Picture Framing Magazine - November 2019

Upgrade Your Design Counter What’s Trending in Substrates Merchandising Like a Pro

Contents

PFM is a member of:

Volume 30, Number 11

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

On the Cover Could your sales counter work better for you?

The owners of Bevel Edge Framing in Cairns, Australia, designed their showroom around their counter so corner samples are easily accessible to browsing customers. The table is also at a lower height, facilitating a more comfortable viewing distance. For more ideas and sales tips like this, see page 12.

Features 18 Substrates: Tips and Trends 24 Merchandising Mastery 30 An Overview of Adhesives

Columns

12

12 Sales Strategies 36 Successful Retailing Panel 46 Design of the Month

Departments 8 10 40 42 43 44

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

24

18

30

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 Publishing

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

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

CONTRIBUTORS

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

B USI N E S S E D I TO R

ADVERTISING SALES

sales@pfm-group.com • 848-444-3058 Ellen Blatt • ellenhobbypub@cs.com Bruce Gherman • bgherman@pfm-group.com Rob Gherman • robgherman77@gmail.com Sean Kliemisch • sean@wcafexpo.com CIRCULATION D I RE C TO R O F A U D I E N C E D E V E LO PM E N T

Maureen Robertson • maureen@wcafexpo.com PRODUCTION

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

Jin Dong • ads@pfm-group.com

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

WEST COAST ART & FRAME EXPO • NATIONAL CONFERENCE A division of Hobby Pubco • www.wcafshow.com

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

WCAF EXPO SALES

sales@wcafexpo.com

CONTENTS

PFM PUBCO • BOOK DIVISION BOOK SALES COORDINATOR

pfmpubco@pfm-group.com

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PFM PUBLISHING, LLC PRE S I D E N T

6 PFM November 2019

Bruce Gherman

FROM THE EDITOR’S DESK

T

From the products you carry to the layout of your shop, every improvement makes a difference to your customers’ experience.

CONTENTS AD INDEX 8 PFM November 2019

his time of year is busy for consumers and retailers alike. As shopping lists are made and crossed off in advance of the winter holidays, it’s time to take a look at your business’s in-store experience and make any needed improvements to ensure a great customer experience from the moment they walk in your door to the moment they leave with their finished piece.

Your customer’s time at the design counter plays a large part in their overall experience with your business.

Could your space be re-imagined to work better for both you and your customers? In his latest column (page 12), Jared Davis discusses how to create a design consultation counter that sells and showcases some clever solutions from frame shops around the world.

Are you carrying the products you need to satisfy customer demand?

In this issue, we take a closer look at the world of substrates (page 18), getting insight from expert retailers and suppliers on how things have changed over the last few decades, what’s trending now, and what the market may look like in the future. In the world of picture framing, foam

board is still king, but there are many more innovative materials that deserve your attention.

We also take a closer look at adhesives this month. In his latest article (page 30), Jim Miller offers a comprehensive primer on the various adhesives used to permanently mount paper items. If you have any questions about dry, wet, pressure-sensitive, or spray mounting, look no further.

Pivoting from the technical and design aspects of framing to the business side of things, John Ranes lends his experience to this issue in his latest article (page 24) on successful merchandising. His examples offer solutions for any retailer who’s wondered, “What else could I carry in my store that would complement my core product and that my customers would love?”

Those ideas and more await you on the following pages. Making even a small enhancement to your shop between holiday orders can make a big difference. ‘Tis the season!

Kimberly Biesiada Editor

INDUSTRY NEWS Kelley Wins PFM Customer Appreciation Giveaway

Framing Community Mourns Loss of Fred Horton

Congratulations to Christine Kelley, winner of this year’s PFM

Longtime Professional Picture Framers Association member

Customer Appreciation Giveaway. With over 500 entries, Kelley,

Fred Horton, MCPF, owner of Galerie Severn in Metairie, LA,

president of The Framing Cottage in Green Bay, WI, was the

died Aug. 26 at age 76.

A New Orleans native, Horton was

lucky subscriber who won a $250 gift card.

“I’m delighted to be this year’s contest winner,” Kelley

a Master Certified Picture Framer and an

says. “Each month I look forward to receiving the next issue of

MCPF examiner; served on the PPFA In-

PFM. As a small shop owner, I subscribe to stay abreast of new

ternational Framing Competition board

trends and tips from fellow framers.”

and was a competition judge; worked as

Make sure your email address is registered with your sub-

a PPFA educator at both chapter and na-

scription account so you don’t miss out on upcoming promo-

tional levels; and held several leadership

tions and special offers like this one! To register, visit www.

Fred Horton

“He was always enthusiastic, a won-

pictureframingmagazine.com, click “Login” under “Subscribe Today,” and add your email to your account information.

positions within his chapter.

derful addition, and eager to help, and he became a good friend,” says Chris Paschke, CPF, GCF, one of the founders

Framerica Named Green Business Leader

of the framing competition. “He helped the competition board

Framerica was recently named a Green Business Leader by

move into the digital age by creating the first computer spread-

Public Service Enterprise Group (PSEG) Long Island in recog-

sheets, making the on-site judging process much more auto-

nition of the company’s eco-conscious manufacturing and its

mated. Though he always had a strong mind of his own, he

recent addition of one of New York’s largest solar farms to PSEG announced that Business

Robin Gentry, MCPF, a former chair of the competition board, says she first met Horton through his involvement with

its headquarters.

Green

always had vision and the desire to help. He shall be missed.”

Leaders

are “recognized due to their efforts to save energy and help reduce greenhouse gas

the competition and chapters. “He was always ready to help in any way possible,” Gentry says. “He was a wonderful mentor and friend. I’ll miss talking to him and getting his advice.”

Gagne Celebrates 10 Years Framerica’s Mike Gagne recently sur-

emissions on Long Island.”

PSEG Long Island named Framerica as one of its Green Business Leaders.

For more information,

passed a decade of working for the New

call 800-372-6422 or visit

York-based company. “Mike is a talented

www.framerica.com.

and innovative electrical engineer that is integral to producing great moulding,” notes

Polencheck Becomes Certified Picture Framer Clare Polencheck, CPF, of Red Wing Framing in Red Wing, MN, recently earned her Certified Picture Framer designation after passing an online exam issued by the Professional Picture Framers Association (PPFA).

CONTENTS

The booklet version of the exam, as well as a hands-on Master Certified Picture Framer (MCPF) exam, will be offered to those attending the annual PPFA Convention, scheduled to take place this year during the 2020 West Coast Art and Frame Expo and The National Conference, Jan. 26-29 in Las Vegas.

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The PPFA offers a downloadable recertification course in its online store, as recertification is required for MCPF and CPF designation holders once every four years. To purchase an exam or recertification course, visit www.ppfa.com. Questions can be emailed to certification@ppfa.com.

10 PFM November 2019

Jay Van Vechten. “He has led by example Mike Gagne

for 10 terrific years.” PFM

SALES STRATEGIES

by Jared Davis, MCPF, GCF

Creating a Consulting Design Counter that Sells Build customer loyalty by fostering a positive experience from A to Z.

I

f you think about it, the only place in a custom framing business that generates sales is the design counter. In fact, most

other parts of your business cost money rather than make it. Your design counter is a vital aspect of your business, especially if you want to maximize the opportunity for every customer and consultation.

Times are changing. When it comes to buying, customer expectations are also changing.

also where their final spending decisions will

The dynamic on how you interact, engage, and

be made.

sell to customers is continually evolving, so it’s

When a customer walks into your store

important to consider updating your methods

for the first time, they will see your counter

to meet these changing needs and expectations.

and think, that’s where it’s going to happen;

Let’s have a look at some updated and

that’s where their treasured memory will be

progressive ideas that help create a consulting

transformed into a masterpiece. They will also

design counter that sells.

observe your corner sample wall and wonder

Design Table Functionality

which one will be “the one” for their frame. How effectively you marry these two aspects of the

Your design counter serves a greater purpose

customer experience can dramatically influ-

than simply acting as a horizontal surface for

ence your customer’s level of engagement.

use during a consultation. In the context of a

CONTENTS

customer experience, it’s also the “stage.” Your

Price Versus Pleasure

counter is where your customer will feel the

One trend in counter design I’m starting to see

emotion and delight of the design process. It’s

more of is the separation of the financial trans-

AD INDEX

Jared Davis has 25 years of industry experience and is the business development manager for Megawood Larson-Juhl in Australia as well as a consultant for Gunnar International. In addition to writing for PFM, Jared also travels extensively as an educator and speaker, teaching at many industry shows and seminars around the world including The National Conference. Jared also serves on the PPFA Board of Directors and is the author of the book “Getting the Most Value From Your CMC.” He leads several sessions at The National Conference in Las Vegas every year.

