Picture Framing Magazine - October 2019

A Mat Cut Above the Rest SOLUTIONS FOR PRINTING PROBLEMS TIPS FOR BOOSTING EFFICIENCY

Contents

PFM is a member of:

Volume 30, Number 10

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

On the Cover Brian Wolf, CPF, GCF, took a multi-opening mat arrangement to the next level by adding a layered cutout of a cityscape. The result is an eye-catching design that showcases the precision of a computerized mat cutter. For the full story on this concept, see page 12.

Features 18 Quick Fixes for Printing Problems 32 Production Framing Efficiencies

Columns 12 24 36 46

18

Mat Doctors Mastering Mounting Successful Retailing Panel Style Snapshot

Departments 8 10 40 42 44 45

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

32

24

12

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

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CONTENTS

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PFM PUBLISHING, LLC PRE S I D E N T

6 PFM October 2019

Bruce Gherman

FROM THE EDITOR’S DESK

I

Procrastination is a normal part of work life, but there are ways to temper it and stay motivated and productive.

CONTENTS AD INDEX 8 PFM October 2019

have to admit—in school, I was a bit of a procrastinator.

If I knew how long it would take me to write a history essay or study for a science test, I’d wait until the very last minute, leaving myself only that pre-determined window of time to get things done. Working in the field of journalism has necessarily curbed a lot of those old habits, but I still catch myself putting off little things on my to-do list from time to time until I can’t any longer.

Maybe you’re like me and could benefit from a recent Forbes.com article titled “7 Top Tips For Conquering Procrastination Once And For All.” Of the seven, one tip suggests you start small. For example, if you want to create a short video for your website, start by jotting down some bullet points for the script; that way, you reduce the risk of feeling overwhelmed by all the steps the task entails—writing, filming, editing, etc.—and putting the whole thing off.

Our October issue is packed with how-to strategies and great ideas for your framing business. Rather than trying to incorporate them all at once, I encourage you to pick out one actionable item to tackle first.

It could be brushing up on some

DIY fixes for common printing problems, as covered by Eric Joseph in his latest article (page 18). Learning everything there is to know about your shop’s printer is daunting, but understanding some basic concepts like paper curl and banding, and knowing how to correct them, will go a long way.

Kevin Meath’s latest article is packed with great ideas for using the “production framing” mindset to boost your efficiency (page 32). Is there one idea you can act on right away—like buying folding-shair carts to safely transport large quantities of frames—that will help keep things running smoothly?

Those topics and more await you in this issue. As your days get busier filling holiday orders, the temptation to procrastinate on big-picture tasks may be strong—but I hope you resist!

Starting small means you’ll see the payoff that much sooner.

Kimberly Biesiada Editor

INDUSTRY NEWS Public Art Highlights Importance of Small Businesses

to the concert. Frame de Art

After spending more than 20 years documenting images of local,

had previously created works

“mom-and-pop” storefronts in New York City’s five boroughs, photographers James and Karla Murray recently unveiled a public art installation that shines a spotlight on these community resources—some of which no longer exist.

The

Murrays

created “Mom-andPops of the L.E.S.” to raise awareness of the city’s many family-owned

business-

es—from

bodegas

to newsstands, delis, © James and Karla Murray

and luncheonettes— that have buckled

under the pressure of mounting rent increases. Their large-scale wood-frame sculptural installation, located in Seward Park, is designed to resemble one of these storefronts. The four walls of the “store” are covered with lifelike 8' x 12' photographs of small businesses from Manhattan’s Lower East Side.

“When viewing the near life-size photographs, one can get a

that were presented to the Zac Brown Band and Billy Joel.

Visit Framerica’s Facebook page to learn more about the project. For more information about the company, call 800-372-6422 or visit framerica.com.

Tru Vue Announces Smaller Size for Premium Glazing Tru Vue® has announced the release of new smaller, single-sheet sizes of Optium Museum Acrylic® (3mm), the company’s innovative glazing product.

As of Oct. 14, Optium Museum Acrylic will be available for purchase in single sheets and smaller sizes: 16'' x 20'', 20'' x 24'', 24'' x 32'', and 32'' x 40'', making it easier than ever for custom framers to offer it as a premium option to their customers.

Thanks to its unmatched features in providing the ultimate protection and presentation of special items, Optium Museum Acrylic is trusted by the

visceral sense of the impact of the losses of these businesses on

world’s

the community and on those who once depended on the shops

project;

unique and irreplaceable contribution made to New York by small,

be it of monetary or sen-

The storefront images were printed on vinyl with an Ep-

fabrication, and installation of the images. The printed vinyl was covered with an Avery Dennison anti-graffiti over-laminating film to offer additional protection for the artwork and to add sheen to the printed images.

CONTENTS

For more information about Dibond, visit 3ACompositesUSA. com or call 800-626-3365.

for

able items for framing,

set the pulse, life, and texture of their communities.”

and graphic specialists Unique Visuals NY to handle the printing,

particularly

customers with irreplace-

often family-owned businesses. These neighborhood stores help

3A Composites USA. The Murrays used New York-based signage

museums.

make it a great fit for any

installation is an artistic intervention and plea for recognition of the

weather-resistant 3mm Dibond® aluminum composite material by

top

But Optium’s benefits also

that are now gone,” said the Murrays in an artist’s statement. “The

son SureColor S60600 printer and laminated to durable,

Rolling Stones “No Filter Tour” poster framed using Framerica’s Carbon Fiber

Tru Vue’s Optium Museum Acrylic

timental value. However, until now, Optium has only

been available to retailers by the box in larger sizes.

Maureen A. O’Connor, marketing manager at Tru Vue, notes, “The new sizes were developed in response to custom framer requests for popular sizes to reduce or eliminate fabrication needs and offcuts.”

Tru Vue will continue to offer sheets at 36'' x 40'', 40'' x 60'', and 48'' x 90'' for larger projects. The 99 percent UV protection, anti-static, anti-reflective, and abrasion- and shatter-resistant properties of Optium Museum Acrylic do come at a higher price than

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Framerica’s Carbon Fiber Presented to Rolling Stones

standard options. However, studies show that 58 percent of con-

Framerica®’s custom-made Carbon Fiber moulding was cho-

sumers chose premium glazing when offered the option, even at a

sen for a framed gift that was presented to legendary rock band the Rolling Stones.

The band performed in August at the Denver Broncos Stadium, where the presentation was made. Englewood, CObased Frame de Art created the spectacular piece after being contacted by Mile High Stadium management only days prior 10 PFM October 2019

premium price. Now that new, smaller sizes are available, Optium Museum Acrylic is more accessible than ever, allowing custom framers additional opportunities to provide it to their customers.

For more information, visit tru-vue.com/optium or contact O’Connor at 708-854-2632 or via email at moconnor@tru-vue. com. PFM

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THE MAT DOCTORS

By Brian Wolf, CPF, GCF

Openings Behind Decoration Multiple openings and a decorative cutout show what your CMC can do.

