Picture Framing Magazine - December 2020

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

330 Mounts Corner Dr. #313, Freehold, NJ 07728 • Phone 732-536-5160 • Fax 732-252-2270

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

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

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

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

USING GOOGLE AND YELP TO BOOST YOUR VISIBILITY

By Ginger Hartford

F

or frame shops and galleries, platforms like Goo-

your mobile or desktop? In your query, did you use a

gle and Yelp play a critical marketing role in build-

voice search function, asking something like “Where

ing visibility and trust while helping consumers

can I frame my child’s artwork?” Or did you type basic

discover your services. The global pandemic and man-

keywords to search?

dated social distancing mean small businesses cannot

Considering how critical localization is for intent

rely on walk-in traffic and must expand their digital

to purchase, did you use terms like “near me” or rely on

storefronts to keep drawing in new business.

localization settings to produce accurate results? Goo-

Today’s consumers self-direct their own digital

gle searches that include the words “near me” doubled

search for services, and their digital path to purchase

in the past year, meaning there is a higher likelihood

is often decided for businesses based on search visibil-

for customers to visit your store when searching for a

ity, credibility, and top-rated customer referrals, which

local business.

function as “digital word of mouth” or rave online re-

There are 40-60 billion high-value searches on Goo-

views. Therefore, it is imperative for businesses to el-

gle in the US monthly. With 46% of searches having lo-

evate and optimize their digital marketing initiatives

cal intent and 86% of people looking up the location

to stand out and compete in today’s marketplace. Let’s

of a business on Google Maps, this represents a higher

dive into understanding Google and Yelp as key mar-

intent to purchase with a higher conversion rate. 72% of

keting tools and how search engine optimization (SEO)

consumers who conduct a local search will visit a store

impacts your results.

within five miles of their current location. Considering

CONTENTS

FROM AN ONLINE SEARCH TO AN IN҃STORE VISIT

mobile users, the likelihood of a local search resulting in an in-store visit increases 35%!

With that in mind, it’s important to make it easy to

AD INDEX

To understand how customers decide what, when, and

find you. Be sure your website is established as an on-

where they will shop, we need to understand how they

line presence, ranks high on the first results page, and

search within the digital path to purchase. With a cus-

is optimized for mobile to deliver a great experience for

tomer mindset, think about your latest purchase. We

your prospective buyers. Also consider 18% of local mo-

are often inspired as we engage with social media and

bile searches lead to a sale within one day, so ranking

are in “discovery mode,” searching for products and

high in search results is key. Data shows that people

services. Where did you last search for a product—on

will visit brick-and-mortar stores they initially find on-

18 PFM December 2020

line. However, there is a lot of data, content, and optimization, that goes into getting the search results you want.

GOOGLE MY BUSINESS Google is a powerhouse and resource network for businesses. Google My Business (GMB) is a free tool allowing business owners to manage how they appear on Google Search and Google Maps. To begin, simply sign up and add or claim your business. This platform for business listings makes a valuable difference when producing results.

Help people get to know you by managing your page and updating business information such as phone numbers and hours of operation.

Adding beautiful photos can often help make or break first impressions with prospective new customers. Images are shown to convert nearly 40% more on businesses that have them compared to those that do not. GMB offers a range of options for you to maximize your presence online. Videos add variety to further elevate ranking by content while distinguishing your business from the competition. Google photo recommendations include: • Interior shots • Exterior shots • Photos at work • Team photos • Identity photos • 3 exterior shots • 3 interior shots • 3 photos of your team providing services (photos at work) • 3 photos of products/services you sell • 3 images of team members Google also has popular tools to manage and optimize SEO or search engine optimization and ranking.

Google’s AdWords Keyword Planner is a starting point for keyword research. Google Trends tool also helps with seasonal keyword fluctuations, and Google’s data and analytics reporting dashboard are invaluable assets to monitor your performance. Many galleries and frame shops outsource this service to SEO experts for management if in-house resources are limited.

Leading search engine and review platforms like Google and Yelp can greatly boost your visibility to consumers.

PFM December 2020 19

process while connecting your community and visitors with you. Interacting with customers, building trust and consumer awareness, promoting your brand, and engaging in conflict-free resolution with reviews make customers happy and turn page visitors into customers. According to a recent survey conducted by Boston Consulting Group, small businesses that took advantage of Yelp business accounts and paid advertising saw an increase in revenue.

Turn visitors into customers by enabling Yelp business page upgrade tools such as “Business Highlights,” the Data shows that over 60% of consumers are influenced by online reviews. Platfoms like Yelp offer tools to help you gain positive reviews and respond quickly and professionally to negative ones.

TOP SEO BEST PRACTICES • Include relevant and conversational keywords in your URL • Write compelling title tag and meta descriptions • Optimize images, including alt text description to improve ranking • Publish long-form content to answer conversational queries • Optimize the user experience of your website for desktop and mobile • Focus on link building • Ensure your webpages have internal linking back and forth (think cross-promotion) • Set up authoritative backlinks with content from reputable, relevant sites to improve your business ranking (again, credible cross-promotion)

THE IMPORTANCE OF REVIEWS Online reviews influence 67% of consumers and are especially important when making major purchases. Customers base which business to patronize on personal recommendations that they trust from reviews and ratings. These

CONTENTS

can include business or test ratings, the quality level of the

“Call to Action” button, and “Request a Quote, Check-In Offers, or Yelp Deals.” It is fascinating to know Yelp has location-based ad targeting, which allows you to determine where you want your ad to be shown. Geo-targeting your ad means it will be displayed in a radius of your choice around your business location to attract nearby customers.

