SEASON'S GREETINGS BOOST YOUR STORE'S VISIBILITY • DESIGNING WITH RHYTHM
Contents
PFM is a member of:
Volume 31, Number 12
PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders
On the Cover
Wishing you health and happiness this holiday season, from all of us at Picture Framing Magazine. See you in 2021!
Features 18 Boosting Your Digital Visibility 22 Refitting Efficiently and Profitably 26 Rhythm and Color
22
Columns 12 Mat Doctors 30 Successful Retailing Panel 38 Style Snapshot
18
Departments 8 10 34 35 36 37 39
Editor’s Note Industry News Product Showcase Crossword Puzzle Distributor Spotlight Crossword Solution Index of Advertisers
26
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 © 2020 by PFM Publishing, LLC. Printed in U.S.A. Picture Framing Magazine registered in the U.S. Patent and Trademark Office. Postmaster: Send address changes to Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612 Agreement Number 1691910 Disclaimer The opinions and information in this magazine are not necessarily those of the publisher and are therefore not to be viewed as such. No part of this magazine may be reproduced without the expressed written consent of the publisher. PFM does not knowingly accept false or misleading advertising or editorial, nor does the publisher assume any responsibility for the consequences that occur should any such material appear. PFM and PFM Publishing assume no responsibility for content, text, or artwork of advertisements appearing in PFM except those promoting PFM. The Publisher reserves the right to review all advertising materials submitted for publication and to not accept any such material deemed inappropriate for any reason.
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PFM Publishing
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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
Mail letters to PFM 330 Mounts Corner Dr. #313, Freehold, NJ 07728
CONTRIBUTORS
Jay Goltz • PRE S E RVATI O N E D I TO R Hugh Phibbs • M O U N TI N G E D I TO R Chris A. Paschke, CPF, GCF M AT D O C TO RS Tim Franer, CPF • John E. Ranes II, CPF, GCF • Brian Wolf, CPF William B. Adair • Ken Baur • Jared Davis, MCPF, GCF Paul MacFarland, MCPF, GCF • James Miller, MCPF, GCF
B USI N E S S E D I TO R
ADVERTISING SALES
sales@pfm-group.com • 848-444-3058 Bruce Gherman • bgherman@pfm-group.com Rob Gherman • robgherman77@gmail.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
Call (732) 536-5160
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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Fax to (732) 252-2270 Attn: PFM Editor
Deborah Salmon • dsalmon@wcafexpo.com 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 E X HI BI TO R S E RV I C E S
WCAF EXPO SALES
sales@wcafexpo.com
CONTENTS
PFM PUBCO • BOOK DIVISION BOOK SALES COORDINATOR
E-mail to
pfmpubco@pfm-group.com
editor@pfm-group.com AD INDEX Letters may be edited for space and clarity
6 PFM December 2020
PFM PUBLISHING, LLC PRE S I D E N T
Bruce Gherman
FROM THE EDITOR’S DESK
S
Raise a toast and enjoy the holiday merriment—you made it through 2020!
CONTENTS AD INDEX 8 PFM December 2020
ure enough, we’ve reached the final leg of 2020. It was a difficult year for people all over the world, one full of uncertainty and neverbefore-seen challenges. I’m proud of us for rolling up our sleeves, doing our best regardless of what each day threw at us, and tapping into every ounce of our creativity, adaptability, resilience, and compassion to see ourselves, our families, and our communities through this year. Give yourself a well-deserved pat on the back. Next year will undoubtedly bring its own set of challenges, but life will go on. Framing retailers and suppliers will continue to serve their customers with innovative products and top-notch service, and we at PFM will continue to highlight those retailers, suppliers, products, and services you should know about. In this issue, marketing guru Ginger Hartford shares proven methods for boosting your online visibility, from website optimization to customer reviews (page 18). It’s more important than ever to put your best foot forward in the digital sphere, where consumers often decide to work with you before ever setting foot in your door. In his latest article, David Lantrip discusses refitting; more specifically,
how to do it efficiently and profitably (page 22). I’d be willing to bet refitting isn’t your favorite framing task, but when you have to do it, why not save yourself some time and hassle and make it worthwhile by pricing accordingly? Looking for a refresher on design principles? Chris Paschke covers rhythm in her latest article (page 26). By understanding the different types of rhythm and how they can be incorporated into a project through elements like color and texture, you can achieve the unity seen in any great frame design. Paschke also discusses copyright issues that can crop up when using logos or other trademarked elements in your designs. Those articles and more await you in our final issue of the year. We will see you on the other side of the holidays; may you get the chance to connect with loved ones, and may your end-of-year rush go smoothly!
