Picture Framing Magazine - May 2019

HALL OF FRAMES : ®

THREE GENERATIONS OF SUCCESS ❖ Joining Equipment for Every Shop ❖ Installing Oversized Artwork

Contents

PFM is a member of:

Volume 30, Number 5

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

On the Cover

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.

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46

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.

With roots stemming back to a single mall location in the mid-1970s, Hall of Frames has evolved into a successful, multi-store business now in its third generation of family ownership. In this month's issue, HOF President Jay Kogan discusses the business's journey on page 24.

Features 18 Joining Equipment 28 Designing with Thread Lines 34 Installing Oversized Art

Columns 12 Mastering Mounting 24 Retailer Profile: HOF 46 Design of the Month

Departments 8 10 39 42 43 44 45

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

34

28

PFM Publishing

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

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

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 • 732-536-5160 ext. 222 Ellen Blatt • ellenhobbypub@cs.com Bruce Gherman • bgherman@pfm-group.com Rob Gherman • robgherman77@gmail.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

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CONTENTS

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PFM PUBCO • BOOK DIVISION BOOK SALES COORDINATOR

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PFM PUBLISHING, LLC PRE S I D E N T

6 PFM May 2019

Bruce Gherman

FROM THE EDITOR’S DESK

I

Make sure you have the tools you need to put your best foot forward for your customers with every project.

CONTENTS AD INDEX 8 PFM May 2019

always enjoy getting to know a face in the industry and hearing their story of success. This month, I sat down with Jay Kogan, president of Hall of Frames in Phoenix, AZ, to discuss his four decades as a framing retailer.

I learned a lot about what it takes to run an independent family business and thrive as a custom framer in today’s ever-changing marketplace. See page 24 for the full article about the Hall of Frames family.

If you are looking to improve your own business, our expert writers have provided plenty of inspiration and advice. In his latest article, Kevin Meath has compiled an overview of premium joining equipment for small, medium, and large-volume frame shops (page 20). Finding the right equipment for your unique business will boost your efficiency—and therefore your profits.

In his article, Rob Markoff discusses solutions for joining and installing oversized art (page 34).

Installation services can be a great addition to what you offer, and may attract repeat business as your customers decorate and re-decorate their homes and offices.

On the design front, David Lantrip covers a unique method of embellishment in which thread is added to fabric mats to add extra visual interest (page 28).

Having trouble with mounting?

In her latest column (page 12), Chris Paschke discusses problem solving with time, temperature, pressure, and moisture. Understanding these essential elements of mounting will help you create designs that not only look beautiful, but are also preservation-minded and will protect your customers’ artwork for years to come.

As Jay Kogan sagely put it, custom framers are visual experts.

Making sure you have the right equipment, product services, and techniques will give you the power to showcase your design expertise to your customer demographic.

Kimberly Biesiada Editor

INDUSTRY NEWS PFM Moves Digital Magazine to Issuu New platform ensures a better reading experience for subscribers Picture Framing Magazine launches its June digital edition on Issuu, an online publishing platform designed to enhance

the reader,” says Bruce Gherman, publisher of PFM. Already purchased a digital subscription? Create a free ac-

a reader’s experience. Issuu offers mobile and tab-

count on issuu.com. As soon as the latest edition of

let-friendly apps in addition to a website, letting users

PFM is available, you will receive an email with your

read PFM anytime, on any device. Want more in-depth

unique code so you can immediately start enjoying

information on a particular product showcase or ad-

everything PFM has to offer.

vertisement? With clickable content, readers can have instant access to vendor and company websites.

“Moving to Issuu for the delivery of our digital

Headquartered in Palto Alto, CA, Issuu is a leading distributor of digital publications. The site receives over 100 million unique visitors per month and works

magazine means our readers will enjoy a more interactive ex-

with 3.3 million publishers, including those of National Geo-

perience than ever before. It’s one of the leading online plat-

graphic, Fast Company, and Lonely Planet.

forms in the world and has many features designed to benefit

Framerica Unveils New Website

dress the mounting and framing of a fifth and sixth item, demon-

Framerica’s website is all-new. The moulding company’s site,

strating his knowledge of preservation practices.

www.framerica.com, has been completely updated and ad-

Dellert runs Artisans of San Francisco with his wife, Nancy

vanced, including features like expanded searching options,

Buffum, a watercolor artist. He is the fifth owner of the business,

faster speeds, custom wish

which was founded in 1947 and remains one of the oldest frame

lists, express ordering, and

shops in the city. He has been a PPFA member for 20 years.

product comparison options.

It also includes various tools

Framerica’s Milano Adds Texas

to streamline the design pro-

Framerica’s senior sales director, Kevin Milano,

cess for specifiers.

has assumed all sales responsibilities within the

“We revamped the look,

Framerica.com

state of Texas.

layout, and interface of fram-

“I look forward to building and continuing

erica.com from the ground up with the goal of making it the

many great relationships with our amazing Tex-

most user-friendly, customer-focused site in the industry,” notes

as-based customers,” notes Milano.

marketing head Corinne Ferrara.

For more information, visit the new site or call Framerica at

Kevin Milano

Adair Presents ‘Golden Doors to Infinity’ Exhibition PFM contributor and popular National Conference instructor Wil-

800-372-6422.

liam B. Adair recently celebrated the opening of the first public in-

Dellert Becomes Master Certified Picture Framer

stallation and exhibition of his “Golden Doors to Infinity” art project

Joe Dellert, owner of Artisans of San Francisco, recently earned

at the Govinda Gallery at Montser-

the Master Certified Picture Framer (MCPF) designation from the

rat House, Washington, D.C.

CONTENTS

Professional Picture Framers Association.

The exhibition opened April 20

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Dellert, who previously earned the Certified Picture Framer

and runs through June 8. Attend-

(CPF) designation in 1999, took the MCPF exam

ees can enjoy Adair’s multifacet-

in January at the PPFA Annual Convention in Las

ed, ongoing conceptual project,

Vegas, hosted by the West Coast Art and Frame

wherein abandoned doors be-

Expo. He is now one of fewer than 100 MCPFs

come portals to cross-generational

worldwide, according to the PPFA.

discourse, carrying with them the

Joe Dellert

For the exam, Dellert submitted four framed

pieces to be scored: canvas art, a photo of San Francisco, needle art, and a three-dimensional shadowbox of a baseball and miniature toy baseball players. He was also given 90 minutes to ad10 PFM May 2019

voices of artists and individuals.

Adair in the Mojave Desert

For more information on the exhibition, visit the Govinda Gallery at www.govindagallery.com. PFM

MASTERING MOUNTING

by Chris A. Paschke, CPF, GCF, CMG

Time, Temperature, Pressure, Moisture Problem solving with these four essential elements of mounting.

A

custom picture framer must be skilled at all aspects of framing, from design and preservation to frame repair, and

often that demands problem solving. Understanding adhesives and mounting techniques is helpful, but being aware of controlling time,

spray mount. With wet and spray adhesives, ap-

temperature, pressure, and moisture (TTPM) is

plication time refers to when a uniform coat of

the basis for all successful mounting. Wheth-

adhesive must be applied to guarantee proper

er the challenge is a bubbling spray-mounted

adhesion. Any areas that have begun to dry pri-

poster from the 1970s or mounting a newly

or to mounting will never create an even, lasting

printed digital image to wood, referring to these

bond. Only an initial bond is created within the

four essential elements of mounting is the best

first hour; a permanent bond takes four to 24

place to start.

hours to cure, undisturbed and under pressure.

Every technique, regardless of wet, spray,

There are several times involved with dry

pressure-sensitive, cold, or hot dry mount, has a

mounting. Draw time is the length of time it

set of TTPM guidelines that need to be followed,

takes for all the air to be sucked out from be-

and in turn will hold the answers when bond

tween a heated platen or cold frame and for the

failure occurs.

lower diaphragm within a sealed vacuum press.

Dwell time is the remaining time in the press

Time

after draw to adequately heat all inert mate-

Time refers to tack time, or the workable time

rials, activate the adhesive, and create the de-

allowed by an adhesive to position the print as

sired bond.

CONTENTS

the solvent evaporates in preparation for final setup, also known as open time or work time.

Temperature

Not allowing adequate open time could affect

Temperature is more of an issue than first

the long-term bond of a potentially successful

thought and applies to all mounting techniques.