12 PFM November 2019

Is your counter working for you and your customer as it is? Could reimagining it improve the consultation experience?

her my preference, and she looked puzzled, telling me, “I’m sorry, but I just don’t quite believe you; you’re looking at it upside down compared to me.”

She had a point. How could she trust my advice or suggestions if she didn’t feel that I was able to properly observe and appreciate the artwork in its correct orientation?

Open Access Not only does an open counter-style table allow you to stand next to your customer, but it also potentially allows for more open access to your moulding corner sample display.

Some customers like to be engaged in the process, and this can come from being hands-on. Allowing customers to get close to, touch, and even remove corner samples from 4 Corners Picture Framers in Canberra, Australia, has come up with a creative viewing solution; by positioning some angled mirrors directly above their design counter, customers can observe the artwork and layout in the mirrors’ reflection, which also emulates a comfortable viewing distance.

your wall helps encourage a more tactile experience for them. It can also help some clients feel less restricted and more in control, making the project feel more personalized.

action from the design experience via a hidden or detached

Table Position

payment counter. If your design counter is the stage, then

If a design table is close to your sample wall, positioning

your financial transaction area is the box office. When you go

the table at an angle to your wall can create a less restric-

to a theater to see a show, the box office is never on the stage;

tive dynamic that helps eliminate any perception of my

and when you have a good time seeing a show, you’re far less

side/your side and instead visually invites customers to

sensitive about the cost of the ticket.

access any side of the table, including the sample walls.

Separating the financial transaction from the experi-

Having casters on your counter’s legs will help you

ence allows you to separate “the price” from “the pleasure.”

easily reposition your table to suit different situations or

This also allows you to keep your design counter clear of

simply to refresh your shop’s look and feel.

clutter and operating with fewer distractions, especially the constant distraction of a cash drawer.

Table Size

If you do have a separate payment counter, it is an ideal

With the popularity of oversized art and wide format dig-

spot to arrange any impulse buys and gift items you carry,

ital prints, it has become important to have a table that is

which can add value to your frame sales.

large enough to feel spacious and comfortable to accom-

Table Orientation Another growing trend in counter design is an island or open-sided table. Unlike the traditional counter style of “my side versus your side,” an island design allows for

CONTENTS

a more open experience, where a design consultant can stand side by side with a client. This can help reduce any intimidating or opposing perceptions of buyer-versuscustomer or expert-versus-rookie, so to speak. Standing

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side by side can help create a more collaborative and comfortable feeling and help build a more personal connection.

Many years ago, I was designing with a client on a typical my-side/your-side counter. At one point during the process, the customer asked me what I thought of a design option I had suggested for her landscape watercolor. I told 14 PFM November 2019

Aylesbury’s Picture Framing in Perth, Western Australia, has a beautiful solid wood design counter that has an immediate “wow” factor and is set at a comfortably lower height for more convenient viewing.

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Visit www.wcafexpo.com/brochure to select your brochure type today! *All versions of the brochure are free of charge. If printed brochure is selected, it will be available beginning November 15, 2019 and mailed to your requested address. Additional copies may be available from participating WCAF Expo exhibitors and sponsors. Printed brochure available while supplies last. For more details, visit www.wcafexpo.com.

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Design Counter Lighting Don’t underestimate the value of good lighting. Keep in mind that a typical 50-year-old customer will generally see 25 percent less than a 20-year-old—so having dedicated lighting for your design counter can be worthwhile.

Having light flooding your design counter from directly above it reduces shadowing and best highlights the colors, features, and details of the design options you present.

Good lighting can also help you clearly identify any slight Art & Frame Co in Adelaide, South Australia, had plan drawers integrated into their design counter for additional storage of samples and sales aids. Note the separate pricing and payment counter in the background as well.

modate larger artworks. You don’t want the artwork to feel constrained or limited before you even start considering design options.

imperfections and damage in the artwork, which you can then get the customer to acknowledge before the job is formally accepted.

Say Goodbye to Clutter It’s hard to make important decisions when you’re distracted. Think about the decisions your customer has to

Table Height Depending on the overall size of the artwork, people generally stand at least three feet away from a piece of art when viewing it on a wall. If you stand too close, it’s harder to appreciate the overall balance and design of the subject matter.

With that in mind, consider your design counter—how high are your customer’s eyes positioned from the art when it is on your counter? Does the height of your counter make it difficult or easy for your customer to observe the overall balance and proportion of the design?

For example, if you’ve ever had to consult with a larger artwork on the carpet, then your counter is too high. An intentionally lower counter height such as that of an office desk might facilitate a better, more natural viewing distance for your customer to be able to best appreciate the layout and design.

make at your design counter; are there any items on your counter that can hinder this decision-making?

There is nothing better than a clean, clear table with no unwanted diversions. Consider positioning your matboard corners on a separate caddy to provide a larger and less cluttered design area.

Plan drawers under a counter can provide a solution for additional samples, sales aids, and design essentials such as notepads and tape measures. Some businesses with plan drawers in their counter reserve the top drawer as a quick and convenient “mess drawer.” This allows a consultant to promptly clear any excess samples and sales aids from a previous consultation when they are too busy handling back-to-back consultations to properly clean up in between.

Counter Seating A stool positioned at your design counter conveys a subliminal message: relax and get comfortable. Even if they don’t use it, conveying to your customer that you care about their comfort helps reduce pressure during decision-making.

Today’s consumer is willing to pay more for an overall

CONTENTS

experience than they are for just a product. The ultimate goal in our business is to deliver such a pleasurable overall customer experience that they quickly decide they want to come back and do it again. You’re selling more than just a

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picture frame—you’re also selling the experience that goes with it. Make it memorable! PFM Bevel Edge Framing in Cairns, Australia, designed their showroom around the counter so that corner samples are accessible to the customer and the pricing and payment counter is separate from the design table. The design table is also at a lower height, which facilitates a more comfortable viewing distance. Also note the creative use of door snakes (draft stoppers) as paperweights.

16 PFM November 2019

Want to learn more about connecting with customers? Jared will lead several sales seminars at The National Conference in Las Vegas in January. PFM

Photo courtesy of Len Lastuck, Frame Specialties/Kool Tack

SUBSTRATES: TIPS AND TRENDS IN TODAY’S MARKET

By Kimberly Biesiada

A

s design trends and manufacturing technol-

panies around the world under various brand names,

ogy have evolved over time, so too have the

such as Dibond.

substrates used in the art and picture framing

Dibond and other ACPs are growing in popularity

industry. Think back a decade or two; many materials

as a substrate on which to print and mount digital pho-

being painted, printed, and mounted on now were un-

tographs, according to Jim McNickle, global marketing

heard of then. The variety of substrates now available

director for the Fletcher Business Group. “That had its

to artists and framers offers exciting possibilities for

start in the picture framing market a couple of years

your business. To know which ones deserve your atten-

ago, but it’s becoming a little bit more mainstream

tion, it’s helpful to look at which substrates are current-

now,” he says.

ly in demand, which ones are on the horizon, and how

McNickle, who categorizes aluminum composite

you can use these products to offer more choices than

as a “definite market trend” in multiple industries, says

ever to your customers.

framing retailers could benefit from showing the sub-

Perhaps unsurprisingly, the reigning substrate

strate to their customers during design consultations.

used for mounting in frame shops is foamboard, ac-

It is already enjoying success as a printing and mount-

cording to Len Lastuck, director of product develop-

ing option from online retailers, he adds, as consumers

ment for Frame Specialties/Kool Tack. “Foamboard has

become more aware of it and demand for it rises.

CONTENTS

been and still is the most popular substrate around,” he

Lastuck says he is seeing the same trend. “The rea-

says. “That’s where the greatest volume of what we’re

son for this is that people want something that is very

doing in the industry comes from. If I were to guess, I

thin, very straight, and very solid. They don’t want it to

would say that probably 85 percent of the needs out

dent. [Aluminum composite] isn’t cheap, but it is be-

there are still foamboard.”

coming more popular because it meets those needs.”