Kimberly Biesiada Editor
INDUSTRY NEWS Stolen Klimt Painting Returns to View After 20 Years
States. Craig Russell, CEO and president of Active Sales, said,
After a chance recovery from a baffling hiding place, a painting
our next chapter as part of the LINC organization. Together
by Gustav Klimt that was stolen 23 years ago went back on
with LINC, we will be positioned to continue to offer a strong
view last month at the Ricci Oddi Modern Art Gallery in Pia-
portfolio of brands, quick turn fulfillment, and most importantly,
cenza, Italy.
an unmatched commitment to customer service.”
“On behalf of everyone at Active Sales, we are excited to begin
Last December, gardeners cleaning ivy off one of the in-
“Active Sales has been a reliable supplier of a full range
stitution’s exterior walls uncovered the painting, titled Portrait
of fasteners, fastening equipment, and packaging supplies to
of a Lady (1916-17). The stolen work had been hidden in a
its customers for over 70 years,” said Ted Azar, CEO of LINC.
recess inside the
“The acquisition of Active Sales is an important step in building
wall,
a leading, nationwide industrial fastener and packaging distri-
obscured
bution platform.”
by a trash bag. In January,
Kelly Evans, president of LINC, added, “Like LINC, Active
two men con-
Sales is dedicated to providing customers with exceptional
fessed
the
service, selection, and product knowledge. We look forward
theft, which they
to working with Craig and his team as we continue to grow
carried
and gain market share.”
to out
in
1997 amid the
“Despite the disruption in the economy, LINC continues to
gallery’s prepa-
grow both organically and via acquisition,” said Matt Conway,
rations for a spe-
principal of Center Rock. “With the acquisition of Active Sales,
cial
exhibition.
LINC is further diversified across customers and end markets,
Why the artwork
as well as geographically with the combined businesses now
was hidden in a
serving customers in 37 states. We are excited to support the
wall of the gal-
combined management teams and their continued growth.”
lery building rePortrait of a Lady by Gustav Klimt. Image source: The Yorck Project (2002)
mains a mystery.
Mesirow Financial, Inc. served as exclusive financial advisor to Active Sales Company.
of
About Active Sales: Active Sales is a is a leading distributor
a Lady was put
of industrial fastening and packaging supplies used in a range
back on display in a protective case on Nov. 28, according
of markets including pallet, furniture, cabinetry, bedding, and
to The Art Newspaper. Over the course of the next two years,
general industrial.
Portrait
the painting, which depicts a woman wearing a semi-abstract,
About LINC Systems: LINC Systems is a leading distributor
voluminous garment against a green background, will appear
of fastening solutions and industrial supplies serving a broad
in four exhibitions at the institution.
range of industrial end markets including pallet, furniture, hous-
The Klimt has an estimated value of at least $66 million,
ing, construction, and general industrial.