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Chris A. Paschke, owner of Designs Ink in Tehachapi, CA, is a professional picture framer with over four decades of experience. She is an artist and educator, has authored numerous magazine series, including The Essence of Design, Design Concepts, and Digital Directions for PFM, and has four self-published books on mounting. She currently writes the Mastering Mounting column for PFM and is a contributing writer to The Artist’s Magazine, The Pastel Journal, and Watercolor Artist Magazine. She was honored with the PPFA Award of Distinction for Leadership 2008, the Vivian Kistler Recognition for Innovation Award 2010, and the PMA Distinguished Service Award 2012.

12 PFM May 2019

Dry bonds to dry (R), a self-adhesive stamp does not properly adhere to a damp envelope (L).

wet and spray adhesives contain water, so moisture is an integral part of the adhesive and the process. P-S adhesives begin dry so materials used during mounting must also begin dry. When a mount board feels cool to the touch, it can be an indication of moisture content in that board. During dry mounting all materials must begin, bond, and remain dry throughout the process. Dry materials will not adhere to damp paper or board.

Mechanical presses require predrying to insure all the moisture is removed from the mount package before bonding. Heated vacuum presses automatically remove moisture from within the press during the draw of the vacuum, but even then, sometimes that isn’t enough to remove unOverlap all bites to prevent unmounted tunnels between the bites to prevent unmounted tunnels.

Colder temperatures stiffen liquid adhesives and solidify flow encouraging glues to clump, while higher room temperatures can slow final cooling or curing. Most can or bottled adhesives have suggested temperature usage on the label and many are restricted from shipping during the winter.

Dry mount adhesives and heat-activated boards range from 130 to 190 degrees Fahrenheit; not using them at correct temperatures could result in bond failure. That means all layers within the press must be heated to that bonding temperature to achieve a proper bond.

Pressure Pressure is the force that squeezes air from between bonding layers—substrate, adhesive, and artwork. Pressure-sensitive (P-S) adhesives are activated by the manual application of pressure by a squeegee, rubber roller, or roller

wanted moisture.

Problem Solving with TTPM There are two times when TTPM can help solve problems: when an adhesive is not holding properly, sometimes thought of as bond failure, and when there is an unusual project requiring nontraditional materials being bonded.

TTPM is a set of guidelines to help correct an oversight or bad habit, so even when all elements are correctly implemented, bond failure may still occur. When that happens, often the first inclination is to blame the adhesive or the equipment—but it is generally the result of human error.

Edges peeling up could result from a press not being hot enough, too short a dwell time, or wet glue drying too quickly. Unmelted film adhesive is too low a temperature setting, while damage to a laser print surface is too high a temperature. Air bubbles could easily be a pressure or moisture issue with a mechanical press or the selected mounting technique

machine to create the initial bond with maximum cure reached under a weight after 24 hours. Whether P-S, wet, spray, or dry mounting, the practice of weighting needs to be applied in all cases, and a piece of ¼'' plate glass makes a perfect manual weight regardless of technique.

Both hot and cold vacuum presses are self-adjusting

CONTENTS

in relation to the selected mount board. During the draw of the vacuum, a rubber diaphragm conforms to the thickness of the substrate, adjusting for pressure. Mechanical presses must be manually set for proper pressure. Too little pres-

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sure allows air to remain; too much pressure could leave plate marks. Set the locking arm at a 45-degree angle to the table with each substrate thickness.

Moisture Moisture is the element that varies with the process. All 14 PFM May 2019

If mounting 32 x 40'' or 40 x 60'' in four bites, the tack point will be offset toward one corner.

the bite point.

• Use only permanent, breathable (porous), tissue-core adhesive when biting as it bonds in the press as it reaches temperature and will not release with subsequent biting. Removable tissue and film adhesives will reactivate with each new bite and loosen the bond, also allowing for air bubbles.

Begin at the center of a long side then bite directly across from it, move adjacent, bite, rotate to opposite side, continue.

may not be appropriate for multiple non-porous layers in a hot vacuum press, which would require a two-temperature mounting process.

What happens when traditional manufacturers’ suggestions don’t align with the specific needs of a project?

There is always more than one solution to a problem, and each project will have a mounting technique best suited to it. That said, the framer’s challenge is to think through the item being mounted and consider compatible adhesives, surface coatings, and substrates to determine the solution.

This may take testing numerous combinations until the right amount of tear strength and longevity are determined to suit the project.

Oversized Mounting In a vacuum press, all mounts are limited to about an inch of the physical exterior size of the press platen, but mechanical presses allow for items much larger than their platen to be bonded using a process known as biting. It simply means taking smaller bites to complete the mount in steps, as an 18 x 23'' press will easily mount a 32 x 40'' board in four bites, as will a 26 x 34'' platen mount a 40 x 60'' board.

For biting to be successful, there are rules that must be followed to reach proper adhesive activation and full bond and to not leave bite marks in the substrate: • The pressure bar adjustment of 45 degrees must be accurate. A small 8 x 10'' on

CONTENTS

3⁄16'' foamboard is a tighter adjustment than the same 3⁄16'' foam for the full 26 x 34'' platen. Obviously thicker, larger substrates will require pressure adjusting.

• If the press is set too loose (handle at less than 45 de-

AD INDEX

grees), bubbles could occur. Too tight (handle greater than 45 degrees) will allow indentations in a foam substrate where the platen edges bite.

• A top release board—not release paper—is required and must stick out beyond the platen on the front three edges to help dissipate pressure at all edges of 16 PFM May 2019

• Overlap all bites as much as possible to prevent unmounted tunnels between the bites. This also supports the substrate better and aids against dents by never pressing the exact same bite point.

• Surface tack the adhesive in only one location, at the site of the first bite. A two-bite project should be tacked at the end rather than the side, while a longer, multiple-bite project would likely be tacked center side.

• If mounting a 32 x 40'' or 40 x 60'' in four bites, the tack point will be offset toward one corner rather than centered and should enter the press first, and mounting in a clockwise pattern is fine.

• A multiple-bite board begins mounting at the center of the long side—as when stretching a canvas—and should be followed by the bite directly across from it.

Contemporary Demands In the world of digital imagery, a plethora of substrate alternatives, from paper-based honeycomb panels to aluminum composite material (ACM-Dibond) raise porosity issues which can resolve or exacerbate mounting demands. Digital images mount best to HA foam boards at low 130-degree temperatures or short 15-second durations of 150 degrees.

Bonding to ACM may be achieved in a vacuum press but is best with an R-L, and face-mounting (also known as acrylic mounting) requires a cold R-L and optically clear, pressure-sensitive film adhesive.

Artists often challenge framers with difficult and unusual requests, such as bonding Yupo synthetic paper to a rigid substrate so it may be fitted into a float frame rather than behind glass. Film adhesive may be bonded with a household iron set at just below wool, so perhaps you’d be better selling them the raw adhesive to create the art in their studio. They may do that manually, weighting each applied adhesive layer, whereas a framer would use presses and the sponge mount technique.

No matter what the project, keeping the TTPM elements of mounting in mind will help you create a design that is not only beautiful, but also long-lasting and safe for the artwork or object being mounted. PFM PFM

SELECTING THE BEST FRAME JOINING EQUIPMENT FOR YOUR SHOP

By Kevin Meath, CPF

A

s we get into the summer months, you may have

up” rough cuts, angle corrections, and length variances on

time to start working on improvements to your

moulding corners. It ensures perfect alignment with every

equipment. This month I’d like to introduce you to

joined corner.

the choices for underpinners, or joiners, as they are sometimes called.

Simply rotate the 12-inch sanding disc manually against the miter cut, creating perfect corners. The Disc Sander

As with saws, there are many choices depending on

comes with a 45-degree template for accurate setting, three

the size of your shop, how many frames you intend to join

sanding disks, a cleaning stick, and a set of Allen wrenches.

per day, and your budget. I encourage you to not only think

The base of the Disc Sander includes mounting holes

about today’s needs, but also about what your needs may

that allows the unit to be secured to any work table for add-

be in the future. Think about your business plan; how much

ed rigidity.

growth do you anticipate?

It is an indispensable shop tool and provides a higher

Before you make your decision, remember to consider

level of quality and craftsmanship in your finished product.

space requirements. All these machines except two require clean, cool, compressed air, usually in the area of 90 PSI. Additionally, all the machines with computer screens require 110-volt AC power.

