationships with different customers and suppliers. It’s not

Mark: Overall, Avi and I are the ones who come up with

very specific: we all deal with many customers on a daily

the ideas for what styles to add. It’s an organic process. We

basis. We’re all intimately involved in the day-to-day op-

go through several steps to decide on which products to

erations of the company. We count on our people, but at

add to our line and when to add them. We follow multiple

the same time we’re readily available for a conversation,

sources to stay up on design trends, and we also pay atten-

whether it be with a salesperson, sales manager, or cus-

tion to what our customers are looking for.

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tomer.

How long does the process take from product conception Being that involved and taking a hands-on role as presi-

to release?

dent, CEO, and chairman is a conscious decision that not

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every head of a business makes.

Mark: Six to nine months.

Jon: It comes from starting as a small company with five

So really, it’s like a child—each one is like your baby!

employees and having to wear whatever hat you had to wear to be successful. It was instilled at the beginning of

Mark: You just hope the baby makes money for you!

the company, and it’s the way we’ve grown. We all worked

There’s a certain amount of chance you take because you

26 PFM February 2019

could be too soon for a trend; you could be too late for a

Framing manufacturers, distributors, and retailers have

trend; you could hit on a non-trend. But we have ways to

had to adjust to a changing market in the last several

minimize the risk. I think we have a pretty decent batting

years. What’s your perspective on the industry today?

average overall. And equal to adding, there also has to be a process for discontinuing. The lifeblood of our industry

Mark: There are a lot of different facets to our industry,

is new products and new looks, and we’re always trying

but in general, people will always need wall decor. There

to add; but at the same time, if something isn’t successful,

are trends that occur—for example, canvas gallery fram-

we have to find ways to phase it out. Usually that’s a slower

ing was a big seller, and right now you see wall groupings

process than adding. At the end of the day, you hope more

being sold to the millennial market—from which retailers

things stay than go. That’s the balancing act.

can continue to benefit. There is definitely a future to the custom framing industry; it’s just about how you position

What styles are trending now?

yourself.

Mark: I can’t tell you what we think the next trends are go-

Jon: I think the strong continue to get stronger, and the

ing to be, but contemporary and rustic frames have been at

reason they’re successful is because they have a niche or

the forefront for a while now. We were in a position where

they’ve figured out what their customers need. And the

we saw that coming, and a lot of our later collections have

ones who don’t keep up with the times are the ones who

reflected those trends. We also try to validate how much

struggle and disappear. It’s truer today than ever. It mir-

longer those trends have and try and look toward the next

rors the global economy: the middle class is shrinking, the

thing. I have some ideas.

strong are getting stronger, the weak are getting weaker.

That’s kind of what’s happening on the retail level as well.

In addition to product development, what’s your favorite aspect of the business?

And how does Universal fit into this larger picture?

Jon: Having an opportunity to get a customer the product

Mark: I think ‘diversification and growth’ has always been

they need for a large project—that’s the most exciting as-

our mission. We had a good year (in 2018), and we certainly

pect from my perspective.

think we’ll continue to grow. We always strive to stand apart from the rest with our mouldings’ value and design. PFM

Do any stories about helping a customer in a pinch stand out in your mind?

Mark: We’ve often been in the position where we’ve saved a customer’s project by having the stock. For example, somebody was doing a hotel project and had contracted out the whole job to China. When the framed art arrived, it was smashed, damaged—it can happen very easily. They had to recreate the project themselves with a tight turnaround time. We were able to provide the moulding they needed for that.

Jon: In general, we carry a very large inventory because everybody needs product at a moment’s notice. We’re willing to do whatever it takes to make our customers successful, even to the tune of having to air freight from overseas to get them a product on a timely basis. We’re a big-picture company; we want our customers to remember we were there to help them out of a bind. It happens all the time.

A view of the sample department in the forefront, with warehousing seen in the background.

PFM February 2019 27

TIMELESS FABRIC DESIGNS

By Tim Franer

S

uccessful custom framing retailers emphasize

rounded corner windows. The design and layout

the unique and personal nature of what they’re

were determined from both the subject matter and

offering to their customers. Few things will

where the piece was going to be displayed (inside

help you customize your framing more than using

a recessed off-white, painted-block panel above a

fabric in your designs. It vastly expands the palette of

large mantel in a man’s trophy room). The room had

creative possibilities and often leads to framing that

several mounted trophies, which created a feeling

is every bit as original as the artwork it is designed to

of nature and wildlife with a spacious atmosphere.

enhance.

The room’s overall colors, finishes, and textures were

Fabric yardage not only offers a framer a rich array of colors and textures, but it also offers custom-

neutral in tone.