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Another family of substrates quickly gaining mo-

Another benefit is that photographs printed on this

mentum is aluminum composite panels (ACP). ACPs,

kind of substrate can last outdoors, he adds—which

made of aluminium composite material (ACM), are flat

opens up possibilities for customers looking to deco-

panels consisting of two thin, coil-coated aluminum

rate a patio or other outdoor area.

sheets bonded to a non-aluminum core. They are wide-

Constance Henshaw, vice president and gener-

ly used in building insulation, outdoor signage, and

al manager of Encore Products, says the company’s

other industries and are produced by hundreds of com-

brushed aluminum foamboard has been a hit with cus-

18 PFM November 2019

pressure-sensitive adhesive when mounting to fabric or canvas.”

Across-the-board

trends

like

canvas, acrylic, and aluminum are valuable in any framing retailer’s repertoire, but it’s also important to keep the wants and needs of your specific customer base in mind. If you’re doing a lot of commercial/ business-to-business work, for example, your needs will likely differ from a framer who works with a lot of fine art collectors, or a framer whose city has a huge sports team Henshaw says retailers are framing substrates like Encore’s Cork Board and Chalk Board foamboards for use in their customers’ kitchens or dorm rooms.

following and frames a lot of memorabilia. Identifying your target au-

tomers looking for the metallic sur-

over from signage into wall decor,

dience and any regional trends that

face of a product like Dibond but the

and vice versa.”

might be happening is the key to

versatility of foamboard.

McNickle, Lastuck, and Henshaw

making informed decisions about

“It’s a lightweight, cuttable prod-

pointed to canvas as another trend-

what kinds of substrates you should

uct with a fully printable metallic

ing substrate. The low price point of

be showing and selling.

paper surface,” she says.

prints on canvas make them a go-to

As McNickle puts it: “If I’m ser-

On the opposite end of the spec-

option for consumers who are look-

vicing a 100-mile radius, who is my

trum from ACPs and digital printing

ing to display art or photographs in

audience, and how can I figure out

are substrates like Encore’s Cork

their homes and aren’t concerned

their demographics?”

Board foamboard and Chalk Board

about long-term preservation.

foamboard, which evoke nostalgia

editor and owner of Designs Ink in

the dominant type of thing being

Tehachapi, CA, says many of her

“We’ve seen a growing interest

sold online right now in terms of

clients, for instance, are affluent re-

in those products,” she says. “Even

what people can have their artwork

tirees who have left the greater Los

though we have so much technolo-

mounted on,” McNickle says. “It’s

gy today, people are interested in dry

very inexpensive. It’s what I classify

erase cork board and chalk board to

as ‘temporary wall decor,’ because

frame and write on in homes and

someone might only display it for six

dorm rooms. It’s popular to commu-

months before wanting to change

nicate with each other that way.”

it—and it’s inexpensive enough for

Acrylic substrates, too, are on the

CONTENTS

rise. Photographs are face-mount-

prints

are

Chris Paschke, PFM mounting

probably

for simpler times, says Henshaw.

“Canvas

people to do that. Custom framers should be aware of that.”

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ed onto acrylic and are popping up

Lastuck says the framing re-

more frequently in office spaces as

tailers he works with will seek out

well as living spaces. “Certainly from

mounting solutions to match this

a printability standpoint, acrylics

kind of artwork. “Their customers

are becoming more popular,” says

are bringing in these printed canvas-

McNickle. “And that isn’t just in the

es now, and they’re very inexpensive,

framing market. We know from the

so they want something inexpen-

data we have that multiple markets

sive to mount it on. A lot of fram-

are crossing over; trends are coming

ers are using our Insta Mount C2

20 PFM November 2019

One example of a creative design using Encore’s Chalk Board foam board.

far more choices in substrates for original art, prints, and digital photographs than there were 20, 30, or 40 years ago. “Back when I started picture framing with my father in 1972, we mounted onto this 60-point chipboard, which was lumpy and gray and awful. Then it was illustration board and, ultimately, it became foamboard. My father only had to know how to frame paper, photographs, and canvas; it isn’t just those things anymore.”

The solution? Paschke encourages framers to consult her and other expert sources when confronted Kool Tack’s Competition Plate, an aluminum composite substrate, is ideal for mounting photographs and other glossy prints where smoothness and rigidity are essential, Lastuck says.

with something printed on an un-

Angeles area to settle in a small gat-

ence, says she fields a lot of calls

your risk of using a material in the

ed community near her shop. These

from framers who have questions

framing package (like an adhesive)

clients often bring in valuable orig-

about safely mounting artwork that

that is damaging to the substrate.

inal artworks that don’t go through

has been painted or printed onto a

Having a network of experts you

any mounting process. Choosing the

nontraditional substrate like silk or

can call upon—and expanding your

right substrates to order for your

Yupo, a waterproof synthetic pa-

own knowledge of today’s popular

business, she says, “really depends

per. “Those are the calls I’m getting;

substrates, as well—can be hugely

on where a framer is—it varies.”

‘What adhesive or technical process

beneficial in your quest to not only

usual substrate. Doing so reduces

Today’s growing variety of new

am I going to use, and what sub-

display your customers’ art beauti-

and unusual substrates brings up

strate do I want to use to mount this

fully but also to protect it for years

concerns about mounting and pres-

piece that’s been printed on a bizarre

to come.

ervation. Paschke, a longtime in-

substrate?’”

structor for The National Confer-

CONTENTS AD INDEX 22 PFM November 2019

As Paschke notes, there are

Looking forward, Paschke says she believes unique or specialty

substrates “are going to keep rising to the surface. Many times it will either be something that’s been digitally printed, or something that an artist

has

discovered—something

that wasn’t designed for art but that they’re now painting on. The saving grace framers have is that original artwork should always be mounted to preservation standards.”

Lastuck also believes specialty substrates will continue to exist alongside more mainstream choices.

“I think the unique substrates will always be there because I don’t see any one of them really taking off,” he says. “MDF (medium-density fiberboard) could possibly take off, but it’s difficult to cut. You can’t do it on most wall mount cutters; you either need a saw or a wall cutter that’s able to get through it.”

Lastuck expects little change over the next several years in terms of foamboard’s popularity—with one exception. “One of the biggest problems we’re hearing about foamboard is that it cannot be recycled,” he says.

“That’s a major concern, particularly on the West Coast.”

One substrate on the market that is recyclable is MDF, according to Lastuck. A few products like Kool Tack Thin offer alternatives for eco-conscious customers. “That’s a trend I would look for in this and any industry going forward,” he says.

No matter what substrate you’re considering, it’s important to look at the big picture before you buy.

Knowing what’s popular in the cur-

Have a question or comment?

Tell PFM what you think.

rent market and with your customer demographic is key to having the

Mail letters to PFM

right selection but so, too, is know-

83 South Street, Unit 307, Freehold, NJ 07728

ing how to cut, mount, and finish the substrates in question. PFM

Call 732-536-5160, Fax to 732-252-2270 Attn: PFM Editor or E-mail to pfmeditor@hobbypub.com PFM November 2019 23

SUCCESSFUL IN-STORE MERCHANDISING

By John Ranes II, CPF, GCF

A

t an in-store level, merchandising refers to

in your customers; and, of course, entice them to buy.

the variety of products a retailer has available

We all are aware that a great salesperson at the design

for sale and the display of those products in a

counter can achieve these goals with a potential cli-

way that stimulates interest and entices customers to

ent, but if you have the visual merchandising in place

purchase. Although you may think of merchandising

already, then the battle is half won!

as a concept important to retailers in other industries, it can be just as beneficial for framing retailers when

WHERE TO BEGIN

done well.

Although creating good merchandising in your shop

As my good friend and fellow framer Greg Perkins

may seem like a daunting task—perhaps because you

says, “Many framers think that custom framing is a

wear so many hats already—let’s break it down into

service business and that merchandising doesn’t ap-

sizeable bits. The simple truth is that you need to start

ply, but rather is reserved for retailers selling a finished

by examining your shop’s general appearance: the sig-

product.” It is Perkins’s view, and mine, that framers

nage, front windows, back room, carpet, etc. Would you

are a hybrid of service and retail. As mini-manufac-

be comfortable inviting a potential client to see a proj-

turers, we indeed provide a custom service but also

ect in the works in your back room? If the answer is not

put various components of a frame package togeth-

so much, then I think we both know where you need

er to end up with a finished product. The framed art

to start!

gallery pieces or samples of shadowbox and needle

All those little details visually represent who you

art framing displayed in your shop is your merchan-

are. Worn or dirty carpet, corner samples piled up in

dising—how they are displayed can make or break a

boxes next to the design counter, or windows that are

potential sale.

not clear and clean do not instill confidence in your

CONTENTS

It isn’t only the finished frame samples in our

customer. Don’t forget to give some attention to your

shop that need to be displayed (merchandised) prop-

mat and moulding corner samples as well; you want

erly; it also includes moulding corner samples, mat

to make sure that they are replaced frequently so they

sample displays, and store signage. Because so many

look like they are actually worth $26/foot!