I’ve divided up the machines into three categories; small, medium, and large. These categories are based on volume through the machine—everything from a few frames per day to thousands.

I’ll start with a machine that will certainly help you get the best joins with slight warp or twisted mouldings: the AMP Disc Sander. This machine is the perfect tool to “true

The AMP Disc Sander

SMALL VOLUME The Cassese CS1 Series is a manual foot-oper-

tail operation. As a fully manual machine, it requires no compressed air or

ated underpinner. It is perfect for the small to

electrical power to operate. This unit allows the framer to bring the joining

medium-sized custom or retail framer. The CS1

operation in-house for cost control and

is designed to join softwoods, hardwoods, MDF,

quick customer turnaround. The U-200 is

and poly frames. The CS1 uses Cassese UNI V

compact with quiet operation and has a

nails and cartridges to ensure tight corners ev-

small footprint. It is pedal-operated and

ery time. The CS1 features a solid aluminum

requires limited force for V nail inser-

structure with a stainless steel working sur-

tion. The U-200 is light and can be easily

face. It includes an adjustable magnetic Chev-

moved from place to place in your busi-

ron hold down on a solid crossbar and it fea-

ness environment and offers a tilting base

tures easy V nail loading and quick simplified

with front or rear setup and a “positive

V nail positioning. The CS1 is designed to be

placement” clamping feature. It features

simple and fast and can handle a wide range of

adjustable magnetic hold down pads and

moulding sizes, from ¼'' up to 4'' (100mm) wide

CONTENTS

The AMP U-200 is an entry-level frame assembly machine for any small re-

AD INDEX

manually adjustable front and back stops. It will join moulding up to 5 ⅛'' (130mm) wide and 3 ¼'' (80mm) in height.

18 PFM May 2019

and up to 4'' 100mm) in height.

MEDIUM VOLUME The AMP U-300 is a bench-top frame

The Cassese CS2 is designed to join softwoods, hardwoods,

joining machine and very popular mod-

MDF, and poly frames. The CS2 is designed to be simple and

el for custom framers. It is compact, well

fast to operate. The CS2 uses Cassese nails in cartridges,

constructed, and built for many years

which means no adjustment to machine when changing V

of trouble-free operation. The design of

nail size. The CS2 Series uses Cassese UNI V nails in strips.

the U-300 allows the operator to set the

The CS2 uses the Cassese exclusive “Smart Nail Drive

front and back measuring stops for V

System,” which eliminates the need to adjust the top clamp

nail insertion. The frame is then moved

location as well as the need to adjust air pressure between

across the nail head and V nails are driv-

hardwoods and softwoods. The CS2 features an adjustable

en or stacked anywhere along the frame

magnetic Chevron hold down on a solid cross bar and easy

joint.

V nail loading and quick simplified V nail positioning. It

The

U-300

features

pneumatic

can handle a wide range of moulding sizes, from ¼'' to 4''

nail loader to eliminate jams. It is de-

(100mm) wide and up to 3 ¼'' (82mm) in height.

signed with a unique piston V nail driver “Block Blasé” system for single and The AMP U-400 has been designed for ease of operation and is particularly well suited

multi-stacking operations. The quickchange magnetic hold down pad feature

for joining wide mouldings. Supplied with a tilting floor stand, the machine can be op-

fits most mouldings. The U-300 will join

erated from the front or back and has a single stage pneumatic foot pedal that activates

mouldings from ¼'' up to 3 ¾'' (95mm)

the horizontal clamp, securing moulding during the joining process.

The framer sets the two position stops for measuring the max distance between

wide and up to 3 ¼'' (80mm) in height.

strokes; a dual-function hand lever is then used to position and actuate both the horizontal and vertical hold down clamp and the V nail driver, inserting V nails anywhere along the pre-set stroke distance.

A key operating feature for the U-400 allows the operator to quickly change V nail mm size using an interchangeable metal magazine channel. This machine is unique in that it can be configured for either right- or left-handed operation. This allows the operator to accurately position and stack V nails anywhere along the frame joint. The U-400 will join mouldings from ¼'' to 5 ½'' (140mm) and up to 3 ¼'' (80mm) in height.

The Cassese CS200 Cart is a heavy-duty pneumatic air-operated

The Universal Arquati DY104 is a high-value, low-cost, bench-

joiner that is flexible enough for the custom framer and tough

or stand-mounted pneumatic underpinner that is designed to

enough for volume assembly. The CS200 Cart features joystick

join wider mouldings. It has a single-stage pneumatic foot pedal

control for ease of positioning and easy use. The Ultra Clamp-

that engages the horizontal and vertical clamps. The operator

CONTENTS

ing system is easy to adjust

sets front and back stops and

and retractable for super

then uses the joystick to insert

tight joins. The CS200 Cart is

and/or stack the V nails. The

designed to join softwoods,

DY104 can insert any number

hardwoods, MDF, and poly

of V nails between the front

frames.

and back stops.

The machine uses standard V nails in the following

trical connection needed.

sizes: 7mm, 10mm, 12mm,

It features quick and easy

and 15mm. It comes with four

V nail positioning and easy

interchangeable

loading and features an ad-

has two self-adjusting hydrau-

justable magnetic Chevron

lic clamps designed to hold the moulding in place to simply

hold down. It will join mouldings from ¼'' up to 6'' (152mm) in

piece together your corner. The DY104 will join mouldings from

width and up to 4'' (100mm) in height.

½'' to 6'' (150mm) and up to 4'' (100mm) in height.

AD INDEX

The CS200 Cart is fully air-operated with no elec-

20 PFM May 2019

heads

also

LARGE VOLUME The AMP U-500 is recommended for high-volume production

The AMP U-600 is the most advanced frame joining machine

facilities that require the primary use of a single sized V nail

in the AMP line. This machine is ideal for high-production fa-

for frame joining. The U-500 is designed to join wood, MDF,

cilities that require flexibility for different sized V nail fasten-

or poly frames. It has

ers or a common mm size through a market unique configu-

a user-friendly touch-

rable channel feature.

screen

and

Its latest feature, a Computerized Air Pressure System

single channel capacity

interface

(C.A.P.S.), eliminates the need to make manual air pressure

that will handle 5mm,

adjustments for vertical clamping. To utilize this new feature,

7mm,

the operator stores the air pressure values needed depending

10mm,

12mm,

and 15mm V nails.

With data storage

on the moulding

hardness

of 5,000 different frame

for each of the

profiles,

frame

the

operator

can easily recall any

profiles

stored in mem-

frame profile alphabetically, numerically, or by using the in-

ory.

tegrated bar code reading option for production efficiency.

ing a pressure

The U-500 uses both horizontal and vertical clamping with a

setting into the

double hydraulic pressure clamp. It features a three-knob ad-

memory

justable fence to allow compensation for slightly inaccurate

base, programs recalled through the key pad or barcode scan-

moulding cuts. The working table is easily adjusted to any tilt

ning option automatically set the clamping air pressure need-

and the U-500 can be operated from either the front or back.

ed.The U-600 will join mouldings from ¼'' to 4 ½'' (115mm) and

The U-500 will join mouldings from ¼'' to 4 ½'' (115mm) and up

up to 3 ¼'' (80mm) in height.

By

enter-

data-

to 3 ¼'' (80mm) in height.

The Cassese MACH 1 is a very high-speed machine: 3,300 cyThe A-Plus Automation A6-MemoTS+ is designed as a high-

cles per hour, with 2 V nails per corner. It allows up to 5 nailing

speed production machine. The A6-Memo TS+ has a magazine

positions with up to 5 V nails per position. It features quick

composed of five channels which contain different sizes of V

and easy nailing pattern setups that are stored for easy recall.

nails: 5mm, 7mm, 10mm, 12mm, and 15mm.