⅜'' thick Ultralight LDF three 9'' x 12'' round ra-

For this layout, I chose a

ers a value that is immediately apparent. Selling such

panel liner, 19'' x 54'' with

designs is one of the most effective ways to counter

dius window openings. Each window opening had

the priced-based appeal of mass merchandisers; and

a deep bull-nose bevel cut to help create dimen-

there is no better way to personalize a job than to in-

sion. The layout dimensions for the three-opening

clude a fabric-wrapped mat or liner in your design.

panel liner were laid out to fit inside the recessed

With the latest technological advances, there are

block panel above the large mantel. Instead of using

now unlimited options when ordering continuous

square corners in each window opening, a bull-nose,

liners. You can, for example, order panel liners with

deep-rounded corner bevel was chosen. Designing

circular or oval shaped openings, liners with arches,

with rounded corners typically adds a nautical look

and liners with multiple openings. You can have them

or feeling to the presentation.

CONTENTS AD INDEX

sent raw, primed, or covered with an unlimited vari-

Each hand-colored etching has a dominant

ety of fabrics. They are available in shapes and config-

brown tone, which lent itself nicely to a dark brown

urations up to 49'' x 97'' and in board thickness of ¼'',

fabric. The dark brown suede that was chosen created

⅜'', ½'', and ⅝''. These examples aim to encourage you

a contrast between the cream-colored background of

to expand your creative arsenal by applying various

the art and the fabric, drawing the eye inward to the

fabrics using a continuous fabric technique.

artwork. The suede also enhanced the three-opening panel liner because of its rich, smooth fabric texture

COLOR AND DIMENSION

and stretching ability when covering the round corner

In the first design shown on page 29, a trio of

and depth of each opening. A Flexible Fillet placed in-

hand-colored fish etchings were placed behind three

side the bevel provided definition between the brown

28 PFM February 2019

(Top) Dark brown, suede fabric creates a contrast with the cream-colored background of the artwork, drawing the eye inward.

(Bottom left) Front view of the primed panel liner shows the rounded corners with bullnose bevels and two rods underneath to raise the panel off the table for fabric application.

Miracle Muck adhesive was applied to the panel liner using a sponge roller.

(Bottom right) The back view of the panel liner shows the fabric application process.

After fabric has been applied to the front, the center of each window is cut, wrapped around the bevel, and glued to the back.

(Top) In this design, fabric highlights a collection of hand-carved stone musicians, adding texture and richness to a three-dimensional design.

(Bottom, from left) Silk fabric was applied in a horizontal format with fabric adhesive; each carved stone musician was glued to a hand-covered fabric wood to give a true three-dimensional look without getting lost in the opening; the stone musicians were then glued to a linen-covered backing.

PFM February 2019 29

This frame design encompasses many customized components, such as a hand-crafted, rounded frame and mat window openings, elegant gold leaf moulding, and continuous, hand-covered silk fabric with Flexible Fillet enhancements.

The back of the inner wood liner shows where the flexible silk fabric-covered fillet was placed around each rounded corner. To achieve the rounded effect, small sections were spliced together. Keeping designs simple and creating focus are among the most important elements you can use when designing a frame like this one.

mat and the cream-colored artwork.

Fabric (FE-2176) was applied to both liners. The silk

Adding dimension to the art and fabric-covered flat panel liner was important to help it tie in with the spacious trophy room setting. A 20'' x 54'' x 4

was glued with Frank’s Fabric Glue and applied in a vertical direction.

½''

To give the design a customized look, a Flexible Fil-

Bourbon Tabacchino Collection frame from Roma was

let was applied to both liners. The inner liner Flexible

selected for its unique antique finish, preserving the

Fillet was covered with the same silk as the liner silk

warmth and beauty of the pure olive veneer. A smooth

and, for the outer liner Flexible Fillet, a Chinese Red

transition liner was placed to give dimension to the

Cotton (FE-2401) was used. The Chinese Red Flexible

overall presentation.

Fillet was selected to coordinate and accent the subject. Each component plays an important role in the

FRAME, FABRIC, AND LINER

design. The frame is narrower than the liners, which

For the above design, I chose a Divina frame from

are large enough to give the artwork ample breathing

Roma in Raven Black. The ornate, handcrafted frame

room. Using two liners creates a dimensional effect

was selected for its style and finish. The swan shape

that adds to the overall custom look. The fillet compo-

profile provides a deep rabbet that will house glazing,

nents give this piece an added touch of customization.

CONTENTS

artwork, and backing boards. What is unique about the

I encourage you to employ the timless appeal of

profile’s shape, style, and color is that the pattern of

fabric-wrapped matting in more of your framing con-

the profile complements the bird’s black feathers, with

sultations. Your customers will be impressed! PFM

the black raven satin finish matching the subject matter. The top edge of the profile’s gold leaf ornamentation creates a very upscale appearance that brings out the true richness of the piece. Two ultralight wooden

AD INDEX

liners were designed and primed for this project.

Each inside liner corner was rounded with a radius parallel to the outer frame curve and primed with white gesso to seal the wood from contamination or unexpected bleed through. A silk fabric from Frank’s

30 PFM February 2019

Tim Franer Tim has framed artwork for heads of state, corporations, galleries, and fine homes across the globe for more than 40 years. Known for his creative design and skilled craftsmanship, he is an authority on art and design, consults with industry leaders to define color and design standards, and is a speaker and educator on art, design, and framing. Tim leads seminars and workshops worldwide, including The National Conference in Las Vegas. A former gallery owner, Tim has worked as senior design and market development manager for Tru Vue and as development design manager for Nielsen Bainbridge. He owns Tim Franer & Company and is a regular contributor to PFM.