CONTENTS
according to BBC News. Before the work was stolen, research
About Center Rock: Center Rock is a Midwest-based pri-
and X-ray analysis revealed that it contained two portraits, one
vate equity firm focused on building leading industrial companies
of which Klimt had painted over. It was bought by Giuseppe
in the lower middle market. Center Rock seeks industrial manu-
Ricci Oddi in 1925 and kept in the gallery until it was stolen
facturing, industrial services, and industrial distribution compa-
72 years later.
nies headquartered in North America, often with multi-national operations and locations that serve both domestic and global
AD INDEX
Center Rock’s LINC Systems Acquires Active Sales Co.
markets. With substantial expertise working constructively with
Center Rock Capital Partners, LP is excited to announce that
management teams to drive both operational and strategic im-
its industrial fastener and packaging distribution platform,
provement, Center Rock’s investment professionals have the
LINC Systems, LLC, has acquired Active Sales Company.
flexibility and tools to invest in a broad array of transactions and
Based in Santa Fe Springs, CA, Active Sales is a leading distributor of industrial fastening products and industrial packaging supplies to customers throughout the western United 10 PFM December 2020
build value in lower middle market industrial companies. For more information, visit centerrockcp.com. PFM
THE MAT DOCTORS
By Brian Wolf, CPF, GCF
Divided Ornaments Simple shapes can be used to enhance a range of frame designs.
T
he exploration of alternative formulas for including decoration in a mat design continues. Analyze why
a decorative item cut out somewhere on the mat does not always improve the presentation. In the list of reasons, unity will always be among them. Beyond a decorative element’s artistry and proportion, it needs to be perceived as part of the opening, not a separate added thing. The obvious tactic toward unity is to move the items in the design closer—even overlapping. Everyone is familiar with the idea of merging shapes. The decorative item indeed becomes part of the opening. It is a great first
divided ornaments. There is just one geometric
step; a simple and effective design device.
ornament centered at the bottom, so no extra
A variation of this is dividing the orna-
steps will be necessary to effect symmetry.
ment. Glance ahead to the photos of finished
The triangle is the most uncomplicated
examples and note that each decorative shape
shape imaginable. The outline of the steps can
is overlapped across two layers of the opening.
then focus strictly on the dividing process—
Half of the decorative shape is attached to the
without peripheral explanations that might be
top layer, and the other half is attached to the
necessary to solve problems caused by a more
bottom layer. Dividing the ornament shows off
complex shape.
a framer’s abilities, but there is some drawing program work involved.
Begin on the design screen with the opening, then add the triangle centered at the bot-
CONTENTS
tom of the opening. About
An Illustration with a Triangle
⅛''
of the triangle
extends above the inner layer of the opening.
The first example is constructed to be as simple
Send the design to the drawing program.
as possible to focus on explaining how to make
(The steps here are shown using the Wizard
AD INDEX
Brian Wolf began framing pictures while attending Iowa State University. In 1973, he won the Janice Petersen Andersen award for outstanding design student. He began demonstrating his hand-carving technique for mats at conventions and teaching for the PPFA. Brian started his own framing business in Cedar Rapids, IA, in 1983. Since 1989, he has focused on leading workshops around the world on his matting techniques. He has authored books, appeared in videos, and contributed to trade magazines. He joined Wizard International, where he contributed his artistic touch to product development. He continues his work with Wizard through education, events, and design content.
12 PFM December 2020
This triangle medallion is integrated into the opening by dividing it between the 2 layers of the mat. Its bottom half is a cutout on the mat’s top layer, its top is a positive shape joined to the inside of the mat’s bottom layer. This is a drawing program process, but it is worth the extra steps to make the ornament truly a part of the mat rather than the usual cutout.