The Mach 1 has a bonus

Within the same work cycle the operator can insert and/

program that allows up to

or stack different sized V nails in the different insertion po-

9 “favorites” to be stored

sitions. The programs can be operator input or downloaded

and quickly recalled for

CONTENTS

from a PC. The operator can

quick

change-overs. All

select the frame to be pro-

these

are

duced via the touch-screen

both fully automatic or

or by scanning with the op-

semi-automatic V nailing

tional barcode reader. The

modes. It is also barcode

machine will automatically

ready, allowing users to

adjust, and production can

store unlimited profiles.

start immediately. The bar-

The

available

Mach

1

in

uses

AD INDEX

code reader can also fully

Cassese’s exclusive “Smart Nail Drive System” that elim-

program the machine using

inates the need to adjust the top clamp location and elimi-

a special QR barcode.

nates the need to adjust air pressure between hardwoods and

Horizontal, vertical, and

softwoods. It also has powerful patented “Ultra” front clamps

fence clamping devices pro-

that hold the moulding tightly in place and adjustable fences

vides correct tightening of

to allow adjustment for perfect joints. The Mach 1 will join

the frames while joining. The A6-MemoTS+ will join frames

mouldings from ¼'' up to 5 ¾'' (146mm) in width and up to 4 ¼''

¼'' to 7 ¼'' (185mm) in width and up to 4 ¼'' (108mm) in height.

(108mm) in height.

22 PFM May 2019

The Universal Arquati Machinery DY 102 is a

The Cassese Mach 4 Cart is a fast and heavy-duty design for high-pro-

high-value, fully automatic computerized pneumat-

duction operations, with programmable memory and a user-friendly

ic-operated underpinner. DY102 uses standard V nails

touch-screen interface. The Mach 4 Cart is designed to join softwoods,

in the following sizes: 7mm, 10mm, 12mm, and 15mm.

hardwoods, MDF, and poly frames. The touch-screen tells operators which

The DY 102 comes with four interchangeable heads,

cartridge size and accessories to use. The programable memory stores up

one for each size of V nail. Changing V nails is a simple,

to 3,000 profiles (unlimited profiles if full parameter barcode and scanner

three-minute task.

are used). The Mach 4 Cart will run up to 3,300 cycles per hour with 2 V

The DY 102 has two self-adjusting vertical hydraulic

nails per corner.

clamps, along with

The Mach 4 Cart is electronic over pneumatic for high speeds and ac-

an adjustable hor-

curacy. It features Cassese’s exclusive “Smart Nail Drive System” that elim-

izontal clamp. The

inates the need to adjust the top clamp location and eliminates the need to

vertical clamps have

adjust air pressure between hardwoods and softwoods. It also has powerful

a separate pedal to

retractable “Ultra” clamps to draw the moulding in for a tight joint.

allow for self-adjust-

The Mach 4 Cart allows up to 9 nailing positions per corner with up

ing setup. Once set-

to 9 nails per position. It will join mouldings from ¼'' up to 6'' (152mm) in

up is complete, the

width and up to 4'' (100mm) in height.

pedal is not used in the automated joining operation.

The DY 102 can store up to 2,500 individual profile setups in any alpha-numeric sequence. The machine is very easy to set up, program, and operate.

The DY102 will join mouldings from ½'' to 6'' (150mm) and up to 4'' (100mm) in height.

Kevin Meath Kevin is a framing professional specializing in operations, sales, and management. His skill set enables him to consult in all areas of frame manufacturing, from small, low-volume, extremely high-quality shops to very high-volume OEM factory production operations. He has extensive experience in plant layout and lean manufacturing practices, design, and product sourcing. Kevin is currently a consultant working with manufacturers who want to improve productivity, cut costs, and improve yields. His clients range from small companies looking to expand their offerings to larger operations with needs to control costs and improve productivity.

PFM May 2019 23

RETAILER PROFILE: HALL OF FRAMES

®

By Kimberly Biesiada

F

or Jay Kogan, serving as president of Hall of Frames in

making anymore. So he told me, “If you want to make more

Phoenix, AZ, means continuing a family legacy and a

money, you have to open up more stores.” And that’s literal-

lifelong career in the framing industry. The business

ly how it happened. We’d had one store in a mall going on

has its roots in the 1970s, when Jay’s father, Ben Kogan, re-

seven years. And because we had been established for that

located to Phoenix from Chicago and opened a store that

period, we went to another mall owner and inquired about

carried framed art, readymade frames, wall accessories, and

opening a second location there, which we did in 1982.

hand-painted portraits from photographs. Ben, wife Evelyn,

When we opened that store, my wife Pam and my

and son Ron soon realized the framing side of the business

brother Ron moved there, and I hired one guy to work with

was more profitable than the portrait side, leading them in

them. That gentleman is still working side by side with us

1975 to expand into custom framing and open their first

today, which is a testament to the value we place on family

frame shop, Hall of Frames—so named because the interior

and our employees being an extension of the family. We’re

resembled a long, narrow, frame-filled hallway.

now in our third generation, with three of my children in the

Jay, who had a background in photography, joined his

family business.

parents and brother six months after the business opened in mid-1975 inside a Phoenix mall—and the rest, as they say,

Family businesses are challenging. How do you make it

is history. Today, Hall of Frames has nine locations through-

work?

out Arizona, an online store, and a distribution center. It has

The challenge comes from being both a family business

also seen three generations of the Kogan family at its helm:

and an art business. There really is no right or wrong an-

Ben and Evelyn Kogan; their children, Ron and Jay; Jay’s wife,

swer to the direction that you go in. When we started out,

Pam; and their grandchildren, Sean, Bryan, and Harrison.

my parents were both creative and artistic, my brother

CONTENTS

In an interview with PFM, Jay Kogan discusses the busi-

was more involved with the mechanical part—he was do-

ness’s growth over the last four decades, the family dynam-

ing the framing—and I was the lead salesperson and the

ics, and his advice for staying ahead of the curve in an ev-

marketing guy, so we had a great dynamic during that run.

er-changing marketplace.

We’ve moved to a new dynamic now where my oldest son, Sean, is overseeing the marketing as well as retail and

AD INDEX

How did you begin to grow the business beyond that

commercial sales. He also, without really knowing it, is

one location in 1975?

probably the general manager. His brother Bryan is a per-

Our first store was family-operated, with one or two employ-

fect complement. He’s quieter, and he’s doing the entire IT

ees, from 1975 all the way to 1981. In late 1981, I told my

and purchasing side of the business. He’s is in the back-

father that I couldn’t work for the kind of money we were

ground pulling the strings and making the operation hum

24 PFM May 2019

from an organizational standpoint. Their brother Harrison is keeping track of the accounting from all our entities. When your family manages the marketing/sales, IT/ purchasing, and accounting roles, it allows you to run the business and find an amazing staff to execute your vision.

It sounds like everyone had roles they naturally fit into within the business. How do you handle the inevitable disagreements?

Family business dynamics can be bad; ours is somewhat magical. I think it started with my father and I, who had a lot of philosophical differences in what direction to go with the framing. We developed the 20-minute rule: for 20 minutes, you can just be as angry as you want to be. Then after

Hall of Frames offers readymade solutions as a complement to its custom framing product.

20 minutes, give it up. a computerized mat cutter.

That’s a good rule!

The reason why Hall of Frames succeeds in the print-

Everybody has to agree to the rule. Ultimately, it’s kind of

ing business is because printing helps sell frames and

like being locked on a cruise ship or locked on a boat to-

photos within frames. How many times have you had a

gether in the middle of the ocean. No matter what hap-

customer want to put a photo of themselves at a sports

pens at the end of this argument, we’re still all holding

event inside a shadowbox with memorabilia from that

onto each other.

event? We are even starting to offer free prints with all tabletop frame purchases to show the difference in using

I know you are a big believer in diversification. What

high-quality inks and papers compared to convenience

advice can you give other retailers about diversifying

stores. The hope is that they are enticed to print a 32 x 40

their frame shops?

and frame it. That is a permanent marketing strategy.

You can become your own readymade, tabletop, or photo frame supplier; that’s a diversification. You can become

You mentioned your commercial volume earlier. What

your own distributor by stocking your best-selling mould-

portion of your business does that make up?

ings; that’s a diversification. You can offer printing ser-

I would say today that’s a good 35 percent of our business.

vices. It isn’t as hard as it used to be; you can easily be

We like to partner with companies in the home building,

in the printing business for about $1,500. And it’s not that

nonprofit, and design industries who are themselves

steep of a learning curve; it’s a similar concept to running

growing and have a need for custom frames, printing, recognition, and display work. Their growth is our growth, and in order to make them successful, we offer “soup-tonuts” products/services with tailored pricing programs and interfaces so that buyers can order right from their computer without having to call or visit a store. For example, if we were a shoe store, we would also offer socks. As a custom framer, we offer photo printing, laser engraving (on more than just name plates), mirrors, whiteboards, and just about anything that would go into a frame.