O

ne promise of the computerized mat cutter was that any artistic conception could be designed and

cut. The time spent on drawing and testing would be divided over the dozens of times it would be cut, making these kinds of projects practical. The reality for those adventurous designers is that once that one project for that one customer was finished, that design remained filed away unused.

Another promise of the computerized mat cutter was that multiple-opening projects would be a snap to design and effortless to cut. This has indeed become a reality—and for many shops, an important product line.

But how exciting can an arrangement of openings really be?

Perhaps one can help the other. It is pos-

Engineering

CONTENTS

sible to transform a neglected artistic cutout

For this idea to work, the artistic cutouts must

into a large opening, and behind it there can

be a little different. The images in these exam-

be a multiple-opening arrangement. The ar-

ples, the bird and the buildings, are designed

tistic part would recede in prominence and

as positive shapes—shapes of matboard

play a supporting role in telling the story of

attached to the inside of an opening—not

the framed pictures. It could then be used

free-standing cutouts as usually seen. Look

again and again for other multiple-open-

at the first illustration on page 14 to see one

ing arrangements, each one having its own

of these cutouts. The light green area is cut

unique size and character.

away. The light gray area, the bird, and the

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

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

12 PFM October 2019

The original size of the bird cutout is about 5'' x 6''. Extra openings were merged with its top, bottom, and left to increase its size to 18'' high and 7'' wide—but the bird itself remains about 4'' high. The three openings are УМ'' apart (measured on the top layer).

There is also УМ'' of the light green mat showing all around the photos. There is a matboard spacer lifting the top layer so that there are shadows around the decorative cutting.

right side, is the mat. This is the transformation that engineers a way to change its placement and the size of its perimeter without any further drawing program work.

The key aspect is that there is open space around the cutout image. The size of the open space will be changed to suit each project by adding extra rectangular openings snapped and merged to the artistic cutout’s sides. Using this process, the artistic part is unchanged—not

STEP BY STEP

F

irst, arrange the group of openings. In this example, their left edges are flush. There

are guides (the red lines) positioned ⅝'' away from the openings. These guides form the outside edges of a new top layer that will include the bird cutout.

The bird cutout is added with its right edge snapped to the vertical guide at the right.

Its vertical position is an artistic choice. Here, the bird overlaps the two bottom openings in spots that will not cover critical parts of the image.

stretched and not distorted.

This requires that the image is attached to the inside of a rectangular opening that is standing up straight (so that the rectangle’s sides can be extended), none of the image extends beyond the outer rectangle (so that it is easy to snap precisely to every edge), and at least one side of the outer rectangle is not connected to the image (so that there is open space beyond the image that can be extended).

To make the bird cutout into the new top layer around the openings, it cannot be simply stretched to a new size. Extra openings are added to extend the top, bottom, and left of the bird cutout.

Note that the openings’ outer edges are snapped to the guides. It is difficult to see, but the openings’ interior edges overlap slightly onto the edges of the bird cutout, but they do not cover any of the image of the bird.

The Bird Design The beginning example illustrates the marriage of an artistic cutout with a multiple opening arrangement in its ideal form. The three openings are arranged, and the decorative bird cutout is positioned. The cutout is the beginning of the top layer. Extra rectangular openings are added along its top, bottom, and left

CONTENTS

to extend the cutout’s edges and create a top layer that is the correct size to surround the three photos.

The

following

step-by-step

AD INDEX

section illustrates the process and answers practical questions of this particular project: how to determine the size of the top layer, where the extra openings are positioned, and the steps of cutting the project.

14 PFM October 2019

The bird cutout and the three extra rectangles are merged to form one large shape that includes the bird connected to the right edge. This will be the top layer of the design. It is shown slightly transparent so that the three openings behind it can be seen.

This project will have three layers. The top layer will be the merged rectangles with the bird cutout. The middle layer will be the top layer of the three openings. The bottom layer will be the bottom layer of the three openings.

Though the project looks ready to cut in the illustration, there are only two layers in the present design. A new layer could be generated in the drawing program, but it is easier to cut the layers of this design separately.

Begin by deleting the three openings.

Cut the decorative top layer first, then restore the three openings, delete the decorative top layer, and cut the two layers of the openings.

Unlike the single-layer bird cutout, this cityscape cutout is three layers.

Only the top two continue as visible layers around the open area on the left, so it appears to be a double mat. The bottom layer of the cutout is even with the top layer, hidden under the middle layer. The extra openings merged to extend the left and the bottom also need to be three layers so they match the reveals of the cutout. As a result, when the items are merged, the sides will cut smoothly without interruptions at the junctions. In this example, the reveal for the middle layer is ПМ and the reveal for the bottom layer (the hidden layer) is negative ПМ.

As the design develops, consid-

layers around the open area on the

that you can use to embellish

er that the image of the bird is only

left. The intention is to keep the area

multiple-opening mat designs. Keep

about 4'' high. It is neither so large

around the openings from becoming

in mind that if you design your cut-

nor so solid that it cannot overlap

cluttered with too many layers, and

outs to be evocative of a subject,

the photos here and there. Overlap-

to focus the activity of the design on

rather than specific, you will be able

ping is not something that picture

the cityscape.

to use them more often. You’ll no-

CONTENTS AD INDEX

frame design often allows, but there

The arrangements of the open-

tice the bird cutout was designed

are advantages here. Overlapping

ings for both these projects are as

that way; it calls to mind a feeling of

helps to unify the openings with the

simple as they can possibly be—

nature and wildlife without pointing

artistic cutting. And it allows the

one vertical column. This is fine for

to a specific species. The cityscape,

bird cutout to be included without

demonstrating the concept. In fact,

too, can be used in future projects

increasing the size of the project.

it may be ideal for emphasizing the

as a symbol of just about any city;

feeling of height in the cityscape

it doesn’t look like any one specif-

project. However, it should be clear

ic skyline. Most of your customers

The cityscape cutout above is made

to see that this idea is adaptable to

have either a city- or nature-related

with three layers. To render the

any collection of pictures that need

story to tell (many will have both!).

feeling of height, depth, and densi-

to be included.

You can use decorative accents like

A Cityscape Design

ty, these three layers are necessary.

I encourage you to tap into

these to help tell their stories with

But only the top two layers of the

your artistic side and create sev-

beautiful framing packages they’ll

cityscape cutout continue as visible

eral decorative cutouts like these

treasure in their homes. PFM

16 PFM October 2019

Whatever It Takes

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QUICK FIXES FOR COMMON PRINTING PROBLEMS

By Eric Joseph

E

very print shop has its own way of overcoming

Mylar with rubber bumper strips attached to it. For pa-

daily hiccups in production and workflow. To-

per that comes out of the printer too curled, you simply

day’s printers are fantastic marvels of technolo-

place the print in the De-Roller face up, roll it, and then

gy and can produce spectacular results—though, some-

carefully unroll it. The print will be flat, just like magic!

times, small-but-annoying obstacles can occur that

For the head strike issue, prior to feeding the paper

have the power to ruin your day. As someone who is

in the printer, place the sheet of paper in the De-Roller

in contact with print shops all over the country, I know

face down and put a back curl in the paper. This way,

how frustrating it can be to find fixes for some of these

the paper faces down, even in the corners, eliminating

very common issues.

the possibility of head strikes. You can also adjust the

Here, I take a look at some printing problems you

Platen Gap on Epson printers or Print Head Height on

are likely to face and offer some easy solutions for

Canon printers, as well as increasing vacuum strength

them. I hope they help you get back on track and pro-

to help eliminate and minimize this issue.

ducing beautiful prints for your customers.