AD INDEX

potential framing customers honestly do not understand what they’re looking at when viewing your sam-

DISPLAYS THAT SELL

ples, small informational signs and displays help edu-

Next, let’s look at how to create displays within your

cate and inspire them.

business that capture people’s attention. Remember

When done well, good merchandising can create

that even the most basic of frame shops will have

excitement, confidence, understanding, and comfort

browsers that are there to learn and explore your busi-

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Candles, coffee cups, and coasters complement framed mirrors and pillows in this area. All make easy and frequently purchased gifts.

ness to see if you are a nice per-

related ancillary items into groups

and informative arrangements.

son worth doing business with and

of subject, color, theme, or story is

Vintage furniture, mirrors, and

“kick some tires.” Do you have any

that you not only create interest,

other neutral home decor items pro-

displays that can capture their at-

but you are also placing the framed

cured outside your business soften

tention for a few minutes if you are

piece in a home-like environment.

and add character to a display. This

on the phone or busy with another

The frame shop my wife and I

is a wonderful way of getting folks

client? How about signage that ex-

own sells home decor and gift items

to see custom framing as an every-

plains the collection of horse ribbons

that complement our custom fram-

day element in their homes. Anoth-

in that shadowbox on display, or a

ing. Our manager and chief designer

er idea is to work with neighbor-

display that compares regular glass

tends to group displays by themes,

ing businesses like florists, coffee

to premium glass? You want to have

color, and texture, and typically in-

shops, pet stores, or candy stores

visual tools like these out in front of

corporates some custom framing,

for related material to decorate with

potential customers to educate and

readymade photo frames, or art into

and pull your theme together. They

entice them.

the mix. Even if you don’t have a

will likely be happy to assist you.

Do

you

have

any

support-

large inventory of gift products to

If you do sell home decor, gift

ive collateral material to create a

create your displays with, you can

items, and three-dimensional art,

good-looking display? The advan-

utilize moulding samples, art prints,

these can be incorporated into your

tages of arranging frames with other

and signage to create interesting

displays to create greater visual

CONTENTS AD INDEX Displays can be as simple as laying a framed image against two pillows on an oversized bench, adding a lamp off to the side, and placing a basket of notecards by the same artist nearby.

Artist: Anna Wright 26 PFM November 2019

A wedding is a perfect theme around which to build a framing-focused merchandise display. Here, custom framing is displayed alongside readymade photo frames, books, and candles. Don’t forget to change displays in your shop for major holidays 30-60 days out.

Earth and Champagne tones abound in this tabletop display that features a Roma photo frame, an Edison-style lamp along with candles and candle holders with small gift boxes of utility dishes. When you are lacking a theme to pull a display together, let color and tonal variations carry the display.

interest. Can you mix products at

and spring shows. Another good

extremely different price points?

resource is Etsy wholesale, where

Absolutely! Your customers have

many framers have successfully

different needs for different situa-

sourced art and home decor items

tions. Your most well-heeled regular

that fit a particular theme or are

client may spend thousands of dol-

locally made. Obtaining product in

lars on having a mirror framed for

this manner assures that your cus-

their newly decorated dining room,

tomer won’t find the same items

and the next month, pick up a $20

at an art fair later that summer for

gift item for a casual acquaintance.

half price.

It’s a good idea to carry solutions to

If you think you might want to

meet both of these needs (and ev-

get into gifts and home decor to a

erything in between).

larger degree, keep in mind that the

If you elect to add some small

upcoming Las Vegas Market coin-

home decor products to mix in with

cides with the 2020 West Coast Art

your custom framing, look for local

and Frame Expo and The National

gift markets to browse and com-

Conference

parison shop. Autumn trade shows

making it easy to visit both shows

in heavily-populated areas are typ-

in one trip!

ically less crowded than winter

(www.wcafexpo.com),

Remember that good merchan-

CONTENTS AD INDEX Color-oriented themes are strong and eye-catching. Here, our Valentine’s Day display consists of a large framed serigraph, lamps, candle votives, notecards, and tablecloths on a stacked white table for contrast.

28 PFM November 2019

dising is both natural and organic. Consider some of the common home decor items that sell well as gifts: candles, coasters, cups, and mugs. Those items, along with lamps and pillows, make an easy starting point for a merchandising display or vignette. And don’t forget unique gifts and notecards!

Once customers know that you sell these additional items, they will come back to see what is new. Each shop has its own personality, and as you evolve in developing your merchandising, the direction you go in will become part of your store’s overall brand.

Most of us have heard that a good business plan takes you not where you are now, but where you want to be. Similarly, good merchandising displays offer not only what you’re selling now, but also what you could be selling tomorrow. I encourage you to think about what your customers would love to buy from you in addition to beautiful framing and build merchandise displays that wow them! PFM Want to learn more about improving your frame shop? John will lead several seminars at The National Conference in Las Vegas in January.

John Ranes II John is an instructor of framing workshops and seminars worldwide.

John teaches for the Professional Picture Framers Association and consults for The Fletcher-Terry Company and Tru Vue. John was awarded the PPFA Lifetime Achievement Award in 2015.

John, with his wife, Sarah, own The Frame Workshop of Appleton, WI, a frame shop and gallery which has won over 100 framing awards, including two successive awards from the Fine Art Trade Guild in the UK and a National Australian Framing Competition award. His shop opened in 1978 expanded in 2009, and has diversified into gifts, Christmas collectibles, and home decor.

PFM November 2019 29

ADHESIVES FOR PERMANENT MOUNTING OF PAPER ITEMS

By James Miller, MCPF, GCF A heated vacuum press has advantages for both dry mounting and it can also be used for wet mounting without heat.

S

heets of paper are commonly framed, and they can

Pre-drying and cooling under weight, necessary for old-

be nearly any size, type, thickness, surface texture,

er technology dry mounting (see below), are not needed

or condition. Here is a brief review of fundamentals

with pre-adhesive boards.

involved in permanently mounting typical paper items and the adhesives needed for each.

Some manufacturers offer their adhesives pre-applied to multiple substrates, such as matboard, hard-

First, let’s discuss dry mounting. Replaceable,

board, aluminum composite material, and aluminum

low-value paper items such as posters, digital imag-

sheeting, as well as several thicknesses of foam board

es, photographs, and some documents may be per-

and high-density foam board. This category includes

manently dry mounted with little concern for preser-

two adhesive types:

vation. Three distinct categories of heat-activated dry

REVERSIBLE—thermoplastic adhesive can be

mounting adhesives are generally available from pic-

activated repeatedly. The adhesive bond remains se-

ture framing suppliers, and there are choices within

cure in normal ambient temperatures, but when a

each category. “Dwell time” refers to the time under

mount is reheated to the activation temperature, the

heat required to activate the bond.

adhesive softens and the bond weakens, so a paper

CONTENTS

1. LOW-TEMPERATURE ADHESIVE PRE-APPLIED

item can be carefully lifted off the adhesive. When

TO A BOARD SUBSTRATE. The dry mounting boards

reversing a mount this way, several reapplications

in this category are popular because they are generally

of heat may be needed; and because the adhesive

faster, simpler, less risky, and more convenient to use

will still retain some bonding strength, care should

than older-technology dry mounting adhesives with

be taken not to wrinkle or tear the paper during re-

separate substrates. The process involves position-

moval. This type of adhesive often can be reused, es-

ing the paper item on the adhesive-side of the board,

pecially on a sturdy substrate such as ACM.

AD INDEX

covering with release material, and pressing it under

PERMANENT—thermosetting adhesive acti-

a temperature and dwell time adequate to activate the

vates with only with first application of heat and

bond. Activation temperature may vary among brands

the bond will not weaken with reheating. A mount-

(usually in the range of 140 to 160 degrees Fahrenheit).

ed paper item can be removed only by dissolving

Dwell time varies according to brand and thickness of

the adhesive with a chemical solvent. This type of

the mounting package (usually in the range of 15 to 90

adhesive cannot be reactivated or reused, so take

seconds). Be sure to follow the manufacturer’s recom-

care to get the mounting process done right the

mendations for activation temperature and dwell time.

first time.