What kinds of framing projects are the most in-demand among your customers?

What they’re mainly framing today is an array of person-

Jay, Ron, Evelyn, and Ben Kogan in the first Hall of Frames location in Phoenix, AZ. The store opened in 1975.

al memorabilia; reminders of leisure time and happy moments. I just worked with some folks who put a lot of effort PFM May 2019 25

said to me, “I can’t do that. I’m in the design business, I’m in the framing business. I can’t show anything that’s not in a frame.” Yes you can, and you should. Something out of the frame will sell something in the frame, and something in the frame will sell something out of the frame.

When it comes to selling artwork, if the customer loves the art but doesn’t love the frame, they’re not buying it. If you display some unframed art and sell it that way, you can upgrade to a custom framing opportunity later.

Hall of Frames has become a one-stop shopping experience for their customers by offering digital printing and framing services.

Basically, you’re hurting your business by being dis-

into getting us to resize, print, and mount an image of where

Right. If someone doesn’t want matting, we come back and

they went on their honeymoon. They were very specific

say, “That’s okay, we can make this look great without a mat,

about the size, mounting, and framing for it. This was the

but we’re going to be creative use a double- or triple-stacked

kind of art they wanted to put in their living room because

frame.” If they’re not buying a style then give them some-

it reminded them of a happy time. People are busy today;

thing they want but upgrade it, enhance it, and be excited

everybody seems to be busier today than they were 10 or

about making it happen for them. Take it from basic to a

20 years ago. Their time is more consumed, so they want to

middle or a premium product. Because if they’re interest-

identify with the things that make them happy and remind

ed in getting this displayed and they’re in front of you, they

them of having that leisure time.

want to get it done and done well.

You’ve seen evolutions in design trends, changes in the

As a retailer, what are the top things I can do immedi-

economy, and the rise of ecommerce over the last 40

ately to start attracting more business?

years in business. What’s the key to staying relevant in

One: put a sign in the window. Have a promotion. Give

today’s market?

them a reason. “It’s our 20th anniversary, so we’re giving

You have to perform the service your customer is looking

you 20 percent,” you know? I’d also say, create a new prod-

for. If they’re looking for art presented without a frame on

uct to sell. Make something you can make money from and

it—if that’s the next trend—then that’s the trend we’re go-

proudly display it on your wall. Next, upgrade your web-

ing to follow. We sell a lot of printed images that are sur-

site. That’s your showroom, now. That’s what people see

face-mounted to plexiglass and have a floater frame on the

before they come to see you. And that’s an immediate im-

back to hang it. You have to be able to go with trends and

provement; websites are an ongoing art project.

build in more profit centers.

Over the years, some of my friends in the industry have

CONTENTS AD INDEX 26 PFM May 2019

criminatory about what you will and won’t frame.

Upgrade your point-of-sale software and hardware.

That’s immediate, too. When’s the last time you updat-

What’s the most rewarding part of sharing your expertise through teaching at The National Conference at the West Coast Art and Frame Expo?

When I get an email or call months later from an attendee saying, “I used your advice and it worked!”

It’s so rewarding to be able to give back to an industry that has given me so much. Seeing all my favorite suppliers and brainstorming with Jay Kogan is a popular speaker at The National Conference in Las Vegas.

my fellow picture framers each year

ed your pricing and evaluated profit

stone to my company’s innovation

margins? When’s the last time you

and growth. It’s my pleasure to give

analyzed what you’re actually sell-

back and help educate to ensure a

ing—or not selling—and if you’re re-

promising future for the professional

ally making money on it or doing a

picture faming industry.

at WCAF has really been the key-

free public service?

Another hugely important as-

When people ask you what you do

pect of your business is advertising.

for a living, what do you say?

You must continue to market yourself

When I’m in a professional setting,

during good times and bad! As soon as

I call myself a retail-and-commer-

you think you can’t afford to advertise,

cial visual designer; a visual expert.

that means you must.

Because that’s really what it is. But

One more thing you can do right

when people ask me more casually,

away is clean up your shop. Force

I say I’m in the business of making

yourself to streamline; do something

people happy. PFM

that makes you more efficient.

PFM May 2019 27

Thread Lines and Fabric Mats

By David Lantrip, MCPF, GCF

S

ynergy, from the Greek “working

quick yet impressive way

meaning

to adorn a mat.

togeth-

Start

by

cutting

er,” is the idea that two

the mat as usual and

things can combine to cre-

wrapping it if it is a fab-

ate something greater than

ric-wrapped mat. Next,

the sum of its two parts. Al-

mark the corners of the

though the word has been

thread line by placing a

abused to the point of cli-

Post-It note on each cor-

ché, it is still an idea worth

ner close to the mat open-

pursuing. In frame design,

ing and marking it with a

sometimes two different

scribe set to the correct

elements can be used to-

measurement. This could

gether to create a visual

also be done on a man-

effect more powerful than the individual elements together.

French

matting

has

Thread lines are a great choice to enhance the matting of needlework. In this case, the gold thread was inspired by the background and border. A thread used in the needlework can also be used on the mat for a perfect match.

Photo courtesy of Hollywood Frame Gallery

ual mat cutter, using the measuring bar to set the desired

distance

from

the mat opening. Some

been enjoying something of a renaissance, with more

scribes use precision holes that allow the user to

framers doing stunning work with painted panels

make a pencil dot at the desired measurement. With

and ruled lines. Fabric mats have been popular for a

this type, the Post-It note may not be necessary and

long time, and fabric wrapped mats have also been

the hole can be marked with a pin. Your favorite tool

undergoing a revival. Could the two be combined

for laying out French matting would also do nicely.

somehow? Your first reaction may be no, ink has no

With the layout done, use a sturdy needle or T-pin

place on fabric—it will bleed or the texture of the

to punch a small hole in the mat at each corner; using

fabric will cause it to look uneven and bumpy. That

pliers to hold the pin will spare your fingers. It may

is true, but we framers are problem solvers. So, how

be necessary to use a larger pin or needle to accom-

about using thread instead of paint or ink?

modate thicker threads, or to simply wiggle it a bit to

CONTENTS AD INDEX

A quick look through a local, small shop for nee-

enlarge the hole. It is best to mark and make the hole

dlework or at a customer’s needlework will show the

from the front of the mat so that the fibers of the mat

staggering variety of threads available. The usual

are not pushed up in the process. Sometimes, if the

wool or cotton threads come in virtually every color

fabric is heavily textured, it is easier to mark the mat

imaginable. There are also overdyed and variegated

on the back, but the texture will hide any problems. If

threads, the color of which vary along their lengths,

the fibers do lift when the hole is made from the back,

and there are metallics, textures, sheens, fuzzy, and

a burnishing bone can be used to gently flatten them.

iridescent threads. They may be sparkly or velvety.

Thread a needle and pass it from the back of the

Using them to create thread lines on fabric mats is a

mat through a hole, across to the opposite side and

28 PFM May 2019

then through to the back. Secure that end to the back of the mat with a piece of self-adhesive tape and burnish well. Trim the other end of the thread from the spool or card, leaving enough extra to work with easily. Pull the thread taut and secure the second end. Repeat for the remaining sides.

Many threads should be stranded, which is to say the individual strands of the thread are pulled apart and then put back together before stitching. This will help the strands lay neatly side by side, rather than being twisted together for a clean, smooth appearance. Some cannot be stranded though, so if you are unsure ask at the local needlework shop when purchasing the thread.

Using a laying tool will also help make sure the thread

When using stranded threads, the number of strands can be adjusted to create a wider or narrower line.

appreciated by needlework enthusiasts.

lies flat and neat on the mat, and this is especially import-

A typical design using a ruled or a thread line is a

ant when using a wide thread that is more like a narrow

straight outline following the mat opening. Don’t let “typi-

ribbon. Once one end is secured to the mat, slip a large tap-

cal” be a limitation; great fun can be had by experimenting.

estry needle under the thread and with some slack in the

The lines can be extended up and down slightly so that the

thread, slide it along its length to the second hole. Pull the

four lines cross each other at the corners to create crossover

excess thread through to the back and secure. A short You-

lines. It will just take a little more time laying out where

Tube video showing the use of a laying tool is available at

the holes will be placed. The same layout, with the thread

bit.ly/2A6M4gS. This extra attention to detail will be much

placed in a different manner, will result in a design with

CONTENTS AD INDEX 30 PFM May 2019

clipped corners.