Left: The triangle is an opening shape formed in the design program. It is 0.66 x 0.7'' high and centered at the bottom of the rectangular opening. Its top is 1/8'' above the inner layer of the opening. The triangle is broken against the outer rectangle. The bottom of the triangle is joined with the outer rectangle to form the new outer layer’s shape. Center: The white shape is the broken part of the original triangle. The gray parallel shape is the offset copy 0.3'' all the way around. It will be joined to the inner rectangle to form the shape of the inner layer. Review the text for Step 2 for a detailed explanation on why the top part of the triangle needs to be offset. (Note: The innermost blue line in these illustrations is a reference showing where the image will be. It will not be cut.) Right: The offset part of the triangle is broken against the inner rectangle, and the pieces are joined to form the new inner layer. In this illustration, the broken segments of the offset triangle and the opening are deleted, but the white broken piece from the original triangle remains. Set the cutting instructions for the new shapes and cut the mat.
program.) The names of the functions here are descriptive.
that will form the ornament. Review the photograph of the
They may be different in other programs, but the changes in
finished design closely. Note that on the top layer, the bevel
each of the steps will be possible in all programs.
radiates outward from the bottom of the bevel. On the inner layer, the bevel radiates inward from the bottom of the bev-
In the Drawing Program: Step One
el. If the pieces are joined without alterations and the mat
The first step is to break the triangle against the outer cir-
is cut, the top portion of the triangle will be too narrow, and
cuit of the opening at their intersections. In the first illustra-
the sides will not be continuous lines.
tion of the design in the drawing program, the triangle and the outer circuit of the opening are broken. To form the new
Offsetting
shape for the outer layer of the opening, the pointed portion
For the sides of the triangle to be continuous, the inner left-
of the triangle at the bottom is joined to the broken outer
over white portion of the triangle must be wider all the way
circuit of the opening. The arrow points to the completed
around by the width of the bevel. Offset is the function of a
black outer circuit.
drawing program that generates a parallel path a specified distance away from an item.
Step Two
In practice, these shapes need to be offset between 0.03
CONTENTS
The inner leftover white portion of the triangle is the focus
and 0.05''. With more complex shapes—the letter in the ex-
of this step. The outer portion of the triangle has just been
ample on page 16, for instance—it is easy to imagine that
set to be a cutout on the top layer of the mat. The inner por-
offsetting a shape less is better. In the second illustration,
tion of the triangle will be attached to the inside of the inner
the white piece of the triangle is the broken piece from the
layer and become a positive shape. When the layers are as-
original triangle. The parallel gray shape is the offset path.
sembled, the colored surface area of the inner layer need to
AD INDEX
form a nice-looking triangle. Lines of the triangle that begin
Step Three
on one layer, cross the reveal, then finish on the other layer
Break the offset path of the top part of the triangle against
need to be straight and continuous. To make sure of this,
the inner circuit of the opening. Then join the pieces to
modify the inner portion of the triangle before the pieces of
form the new shape for the inner layer. The third illustra-
the inner layer are joined to form the new shape.
tion shows the completed inner layer. Do not be troubled that the triangle now looks as if its sides will not be contin-
Why Offsetting is Necessary
uous. When the design is cut out of matboard and assem-
Every line in the drawing program is the line at the bottom
bled, the bevels will line up properly and the triangle shape
of the bevel. However, it is the line at the top of the bevel
will be formed by the colored surface of the inner layer.
14 PFM December 2020
Step Four Give the newly formed opening shapes their cutting instructions according to the directives of the program. There are typically three properties for cutting instructions. A starting point for the cut: each CMC has its requirements. A bevel type: these cuts will use the normal bevels like any other openings. The layer: this will be a two-layer mat. The inner circuit needs to be set to cut on the bottom layer, and the outer circuit needs to be set to cut on the top layer.
A Divided Letter A disadvantage of overlapping a letter and merging it with the opening is that parts of the letter are lost. Letters can easily become poorly defined. Imagine, for example, this J positioned and merged on either side of the opening. Almost every possibility is a disjointed design or a cutting problem. As a result, many letters are unadaptable to being merged with an opening. Dividing a letter between two layers preserves all its elements, and the letter becomes a bold graphic addition. Before the drawing program process can begin, there are artistic decisions. Determine where the letter should be placed along the opening. Experiment with how it might be divided. In this example, the letter is on the right side of the opening so that the curved stroke can be inside the opening—covering the least amount of the image and moving
Letters benefit greatly from being divided between the layers of the mat.The J in this example is 2.75'' high. It is toward the bottom and against the right edge so that it covers the least important parts of the image. The letter is broken against both the inner and outer layers of the opening. The arrow shows the endpoint of the curve being moved to make the angle less sharp.Offsetting complex shapes can create sharp angles and close spaces.