CONTENTS AD INDEX

EXCESSIVE PAPER CURL

SPOTS ON PRINTS APPEAR AFTER PRINTING

This issue can result in multiple problems. The first one

You’ve printed a perfect print and lift it up only to re-

is that prints, when printing on roll paper, may simply

veal a white dot right in the middle of a dark sky! Paper

come out of the printer too curled to handle proper-

and printing is a dusty business, and this problem is

ly. Secondly, on sheet paper, you can get head strikes

usually caused by a piece of dust that was on the pa-

on the corners of the paper, which look like black ink

per prior to printing and the printer just printed over it.

marks in unwanted areas of your print. This is caused

When you lifted the print, the piece of dust simply fell

by the paper absorbing moisture and then curling up

off, taking the ink with it and exposing the white base

on the corners.

of the paper.

There is one product that will solve both prob-

To minimize this problem, keep the output tray

lems and make your printing easier; a D&K Expression

or output surface on your printer free of dust. Wipe it

De-Roller. It is available in two different lengths, 24''

down periodically with a damp cloth and an antistatic

and 50''. It is a long, heavy steel bar with a rigid piece of

cloth. When your printer cuts roll paper, it creates dust,

18 PFM October 2019

er and there are white, horizontal lines across the whole image area on the prints. This is caused by a clogged print head. It can happen on all brands of printers. Dust and debris can get caught up in the print head and the microscopic ports get plugged up.

Performing a nozzle check and subsequent cleaning cycle on your printer usually clears it right up. If it doesn’t, you might need to do more than one cleaning. On Epson printers, don’t perform any more that three or four nozzle checks and cleaning cycles as the print head can heat up When sheet paper absorbs moisture and curls at the corners, you get head strikes, which look like unwanted black ink marks. De-rollers are useful tools for solving problems with paper curl.

especially on many of the fine art papers. Also, if your environment is extremely dry or there is a lot of static, dust can be a real problem. Investing in a humidifier or dehumidifier, based on your environment, can be one solution.

Another solution is to purchase a spotting pen. There is a brand of archival pigment pens called Micron which most printers have on hand at all times to spot out those pesky white dots. The pens are available in black (assorted size nibs) and various other colors. Peerless spotting dyes also work well. Matte papers are a bit easier to spot, as they easily absorb the dye or pigment. Glossy and luster papers can show a difference in texture resulting from the spotted dye or ink. The easiest solution would be to just reprint your job.

CANON PRINT PLUG-INS VANISH WHEN UPDATING ADOBE® PHOTOSHOP When Adobe performs an update, most people think that

and burn out, resulting in a very costly service call. Each time this process is repeated, the printer sends more power to the head to try and eliminate the debris. After you perform the appropriate cleaning cycles, shut down the printer for a few hours and let the head cool down—then repeat. If this process isn’t successful, it might be time for a new print head.

If your print head is clogged and needs to be replaced, a very nice feature of Canon Pro Series imagePROGRAF printers is that the heads are user-replaceable.

PRINTS NOT MATCHING COLOR Printing is very much a combination of art and science; just putting in a roll or sheet of paper and pushing print isn’t going to give you professional-quality results. If your monitor is too bright, your prints will look too dark. If you don’t select the right buttons and menu choices in the printer driver, your prints won’t meet your expectations.

The lighting you are viewing the print under also plays an important role when evaluating the color in your prints.

The steps to achieving excellent print quality with

their previously installed plug-ins (Print Studio Pro or imagePrograf Print Plug-in) get deleted as they no longer are accessible from the Export or Automate menu. This isn’t really what happened. Your printer plug-ins are still in the plug-ins folder for your previous version of Photoshop; they simply need to be copied to the new plug-ins folder

CONTENTS

for your new version of Photoshop, or reinstalled.

Because Adobe only handles their own software, there is a risk that your plug-ins won’t be compatible with the new version of Photoshop you are updating to. I generally

AD INDEX

recommend that if you don’t have a good reason to update either Photoshop or your operating system, don’t.

BANDING (WHITE LINES) ON PRINTS You come into the shop in the morning, turn on your printer, and start printing. Suddenly, you look over at the print20 PFM October 2019

Micron archival pens come in an array of colors and are great for spotting out white dots that may appear on your prints. These dots can be minimized by keeping a dust-free work station.

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not dye. Epson SureColor Series and Canon Pro Series imagePROGRAF printers are the most popular for fine art digital printmaking.

4. Choose the right selection of papers for your customers to enhance their images and meet their expectations of archival permanence.

5. Have custom profiles created for each paper you are printing on. This will ensure that the greatest number of accurate colors are being printed on each piece of paper. Images become more dimensional and vibrant; you may even notice details that you didn’t initially see on the monitor.

This print suffers from banding, which is caused by a clogged print head. Performing a routine nozzle check and cleaning should solve the problem; if multiple cleanings do not help, it may be time to replace your print head.

6. View your prints in a standard 5000K light condition.

Graphic Technology Inc. (GTI) offers viewing stations in various sizes just for this very purpose. If you currently view your print under the conditions in your

predictable, reliable, consistent, and repeatable results are

shop, the image can vary based on several lighting

as follows:

variables such as color temperature, the color render-

1. Choose the right monitor for the type of printing you

ing index, and brightness emitting from each different

will be doing. I recommend BenQ Photo Professional

lighting fixture.

Wide Gamut (Adobe RGB 1998) monitors for quality

Your customers expect high-quality prints, and you as

and value. These monitors are designed for customers

a business owner need to be able to replicate your results

who are printing their images. (Most monitors are de-

again and again, as consistency is key to earning repeat

signed for watching movies, videos, and gaming; they

business. Being able to quickly smooth out common print-

are not appropriate for those of us who print.)

ing problems like these means you’ll be able to finish your

2. Purchase a monitor calibration device such as an xRite i1 Display Pro, which will allow you to adjust the

jobs on time and deliver prints that will impress even your pickiest customers. PFM

brightness and color accuracy of the monitor for printing. This is an important piece of equipment used to color match your monitor to what is printing out of your printer.

3. Make sure your printer is a pigment-based printer and

CONTENTS AD INDEX With the right tools and equipment and a few quick fixes at your disposal, you will be able to produce beautiful, consistent prints for your clients in a timely manner.