30 PFM November 2019

be pieced together under a paper item and, when heated to the melting point, they will flow together to make a seamless, continuous layer of adhesive.

Also, when it is desirable to dry mount an oddly-shaped paper item to the surface of a substrate, showing its edges, the dry mounting film can be melted between the paper and release material, so that the adhesive covers the whole oddly-shaped surface of the paper item’s backside. Then, it can be dry mounted onto a substrate— usually colored matboard—showing its edges.

The mechanical dry mounting press is a popular machine in custom frame shops because it is compact, easy to use, and very durable.

2. DRY MOUNTING ADHESIVE ON A ROLL. The adhesives in this traditional category have been in use for many years. When using a mechanical dry mounting press, the first step in the process is to pre-dry the hygroscopic (porous) paper item and substrate, because residual moisture in the fibrous materials create steam when heated, which could foul the adhesive bond. To pre-dry, just place the stack of materials (minus adhesive) in the heated press for a few minutes. Exception: When using a heated vacuum press, the vacuum pump extracts moisture during the mounting process, so pre-drying is not necessary. Place a leaf of the adhesive between the paper item and board substrate, cover with release material, and press under a temperature and dwell time sufficient to activate the bond.

Cooling under weight is the last step and is necessary with this category of adhesives to ensure consistent bonding over the entire mounting surface. If this step were to be accidentally skipped, inconsistent bonding may not show up for some time, but when a dry-mounted paper item begins to bubble in the center, that probably is because

Dry mounting tissue is comprised of a thin paper carrier impregnated with heat-activated adhesive. Of course, the quality of adhesives has improved over the decades, but this concept was first patented in 1901. Several different types of tissue can be used as the carrier for this type of adhesive, but it usually looks something like wax paper.

The dry mounting process with adhesive tissue is similar to using adhesive film, except that this adhesive will not flow.

Dry mounting films and tissues can be used with all the typical mounting substrates for framing. Some are reversible and others are permanent; select the one most suitable for each project. Activation temperatures can range from 160 to 225 degrees Fahrenheit and dwell times range from two to five minutes, generally. Follow the manufacturer’s instructions for best results.

3. DRY MOUNTING WITH LIQUID, GEL, OR PASTE ADHESIVE. The adhesives in this category usually are not intended specifically for dry mounting, but some are suitable for the purpose nonetheless. Acrylic medium in liquid or gel form, some conservation-grade adhesives, and several brands of fabric adhesive can be used

the mount was not cooled under weight. The issue is that the layers of the dry mounting stack—substrate, adhesive sheet, and paper item—all expand and contract at different rates. As soon as the mounting stack is taken out of the heated press, the materials cool rapidly but inconsistently.

CONTENTS

This inconsistent cooling can result in unseen waves or wrinkles in the adhesive sheet or paper item, which can cause weak bonding in certain areas of the surface if not weighted during cooling.

AD INDEX

Dry mounting film looks something like thick, translucent (but not clear) Saran Wrap. It has no carrier, so it melts and flows when heated, and it can be re-melted repeatedly.

This characteristic provides reversibility and offers other advantages in certain circumstances. For example, to minimize waste, several small pieces of the adhesive film can 32 PFM November 2019

A typical clothes iron can be used to dry mount a paper item, so long as the temperature and pressure are adequate and applied consistently over the entire mounting surface.

as heat-activated adhesives for dry mounting. Some are

dows or curved, recessed, raised, or stepped-surface sub-

reversible; others are permanent. The pro-

strates.

cess involves rolling the adhesive onto the board substrate or perhaps onto the back of

WET MOUNTING

the paper item, allowing it to dry, covering

This method of permanently mounting

with release material, and then activating

a paper item predates early the twen-

the bond using heat.

tieth-century practice of dry mounting.

In most cases, these adhesives would

Essentially, the wet mounting process is

require temperatures and dwell times sim-

similar to wallpapering. A smooth paste,

ilar to other categories of dry mounting

often starch-based with some additives, is

adhesives, but since specific instructions

applied to the board substrate by brush or

usually are not offered for dry mounting

roller, and the paper item is positioned on

with these adhesives, experimentation in

the pasted board and rolled smooth using

advance with similar-but-disposable mate-

a brayer. Some papers require pre-moist-

rials is recommended.

ening to prevent severe cockling during the mounting process. Then, a covering of ab-

Dry mounting with this category of adhesives has a few advantages in certain circumstances. For example, the rolled-on layer of adhesive can be quite thin, similar

A digital laser temperature sensor can be a useful tool to assure that your dry mounting equipment is correctly adjusted and functioning properly.

to the adhesive layer on pre-adhesive dry

sorbent paper is applied over that and the mounting stack is subjected to pressure until the paste dries.

In traditional bench-top wet mounting,

mounting boards described above. Also, the adhesive can

the wet stack of materials would be placed under weighted

be applied to irregular surfaces, such as beveled mat win-

blotters to dry overnight, and changing the blotters a few

PFM November 2019 33

times would speed up the drying process. The modern ver-

Some of the adhesives pre-applied to board substrates

sion of wet mounting involves similarly applying prepared

are quite aggressive, so careful positioning is crucial. The

paste (now available in gallon jugs) onto the substrate us-

leading brands from framing suppliers are comprised of

ing a paint roller, but most of the paste is blotted away,

high-quality, durable adhesives, but products of this type

leaving only a thin film of tacky paste. The paper item is

for consumer use, especially the low-cost brands, may de-

positioned on the pasted, blotted board and covered with

teriorate over time.

absorbent paper. This wet mounting stack immediately

Alternatively, positionable mounting adhesive is also

goes into a cold vacuum press, and within about 10 min-

available on rolls up to 24'' wide. The process involves trim-

utes under full vacuum, nearly all the moisture is extract-

ming a length of the adhesive from the roll and applying

ed by the vacuum pump, resulting in a permanent mount

it to the substrate before removing its release paper and

that can be closed into a frame just a couple of hours later

positioning the paper item on it. Pressure from a brayer,

after residual moisture evaporates.

roller, or squeegee activates the bond. The activation pressure is crucial and, if done inadequately or inconsistently,

PRESSURE-SENSITIVE (PEEL-AND-STICK) MOUNTING

the bond may fail over time.

Pressure-sensitive adhesives can be applied to a variety of

SPRAY ADHESIVE MOUNTING

board substrates in standard sizes, providing a convenient,

Aerosol spray adhesives for permanent mounting of pa-

permanent alternative to dry mounting and wet mounting.

per items provide a fast, convenient mounting alternative,

Both low-tack, positionable and high-tack, instant-bond-

but there are limitations. It is very important to read and

ing versions are available. The process is simple; just peel

follow all directions and cautions for use. Spray adhesives

off the protective release paper, position your paper item

contain chemicals that are toxic, so be sure to wear protec-

on the board, and activate the bond using pressure from a

tive gear, such as a respirator, and use the spray only in a

brayer, roller, or squeegee.

well-ventilated area.

CONTENTS AD INDEX 34 PFM November 2019

Aside from the health hazard of toxic chemistry, some

POPULAR ADHESIVES FOR FRAMING

of the elements are highly flammable. Also, the particulate

A variety of tapes and adhesives are commonly used in framing applications. Here are some of the most popular framing adhesives.

PVA (polyvinyl acetate) frame glue is preferred adhesive for bonding wood miters. This glue is available in translucent white or yellow, and opaque white and black. Differences among the brands are mostly associated with the “open” time for handling the surfaces, set-up time, and drying time. A popular variation is “dustcover glue,” providing set-up, water-reversible bond, stronger adhesion, and lower cost than pressure-sensitive adhesives.

Framers Tape is generally ¾” or 1” wide, polyester or polypropylene tape with strong adhesive on one side. It is used for a variety of taping applications in framing.

ATG is a carrier-less, pressure-sensitive adhesive commonly used for dustcover paper, usually dispensed from an applicator gun. Its applications are limited to light-bonding applications, where the bond would not be stressed. Under stress, ATG can migrate, flow, and fail.

Fillet tape is ¼” wide, double-sided polyester or polypropylene tape, generally used for attaching fillets in frames and mat windows. It is also useful for clear film mounts and other pressure-sensitive tape applications.