RETAILING SUCCESS

by Ken Baur

Pricing Matboard in Point-of-Sale So�ware Set pricing tables in your system to ensure profitable pricing in your frame shop.

F

or framing retailers, pricing matboard has traditionally been done by applying a multiplier to the united

inches of a project. When you transition from manual pricing to pricing using a point-of-sale software system, it’s important to know that while the process still uses united inch calculations, your system likely also allows you to use different multipliers for mats based on their cost. Having a basic understanding of how your system “thinks” when it calculates a retail price will help you determine how profits are created.

Pricing matboard correctly is crucial because mats have the highest waste of any materials used in custom framing. This is because matboard only comes in full sheets.

Moulding and glazing can be purchased in sizes very close to what is required in a project, but matboard doesn’t work that way. Because almost 60 percent of all custom frame projects are smaller than 20'' x 24'', there is

often a very high percentage of matboard

CONTENTS

that goes unused in most projects. This can erode your profits over a year’s time unless you price accordingly. On very small projects,

if your pricing tables are not correctly set, it is possible to make no money—or even to lose money—on the matboard because prices are not set high enough to offset the amount of waste.

Most POS software programs have an option which forces the system to charge a minimum of the cost of the matboard. You can even set the minimum to 1.5 or 2 times the cost of the board. Using this option ensures you will never charge less than what you paid for the mat you sold.

It helps to understand how a typical computerized system calculates matboard pricing. When you first set up your pricing tables, most systems ask you to create a multiplier for each level of matboard cost. Less expensive mats typically get higher multipliers, while expensive mats typically receive lower multipliers. A pricing table might look something like this:

Cost of Matboard (what you pay for the sheet)

Multiplier Used

.01-7.99 ..................................................................... 5.0 8.00-11.99 ................................................................. 4.5 12.00-15.99 ............................................................... 4.0 16.00-24.99 ............................................................... 3.5 25.00-34.99 ............................................................... 3.3 35.00-999.99 ............................................................. 3.0

AD INDEX

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.

32 PFM February 2019

This table is not a recommend-

business to be profitable and then

system will determine that cost

ed setup for your shop. Remember

set your moulding, mats, and glaz-

of the board being used is 50 per-

that you must determine the gross

ing prices so you are charging what

cent of what you pay for it, or $4.50.

margin you need as an individual

you need to charge. Using someone

Then it will use the multiplier you

else’s pricing or the default pricing

assigned to the full matboard; in

that comes with your system is

this case, 4.5 (from the 8-11.99

just guessing at proper pricing.

range found in our example table).

Limit Your Sources I often see shops carrying product from three or four different matboard vendors. Doing so dramatically increases the amount of waste generated, as it makes it more difficult to use the waste inventory on hand. If you carry four vendors of matboard, you might have 20 shades of light blue to offer customers. It’s very easy to accumulate unused board when you offer so many choices. By limiting matboard sources to one or two vendors, you will reduce your inventory and be more profitable.

CONTENTS AD INDEX 34 PFM February 2019

Most POS systems will use a

Finally, the retail price is calculated

version of the following method

by multiplying the $4.50 adjusted

for determining the retail price for

mat cost by the 4.5 multiplier; the

a matboard:

mat price becomes $20.25.

Say that you select a mat that

Remember that in reality, you

costs you $9, and the size of the

paid $9 for that matboard—not

outside of the mat in the project is

$4.50. Therefore, the profit on the

16'' x 20''. The system calculates

sale is $20.25 - $9 = $11.25. Your

that 16 + 20 = 36. It knows that the

gross margin on that mat is 56 per-

full size of a regular matboard is

cent (11.25/20.25). Fifty-six percent

32'' x 40'', or 72 united inches. Since

is far too low of an overall gross

this project requires only 36 united

margin for almost every shop. This

inches, the system then calculates

example illustrates that multipliers

the percentage of matboard being

for matboard often need to be high-

used. 36 is 50 percent of 72, so the

er than multipliers used for other

materials.

2. Use the options in your POS

your vendor if you have any ques-

You may have noticed that the

system to make sure you al-

tions while setting up your pricing

16'' x 20'' sized board used in the

ways charge at least what you

parameters in the system. They

example is really not 50 percent

paid for each mat you sell;

want you to be profitable and will

of the actual board. In fact, you

3. Make sure the multipliers in

can get four 16'' x 20'' mats from a

your pricing table are high

32'' x 40'' full sheet. This is one of

enough to offset waste;

troubleshoot any issues you may encounter in the program.