22 PFM October 2019

Eric Joseph Eric is Senior Vice President of Business and Product Development at Freestyle Photo and Imaging Supplies. Their mission is to contribute to your success as a digital fine art printmaker and help you become more efficient and profitable. He can be contacted at perfectprint@freestylephoto.biz.

MASTERING MOUNTING

by Chris A. Paschke, CPF, GCF, CMG

Rigid Scroll and Edged Mounts Preserve your customers’ artwork for years to come.

I

n the Western world, the term “scroll mount” is generally thought to mean an

Asian

painting

that

has

been

starch-mounted to a flexible support backing called a scroll, allowing it to be rolled and stored when not on display. Asian ink and watercolor paintings, stone rubbings, silk embroidery, and batik are traditionally backed and mounted as

prior to creating a scroll or placing art in a

scrolls, though contemporary trends also offer

frame. Starch backing is the only way to flatten

them as framed art. Contemporary paper edged

water-soaked mulberry paper that has cockled

art is usually pressed directly against glass, if

or been folded. It also strengthens the paper

glazed at all, while scrolls are rarely protected.

by doubling its thickness and intensifies the

As scrolls have played an important role in

painted inks and colors.

Eastern art for centuries, it is hard to argue with

Edged mounts are Asian versions of West-

traditional methods; but from the perspective

ern window mats made by wet-mounting strips

of a custom framer, preservation is a top con-

of paper-backed silk to original art. Decorative

cern with any art which will be on display. Let’s

edging is starch-pasted by overlapping outer ПМ

explore a few different methods we can use to

edges of the painting all around the perimeter

not only mount such art attractively, but also

using solid or patterned papers or silk fabrics.

preserve it for our clients for years to come.

Strips are either applied to the outer edge of the art face or the back edge, but only when the art

Edged Mounts

has previously been backed.

CONTENTS

Traditional Asian paintings are wet-mounted

The application of these strips surrounding

with a sheet of kozo paper as a support back-

a kozo-backed painting is designed to help pro-

ing by the artist after completion. It is consid-

tect the edges of the original art when handled,

ered part of the process and is a requirement

and the contrasting color of the edging brocade

AD INDEX

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.

24 PFM October 2019

Chinese kozo art backed and edged over 60 years ago. Left has front-mounted strips; right has back-mounted.

have not tested it personally, so I do not know if it is permanent or removable.

Bamboo and gampi decorative papers are also used for solids, while patterned block prints, screen prints, and hand-painted papers are used for patterns. These papers may be dyed All pieces sized for this rigid scroll mount are cut for a frame and not a gallery wrap on ПЖ foamboard.

rather than pigmented, so selected papers should be tested for lightfastness prior to use. Framers could use these papers by premounting a permanent tissue adhesive to the paper sheet so it is ready to trim and use.

Unbacked Silks Japanese decorative papers and printed cotton fabrics are often used just as the accent strip (used above and below the art on a traditional scroll), All strips are evenly overlapped ПМ, and seams are always a visible part of the design.

since bold patterns are often too overwhelming to surround the art. The most common visually softer fabrics used for scrolls are silk gauze, plain woven silk, patterned brocade, raw silk, and satin.

Unbacked fabric brocade, raw, and sheer silk yardage must be

“Every Day is a Good Day” is framed in an 8 x 30 green bamboo profile #8109274 from Max Moulding. Calligraphy compliments of Chris A. Paschke.

hand-mounted with kozo paper backing prior to use for edging or rigid scroll A full sheet of kozo paper backing is pasted entirely to the back.

mounts. The paper gives it support, making it easier to size and mount.

is selected as a visual accent and en-

may easily run $50 to $75 per sheet,

hancement, just as our window mat is.

while paper-backed brocade book

Wet-Dry Mounting

cloth, which is heavier, can run over

Sheer silk is translucent and could

$100 per yard if purchased in the US.

easily bleed through when adhered

Paper-Backed Materials brocade

In recent years, traditional tech-

with a commercial white glue rather

is available from an assortment of

niques have been simplified by the

than thicker starch paste, so a wet-

stores on the internet and from Asian

introduction of iron-on silk brocade

dry method is recommended with

art supply houses, which sell the ma-

sold by the yard from specialty Asian

sheers—even when only backing. The

terial for bookbinding, fine crafts, and

art suppliers. It is pre-backed with

application process is best when us-

mounting and edging painted art.

heat-activated adhesive film which

ing a soft sponge roller to evenly ap-

Sheets are often imported from China

activates between 180 and 200 de-

ply the adhesive; first vertically, then

and Japan with patterns based on clas-

grees Fahrenheit in 15 seconds and is

horizontally to the solid paper or sub-

sic fabrics and motifs. Paper-backed

promoted for artists for bonding with

strate, allowing the first layer to fully

brocade is sold by the sheet and by

a standard household iron. The adhe-

dry before proceeding. The sheer fab-

the yard from assorted American im-

sive activates at a setting slightly below

ric is then aligned, smoothed, tacked

porters of art and sumi supplies and

wool, which is just under 200 degrees. I

to the paper, and mounted in a pre-

Commercial

paper-backed

CONTENTS AD INDEX

26 PFM October 2019

rigid scroll mount or contemporary

Allowances need to be made during

brocade mount. Since the finished art

fabric measurements for that wrap

is rigid and framed, the brocade edge

presentation. If it is known the mount

mount resembles a matted painting

is to be placed in a frame, this extra

while still holding the traditional ap-

fabric is not necessary. Here is the

pearance of a paper scroll. It is un-

step-by-step for this method:

glazed as a scroll would be, but could have glazing if a spacer is added.

pencil lines on the foam base to mark

foamcenter board

the placement of the art and each of

is preferred as the substrate for a rig-

the brocade pieces, making sure to ac-

id scroll, as it is thick enough to allow

commodate for overlapping ⅛'' seams,

A sheet of Fabric yardage from top is sheer silk gauze, woven patterned silk, mid weight brocade, and raw silk.

½''

Carefully measure and draw light

for the option of being left unframed

and cut pieces to size. The paper back-

heated press at 180 degrees. For paper,

or framed. Although more rigid prod-

ing prevents the silk’s edges from fray-

the approximate time is two minutes

ucts like Bienfang MightyCore or Ga-

ing; pay attention when gluing to not

in a mechanical press and four to five

torboard may have the rigidity not to

trap a loose thread under the silk.

minutes in a hot vacuum press.

warp, they still do not have the width

Rigid Scroll The mounting of Asian art with starch

for a gallery wrap.

Layout and Execution

Adhere the art by applying the starch paste or wet glue directly to the backing board in the lined-out designated area. Align the art to the foam-

½'' acid-free foamcenter

For an unframed rigid mount, the silk

board, cover with release paper, and

board, then surrounding it with pa-

brocade will be glued to the surface of

smooth with soft rubber roller. Allow to

per-backed brocade fabric, creates

the foamboard, then wrapped around

dry. All other paste is applied to each

a Western scroll design known as a

the

paste onto a

CONTENTS AD INDEX 28 PFM October 2019

½'' edge of the foam to the back.

individual strip rather than the board.