Some designs can be threaded with one continuous length of thread, and it is tempting to do so. The length of thread required (easily eight feet or more for an average mat) is very likely to twist and tangle. It is better to work with four shorter lengths instead and avoid wasted time and frustration.

In addition to looking at French matting for inspiration, V grooves can be a source for ideas. After all, they are just another variation on the line aspect of design. Laying out the design using your CMC software is a great way to work out a design and get measurements to lay out the thread lines.

A little bit of inspiration and imagination will lead to all sorts of great ideas: • A gold or other metallic thread on a white mat • A black or other dark thread on a light mat for documents, black and white photos, or engravings • School colors on a diploma or graduation portrait • Team colors on sports memorabilia It is also possible to work in two colors with the thread.

One option is to use two thread lines of different colors fairly close to each other. In this case, it would be a wise

A monochromatic mat design can be enhanced with the use of a thread in the same color family. This one has a slight sheen to add interest, and small French knots at the corners for a finished look.

PFM May 2019 31

Begin by laying out the corners of the thread design on a Post It note with the tool of your choice. This layout tool for woodworking has precision holes placed at ПЕК intervals. A scribe, manual mat cutter or marking guide for French matting are also good options.

After passing the thread up through one hole, over and back through the mat, secure one end. The use a laying tool to smooth out the thread and eliminate any twist in it.

design decision to use different weights of thread or varying the number of strands used so that they are of different widths. A second option would be to twist two threads together to create a look similar to upholstery cording, just on a much smaller scale. Make sure they are twisted consistently on all sides. Be careful: the twist could create an optical illusion making it appear that the lines are crooked as compared to the mat opening, no matter how straight Secure both ends of the thread to the back of the mat with self-adhesive tape, burnishing well. For better preservation place the tape close to the edge of the mat and away from the artwork.

they actually are. Avoid this by spacing them slightly farther out from the mat opening than usual.

THE NEXT FRAMING CHALLENGE COMPETE AGAINST TOP FRAMERS FROM AROUND THE WORLD IN THE NEW PPFA INTERNATIONAL FRAMING COMPETITION

“MAKING ART IS MY GUILTY PLEASURE” Created with a computer

by Richard Cryer.

CONTENTS

5”x7” on 8.5” x 11” paper.

Sponsored by The Great Frame Up/ Franchise Concepts, Inc.

AD INDEX PRINTS AVAILABLE AT THE PPFA BOOKSTORE Winner to be featured on the cover of Picture Framing Magazine Professional Picture Framers Association

32 PFM May 2019

WWW.PPFA.COM

A different layout will create a design with crossed corners. Using the same patterns of holes will also allow for a design with clipped corners.

Since so many of the threads mentioned are made for needlepoint or cross stitch, it makes perfect sense to use them when framing needlework. After all, how many times have customers wanted a mat to match a very specific color in the work? Suggest using the same thread from the project, and it is very likely that your customer will have some left over to use. It doesn’t get more custom than that.

Don’t feel constrained to using this only on fabric mats; it works just as well on all types, but looks best on fabric. Give it a try and you’ll quickly see how easy it is to get impressive results. Just don’t let anyone know how easy it is! PFM

David Lantrip 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 May 2019 33

1.

2.

3.

JOINING AND INSTALLING OVERSIZED ART 1. Mechanical lifter with a shop-built vertical support is used to lift a heavy mirror.

2. Using a scissor lift with a cantilevered deck to install a heavy sculpture.

The cantilever allows us to extend over a fixed object (in this case, a builtin reception desk that could not be moved).

3. Shop-made external cradle on scissor lift.

CONTENTS

4. The Grand Canyon of the Yellowstone, a painting by Thomas Moran, hangs in the Smithsonian American Art Museum using a steel angle iron support on the bottom. Unless one were to look underneath, it is not visible when looking at the painting.

AD INDEX

5. Using steel angle iron on the bottom of a frame and painting it to match the wall color provides excellent support for larger pieces.

6. Hanging a large piece with a scissor lift.

34 PFM May 2019

By Rob Markoff, CPF

W

hen it comes to installing heavy art, it

solvent such as acetone, denatured alcohol, lac-

is important to remember that a chain

quer thinner, mineral spirits, and naphtha prior

is only as strong as its weakest link.

to glue application. Allow the solvent to fully

This means that one can have the most robust

evaporate before applying the glue.

hanger screwed into a stud, but if the mat-

The choice of adhesive is important. The

ing component on the frame is installed with

glue holds the joint together. Most joining hard-

screws that are too small or they pull out of

ware such as v-nails hold the miter closed while

the frame, the selection of the proper hanging

the glue dries; it is the glue that bonds the two

device is moot. Both must work together. All

pieces of wood together. Use glue of the correct

components must be at least as strong as re-

viscosity, age (glue has a shelf life and can lose

quired to support what they are supposed to.

its bonding ability if it freezes), and type.

Let’s look at some techniques and hardware

Miters expose end grain, which can be po-

that will provide for a more secure installation

rous and especially absorbent. For open pore

of heavy pieces.

wood, applying glue, pressing the joint together,

A frame has several weak points. One of

and then reapplying glue will make a stronger

those weak points is the miter where the frame

joint, as will allowing the joint to dry before ap-

is joined. There must be adequate surface area

plying any stress.

to make a bond that will support heavy weight,

The selection and placement of the join-

and a strong corner is achieved by a tight-fitting

ing hardware can also make a stronger corner.

miter. Sharp, properly adjusted mitering tools

V-nails are an excellent joining method, but

are essential. Truing up miters with a sanding

they have limitations. They can only be stacked

disk—especially if chops are coming from an

three tall and there is a risk in doing so, espe-

outside source—means a sound joint. Blowing

cially in hard wood where they tend to blow out

off any collected sawdust opens the pores of the

the back of a frame. Some v-nails can cause the

wood to make a better bond. Some oily woods

miter to separate, eliminating the surface con-

like teak also benefit from a wipe-down using a

tact necessary for a strong bond.

4.

6. frame to add structural strength. The strainer needs to be screwed to the frame from the interior through pocket holes, or from the sides of the frame on the exterior (as a decorative element).

5.

Using fitting points won’t provide adequate support because the frame will only receive support where the strainer

For tall stem moulding, most of the stress will be toward

meets the top of the frame. By attaching the strainer around

the face of the miter, and v-nails cannot reach all the way to

the perimeter of the frame, you receive support from all

the face. One could cross-nail the top, but that means holes

sides and resist racking, which can cause the corners of a

to fill, and there is a limit to the length and strength of the

frame to pop open. The interior edge of the strainer can also

nails available. A better alternative is the use of a Hoffmann

incorporate an integral bevel to be combined with a French

key that can be stacked as high as the slot that can be routed.

cleat so the frame will fit flush to the wall.

Hoffmann keys are available in a variety of dimensions and

A French cleat is made with two pieces of chamfered

make a very strong joint, especially in shadowbox and oth-

wood that mate with each other. The angle of the chamfer

er tall mouldings. There are vendors such as Vermont Hard-

should be 30 degrees. Note that I said “chamfer” rather than

woods or Picture Woods that offer Hoffmann slots and the

“bevel.” A bevel bisects two parallel planes. A chamfer bi-

corresponding keys as part of their “chop” service.

sects a 90-degree angle. In the case of a French cleat, this

A miter can also be reinforced using wood or metal

means there will be a blunt edge where the angle of the cut

plates. The use of a butterfly spline or a Hicks block over the

stops, thereby saving one’s hands when lifting from the cleat

face of the frame will add additional support for the face of

and reducing the opportunity for the sharp edge of a bevel to

the miter. Corner reinforcement plates applied to the back

break off and splinter.

of the frame, such as Super Corners from 888 Manufactur-

Alternatively, there are Z-type metal brackets available

ing, are substantially better than L brackets because they are

from many suppliers and similar brackets using mating

thinner and cover more surface area. Plates are applied after

pieces connected by wider flanges like those made by Hang-

fitting because they span across the open area of the frame.

man and Frameware. These brackets are cut to length with

If the scale of the frame is too small, other means of

one component attached to the frame and the other to the

support such as a strainer or plywood backing need to be

wall. They are available in several wall thicknesses, some of

added to the frame package. A solid piece of luan plywood

which also have alternating holes that are small and large

can be screwed to the back of the frame or inset and fas-

enough for a ¼'' lag-screw or bolt.

tened with pocket screws or fitting staples. To save weight,

One drawback of using this hanging method (without a

portions of the sheet can be opened and removed. This also

strainer or full plywood covering of the frame) is that it re-

works well in combination with mirror mastic to provide

lies on support from the top miters of the frame. The frame

support for large mirrors. The hanging hardware is attached

must be wide enough and structurally sound enough so that

to the plywood backing, and the adhesive supports the mir-

there is adequate surface area on the miter to support the

ror while the frame becomes more of a fascia than being re-

weight of the entire frame. The bar must also be attached

quired to support the entire package.

using enough screws to distribute the weight across the

Alternatively, a strainer can be added to the inside of a

point of attachment and also that are long enough to grip PFM May 2019 35

the frame and support the weight.