Although matboard pricing can

the issues with using united inch-

4. And raise multipliers on low-

be complicated, your computerized

es in the calculation. It doesn’t hurt

er-priced mats to have the

POS system will help you charge

margins though; in fact, it helps

greatest influence on profits

the proper amount. Once you un-

them, because the cost of the board

and use lower multipliers on

derstand how the system calculates

would have calculated to 25 percent

more expensive mats to reduce

prices and how much your profits

of a full board instead of 50 percent,

price objections.

are affected by waste, you can set

resulting in a reduction of the cost used to 25 percent of $9, or $2.25.

pricing tables to ensure profitable I also encourage you to talk to

pricing. PFM

This would have produced a retail price of $10.13 for a mat, costing you $9.

If the retail price had dropped below the cost of $9 and you had

HAVE A QUESTION

chosen the option to always charge

OR COMMENT?

at least the cost of the mat, the sys-

TELL PFM WHAT

tem would have charged $9. Using

YOU THINK.

this option can really save you money. Recently, I did an analysis where

Call 732-536-5160,

this option was not chosen. The

Fax to 732-252-2270

company charged less than the cost

Attn: PFM Editor

of the mat being used nearly 200

or E-mail to

times over the course of one year,

editor@pfm-group.com

resulting in a net loss of over $1,100.

This type of profit leak can significantly lower your overall gross margin and yearly profits.

Matboard pricing is a complicated procedure because of the great amount of waste generated.

Luckily, POS systems help generate much better profit than manual systems because they constantly update costs and allow you to set minimum price levels. Here are the most important things to remember in setting up your mat pricing: 1. Limit the number of matboard vendors you stock so that waste is minimized; PFM February 2019 35

Adding Custom Appeal with Fabric-Wrapped Matting

By David Lantrip, MCPF, GCF

W

hen designing a framing treatment, I usually

There were some great tiki-inspired mouldings avail-

make sure the frame allows the art to take

able, but I prefer to do something interesting with either

center stage. The mat, moulding, and decora-

the mat or the frame, not both. A heavily patterned frame

tive elements may provide contrast to or complement the

combined with decorative matting can result in a design

colors, create a period look, or allow the art to make a state-

that confuses the eye, not giving it a resting place. A bamboo

ment in its environment; but always, the art comes first. In

motif would have been too obvious; clichéd, even. Instead, a

some cases, though, it can be fun to step outside one’s com-

dark moulding from Larson Juhl’s Java line lent enough visu-

fort zone. The results can be pleasantly surprising.

al weight to contain everything. Its pattern was enough to be

That was the case with this needlepoint that evokes

interesting at close viewing without being distracting.

memories of pineapples, tropical drinks, and slack key guitars. The piece demanded something fun with a mid-cen-

The Framing

tury tiki vibe. Matting was a good starting point. The rich

The process started with lacing the needlepoint on an 8-ply

textures and saturated colors of needlepoint called for fabric

cotton matboard; a method that is virtually a requirement

mats; anything else dulls in comparison. Some grass cloth

for stretching needlepoint. Tapes, dry mounting, or other ad-

mats were available off the shelf, but their textures were too

hesives are out of the question. Pinning is a close second to

dominant and seemed too obvious. The best choice turned

lacing, but it can be difficult to get the necessary tension, and

out to be a cotton fabric with the pattern of a lauhala, or

the open weave of coarse canvas often will not hold pins.

woven grass, mat. The color was right, the texture was less

After measuring the work one more time after lacing, it

pronounced, and the weight was perfect for a wrapped mat.

was time for the matting. A nice thing about fabric-wrapped

It also echoes the texture of the light-green stitched border.

mats is that they do not require any sort of specialized mat-

CONTENTS

Combined with the border of the needlepoint, a sim-

board; any light-colored board you would feel comfortable

ple mat would have been a fabric analog to French matting.

using in preservation framing will do. As a side note, 8-ply

However, it needed a break between the pattern and the art,

mats work beautifully for fabric wrapping, but there is no

something to better finish off the inner edge. For that, a Flex-

need to order one specifically for it. It is very easy to lam-

ible Fillet from Frank’s Fabrics did the trick. The pink adds a

inate two standard mats together using fabric adhesive to

bit of color to complement the hibiscus flowers.

create a thicker mat.

AD INDEX

The black around “Hawaii” and in the border needed to

In this case, a 4-ply mat sufficed. As it was cut with a

be somewhere in the design to create a cohesive look. Using

reverse bevel to accommodate the fabric fillet, there was

the French matting analogy, a ruled line would do nicely, but

simply no need for a deeper mat. After applying the fabric

isn’t practical on fabric. A line of the black thread used in the

adhesive, the fabric went on the mat. It would typically be

needlepoint created a similar effect. It worked out even bet-

straightforward to lay the fabric on the mat and adjust to

ter than a ruled line because of its sheen and texture.

make sure the grain is straight, but this fabric needed careful

36 PFM February 2019

Self-adhesive tape, burnished well, holds the thread. When preservation is a priority, leave the “tail� longer and attach it closer to the outside edge of the mat to keep it well away from the artwork.