The gold accent strips above and below the art are applied first. Apply paste to the back of the cut gold strip and align above the mounted art, overlapping the outer

⅛''

edge; these seams are always

a visible part of the design. Cover with clean paper and burnish to adhere. Repeat for the bottom. Even overlapping and spacing is key. Since brocade has a nap and the sheen will change when a piece is inverted, all strips must be cut to the length of the sheet and the top must remain the top.

Apply paste to the back of the leftside strip. Align the wet strip by overlapping the art and gold accent strip by

⅛''

and verify that alignment by checking the pencil lines. If the scroll is to be gallery wrapped, applying the paste directly to the paper-backed silk allows it to be immediately pressed around the edges to the back of the board. Cover with clean release or Kraft paper, press with a roller, and burnish with a bone along the ½'' side edge and back for crisp edges and maximum adhesion. Repeat these steps to apply the right strip, concluding with wrapping and burnishing to the back.

Apply paste to the top strip and align by overlapping the gold accent strips already mounted and the top edge of the side strip

⅛''. Cover and burnish to hold.

The top and bottom pieces will be applied relatively the same, but the corners will need to be neatly folded and tucked as when stretching a canvas corner. Repeat application for the final bottom strip.

CONTENTS

The folded and wrapped back flaps must be covered with a final full sheet of kozo to protect the edges from lifting and to give it a finished appearance. Un-

AD INDEX

like the Western tradition of a dust cover glued or taped only at the outer edges, the Asian way is to starch-mount or wetglue the entire back with a final sheet of heavier kozo for support, as was done on this project. PFM 30 PFM October 2019

Production Framing: More Efficiency, More Profit

By Kevin Meath

T

he ideology of production framing presents a

job fail to meet its required ship date because the frame

range of improvement opportunities for fram-

shop was short by a few sticks of moulding. This can

ing retailers of all sizes. A common question

occur when moulding isn’t cut to plan. My cut plans tell

I’m asked is, “What constitutes ‘production’ framing?”

my cutters exactly how many longs and shorts I expect

Typically, it means three things: large quantities, high

from each stick.

quality, and quick turnaround. Using that as the foun-

I also use production stops on all saws. These are

dation of your thinking, you can apply these ideals to

available for most saw brands. Production stops allow

any frame shop. I like to think all framing is “produc-

you to set up two or even three accurate stops for cut-

tion” framing; after all, you must produce high-quality

ting multiple sizes from each stick.

framed pieces for your clients quickly, right?

A critical aspect of this process is making sure all

CONTENTS

Framing starts with planning—production framing

waste is paid for with the frame job in question. In oth-

especially so. Accurate planning is key to production

er words, the job must pay for the entire stick of mould-

flow and, therefore, profitability. You need to know the

ing. If you can find a home for leftovers later, so much

correct quantity of materials you need, how much labor

the better, but I always struggle with the idea of “de-

you will need, and the cost of any packaging needed to

ferred yield”—or, “I won’t make any profit on that job

get your product to its end user. This planning will al-

until I can find a home for the shorts.”

AD INDEX

low you to build a comprehensive work order and build

Once a frame is assembled, I move it around

the correct parts to complete the job within its allocat-

on folding-chair carts. These carts are quite heavy-

ed time. I work primarily with high-volume production

duty, easy to steer while loaded, and—depending on the

framers, but this methodology works for all shops.

frame sizes—can hold up to 100 frames each. I pad the

Let’s start with moulding. Do you know what the

bars with foam pipe insulation to protect the frames

stick length is of the moulding you’ve chosen for your

and always stack frames face to face, back to back. The

project? Did you plan for how much waste it will pro-

carts I use come from Global Industrial, among other

duce? Did you give your cutters a stick-cut plan so they

companies. They’re great for holding large quantities

know how you worked out your quote? I have seen a

of frames safely while allowing for efficient transport

32 PFM October 2019

always make sure the operators know how to set blade depth and understand the software to allow the best use of both the machine and the substrates. Many of the highend machines have an option that will allow you to cut two 32'' x 40'' mats alternately on the same bed. While the machine is cutting one side, the other is being pulled off and replaced with a new blank on the other end. This is normally called COE, or Cut Other End. I move all hard substrates, mounted images, glass, or Clean, organized work stations make for efficient framing. It’s also helpful to keep tools and equipment in the same place on each table.

within your business.

Another potential roadblock that can slow your turnaround time and cost you money is a shortage in the custom moulding you’re using for a job. For example, I once worked on a project that required a very specific moulding, which I’d had produced specially for me. After I’d received the moulding from my vendor, my customer added 25 pieces to the order—and the sales team accepted the increase without talking to manufacturing to see if we could do it. Ultimately, I had to pay a significant up-charge to get my vendor to make a few hundred more feet of the moulding. The cost of ordering the extra moulding ate up all profits I would have made on the additional frame jobs.

Let’s look next at mounting and trimming artwork. If you are printing a piece of art in-house, is it aligned on the paper to allow one cut to start trimming multiple pieces?

If you’ve been supplied the art, are you using jigs to place it on the mount boards? This will help you in trimming; especially if you can share a cut line.

Are you placing art to be mounted to give you the best chance to use the leftover mount board? Remember that even if the mount board has been through the press, if it was protected with release paper, it can be used again. I

acrylic on sheetrock carts. I’ve found these to be relatively inexpensive, very maneuverable, and they can move 100 mounted and matted images easily and quickly. Check for these at Global Industrial or Uline.

When you have all the components ready to assemble, most facilities don’t think of using an assembly-line system for framed art. I’ve been using this for many years. Some clients have an actual moving rubber belt; some build a line of tables to fit the process. No matter how you plan to assemble the finished products, I always recommend that all tables be the same height and on lockable wheels. This way, if a job is to build a 48'' x 96'' float-framed stretched canvas, we can move enough tables together to get a large enough work surface to build them. The next day, the tables can be moved all into a row to assembly line a 22'' x 72'' mirror job to move the pieces past work stations. I topped the table with smooth foam board and micro foam to make a safe surface. I also built step platforms to make sure everyone can reach the workspace. Each worker has a role to play in the production line; the work moves to them, they don’t move to the work.

For example, for a framed vanity mirror, my team and I would pre-build all the frames and color the rabbet lip if needed. Then, the first station would pull the frame and inspect it, place it face-down on the table, and place the

usually apply any mats to the art before trimming if possible. (I use white glue for this, not ATG, because of the huge cost difference.) After applying the mats, I trim with a utili-

CONTENTS

ty knife using the mat as a guide. I find it to be significantly faster than machine trimming.

Again, if I’m cutting blanks of foam or matboards, I use production stops. If your shop cuts a significant amount of

AD INDEX

product on a wall cutter, take a look at purchasing a pneumatic wall cutter. These machines help eliminate repetitive stress injuries and significantly speed up production of the parts.