it away from the subject’s face. The left side of the letter’s
gerously sharp. The bevels would be quite long, and the
vertical stroke is against the inner layer of the opening. It
point would likely be damaged as it is being cut.The arrow
is rotated 6° counterclockwise to add to the casual nature
shows the endpoint of the curve being moved to make the
of the presentation—and to keep the letter from looking so
angle less acute. Altering this is not always critical, but it il-
rigidly against the opening.
lustrates just one way of how offsetting can change the de-
There is always a touch of engineering, too. The letter
tails of a figure. And the more complex the shape to be off-
needs to be large enough so that the thin strokes of the letter
set, the greater the likelihood for surprises that may cause
on the inner layer are sturdy enough to maintain the struc-
cutting problems. Be on the lookout for sharper angles and
ture of the matboard. The letter will likely need to be larger
tighter spaces. Test when there are doubts. Once the alter-
than its minimum recommended height; 1.5” for this letter.
ation is finished, proceed to steps three and four to join the
It is no longer a cutout, but a positive shape. The letter in this
segments for the inner layer and set the bevels.
CONTENTS
example is 2.75'' high. The thinnest section of the J inside the opening measures 0.25'' from the outside bevel edges.
Some of you may be thinking, “This is an attractive idea, but if it involves the drawing program, count me out.” Allow me to present two thoughts to quiet these misgivings. First,
AD INDEX
The Letter in the Drawing Program
the shapes originate in the design program. It is not neces-
The process for dividing the letter follows the same steps as
sary to know and use all the tools, nor is it necessary to actu-
in the previous example. In this illustration, letter is already
ally draw anything. Second, note that the shapes are simple.
broken against both the rectangles. The outer half of the let-
It is important that the shapes chosen for divided orna-
ter is joined to form the top layer of the opening. The inner
ments be easy to manipulate in the drawing program. And it
half of the letter is offset.
turns out that divided ornaments using simple shapes can
After offsetting, the acute angle at curve of the J is dan16 PFM December 2020
be incorporated into a wider variety of designs. PFM
Product Showcase Decor Moulding & Supply
Fox Moulding
Introducing Nantucket, a beautiful new line of six nautical-inspired rustic wood styles available in two widths of 1 5/8'' and 2 1/2'', with a rabbet height of ½''. The eye-catching feature of the Nantucket collection is the accent rope inlay which complements the distressed wood tones of rustic white, rustic brown and rustic gray. Order corner kit #CS-NAN to get these six styles on your wall immediately.
New: The 3/4'' Italian Stepping Stone moulding, available in Silver and Gold. Like any eye-catching jewel, this moulding can be used all on its own or as a liner in a larger frame to create a complex look. Call: 800-341-0101 www.foxmoulding.com
Call: 800-937-1055 www.decormoulding.com
Framerica
Michelangelo Moulding
Framerica’s Traditional Spumante, champagne-hued with leaf markings, is now available in the company’s Illusions profiles. Ranging to 3'', Illusions is an innovative design that allows one moulding to appear stacked.
Filling another space in the widening shadowbox market, Michelangelo has developed a new series in 14 different finishes ranging from Barnwood and Hand Stain to Avant Garde. With a height of 1 5/8'' and a width of 1'', this will be perfect for all your midsize framing projects. This new series joins the company’s growing shadowbox collection. You can send your sample requests to sales@ michelangelomoulding.com.
Call: 800-372-6422 www.framerica.com
Call: 877-422-8812 www.michelangelomoulding.com
Omega Moulding
Penny Lane Publishing
The Alpine Collection features five new floaters with a unique profile shape delivering an angular reverse slope that works well with modern design schemes with its sharp, clean, minimal look. The Element Collection introduces 12 new floater choices, featuring six items with a thin profile face and elegantly curved back edge that works well with classical and modern fine art applications.