If corner supports are used, the bar must be shimmed

actual weight. We have a scale in our shop for weighing large, heavy pieces so we can match them with correct hardware.

out so that the back of the bar is level with the part of the

Drywall is incredibly strong when mated with the prop-

corners (usually the screws) that protrudes from the frame

er holding device. Most of the force on a picture hanger is

as if they weren’t being used. This will allow the bar to mate

shear force, meaning in a downward direction parallel to the

with the wall piece without putting stress on the screws

surface. The angled nail causes the hook to be pulled toward

holding the bar and/or having the screws from the corner

the wall and the surrounding gypsum in the drywall inhib-

supports gouging the wall and possibly forcing the bottom of

its the downward force. When choosing a picture hook, it is

the frame off the wall.

important to consider the scale of the hook and its weight

If attaching hanging hardware with screws (such as D

rating. The condition and structural strength of the drywall

rings), correctly sized pilot holes will reduce the chances for

must also be considered. There are picture hooks that also

splitting the wood whether at time of attachment or in the

allow the use of additional fasteners other than their accom-

future as the wood dries and is under stress. Forcing a screw

panying nails for stronger support. I like to pair these with a

into the wood or starting a hole with an awl reduces the sur-

captive anchor and a screw. This technique can eliminate the

face contact area of a screw and can lead to failure. It is espe-

necessity of finding a wall stud or be used in combination

cially important to drill pilot holes in hardwoods and to wax

where only one stud can be located in the wall. Alternatively,

or lubricate the fastener threads to reduce friction that can

there are hangers that only utilize screws to attach to the

lead to metal fatigue.

wall, either into a stud or to a mating anchor.

The physical attachment of the mating hardware to the

A captive anchor is one that resists pullout by expand-

wall is also important. The holding capacity of the device

ing on the interior of a wall. Examples are expanding hollow

must be capable of supporting the weight of the frame. I like

wall fasteners (sometimes called mollys), Zip-togs, EZ-Tog-

to underrate the capacity by 20 percent. By example, if a hook

gles, and knotting anchors. These can also be used in com-

is rated at 100 pounds, I do not like to exceed 80 pounds of

bination with a Z-type bar and French cleats. Since a French

CONTENTS AD INDEX 36 PFM May 2019

cleat has an angled mating surface, there is also a pulling force that requires strength to hold the cleat against the wall so it does not pull out. A captive anchor is an excellent solution. Many of them will also allow the mating screw to be removed while the anchor stays in position in the wall and the screw can be re-inserted.

The use of a stud to support a hanging device will provide a strong, secure means of support. Studs can be located using an electronic or magnetic stud finder. I like to use a small nail to make a test hole to insure that the reading of the finder was correct before drilling a larger pilot hole.

Studs are usually 16'' on center. Once a single stud is located, measuring (and confirming) additional studs can be simplified. Another trick is to look for electrical outlets below the installation location. A stud will usually be on one side or the other of the box.

It is important to drill a properly sized pilot hole in the stud to reduce friction of the fastening device. Friction causes heat, which can lead to metal fatigue and failure. A pilot hole also reduces the possibility of splitting the wood, which is not visible because it is covered by the drywall. This is especially important for larger screws such as a lag. Lubricating the screw with wax will further reduce friction and make seating the screw much faster and easier.

Sometimes the pre-drilled holes in a piece of Z-type bar do not line up with the stud location. It is okay to drill new holes so that the bar is centered behind the piece! We sometimes use a combination of fasteners through the bar into studs and with wall anchors where the bar does not overlap (especially at the ends.)

CONTENTS AD INDEX 38 PFM May 2019

A strainer can be ½ of a French cleat by having a chamfered edge.

Hangers that work well with heavy pieces are screwed to the wall. They range from a simple, washer-like hanger such as the Maxi-Hanger from 888 Manufacturing to the heavy duty three-hole hanger from Lion. Another type available from Frameware is adjustable and in addition to using the furnished nails, can also be screwed to the wall. This makes hanging heavy pieces level much easier because the hangers can be adjusted up and down after being installed.

Sometimes it is better to support a heavy piece from the bottom in combination with the other methods previously described. By using a steel angle iron bolted to the wall and painted to match the wall color, the weight of the frame is supported from the bottom while the other fasteners hold it to the wall. This technique, often employed by museums, works well for very large pieces that have wide frames and where the bottom of the frame is low on the wall. The next time you are in a museum and see a very large piece, look beneath it and you may find the angle iron technique.

Using mechanical assistance to help lift and carry pieces will protect you and your staff from injury. Transferring a heavy piece into a jobsite and lifting it onto the hanging

device can be challenging. We have found that Forearm Forklifts make carrying large, heavy pieces much safer. They provide more control and allow a piece to be carried without worry that it will slip through your hands by transferring the weight from your hands to your forearms.

We use hand-cranked mechanical lifts intended for lifting ductwork by modifying them with a house-built cradle to hold the art. The lift raises the piece to the desired height and wheels on the base allow the device to move the art close to the wall. We also use scissor lifts to raise heavy pieces. We add a house-built cradle to the exterior to hold the art.

Some scissor lifts also have a cantilevered deck that can be useful for reaching over fixtures like counters.

Properly engineering the framing of a heavy piece ensures the frame will hold together and support the contents.

Combining matching hardware and method of attachment to the wall ensures the piece remains safely installed. PFM

Rob Markoff, CPF Rob has been framing for over 40 years. With his wife, Barbara, he operates Gallery Services, a contract framing company, and Artrageous!, an art and framing retail company in San Diego. He has written extensively for industry publications and is a featured speaker/educator at framing venues in the U.S., Canada, Russia, and Australia.

CROSSWORD CHALLENGE ACROSS

DOWN

1 Much used saw in framing

1 Picture frame material

4 Selects

2 Link together

8 Place into service

3 Inner groove of the picture frame

9 Clamp for assembling a frame, 2 words

4 Southern ____, trees used for

10 Impenetrable 12 They can be used to reinforce very large frames 13 ___- invasive mounting

wood for picture frame mouldings 5 Cry of a chicken 6 Wood coloring 7 Showing

14 Trademarks, abbr.

11 Religious lady

17 Not wide

15 Making a visible impression on

21 Make a move

16 Columbia’s state

23 Grp.

18 Sweetie

24 Important framing equipment

19 Spring flower

26 Type of hanger

20 Infrared _____: it’s below the

29 Compass point

color red on the light spectrum

31 Joining tool

22 Go __ the auction

34 Arrangement

25 Request for frames, e.g.

35 Modern style of displaying art, ___ wrap

27 Madame, for short 28 Ambience 30 Trendsetting 32 Zero

SEE PAGE 45 FOR THE SOLUTION

33 Feel bad about PFM May 2019 39

Product Showcase

888 Manufacturing

Decor Moulding

888 Manufacturing now stocks LED battery-operated picture lights in four colors and three sizes. Get up to 100 hours per set of batteries. All work with remote control.

See them on our website.

Pleased to announce the introduction of AURORA, a new line of six popular profiles in two very attractive finishes of dark silver and antique copper. Each style has a slightly hammered design to it. By combining six available widths of ¾'', 1 1/8'', 1 3/8'', 1 5/8'', 1 3/4'', and 2 1/4'' with convenient rabbet heights of ½'', 5/8'', and 15/16'', this line has tremendous flexibility when framing so many types of art. Order corner kit #CS-AUR to get these styles on your walls today.