Rabbet-lining tape, usually comprised of a paper/foil ribbon and sturdy adhesive on one side, provides a barrier against migration of acid and contaminants. It is usually applied to frame rabbets and may be used to seal the frame package between glazing and the final backing board.

Starch paste (wheat or rice) powder is mixed with water and cooked; for bonding porous materials, mostly preservation hinging. It is pure adhesive without preservatives.

Methyl cellulose paste powder is mixed with water; for bonding porous materials, it makes a good alternative to starch paste. This paste is easier to mix and has a longer shelf life than starch paste.

the spray, so be sure to cover everything downwind from

overspray can contaminate surfaces far from the origin of the work station where spray adhesives are used.

This brief review covers only the basics of permanently mounting paper items; and when preservation mounting is appropriate, only a few of the methods and materials described here would be suitable. For more information, contact your framing suppliers. PFM Want to learn more about mounting? Jim will lead several seminars at The National Conference in Las Vegas in January.

James Miller James founded ARTFRAME, Inc. in 1988. His storefront business, sold in 2015, specialized in protective framing with emphasis on creative framing of three-dimensional objects. In 1990, Miller earned the Certified Picture Framer (CPF) designation, and in 2004, he earned the Master Certified Picture Framer (MCPF) designation. As a member of PPFA’s Certification Board, he helped develop the MCPF program and oversaw a review of the CPF program. As an educator, Miller presents framing courses at educational venues. He is also a longtime writer for Picture Framing Magazine. He has authored two instructional books for framers: Mounting Objects with Clear Film and The Complete Guide to Shadowboxes and Framing Objects.

PFM November 2019 35

SUCCESSFUL RETAILING PANELISTS

MODERATOR

CUSTOM FRAMING: A CHANGING LANDSCAPE

Jay Goltz

Meg Glasgow

Jim McNickle

Kevin Meath

Ginger Hartford

President and Founder, Goltz Group, Inc.

Owner, Finer Frames

Director of Marketing, Fletcher Business Group

Consultant to the picture framing industry

Founder, EurDesign Studio

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

Part 4: Digital Marketing—Email and Social Media How-Tos Jay: I have a question. How many people have a good

If you don’t have that skill set, there are a lot of resources

database of customer names and email addresses? (Audience

available to teach you the basics. It’s largely inexpensive for

raises hands) Okay. How many people constantly refresh that

a small business to market itself on the leading social me-

database because it’s constantly changing? (Audience raises

dia platforms, and like Ginger was saying earlier, it’s a way

hands) Very good. Because now you can not only do social

to become relevant to a new generation of buyers.

media marketing, but you can also do a targeted email blast through a service like Constant Contact. These things are

Jay: Many of you are thinking, “Yeah, I know, the whole

very easy and inexpensive to use. I call it electronic dialogue;

social thing…I need to do it.” But you aren’t going to do it

you’re just touching them enough to maintain that relation-

because you’re busy framing pictures and you don’t have

ship. With that in mind, you might want to think about how

the social media expertise. The answer to that is—many of

you maintain your database.

you have a college near you. Call the communications department and see about hiring an intern. These kids need

CONTENTS AD INDEX

Ginger: And with that database, there’s a term called seg-

something on their resume; what an incredible opportunity

mentation in email marketing, which just means that if

for someone who’s at a local college to get some marketing

you know some of your customers are interested in cer-

experience as your intern! My point is, we need to stop trying

tain products and services, you can tailor your approach to

to do everything ourselves because, well, we don’t have to. I

those smaller groups of people. Data shows that segmented

can’t do everything. Most of you probably will never become

marketing emails have a much higher open rate than more

marketing experts, but there are so many people out there

general ones, so it pays to be specific.

who are great at it. You can absolutely set up an internship.

Meg: I think that digital marketing is so, so important; not

Ginger: Jay, you bring up finding those people who have

only through email but also through social media platforms.

the design and the skills. But there are also tools you can

36 PFM November 2019

use yourself that make it easy. Let me share a quick story.

to do it, or do nothing. My point is, forget about that third

I was working with a friend of mine on branding. She was

option. Don’t do nothing. There’s another component to this

opening her new fitness training business, and she wanted

that I was getting at with my database question. You want to

to look professional and really launch herself. We started

email market to your customers, but there’s one problem; you

talking about branding being the first step. She was getting

don’t have their email addresses. You have to navigate how to

a little daunted while looking at other business that had

get their email addresses from them, which isn’t always easy.

been open for less than a year yet looked so established and professional with their visual promotion materials.

Meg: In my shop, when people walk in, the front end is a

She thought, “How am I going to compete with these other

gallery. While they’re walking around browsing, I’m having

brands that look so amazing? They must have paid a ton or

conversations with them. If they say they are interested in

hired that out.” Once we identified the core of what it was

an art class or special event we have coming up, for exam-

she wanted to do—the look, the feel, everything—I told her

ple, that’s when I’m grabbing their name and email. I also

about a fantastic tool called Canva. It’s like having a market-

reassure them that I won’t be spamming them with tons of

ing department in your back pocket. You put in your colors,

emails; I tell them we’ll be sending out one email a month.

your brand, your voice, and you create your own graphics

It’s much easier to build trust when you set that expecta-

with their templates and stock photography. She got up and

tion right away.

running with no marketing classes and no training.

Jay: You’re the owner, though; they’re going to be nicer to Jay: And that’s great for people who have that mindset. I’m

you. If you hire a salesperson to do it, that’s when it gets

just saying that if you can do that and want to do that, great.

more difficult. They really have to work to get these emails.

But if not, don’t get intimidated. You have three choices: do it yourself with tools like Canva, hire an employee or intern

Meg: If you’re conscious of it and you’re making that effort,

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you’re going to be successful. And it’s

too. It’s, “Please text me. Don’t email

a great opportunity to continue to

me. I get a thousand emails a day.

develop that relationship with your

Send me a text.”

customer and build value and trust.

Ginger: And there are automation Jay: Successful also doesn’t mean

services you can sign up for to do

getting every single email address. It

that. Even my kids’ school sends out

isn’t all or nothing; just get as many

automatic texts. You opt in through

as you can. Half is better than none.

your email and your phone number, and you can opt out at any time. I

Meg: You mentioned Constant Con-

would recommend being very spe-

tact. I use that and Mail Chimp to

cific and strategic about when you

send email blasts. You can get a few

send a text out—it’s not every day or

hundred emails at their free level;

every week, it’s only when your cus-

when you get up to 1,000 or more, it

tomer needs to know something. It

costs about $40 a month.

gets the most important information right up front. Many large retailers

Ginger: I learned something here

have incorporated text messages in

at the conference about getting

their social marketing strategies.

customer email addresses. Someone told me that with your in-store

Jay: Let’s dive into some audience

forms, putting a line for an email ad-

questions. Here’s one. What about

dress at the top of the form instead

copyright issues, etc., when sharing

of at the bottom makes a difference.

pictures on Instagram?

In other words, instead of your form reading “Name, address, phone num-

Ginger: The great thing about Insta-

ber, email address,” it should include

gram is that in addition to posting

email first, because people tend not

your own pictures, you can repost

to fill it out as often if it’s last.

amazing content that you couldn’t afford to create yourself. The oth-

CONTENTS

Jay: I absolutely believe that. That’s

er day, I posted this image from a

why I’m saying we need to con-

famous designer, Vincent Wolfe. It

sciously think about how we get

was an interior den and it showed a

email addresses. And it’s easy not

beautiful framed piece—and I loved

to get them. It’s easy to have your

it. I used my tools to save it, bring it

salesperson tell you, “The customers

into my feed, and then I reposted it

don’t want to give it,” and just accept

with credit. You always have to tag

that. You really need to say, “No, we

your source and give credit to them,

need to get it,” and then work on

whether you’re mentioning them

ways you can facilitate that.

in your caption or tagging them in the image. Instagram is a great way

AD INDEX

Kevin: Do you text your customers?

to share beautiful content that helps support your cause.

Meg: A lot of people are requesting that; “Text me when it’s done.”

Meg: Many vendors also have images that they would be very, very

Kevin: That’s kind of where I’m at, 38 PFM November 2019

happy to share with you. For exam-

ple, images of frame designs I built

at the displays and seeing what I do.