New artwork from Cindy Jacobs! Contact a sales representative by phone or emailing info@ pennylanepublishing.com for more information. All the artwork you see on the website is also available on canvas and wood products. Select images are also available as large format giclée prints. Contact a sales representative for more information and to place an order today.
Call: 800-289-6634 (US) 877-452-3799 (Canada) www.omegamoulding.com
Call: 800-273-5263 www.pennylanepublishing.com
Picture Woods
Sepp Leaf
The classic look of rift and quarter-sawn white oak is now available in Picture Woods’ contemporary square cap styles. Full of character and rich in natural beauty, rift and quartered white oak bring a timeless elegance to the Picture Woods line. Now available in four finishes, including Clear Lacquer, and four new profiles: 204, 501, 600, and 601.
Create a period brown wood stain with these traditional Van Dyke Crystals. Simply dissolve in warm water. Highest quality and hard to find today. Imported by Sepp Leaf Products from England. Call: 212-219-0770 www.talasonline.com
Call: 800-321-6522 www.picturewoods.com
CONTENTS AD INDEX
Superior Moulding
Universal Arquati
Superior Moulding has made a big splash with one of its newest moulding lines, Splash! Available in one profile and seven bright colors. These brightly colored mouldings are inspired by the painted finish of European beach houses. They work well not only with rustic decor and children’s artwork, but also with today’s modern graphics. Go online or call to get samples and pricing.
Introducing a new collection of upscale and quality design mouldings. The full collection consists of 50 brand new items, various finishes, and unique profiles, all made in Italy! Stock and samples of the new Arquati Signature collection, and the collections within this brand, are available now! Please contact your local sales representative or UA by phone or fax (661-362-6263). View these mouldings, as well as the entire collection, at the website below.
Call: 800-922-7914 www.supermoulding.com
34 PFM December 2020
Call: 800-668-3627 www.universalarquati.com
CROSSWORD CHALLENGE Across 1 Eco-friendly frames
1 Picture frame face decoration
5 Time for presents and celebrations 10 Incorporated, for short
2 Origins 3 “Y” shape
11 Software company that produces creative
4 Dense hardwood
multimedia programs for artistic operations 12 Strong paper used for wrapping
6 Cutting equipment with the blade angled at 45 degrees, 2 words
shipping packages 15 Connect 16 ____ size: measurement of the space into which the artwork will be placed
SEE PAGE 37 FOR THE SOLUTION
Down
7 It comes before a vowel 8 Copying and converting artwork into a digital file 9 It prevents the image from touching
19 Bled, of a dye 20 Cut off a small piece
the glass 13 Factory installed (abbr.)
23 Chalk-based paint mixture
14 Javits Center architect, I.M. ___
25 Figure out
17 “___ magic!”
27 Hang on a wall, 2 words 28 Funny person
18 Allow¬¬s to fall 21 Saw used in frame making
29 Cuts wood repetitively for picture frame asssembly
22 First archival mat board with color 24 Displaying
30 Printer model
26 Piece of sunshine
32 Rogers’ state 33 Oeuvre in the Louvre, for example 36 Cutting equipment
29 Birthday items 31 Expert in a field 32 Selling condition (2 words)
38 Brand of hangers 40 Be in a position 42 Harden
34 Robe of Roman office 35 ___-adhesive tape 37 Spanish, it is
43 Add a John Hancock when a piece of art is complete 44 Lightweight PVC board
39 Memo start 41 Musical scale note
Have a question or comment? Tell PFM what you think. Mail letters to PFM 330 Mounts Corner Drive # 313, Freehold NJ 07728-2558 Call 732-536-5160, Fax 732-252-2270 Attn: PFM Editor or E-mail to editor@pfm-group.com PFM December 2020 35