High-quality or production framing requires a computerized mat cutter. I use the best we can afford, and I 34 PFM October 2019

I use production stops on all my board cutters to cut accurate sizes from sheets goods, thereby reducing waste.

rect, it would then pass to the wrapping station and, finally, to boxing. I try to box at the end of the line rather than having to move the finished product.

I know this might sound like a lot of people on the line, but I’ve proven time and time again that this system gives a more consistent, higher-quality product and the lowest cost of labor per piece. I’ve held “build-offs” on days when we’ve had enough pieces to build that we could run the line and assembly tables for a day. The tables haven’t won yet. The line can be modified by adding or subtractThese folding-chair carts are great for transporting large quantities of frames safely.

ing team members as needed and as skills increase or decrease with personnel changes. I use assembly-line work for training; you will quickly learn who understands the

mirror into place. The next station would hot-glue the mirror glass to the rabbet; the next station would put the backing in place and staple it. Another station would apply dust tape to the frame and mark the location for the hardware, and the next would install the hardware, flip the piece over, and clean and inspect the product. If all is cor-

needs of each job and who should not be invited back the next day. I break the job into basic steps, which helps me train my team to learn the processes and to gain both experience and confidence in their skills.

As retailers, we all want to increase our efficiency and boost profit without sacrificing the quality of our product. By following these guidelines and getting into a “production framing” mindset, you will be well on your way to achieving these goals. PFM

Kevin Meath

Use sheetrock carts to move mounted images, glass, acrylic, or hard substrates around your shop quickly and easily.

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 October 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 third 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 3: One Thing To Do—Or Stop Doing—To Be More Successful Jay: Okay, fast round. I want everybody to fill in the blank:

wall. Everything on my wall I trick out beyond belief: there

“I’ve talked to a lot of framers, and I’m confident that if they

are stacked frames, and everything is finished with premi-

would stop blank, they’d be more successful.” What are they

um glazing. That makes it much easier to sell a complicated

doing wrong?

mat with fancy writing on it, or whatever kind of great design

I’ll give you mine, which comes from something that

you’re trying to sell.

happened in one of my classes yesterday. Someone asked me

A lot of the reluctance to sell premium products stems

if I give price quotes over the phone. They said they usually

from self-doubt—fear—because if you can’t afford it, you

don’t; they explain to the customer that there are lots of vari-

make assumptions that your customer can’t either. You aren’t

ables, et cetera. And I said, you may as well have hung up on

your customer. You’re selling to a different market.

them, because they are never coming in. The second you got

Like Ginger was saying, it’s what they’re seeing on house.

done with your “blah, blah, blah,” that customer called some-

com, or Pinterest, or whatever. That’s good design that people

one else who did give them a quote.

are falling in love with. And you have an obligation, I think, to

CONTENTS

My advice is to keep a sheet next to your phone with a

showcase that kind of quality in your shop.

graph that shows a range of prices. Ask the customer how

AD INDEX

big their piece is. Then you can say, “Well, if you put a simple

Jay: And the reason that many of you don’t is…look, I under-

black frame on it, it’s going to run somewhere between $200

stand. You have PTSD. You have been beaten up every day for

and $300.” People are calling because they want an answer.

the last 20 years. “Oh my god, $800!” That’s all you hear all day

Give them an answer.

long; not from every customer, but from some. You start to believe that your customers don’t want to spend the money.

Meg: What I have seen is a reluctance to sell premium

Nelly, who’s here at the show and has been with me for

products. It is incredibly difficult to sell a $1,000 frame to a

23 years, invented a great method for overcoming this fear.

customer if you don’t have $1,000 frame displays on your

A customer will come in; she’ll do a beautiful design. They’ll

36 PFM October 2019

go, “$680?” Now, a rookie salesperson would say, “Well, let me

when we asked who offers printing in their business. Why

find something cheaper.” She looks them in the eye and says,

couldn’t you print a simple little menu board for them, too?

“Did you want to pay for the whole thing now, or just half?”

And you know what they say? “Oh, just half.”

Look for those other things that you can add on, and you’ll become more important to the client. You’re able to develop more of a design relationship with them as well, be-

Meg: I will give you another example from my shop. Nothing

cause they’re trying to project an image. You can help them

is for sale on my display wall of framed pieces, but it gen-

project that image, which gives you greater importance.

erates more revenue for my business than anything else because it’s all shadowboxes of my family, my kids, my father’s

Jay: You’re just making their lives simpler. You’re already

military flag—all that stuff. It generates interest when a cus-

there anyway. It just makes for one less thing they have to do.

tomer comes in for the first time. It sparks a conversation.

They say, “Oh, I’ve got something like that of my father’s I’ve

Jim: It’s good use of your selling time if you’re able to increase

always been meaning to frame.” At that point, I get their email

your average order each time, because you’re able to sell a

address and tell them, “Thanks for coming in. Here’s $50 off

couple of these prints here or there, or that foam board, menu

for when you bring in that piece.” I’m using the example wall

board, or whatever. It just adds to the overall value and your

as a touchpoint to build that relationship with my customer.

top line. And those things are relatively simple to do.

Jim: I would say two things: understanding your cost—don’t

Kevin: I’m a backroom guy. The biggest thing I think people

sell yourself short, as Meg was saying—and what I refer to

can do is clean up their back rooms. I’m a Six Sigma kind of

as account penetration. Let’s say you’re doing some work

guy, too. I like things in their place. (Editor’s note: Six Sigma is

for a hotel, and you’re going to decorate with framing in the

a set of techniques and tools for process improvement. It was

restaurant. So many of you in this room raised your hands

introduced by engineer Bill Smith while working at Motorola

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in 1980. Six Sigma strategies seek to improve the quality of

that can help you really promote yourself and up-level your

one’s output by identifying and removing the causes of de-

brand. Because it matters now more than ever. When we

fects and minimizing variability in manufacturing and busi-

think about social and how that matters, you’ve got millen-

ness processes.)

nials as the largest buying generation. And they are shopping

I see so many shops that have piles and piles and piles

with social media. I can’t tell you enough statistics to empha-

of short sticks and moulding, stacks of matboards, stacks of

size how critical it is that they are shopping and discovering

foam board. It’s just getting in your way; it’s really not saving

you before they even make a choice to come into your store.

you very much money. You don’t need eight feet of stacked-

That means you have to exist outside your store; you have to

up foam board scrap. You’re never going to use it. Get things

be where they are.

cleaned up.

You also have to do it in a very design-conscious way.