A second layer of mat would also isolate it somewhat.

attention to ensure the pattern’s straightness. To do this, I laid the fabric face-down and applied the mat to the fabric, lining up an edge along the pattern. It was somewhat forgiving, but had it been a plaid or gingham, I would have used a straight edge and possibly a few pins.

The adhesive was dry enough that it did not seep through the fabric yet tacky enough to hold. With the fallout placed back in the mat so the fabric would not sag and distort, I smoothed the fabric out and finished the bonding process in the dry mount press. The heat set the adhesive and the pressure ensured a strong bond and smooth finish.

Creating a reverse bevel fabric-wrapped mat is simple.

With the mat face down, cut a diagonal line just shy of the corners toward the center of the mat. Being able to see the bevel in the corner makes it very easy. Then cut the center out so that you have four flaps of fabric to fold to the back and secure with more fabric adhesive applied along the opening. Repeat for the outer edge. Wrapping the bevel creates a

THE VALUE OF USING FABRIC VENDORS

CONTENTS

Rather than ordering through a framing-specific vendor for your fabric, it might be tempting to buy from a local fabric store instead. Doing so carries some risk. Fabrics sold at fabric stores are meant to be used for clothing or upholstery, not for close contact with artwork. They contain excess dyes, optical brighteners, or starch or sizing, any of which could be harmful to art in the closed environment of a frame. Also, the material may be too thick or too sheer, causing problems wrapping it around a bevel and into a corner cleanly or with adhesive seeping through.

As a practical matter, the fabric at a store may not always be available; a problem if your customer wants to match a previous job. Suppliers of fabric meant for framing have considered these issues and sell only suitable products. If you do need to use a fabric sourced from a fabric store, choose wisely and wash it multiple times using water only to remove starch, sizing, and excess dyes.

AD INDEX 38 PFM February 2019

smooth, finished edge that looks clean and neat against the fillet. It also means never worrying about a frayed edge.

With the mat completed, it was time to install the fabric fillet—another easy job. After mitering one end with a fresh razor blade guided by Frank’s guide tool, I placed it snug into one corner and marked the opposite corner with a pin mark.

That end was then mitered and the fillet installed with the included self-adhesive strip. I like to cut the four legs just a hair large so the cut ends mesh together tightly; something not possible with a wood fillet.

Finally, the finishing touch on the mat; a faux ruled line

Some needlework may contain dimensional items such as beading or ribbon. Use spacers, mats, stacked mouldings, and other elements to provide space between them and the glazing.

made of thread. It was made with a shimmery thread laced

to be kept straight and flat on the mat. Using a large needle

through four holes in the mat. I placed a Post-It note near

as a laying tool, I slid it under the thread on the secured end

the corner of the mat opening and marked it using a scribe.

and worked it to the other end, finally pulling the excess to

You can also place it in a manual mat cutter and use the

the back and repeating the process for the remaining sides.

measuring bar to place the crosshairs. I used a sturdy needle

With the decorative features done, the rest of the fram-

pierce the mat and repeated for the remaining three sides.

ing was straightforward. A sink mat built up around the

Next, I threaded the needle and passed it from the back

laced needlepoint held it securely and supported the mat.

of the mat to the front, then into the opposite hole from the

Tru Vue’s Museum Glass assured that harm from UV was

front and secured one end of the thread to the back of the

minimized. The frame added just enough detail and lent vi-

mat. I cut the other end from the spool, giving myself a few

sual weight to contain the artwork.

extra inches to work with. I pulled it taut and secured it on

Truly custom framing comes with thoughtful design

the back of the mat. This thread was flat like ribbon, so it had

and a willingness to push the occasional boundary. None of the techniques depicted in this design were difficult or time-consuming, but together added up to a one-of-a-kind framing treatment sure to attract positive attention. Besides, it’s just plain fun! PFM

David Lantrip

A large tapestry needle serves as a laying tool to keep the thread straight and untwisted. When using stranded thread, this will create a smooth, satiny finish; a touch stitchers will notice and appreciate.

David is the director of education for Franchise Concepts, and the franchisor for Deck The Walls, The Great Frame Up, and Framing and Art Centre stores.

He has served in a number of roles in the PPFA including as a member of the International Board of Directors and serves on the Chapter Relations Commitee as well as the Guidelines Task Force. David recently earned a Masters in Mass Communications degree from the University of Florida.

PFM February 2019 39

Product Showcase

888 Manufacturing

Decor Moulding

Maxi-Hanger is used with any wall anchor, allowing this versatile hanger to work on almost any material. Can hold up to 100 pounds when properly anchored to drywall, plaster, cement, or brick. Use the anchor of your choice in the 3/16'' diameter mounting hole. Heavy zinc-plated steel. Patent pending.

Introducing Mason, a new line of eight textured styles that are a great combination of contemporary and dramatic. Two widths of 1 3/4'' and 2 3/4'' with black, gray, and white finishes and gold and silver lip colors are the highlights of these styles. Great for all types of art. Order corner kit #CS-MAS to get these styles on your walls today. Go online to see the most current moulding offerings, or place your order over the phone or by emailing order@decormoulding.com.