Ginger: You can outsource resourc-

for Tru Vue’s frame shop makeovers

Like you said, it’s a working docu-

es, too, in that regard, whether it’s

all over the country are available

ment. I’m trying a lot of things all the

graphic designers or someone to

through the company to download

time to reach new audiences.

work with your social media. It may

and use in your marketing.

be through a firm, or it may be some-

Jay: There hasn’t ever been one

one who provides virtual services.

Jay: Do you always ask for permis-

thing I did that was like, “Oh my God.

sion before you put a customer’s art

Home run. We just made $10,000.”

Jay: How many people are actually

on Instagram?

I’ve never done it. I’ve spent hun-

opening your email blasts?

dreds of thousands of dollars in

Ginger: Absolutely.

advertising; I’ve done the big mail-

Meg: For me, a good open rate for

ings. It usually helps get some new

email is about 30 percent.

Jay: I assumed so. The next ques-

business and build the mailing list.

tion we have is, what are examples of

But none of it was whiz-bang. I don’t

Ginger: That’s a good rate. In fact,

some of your marketing efforts that

know any business that’s figured out

Artsy recently published a full email

were highly successful? Let me an-

how to do one thing that’s going to

marketing guide, and they talk about

swer that first; most have not been. I

suddenly catapult them into wild

open rates around that number as

find that you need to send out mail-

success.

standard for the art industry.

site, a great storefront…

Meg: I think it’s about consistency.

Meg: Also, getting whitelisted on

Meg: Yes, it’s all of it. It has to be uni-

Jay: Yes. Here’s a question which I’ll

important. If your customer gave you

fied branding, and your look has to

just answer: why use an intern? Why

a Gmail address, odds are high that

match the experience when some-

not just hire the best you can afford?

your blast is not getting through to

one is coming in your store. One

That’s a loaded question, “best you

them. It’s going into their spam fold-

thing I’m doing to get new people

can afford.” I would first argue that

er. So what you can do is, if you had

in the store is I’m hosting evening

there is no such animal. Either it pays

a good experience with someone,

events in the gallery space. We’ve

for itself or it doesn’t. I suggested an

you can send them an email saying,

done art classes. We’ve invited a win-

intern because I thought some of you

“Thanks for coming in. Please add

ery to come in and do their launch

didn’t want to spend the money on

me to your address list.” That tells

party with their members. I partner

someone more expensive than that,

Constant Contact or whatever ser-

with different people that have a

and it’s mutually beneficial for you

vice you use that a customer is will-

slightly different audience, bring-

and the intern. If you do have the

ing to receive emails from you, and

ing them into my space. And while

money and think the payoff is going

you can get past those spam filters.

they’re there, they’re looking around

to be there, then hire a professional.

PFM

ings along with having a great webyour customers’ databases is really

PFM November 2019 39

Product Showcase

888 Manufacturing Corporation

New From 888 Manufacturing: this 4'' x 4'' x 5/8'' zinc-plated steel corner angle has holes countersunk to accept sixgauge flat head wood screws.

Made of 5/64'' thick zinc-plated steel.

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

Decor Moulding Princeton is a new line featuring 32 gesso-free, hand-stained finishes, revealing the beauty of the natural FSC-certified woods.

The traditional wood finishes add to the beauty of these contemporary profiles that will complement many types of art. Order corner kit #CS-PRI to get this full line on your walls today. Corner kits by stain are available as well. Visit the website for the most current moulding offerings, or place your order by phone or email at order@decormoulding.com.

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

Delta Picture Frame Co. Delta now carries multiple styles of wooden closed corner ready-made frames. Shown here is its RM2G frame, which has a 4'' moulding width. To view a complete list of styles and sizes, please visit the website or call for more information.

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

Framerica Framerica’s Chalked Collection has expanded yet again, this time adding Olivewood, featuring relish-tinted side-tones and cerused grains. “Olivewood seamlessly mixes rustic and modern,” notes Framerica’s Josh Eichner. “We feel like the Chalked Collection now has an option for every room.”

Olivewood is available in profiles ranging to 3''. Visit the website for more information.

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

Gio Designs

Larson-Juhl

The K044 profile by Giò Designs is available in black and white finishes outlined in silver. These classic finishes are perfect for giving your clients’ photos a touch of elegant sophistication. Photo frames available in 4'' x 6'', 5'' x 5'', 5'' x 7'', and 8'' x 10''.

Larson-Juhl introduces its new Artique matboards, inspired by Belgian linens. This extension of the popular Artique line offers 10 fabric mats in grey and neutral colors to pair perfectly with your works of art.

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

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

CONTENTS AD INDEX

Michelangelo Moulding

Penny Lane Publishing

While a compact cube measuring 3/4'', the Michelangelo series 247 is an elegantly understated collection. The seven finishes (two walnut, two grey, black, natural, and off-white) are a combination of subtle grain patterns with beautiful colors that will complement and enhance many projects. See them online—samples and stock now available.

KS144: “Season’s Greetings” by Kate Sherrill. Christmas tree cutouts are printed on state-of-the-art printers using high-quality 1/4'' Baltic birch plywood. All wood art is made in the US and comes ready to hang. All artwork seen on the Penny Lane website is also available on canvas and wood products. Contact a sales representative by phone or email at info@pennylanepublishing.com to place an order today.

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

40 PFM November 2019

Call: 800-273-5263 www.pennylanepublishing.com

Statement of Ownership, Management, and Circulation (Required by 39 U.S.C. 3685)

Sepp Leaf Liberon is known for having the some of the finest steel wool on the market. Long strands of high-grade steel give this product its exceptional reputation. It is ideal for applying thin coats of paste wax and gently distressing gold leaf finishes. It can also be used dry to clean glass and tarnished brass.

Imported from England by Sepp Leaf products.

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

1. Publication Title: Picture Framing Magazine.

2. Publication Number: 1052-9977.

3. Filing Date: October 1, 2019.

4. Issue Frequency: Monthly plus one issue 5. Number of Issues Published Annually: 13 6. Annual Subscription Price: $20.00.

7. Complete Mailing Address of Known Office of Publication: 83 South St., Unit 307, Freehold, NJ 07728.

8. Complete Mailing Address of Headquarters or General Business Office of Publisher: 83 South St., Unit 307, Freehold, NJ 07728.

9A. Name and Address of Publisher: Bruce Gherman, Picture Framing Magazine, 83 South St., Unit 307, Freehold, NJ 07728.

9B. Name and Address of Editor: Kimberly Biesiada, Picture Framing Magazine, 83 South St., Unit 307, Freehold, NJ 07728.

10. Owner: PFM Publishing, 83 South St., Unit 307, Freehold, NJ 07728.

Bruce Gherman, 83 South St., Unit 307, Freehold, NJ 07728.

11. Known Bondholders, Mortgagees, and other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds, Mortgages, or Other Securities: None.

12. Tax Status: N/A. 13. Publication Title: Picture Framing Magazine.

14. Issue Date For Circulation Data Below: October 2019.

15. Extent and Nature of Circulation: Requester

Superior Moulding The Metro line is designed for the modern, millennial framing customer.

Sleek yet subtly traditional in its four stunning metallic colors, it perfectly complements today’s graphic images, whether in a dorm room or a professional office. Request a color catalog on the website or call to get samples and pricing.

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

A. Total Number of Copies (Net Press Run) B. Paid and/or Requested Circulation 1. Outside County Paid/ Requested Mail Subscriptions Stated on Form 3541. (Includes nominal rate subscriptions, advertiser’s proof copies and exchange copies.)

2. In-County paid/requested Mail Subscriptions stated on Form 3541.

3. Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and other Paid or Requested Distribution outside USPS 4. Requested copies distributed

by Other Mail Classes Through USPS C. Total Paid and/or Requested Circulation (Sum of 15b, (1, 2, 3, 4) D. Nonrequested Distribution (by Mail and outside mail) 1. Outside County Nonrequested copies Stated on PS Form 3541 2. In-County Nonrequested Copies Stated on PS Form 3541 3. In-County Nonrequested copies distributed through the USPS by other classes of mail 4. Nonrequested copies distributed outside the mail E. Total nonrequested distribution (Sum of 15 d 1,2, and 3) F. Total Distribution (Sum of 15C and E) G. Copies Not Distributed H. Total (Sum of 15F and G) I. Percent Paid and/or Requested Circulation (15C divided by 15F x 100) 16. Electronic Copy Circulation A. Requested and Paid Electronic Copies B. Total Requested and Paid Print Copies (Line 15c) + Requested/Paid Electronic Copies (Line 16a) C. Total Requested Copy Distribution (Line 15f) + Requested/Paid Electronic Copies (Line 16a) D. Percent Paid and/or Requested Circulation (Both Print & Electronic Copies) (16b divided by 16c x 100)

12,004

11,709

8,229

7,427

0

0

0

0

0

0

8,229

7,427

2,849

3,412

0

0

0

0

854

800

3,703

4,212

11,932

11,639

72 12,004 68.96%

70 11,709 63.81%

374

392

8,603

7,819

12,306

12,031

69.91%

64.99%

17. Publication of Statement of Ownership will be printed in the: November 2019 issue.

18. I certify that the statements made by me above are correct and complete: Kimberly Biesiada, Editor, Picture Framing Magazine.