I also suggest you get a fresh look, making your shop

Consumers are bombarded with all this visual inspiration on

easy to work in so you can become much more efficient. For

social media, and what that means for you is that your brand

example, if you have multiple fitting stations, it’s helpful to

needs to look polished and professional. It can’t look like you

set them all up so they’re exactly alike. That way you can put

haven’t thought about it, or you haven’t invested in it. Be-

anybody at any station and they’ll know where the tools are.

cause if it does, in many, many cases, that customer will see

The biggest thing that drives me crazy when I walk into a

it and just keep moving. And other brands or online market-

shop to work on a piece of equipment is that lack of tidiness,

places are going to capture their attention. Don’t let someone

which affects efficiency. I work with a shop—which shall

else take your customer.

remain nameless—where I bring a snow shovel with me to

Going back to my first point: when I said don’t assume

shovel sawdust out of the way so I can get to the saw. Throw it

you only have one type of customer, I meant don’t assume

out. It’s going to save you time, and it’s going to actually make

customer is only the one who comes into your store. Your

you money because you’re not going to trip over it and have it

customers are the people who are shopping online and on

all in your way anymore.

social media, too. There has been a huge increase in consumer interest in art and custom framing. You’ve got the Pinterest

Jay: Another reality of owning a frame shop is that you occa-

Top 100 report telling us that millions and millions of people

sionally get customers who ask to use your bathroom, yes? If

are searching for wall art and how to style pieces in gallery

you knew what was going on in their minds when they went

grids. They’re looking at photography. All of that relates to the

in the back…“Oh my god, this is where my art is?” Again,

framing business; it proves that people are getting inspira-

they’ll beat your brains out on the price, but they aren’t going

tion, and they’re looking to design and style their homes.

to get out of the bathroom and say, “God, I hope I didn’t get

Let’s make it easy for them to find you. Social is a great

a disease here. What a pigsty you guys are running!” They’re

way to do that. Instagram and Pinterest are front and center

going to leave and never come back. It’s not good business for

because they are so visual and inspirational. Meg and I have

customers to see a mess. Excellent point.

taught social media classes, and the feedback is, “Okay, I love this. And now I know where to start.” Let’s take it a step at a

Ginger: I would say there are two amazing opportunities for

time, understand what tools are going to help you be more

you. One is in not assuming that you know your customer, or

efficient, and scale so that you’re effective.

CONTENTS

that you only have one type of customer; and the second is

When we talk about not assuming that the consumer is

really about social media. Social matters. If you don’t under-

just the same person you’ve always served, there’s a huge,

stand or believe in that, you’re missing an opportunity.

huge opportunity with millennials. They’re attracted to art.

AD INDEX

Your customers are inspired by so much. The question is,

Online art marketplaces like Artsy, for example, are doing

are you in that mix? Are you where they are when they’re re-

well. They’re saying millennials are two times more likely to

searching, or browsing, or getting inspired? Are you here with

buy than consumers who belong to other generations, and

them in the journey outside of your store? Social matters.

activity is up 43 percent just in the last year. Don’t assume

And if you’re overwhelmed, take it piece by piece and start

that millennial customer isn’t interested or buying. They re-

with the visual. Start with promoting.

ally, truly are. Let’s try to expand our horizons and look for

When we were talking earlier about finding your partners, that means partners in marketing, too. Find the people 38 PFM October 2019

those new customers, those fresh customers. Engage the current ones, but also attract new. That’s lifeblood. PFM

Product Showcase

888 Manufacturing Corporation

888 Manufacturing Corporation now stocks Filmoplast archival tapes. With the addition of Filmoplast tapes to its product line, 888 now offers the most complete line of archival products in the industry.

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

Decor Moulding

Introducing a new line of four whitewashed styles in four classic compo profiles. Widths range from 1'' to 2 3/4'', allowing you a variety of framing options. Order corner styles #11234, #11235, #11236, and #11237 to get these styles on your walls today.

Visit the Decor 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 is now carrying a large selection of picture framing hardware and supplies. Shown here are six different types of strap hangers which will cover most of your hanging needs. For pricing or a complete list of hardware and supplies now available at Delta, please call the office or visit the website.

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

Framerica Framerica’s Spumante Stainless, a soft gold sibling to the original Stainless, is now available in the Company’s BW217 profile, a cap that can be used on its own or stacked to achieve a distinctive “blocked” look. The profile measures ¾'' wide by 1 ¼'' high with a ¾'' inch rabbet.

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

Framing Fabrics

Global Art, Inc.

The Framing Fabrics Mounting Kit is a pre-packaged set with everything you require for fabric wrapping and mounting. The kit includes a sturdy glue tray, roller applicator with two roller covers, a 16-oz. bottle of Fabrimount adhesive, a cutting tool, and 100 single-edge razor blades.

Now accepting orders online!

Global Art is thrilled to debut its newest mouldings—the Graphite Series. These quality wood mouldings are available in eight unique textures and offers a stylish metallic look suitable for any decor. Contact Global Art to get your free corner samples!

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

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

CONTENTS AD INDEX

Larson-Juhl

Michelangelo Moulding

Larson-Juhl’s new Patent collection features one profile and seven finishes. The many finishes highlight jewel tones and perfect neutrals with a high-gloss lacquer finish. Inspired by genuine patent leather, this collection incorporates classic colors as well as shine and glamor that reflect its namesake.

Keeping ahead of continuing trends in larger wall decor, Michelangelo introduces the 620 series: poly floaters, near 2'' face, full inch from lowest step, in eight finishes from Black to Antique Gold. The finishes have subtle, attractive textures that will work in many settings. Please see them all on Michelangelo’s website.

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

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

40 PFM October 2019

Penny Lane Publishing

Studio Moulding

Introducing Pumpkin pallet art from Imperfect Dust. Penny Lane’s wood products are printed on ¼'' Baltic birch plywood, are made in the US, and come ready to hang. Contact a sales representative by phone or emailing info@pennylanepublishing. com for more information. Stock code: DUST226PUMP

Sleek and sophisticated, Studio Moulding’s Liso Arctic Silver collection is the perfect complement to contemporary art and mirrors.

The polished, stainless silver finish is available in 10 modern profiles for an array of framing options. Please contact your regional sales manager to order samples.

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

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

Superior Moulding

Universal Arquati

The Botanica collection is inspired by antique botanical and Audubon prints, but are sure to fit more contemporary artwork as well. They come in seven lovely muted colors on a 7/8'' scoop profile. To order corner samples or a catalog, please call customer service or visit the website below.