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

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

Framerica

Global Art Inc

Framerica recently released its new BW303 floater profile. “We received countless customer requests for a narrower faced profile,” notes Josh Eichner. “The very simple redesign changing to a smaller reveal worked perfectly to modernize the look.”

The BW303 profile is available in virtually any finish, as well as in quick-ship stocked options.

The Rainbow Collection is a beautiful collection of textured wood frames.

This moulding has a wire brush texture with a metallic rub and comes in seven contemporary colors. It has a 1'' width and a 5/8'' channel, which makes it great for stacking with other frames. For more information or corner samples, contact the customer service department.

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

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

Larson-Juhl

Michelangelo Moulding

Inspired from the tropical Brazilian Carnival festival, Larson-Juhl’s newest collection, Carnivale, features a bold color palette and hand-distressed finishes. The color combinations are endless! This rustic collection is versatile and works well in a number of different decor styles.

Gold mouldings are enjoying a resurgence, and Michelangelo has applied new, exquisite gold finishes to four best-selling profiles. Available are a 1 1/4'' flat, a 2''+ tall shadowbox, a 2'' flat, and a 1 7/8'' tall floater. You must see this warm, elegant finish yourself—samples/ stock available online now.

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

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

CONTENTS AD INDEX

Sepp Leaf

Universal Arquati

Mixol Universal Tints are pigment-based and come in 33 colors, plus three metallic tones. Tint Liberon Gilt Cream, shellac, lacquer, epoxy, grain filler, clear coatings, wax, stain, glaze—practically anything in your workshop. They work with water, solvent, and quality oil-based products. Mixols won’t dry out or harden over time. Imported

by Sepp Leaf Products. Available through McCollum Interiors on Amazon.

Collins II is a beautiful line available in five soft yet vibrant finishes: black, white, gray, muted gold, and muted silver. This profile is inspired by the original Collins Collection to offer a great look and value. Please contact your local sales representative for corner sample sets, which are available now. Please visit the new line on the web.

Call: 212-219-0770 www.mccolluminteriors.com

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

40 PFM May 2019

PFM May 2019 41

Distributor Spotlight

CONTENTS AD INDEX 42 PFM May 2019

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

For more information, sales@pfm-group.com

CLASSIFIEDS HELP WANTED 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.

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.

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.

Seeking Skilled Sales Professionals to represent Delta Picture Frame Company as Sales Representatives or Independent Sales Representatives.

Are you a self-motivated and energetic individual who is looking to take on a wood and polystyrene moulding line? Do you enjoy forming strong business relationships and strive to be a helpful source of information about the brands you represent? If so, we would like to speak with you. Delta Picture Frame Company has a reputation of being second to none when it comes to customer service, we are looking for representatives who can keep that standing intact. Please inquire by contacting Jason Alweiss at 305.592.6456 or by emailing your resume to jason@deltapictureframe.com.

FOR SALE Picture framing store in suburban Philadelphia, PA, established for 28 years; 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. $75K 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 DYAW 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 May 2019 43

Index Advertiser

Page

Advertiser

Page

888 Manufacturing Corporation ..............................................................39

House of Troy .........................................................................................23

888-338-3318

800-428-5367

www.888mfgcorp.com

Active Sales ......................................................................................19, 42 800-937-2255

www.activesalesco.com

www.houseoftroy.com

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

Alpina Manufacturing, LLC ......................................................................43

800-233-2404

800-915-2828

Michelangelo Moulding ...........................................................................13

www.fastchangeframes.com /www.bannergrip.com

Capax-Frame It ......................................................................................32 800-942-2729

www.capax.com

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

www.cmimoulding.com

Craft Inc. ................................................................................................27 800-827-2388

www.craft-inc.com

Decor Moulding & Supply ................................................17, 30, 41, 43, 45 800-937-1055

www.decormoulding.com

877-422-8812

www.richesonart.com

www.michelangelomoulding.com

Miter Master ...........................................................................................42 800-446-6622

www.qualitysaw.com

Omega Moulding Company ...............................................5, 26, 30, 43, 45 800-289-6634

www.omegamoulding.com

Picture Woods Ltd. ..................................................................................33

Designer Moulding..................................................................................33

800-321-6522

800-634-0032

Pro Tapes & Specialties............................................................................37

www.designermoulding.com

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

www.engelsenframe.com

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

www.fixons.com

Foster Planing Mill ............................................................................41, 42 323-759-9156

www.fosterplaningmill.com

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

www.frameready.com

800-345-0234

www.picturewoods.com

www.protapes.com

Professional Picture Framers Association ..................................................32 732-536-5160

www.ppfa.com

Rhonda Feinman Custom Frames ...............................................................6 800-297-1566

www.rhondafeinman.com

The Fletcher Business Group ....................................................................15

Framerica.................................................................2, 3, 4, 26, 43, 45, 48

800-843-3826

800-372-6422

Tru Vue ....................................................................................................9

www.framerica.com

FrameTek ...............................................................................................27 800-227-9934

www.frametek.com

Frameware, Inc. .....................................................................................36 800-582-5608

www.framewareinc.com

CONTENTS

Framing Fabrics ......................................................................................31 800-832-2742

www.nnigroup.com

Frank’s Fabrics for Framers ...............................................................29, 42 888-332-2749

www.franksfabrics.com

800-621-8339

www.fletcher-terry.com

www.tru-vue.com

Universal Arquati ................................................................................7, 21 800-668-3627

www.universalarquati.com

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

www.wallmoulding.com

Wizard International ...............................................................................11

AD INDEX

Gluefast Company ............................................................................23, 42

888-855-3335

800-242-7318

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

www.gluefast.com

Hangman Products .................................................................................38 818-610-0487

www.hangmanproducts.com

800-880-9315

www.wizardint.com

www.zhardware.com

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

Ziabicki Import Co. .................................................................................30

866-248-0100

262-633-7918

44 PFM May 2019

www.hoffmann-usa.com

www.ziabicki.com

Crossword Challenge Puzzle Solution

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

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-onone 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: 206-7958376 or visit www.gildingstudio.com.

COMPLETE FRAMER’S SUPPLY, INC. (Fort Lauderdale, FL). Call 800330-3263 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 212-683-2840.

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

PFM May 2019 45

DESIGN OF THE MONTH

By Paul and Jill Choma

Let the Good Times Roll

M

ardi Gras may be over, but the party never has to end for this gorgeous feathered mask we recently

framed at our shop, Gilded Moon Framing, located in Millerton, NY. A flamboyant find on a trip to New Orleans, this mask now has a home in our shop’s Inspiration Gallery, complete with a complex quadruple frame with a removable acrylic box on the front.

We wanted the framing to be as striking and dramatic as the mask itself. What better way to accomplish this than to add some sparkle and shine? The moulding for the first three frames was chosen for its metallic flair and interesting texture that complements the detailing on the mask. The trio of frames were pieces together to make one large, deep frame to house the object.

in place while still allowing for easy removal.

The moulding was chosen to give a little added shine without drawing too much attention to itself.

The mask was mounted simply by threading its ties (which would normally be used to wear the mask) through holes drilled all the way through the mat and backer, then tying them off behind the piece. The holes drilled all the way through also serve as ventilation to make for easy placement and removal of the acrylic box without creating a vacuum.

We continued the drama by mounting

When you are ready to wear the mask,

the mask on black suede. The dark back-

you simply remove the acrylic top of the

ground allows the colorful mask to take cen-

framing package, untie the mask from the

ter stage, drawing the viewer’s eye. A black

back, and laissez les bons temps rouler!

CONTENTS

frame was also used on the interior to create a gravity groove which holds the acrylic box

Helen Avitabile contributed reporting for this article. PFM

AD INDEX

Jill Choma began custom framing in 1999 and brings a background of architectural and interior design. She has continuously studied techniques specializing in archival framing to best protect clients’ artwork. She specializes in designing and framing three-dimensional works of art. When not framing, you can find Jill traveling in search of the perfect cannoli and chai tea.

Paul Choma joined Gilded Moon Framing in 2004 and has helped steer the business to the success it enjoys today. His design style is to complement art with a perfect, timeless frame. Paul has always loved woodworking and has amassed a collection of tools to build the perfect frame. When not building the perfect frame, you can find him teaching snow skiing in winter and water skiing in summer.

46 PFM May 2019

This festive Mardi Gras mask is the star of the show as it sits atop a black suede mat. It is housed by three different frames, which, when combined, added depth to the overall presentation.