Call: 888-338-3318 www.888mfgcorp.com

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

Fletcher Business Group

Framerica

The special grade of carbide and unique tooth geometry of the Atlas Saw & Tool saw blade is designed to cut thin-walled aluminum picture frame mouldings.

Suited for dry cut processing or mist coolant, depending on frame thickness.

Standard saw blade diameters range from 12'' up to 350mm with custom sizes also available.

Framerica’s newest finish is a sibling to its hugely popular Stainless collection, which has captivated the interior design market for more than a decade.

Spumante, the coloring of the Italian sparkling wine of the same name, is a soft golden metallic with subtle undertones. “Spumante is the gold finish that designers and specifiers have requested from us,” notes Josh Eichner. Spumante is a Framerica exclusive, immediately available in profiles ranging to 3''.

Call: 888-484-1488 www.fletcher-terry.com

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

Framing Fabrics

Larson-Juhl

The Marquis 3 collection includes 14 new colors especially chosen by Framing Fabrics’ design team. These new colors are neutral enough yet sufficiently diverse to ensure a wide range of use in the framing industry. The sample page is included in the company’s Designer Edition Fabric Sample Book, which can be purchased for $35.

Inspired by the historical Roman Colosseum, this collection features interesting textures and layered foils for a striking finished product.

Resembling the Colosseum through its transitional black finish and burnished patina, this collection can be paired with multiple styles of art and interiors. A unique twist on a classic black moulding that will stand out on its own!

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

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

CONTENTS AD INDEX

Michelangelo Moulding

Universal Arquati

Two new series of barn wood mouldings are now available. The 429 width is 1 1/4'' and the 430 width is 2''—both series come in six natural gray and brown wood finishes which are so authentic, one senses the aroma of wet hay.

The popular Country Colors collection now comes with a sophisticated metallic lip, adding a touch of class to the distressed wood finish effect. This collection includes two profiles in three of the most popular colors: white, black, and brown, each with a choice of silver or gold lip. These combinations should make possible a large number of designs, suitable for contemporary or transitional needs. Please contact your local sales representative or UA by phone or fax (661-362-6262). Visit the website to view these mouldings as well as UA’s entire collection.

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

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

40 PFM February 2019

PFM February 2019 41

Distributor Spotlight

CONTENTS AD INDEX 42 PFM February 2019

CLASSIFIEDS HELP WANTED Immediate opening for an experienced picture framer in McLean, VA, with future management opportunity. Design, sales, and production experience required. Must be knowledgeable in operating a computerized mat cutter.

Familiarity with FrameReady software is a plus.

Must have reliable transportation. Must have excellent communication skills. Must be reliable and dependable. Compensation: commensurate with skill level. Hours of operation: 9 a.m.-6 p.m.

Monday-Saturday. No Sundays. Average work week of 40 hours. Contact Charlie at 703-9323615 or cboswell@colorwheel.net.

Global Art Inc., a manufacturer/distributor of unique contemporary picture frame mouldings, is currently seeking experienced, highly motivated sales reps to call on new and existing accounts in some of our well-established territories. For information about the company, please refer to our website; www. globalartinc.com.

Individuals who are interested in the position should send an e-mail to globalartmf@aol.com or call 1-866-310-4278.

Skilled Sales Professionals Wanted throughout the U.S. Are you a seasoned professional who goes the extra mile for your customers to ensure satisfaction and loyalty? Do you focus on growing customer relationships by providing real value and

unexpected solutions? Do you relentlessly overcome obstacles to becoming your customers’ supplier of choice? Omega Moulding is a framing industry leader seeking highly motivated, organized sales professionals in many uncovered territories in the U.S. and Canada. If you’re looking to join our growing, dynamic company, inquire confidentially to salesjobs@omegamoulding.com.

Independent sales reps for domestic custom moulding manufacturer in many open territories.

Nickell Moulding Company has produced moulding for more than 35 years and is looking to expand in the picture framing industry. We offer custom prefinished hardwood moulding and wrapped MDF moulding. Our target market is OEM framers able to buy footage. Visit www.nickellmoulding.com. Not a problem if you already represent a poly moulding line. Call George Nickell at 574-264-3129.

FOR SALE Picture framing store in suburban Philadelphia, established for 28 years, and owners retiring after 17 successful years. The store is open for 39 hours per week (no evenings) and perfect for someone wanting an established small business. $140K in sales, net $55-60K, equipment and inventory worth approximately $25K. $125K or make offer. Call Joe at 610-864-0631.

Do you love framing? Own your own shop, or add another profitable location. Do you think

this is out of reach? Here is your chance! 30+ year shop on beautiful Central California Coast with great location, lease, affluent and loyal customer base, 5-star reputation, SBA approved, profitable, possible live-in for up to 1 year, and flexible terms. Serious inquiries only to Ray Lilly at 805-796-9769 or rlilly@westchester.financial.