Collins II by Universal is a beautiful line available in five soft, yet vibrant finishes; black, white, grey, 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: 800-922-7914 www.supermoulding.com

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

PFM October 2019 41

Distributor Spotlight

CONTENTS AD INDEX 42 PFM October 2019

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

For more information, sales@pfm-group.com

PFM October 2019 43

Index Advertiser

Page

Advertiser

Page

Active Sales ......................................................................................33, 42

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

800-937-2255

800-233-2404

www.activesalesco.com

Alpina Manufacturing, LLC ......................................................................42 800-915-2828

www.fastchangeframes.com /bannergrip.com

Arlo Spacemaker Products, LLC................................................................30 800-332-2756

www.reevesextruded.com

Bella Moulding .......................................................................................39 888-248-6545

bellamoulding.com

Capax-Frame It ......................................................................................41 800-942-2729

www.capax.com

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

www.cmimoulding.com

Crescent Cardboard Co. .......................................................................5, 31 800-323-1055

www.crescentcardboard.com

www.richesonart.com

Larson-Juhl ............................................................................................29 800-438-5031

www.larsonjuhl.com

Michelangelo Moulding ...........................................................................13 877-422-8812

www.michelangelomoulding.com

Pro Tapes & Specialties............................................................................25 800-345-0234

www.protapes.com

Quality Saw ............................................................................................43 800-446-6622

www.qualitysaw.com

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

Decor Moulding & Supply ..................................... 22, 27, 41, 43, 45, Insert

800-297-1566

800-937-1055

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

www.decormoulding.com

Designer Moulding..................................................................................30 800-634-0032

www.designermoulding.com

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

www.engelsenframe.com

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

www.fixons.com

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

www.fosterplaningmill.com

800-262-4174

www.rhondafeinman.com

www.studiomoulding.com

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

www.supermoulding.com/www.zelanto.com

The Fletcher Business Group ....................................................................19 800-843-3826

www.fletcher-terry.com

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

Frame Specialties ....................................................................................35

800-621-8339

800-777-3165

Universal Arquati ......................................................................................7

www.kooltack.com

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

www.frameready.com

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

www.framerica.com

CONTENTS

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

www.frametek.com

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

www.franksfabrics.com

AD INDEX

Gluefast Company ............................................................................28, 42 800-242-7318

www.gluefast.com

Hoffmann Machine Company ..................................................................42 866-248-0100

www.hoffmann-usa.com

800-668-3627

www.tru-vue.com

www.universalarquati.com

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

www.wallmoulding.com

West Coast Art & Frame Expo ......................................................11, 17, 21 800-969-7176

www.wcafshow.com

Wizard International ...............................................................................15 888-855-3335

www.wizardint.com

Z Hardware ............................................................................................43 800-880-9315

www.zhardware.com

International Moulding ...........................................................................28

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

205-324-5783

262-633-7918

44 PFM October 2019

www.internationalmoulding.com

www.ziabicki.com

(Continued from page 46)

embellished with palmettes, honeysuckle, anthemion, lotus,

What furnishing/interior styles accompanied these frames

acanthus, and rosettes are added for corner ornaments. Pan-

in their time? The motifs such as lamb’s tongue, egg and

el ornaments can be repetition of palmettes, acanthus, and

dart, palmette, honeysuckle, anthemion, and rosettes ap-

other foliate patterns, sometimes alternating. An additional

peared on furniture, upholstery, wallcovering, decorative

lip ornament, including beads, rosettes, scrolling vines, and

arts, and architectural details. French Neoclassicism contin-

other leaves, is used in more ornate versions of the frame.

ued through the Beaux Arts period until the late ninteenth century in Europe, and until the 1920s in the US.

What type of artwork would this frame most likely house?

This frame was used for all types of artwork during the Em-

Additional comments and/or anecdotes I chose this simple,

pire period. Common subjects for the paintings included

elegant frame because its timeless design is the foundation

mythological subjects, portraits, landscapes, and documen-

for many frames of today. Its versatility can be seen in later

tation of Napoleon’s conquests. It was also used for draw-

styles such as the Second Empire and Hudson River School,

ings and etchings. Since it is easily adapted and scaled to any

which added more panels, coves, and ornaments while

width and size, narrow versions were used for small, inti-

keeping the Neoclassic elements. The frame and its embel-

mate works and variations as wide as 12'' are seen on grand-

lishments remain one of our better selling styles for use on

scale paintings.

many types of art, from antique to contemporary. PFM

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

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

AMERICAN PICTURE FRAMING ACADEMY offers two- and four-day basic and

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

advanced classes featuring technical, business, and design training. Call 888-840-9605 or visit pictureframingschool.com.

sive course in traditional water gilding with an experienced professional.

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

ART TO BE FRAMED (Dorena, OR) offers a 5-day, one-on-one boot camp, lodging included, all on the banks of the Row River in laidback Oregon.

Learn framing craftsmanship and design along with some of the business of being in business. Call Sandra at 541-946-1008 or visit arttobeframed.com.

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

ARTISTIC EDGE GALLERY & FRAMING offers a four-day, hands on, one-on-

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

one class that is tailored to attendees’ individual needs. The class tackles both the artistic and business sides of running a gallery or custom frame shop. Call 916-482-2787 or email kathy@artisticedgeframing.com.

B.L. HAYMOND SUPPLY (Ukiah, CA) offers hands-on, one-on-one, two-day oil painting restoration workshops with an experienced conservator. E-mail blhaymondsupply@pacific.net, visit blhaymondsupply.com, or call 707462-4221.

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

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

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

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

PFM October 2019 45

Style

SNAPSHOT

By Rhonda Feinman

What style frame is this? Neoclassic Empire.

Where is it from? It is originally from France, but the design spread throughout Europe and to America. In the US it is called the Federal style.

What time period is it from? 1790-1820 is the time of the original design of the frame. This example is a reproduction that was probably made between 1890 and 1910 in France.

Who was instrumental in developing this style of frame? The use of composition ornament in framing began in earnest during the reign of

nations. Many paintings were removed from

Louis XVI (1754-1793,) whose monarchy suf-

their frames and rolled for easy transport.

fered severe financial problems, leading to the

These paintings needed new frames quickly

downfall of the aristocracy and the French Revo-

and inexpensively. The impoverishment of

lution. Louis XVI studied history, Greek, and Lat-

the French Empire during this period was the

in; hence a keen interest in classical design and

leading factor in the development of this style.

ornament. The small, repeating nature of these ornaments made them ideal for reproduction

What are the defining/common characteristics

through the low-cost method of casting.

of this style?

Napoleon Bonaparte (1754-1821) rose to

The frame shape is called a scotia (“sko-sha”)

prominence during the French Revolution

profile, which consists of a cove with a decora-

and became emperor in 1804. He abolished

tive lip. The top back edge is flat and the sides

the craft guilds in an effort to foster entre-

are usually straight. The frames were gilded in

preneurship, causing an exodus of crafts-

genuine gold leaf.

CONTENTS

men and a further decline in hand-carving.

Building on the Louis XVI style, composition

What design departures might be seen on some

ornament allowed frame production to speed

frames of this style? The basic style of a cove

up for the influx of artwork from conquered

moulding with and decorative lip can be further

AD INDEX

Rhonda Feinman is the owner of Rhonda Feinman Custom Frames in Woodside, NY. The company specializes in faithfully produced, handmade, antique reproduction frames. Feinman is a consultant to many well-known art galleries and museums regarding framing and antique frame conservation and restoration. She has been in the picture frame business for over 30 years and received her B.F.A. from Parsons School of Design, New York City.

46 PFM October 2019

(Continued on page 45)

Neoclassic Empire frame, approx 1” wide