PFM November 2019 41

Distributor Spotlight

CONTENTS AD INDEX 42 PFM November 2019

Have a question or comment?

Tell PFM what you think.

Mail letters to PFM 83 South Street, Unit 307, Freehold, NJ 07728 Call 732-536-5160, Fax to 732-252-2270 Attn: PFM Editor or E-mail to editor@pfm-group.com

CROSSWORD CHALLENGE

SEE PAGE 45 FOR THE SOLUTION

Across

Down

1 Main purpose of backing boards or substrates 5 ____ board—backing used for prints usually up to 16” x 20” in size 9 A while back 10 Specially made to match a painting or print or photograph 11 Not as tight fitting 13 Blue-green color 15 Matching two items 16 Trendy 17 Foot part 19 Purchase order, for short 20 Lay one’s hands on, 2 words 23 Concealed 25 Time just before an event 26 Of the highest quality 27 Is the right size and shape 28 Former 30 Common mounting material used in the US, 2 words 31 Pick up 33 Roman 11 34 Come together 35 ____ tape, used for mounting

1 Usually the result of a mismeasurement 2 Location device 3 Entrance point 4 Trademark, abbr.

5 Heavy board 6 Get older 7 Ripped 8 Type of filler board 12 Excellent substrate tougher than foam 14 High-quality and designed to last a long time (of a substrate) 15 Leap off the artwork, as colors 17 Internet provider 18 Guy referred to 21 Fifth in NYC 22 Surface quality 24 ____ mat (two boards) 29 Smooth 30 Repair 31 50th state, abbr.

32 Symbol for silver

PFM November 2019 43

Index Advertiser

Page

Advertiser

Page

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

International Moulding ...........................................................................35

800-937-2255

205-324-5783

www.activesalesco.com

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

www.fastchangeframes.com/www.bannergrip.com

Canon USA ...............................................................................................9 Please visit our website for more information

www.usa.canon.com

Capax-Frame It ......................................................................................45 800-942-2729

www.capax.com

www.internationalmoulding.com

ITMS GROUP...........................................................................................39 877-231-8060

www.thelibrarysupply.com

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

www.richesonart.com

Michelangelo Moulding ...........................................................................19

CMI Moulding .........................................................................................42

877-422-8812

301-476-7440

Miter Master ...........................................................................................42

www.cmimoulding.com

www.michelangelomoulding.com

Crescent Cardboard Co. .............................................................................5

800-446-6622

800-323-1055

Omega Moulding Company .....................................................7, 35, 41, 43

www.crescentcardboard.com

Decor Moulding & Supply ................................................27, 33, 43, 35, 39 800-937-1055

www.decormoulding.com

Designer Moulding..................................................................................29 800-634-0032

www.designermoulding.com

Encore Products Inc .................................................................................21 800-873-4868

www.encoreproducts.com

800-289-6634

www.qualitysaw.com

www.omegamoulding.com

Picture Woods Ltd. ..................................................................................29 800-321-6522

www.picturewoods.com

Pro Tapes & Specialties............................................................................31 800-345-0234

www.protapes.com

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

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

800-422-6731

800-297-1566

www.engelsenframe.com

www.rhondafeinman.com

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

Superior Moulding Corp. .........................................................................43

714-526-3455

800-922-7914

www.fixons.com

Foster Planing Mill ............................................................................34, 42 323-759-9156

www.fosterplaningmill.com

Frame Specialties ....................................................................................23 800-777-3165

www.kooltack.com

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

www.frameready.com

www.superiormoulding.com/www.zelanto.com

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

www.tru-vue.com

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

www.universalarquati.com

Wall Moulding ........................................................................................47

Framerica.................................................................2, 3, 4, 10, 41, 45, 48

800-880-8315

800-372-6422

West Coast Art & Frame Expo ......................................................15, 25, 37

www.framerica.com

www.wallmoulding.com

CONTENTS

FrameTek ...............................................................................................28

800-969-7176

800-227-9934

Wire & Cable Specialties ..........................................................................22

www.frametek.com

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

www.franksfabrics.com

AD INDEX

Freestyle Photo and Imaging ...................................................................38 800-292-6137

www.freestylephoto.biz

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

www.gluefast.com

800-824-9473

www.wcafshow.com

www.wire-cablespecialties.com

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

www.wizardint.com

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

www.zhardware.com

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

Ziabicki Import Co. .................................................................................45

866-248-0100

262-633-7918

44 PFM November 2019

www.hoffmann-usa.com

www.ziabicki.com

(Continued from page 54)

We put them in the vast blue of the ocean so they’d stand out and not obscure any countries.

A Bella 740006 Faded Fjord White Tall Cap frame was chosen for its depth, good looks, and because it matched

Matboard spacers lifted the glass above and away from

the mat color perfectly. Premium glazing was used to reduce

all the items. To make the spacers, we saved a large scrap

glare and to not distract from the many details. The best part

â…›'' foamboard. The

may actually be the back of the frame; turnbuttons were

piece of the mat and dry mounted it to

spacers were cut to size on our CMC. Using a tabletop pattern, we placed the spacers under the lip of the frame, adhered with Jade 403N adhesive and adhesive transfer tape.

The last (and most fun) task was to place metallic gold map pins in all the locales visited. Shiny, gold map pins were used to match the wings and to pop against the map.

used so the piece could easily be opened to add new pins.

This piece has been a big hit with our client’s fellow flight crew members. They all want to have their passports framed now, too, and personalized according to their own tastes and preferred color palettes. PFM Helen Avitabile contributed reporting for this article.

Crossword Challenge Puzzle Solution

PFM November 2019 45

DESIGN OF THE MONTH

By Paul and Jill Choma

Going Global with a Framed Passport

W

hat to do with an old passport?

the colors of the map.

Keep it in a drawer to pull out oc-

Next, we disassembled the passport and

casionally and reminisce over past

carefully cut out all the favorite stamps and

travels? Not this one! We framed this flight at-

visas, being sure to retain the unique shapes

tendant’s passport to create an eye-catching

that the layers of stamps created over the

daily reminder of their adventures.

years. Several large visas as well as the photo

With so many stamps, mementos, and

page were mounted underneath six separate

postcards collected over the years while trav-

window openings in the mat—three above the

eling the world, finding the right design was

map and three below it.

a challenge. After contemplating several dif-

The stamps were then laid out for the de-

ferent design ideas and revisiting the design

sired visual effect. We wanted to mix up the

many times over the course of a year, we decid-

shapes to establish a sense of balance. The

ed that keeping it simple was the best solution.

stamps and mementos were floated on top of

This allowed us to focus on the passport details

the mat and secured using just a small amount

and numerous locales visited.

of adhesive. Some were placed directly on the

We first searched online to find a world

mat while others were fitted with small foam-

map that was just the right size and had a con-

board lifts that had been cut and reverse bev-

temporary vibe. Once the map arrived, it was

eled on our Valiani computerized mat cutter.

3⁄16'' MountCor foamboard.

We wanted to create visual interest with the

It was then trimmed with a reverse bevel so

different layers throwing a bit of shadow. Some

that it would seem to float on top of the mat-

stamps were also placed directly on the map

board. We centered and floated the map using

near the corresponding countries.

dry mounted using

CONTENTS

adhesive transfer tape and Jade 403N adhesive

A cutout of the client’s aircraft taken from

on a Crescent 1122 Stratford matboard. The

an old postcard as well as flight attendant

neutral mat color coordinated perfectly with

wings were placed at the bottom of the map.

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 November 2019

(Continued on page 53)

A neutral palette and simple design was chosen to keep the focus on this flight attendant’s many mementos from their travels.