Profitable custom picture frame shop for sale in beautiful St. Petersburg, FL. Turn-key operation. Located since 2005 in a Home Depot shopping center. Seven years remaining on lease. Sale includes Lifesaver POS, VacuSeal 4468H drymount, Wizard mat cutter, Universal double miter saw DY-AW 150, Miter Mite VN 144 underpinner, two work stations, and all existing stock at time of closing. Google 'Tyrone Frame & Mirror' for pics.

Call Dan, 727-542-2000. Gross $160-$180K. Net $75-$90K. $129,900. Financing available to qualified buyer.

A 50-year veteran Cleveland, OH picture framer/ art dealer looking to sell his business. Opportunity of a lifetime to acquire a career. Six thousand dollars down acquires a career of your own; $150,000 in sales; $50,000 of equipment/inventory; $500 weekly initial salary. Owner willing to finance the remaining purchase balance over a five-year period; willing to stay on board until you have gained his 50 years of industry knowledge. Contact artbox1@att. net for more details.

PFM February 2019 43

Index Advertiser

Page

Advertiser

Page

888 Manufacturing Corporation ..............................................................41

Hangman Products .................................................................................37

888-338-3318

818-610-0487

www.888mfgcorp.com

www.hangmanproducts.com

Active Sales ............................................................................................42

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

800-937-2255

866-248-0100

www.activesalesco.com

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

www.fastchangeframes.com / www.bannergrip.com

Blick Art Materials ..................................................................................10 800-723-2787

www.dickblick.com

Canon USA ...............................................................................................7 Please visit our website

www.usa.canon.com

Capax-Frame It ......................................................................................22 800-942-2729

www.capax.com

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

www.cmimoulding.com

www.hoffmann-usa.com

Jack Richeson & Co. ................................................................................42 800-233-2404

www.richesonart.com

Larson-Juhl ............................................................................................15 800-438-5031

www.larsonjuhl.com

LifeSaver Software..................................................................................34 770-720-4735

www.lifesaversoft.com

Michelangelo Moulding ...........................................................................19 877-422-8812

www.michelangelomoulding.com

Omega Moulding Company ...............................................9, 35, 39, 41, 45

Crescent Cardboard Co. .......................................................................5, 33

800-289-6634

800-323-1055

Quality Saw ............................................................................................42

www.crescentcardboard.com

www.omegamoulding.com

Decor Moulding & Supply ......................................................21, 39, 41, 43

800-446-6622

800-937-1055

Rhonda Feinman Custom Frames ...............................................................6

www.decormoulding.com

www.qualitysaw.com

Engelsen Frame & Moulding ....................................................................42

800-297-1566

800-422-6731

SpecialtySoft ..........................................................................................35

www.engelsenframe.com

www.rhondafeinman.com

Fixons ....................................................................................................42

800-417-9248

714-526-3455

Studio Moulding, Inc. ..............................................................................23

www.fixons.com

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

www.fosterplaningmill.com

FrameReady .....................................................................................34, 42 888-281-3303

www.frameready.com

Framerica.................................................................2, 3, 4, 41, 43, 45, 48 800-372-6422

www.framerica.com

CONTENTS

FrameTek ...............................................................................................42 800-227-9934

www.frametek.com

Framing Fabrics ......................................................................................38 800-832-2742

www.nnigroup.com

800-262-4174

www.specialtysoft.com

www.studiomoulding.com

Tru Vue ..................................................................................................13 800-621-8339

www.tru-vue.com

Universal Arquati ....................................................................................11 800-668-3627

www.universalarquati.com

Wall Moulding ........................................................................................47 800-880-9315

www.wallmoulding.com

Wizard International ...............................................................................17 888-855-3335

www.wizardint.com

AD INDEX

Frank’s Fabrics for Framers ...............................................................31, 42

Z Hardware ............................................................................................42

888-332-2749

800-369-5970

www.franksfabrics.com

www.zhardware.com

Gluefast Company ............................................................................22, 43

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

800-242-7318

262-633-7918

44 PFM February 2019

www.gluefast.com

www.ziabicki.com

(Continued from page 46)

lated to the bone-strewn tombs and sepulchers in churches

What type of artwork would this frame most likely house?

across Europe. The sculptor Kovacic has re-imagined these

The frame was made for this one painting, and both frame

as the stuff of the nightmares painted by Fuseli and other

and picture are completely interdependent; the frame needs

nineteenth-century artists.

the painting to explain it, and the picture would lose a good deal of its shock and horror without the frame.

What design departures might be seen on some frames of this style? The dark wooden octagonal structure of the

What furnishing/interior styles accompanied these frames

frame, with its neat, linear border, is reminiscent of seven-

in their time? It might have appealed to an eccentric collec-

teenth-century Dutch portrait frames in ebony or fruitwood.

tor of macabre objects, who could have displayed it in a the-

However, like the “portrait” of hate which it contains, the wide

atrical setting of black velvet as a talking point; however, it

frieze completely overturns this idea. It employs the rough-

probably remained in the artist’s studio.

ly-scooped, provincial carving style of the German Black Forest to represent the scattered earth and the discolored,

Additional comments and/or anecdotes.

violated bones and organs which jut from it. The technique

Kovacic, who carved the frame, is best known for building

of Arts and Crafts rustic furniture has been used to produce a

the Zagreb Stock Exchange in 1924. The stockbrokers would

shockingly realistic subversion of the trophy frame, in which

presumably have been rather taken aback if they had known

the “trophies” belong to a dismembered body.

about his earlier work. PFM

CALENDAR OF EVENTS ABC SCHOOL OF PICTURE FRAMING (WEST ISLIP, NY) offers a hands-on, 4-day course. One-on-one and advanced classes offered. Visit www.abcschoolofpictureframing.com or call 800-810-8849.

AMERICAN PICTURE FRAMING ACADEMY 2- and 4-day Basic and Advanced classes feature technical, business and design training. Call 888-840-9605 or visit www.pictureframingschool.com.

ART TO BE FRAMED (MT. SHASTA, CA) is an instructional and educational custom picture framing retreat. One-on-one instruction, beginners through advanced. Visit www.artrobeframed.com or call 530-926-3609.

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

B.L. HAYMOND SUPPLY (Ukiah, CA) offers hands-on, one-on-one, 2-day Oil Painting Restoration Workshops with an experienced conservator. E-mail: blhaymondsupply@pacific.net or visit www.blhaymondsupply.com or call

707-462-4221.

CHARLES DOUGLAS GILDING STUDIO (Seattle, WA) offers a 3-day intensive in traditional water gilding with an experienced professional. Call: 206-795-8376 or visit www.gildingstudio.com.

COMPLETE FRAMER’S SUPPLY, INC. (Fort Lauderdale, FL). Call 800-3303263 or 954-581-2444 to register and for class schedule or visit www.completeframers.com.frame tutor school (Alberta, Canada) offers a 3-week course (90 hours) hands-on professional training. Weeks 1 & 2 Basic; Week 3: Advanced (Design & Specialties) Call 800-268-0897, e-mail: penny@frametutorschool.com or visit www.frametutorschool.com.

SEPP LEAF (New York, NY) offers 1-week traditional water gilding, glass gilding, and Kolner Gilding Method classes. Visit www.seppleaf.com or call 212683-2840.

VALLEY MOULDING & FRAME (N. Hollywood, CA) offers 5-day Basic classes and 1-day advanced class. Visit www.valleymoulding.com or call 818-7695656.

PFM February 2019 45

Style

SNAPSHOT

By Lynn Roberts

What style frame is this? This is a unique early twentieth-century Croatian frame, carved by hand by a sculptor specifically for the painting it contains and adapting the gruesome relics of a memento mori to a horror show which supports the title; Hate and madness (Mržnja i ludilo in Croatian).

Where is it from? The painting was executed in Rome by the Croatian artist Pasko Vucetic (18711925). He brought it back to Belgrade when he returned to his native country (then still known as Croatia; it became Yugoslavia in 1918). The

body which have produced such an apogee of

frame was probably made shortly after that, also

hatred. The bodily parts and the way the dark

in Belgrade.

wood is worked to suggest the earth that they have been dragged from were also influenced

What time period is it from? The painting dates

by nineteenth-century Gothic horror, and per-

from about 1898, and the frame from about 1903.

haps by the early shoots of twentieth-century Expressionism.

Who was instrumental in developing this style

CONTENTS

of frame? This is not a genre of frame; it is a

What are the defining/common characteristics

complete one-off, possibly designed by Vucet-

of this style? The subject of the painting and

ic (who was also a sculptor) or in collaboration

frame is a poem called “The song of hate,” writ-

with Viktor Kovacic (1874-1924), the sculptor

ten by the Italian poet Olindo Guerrini in 1877.

and architect who actually made it. Howev-

A man, rejected by the woman whom he loves

er, a long pedigree of influences has also gone

obsessively and who betrays him with others,

into its making, including the seventeenth- and

dreams of digging up and tearing apart her de-

eighteenth-century interest of Baroque artists

cayed corpse and whispering his hatred to her.

in portraying extreme emotions. That influ-

While the passion-filled painted face of the man

ence is evident in the expression on the paint-

has a great deal in common with, for example,

ed face and has also affected the decoration of

Bernini’s sculpture of a damned soul (c.1619) at

the frame—the macabre remnants of a human

the Palazzo di Spagna in Rome, the frame is re-

AD INDEX

Lynn Roberts is a self-employed picture frame historian. She read for an M.Phil in the history of

art at the Courtauld Institute of Art, producing a dissertation on Victorian picture frames, and has been associated with Paul Mitchell Ltd since 1988. She has written numerous articles, catalogue entries and essays on antique picture frames, and, with Paul Mitchell, co-authored A history of European picture frames and Frameworks (both 1996). She worked for nine years on the frame section of the NPG website for the National Portrait Gallery, London, and now works occasionally for the National Gallery. Since 2012 she has run the online magazine, The Frame Blog (theframeblog.com).

46 PFM February 2019

(Continued on page 45)

Pasko Vucetic (1871-1925), Hatred and madness, c.1898