In terms of your marketing spend strategy, setting a daily or monthly budget for advertising is completely up to you. Strategically adjust and flex your budget to adjust your spend based on your business requirements per calendar, promotion, seasonality, or location. Yelp Connect also offers the ability to create posts and share business updates that can be automatically promoted by Yelp.

SEARCH FOR EXCELLENCE If you are not currently utilizing these marketing tools to your advantage, Google and Yelp can give you a strong platform for success. If you are already active with both services and ready to upgrade your marketing strategies with these platforms, they have many services, resources, and expert tools tailored to produce results.

And as I mentioned earlier, don’t be afraid to outsource this work to an SEO expert if there is a lack of inhouse experience. To find an expert, make like a consumer: ask Google to help you find SEO marketing services near you, then check out Yelp to read and rank top business reviews to make the right decision! PFM

reviews, reviews from family or friends, and even reviews from social media influencers. Positive reviews greatly impact buying choices, and small businesses can benefit

AD INDEX

from this consumer preference. However, it’s important to constructively address any possible negative reviews. If left unanswered or unresolved, it will work against your business and cost you potential customers.

Yelp also has many similar features to help strategically grow your business and support the consumer discovery 20 PFM December 2020

Ginger Hartford Ginger is a highly accomplished art and design industry veteran recognized for her executive leadership and expertise in strategic marketing and global business development. Formerly with Larson-Juhl, Ginger founded EurDesign Studio as a sought-after consultant and National Conference speaker about high-level marketplace trends and design technology.

COUNT DOWN

TO A BETTER BUSINESS

10 MOUNTING METHODS FROM CHRIS PASCHKE

7 PRESERVATION FRAMING FROM HUGH PHIBBS

4 FRAMESHOP CREATIVITY FROM JOHN RANES II

1

9 A LOOK AT FRAME HISTORY FROM WILLIAM ADAIR

8 PROVEN SALES STRATEGIES FROM JARED DAVIS

6 MAT DESIGN FROM BRIAN WOLF

5 MARKETING TOOLS AND TECHNIQUES FROM GINGER HARTFORD

3 RETAILING TIPS FROM KEN BAUER

2 STRAIGHT TALK ON BUSINESS FROM JAY GOLTZ

PICTURE FRAMING MAGAZINE The Number One Source For Everything Framing!

www.pictureframingmagazine.com For more information contact 848-444-3138

REFITTING EFFICIENTLY AND PROFITABLY

By David Lantrip, MCPF, GCF

I

t’s a chore a lot of us dread: refitting. Taking apart an ex-

er of any damage you find right away and document it.

isting frame, modifying or repairing the contents, and

Some common types of damage you might find include:

then putting it back together. The job usually comes in

• Artwork scratched or torn by broken glass

the door out of a need to

• Broken hinges

replace broken glass or a

• Acid burn from mats,

desire to update the mat-

backing, or both

ting, but it could also be

• Permanently or inappro-

because of a failed mount

priately mounted artwork

or other circumstances.

Whenever

possible,

Regardless of the reasons,

open the framing in front

it can be a tedious and

of the customer. Not only

unprofitable

of

will this allow you to bet-

your business. Let’s take a

ter identify what work

look at how we can make

will be needed so that you

it easier and worthwhile.

can

portion

Framing brought in

charge

accordingly,

but it also gives you the

CONTENTS

for refitting often involves

opportunity

damage of some sort, ei-

your customer on best

ther because of some inci-

framing practices and ex-

dent (broken glass) or pre-

plain what needs to done.

vious framing techniques

Remember,

such as using an inappro-

rarely see what is inside

priate tape to mount art-

the frame. Also document

work. Some damage, such

what you find. Since prac-

AD INDEX

as scratched artwork, may not be noticed at first glance, or it may be hid-

This charming print of Dürer’s Das tanzende Bauernpaar was in need of fresh matting.It turned into an opportunity to educate a customer on the value of protective glazing and better matting and backing materials.

den inside the frame. To

to

educate

customers

tically every phone has a camera, this should be an easy process. In addition, the notes area on the wor-

prevent misunderstandings down the road or unantici-

korder can be used for a written description of any issues.

pated problems, it is important to inform your custom-

In some cases, such as work with high monetary value

22 PFM December 2020

and serious issues, a separate document with written

hardware for a good grip. As a general practice, it is a good

descriptions and photos may be very helpful. Be sure to

idea to keep track of all points or nails removed; a stray

provide your customer with a copy.

piece of metal on the table or in the frame could cause

It is unlikely that the copy of your findings will stay

damage to artwork or a frame’s finish. Once they have

with the frame for long. At some point, further work may

all been removed, run a magnet around the rabbet of the

be done to it, and you do not want to be blamed for inferi-

frame to catch any you may have missed.

or work you did not do. To help avoid any misunderstand-

Be especially careful of spring clips in metal frames.

ings, enclose a copy of your notes and condition report

A spring clip left behind can fly out when the frame is re-

under the new dust cover and keep a copy. This may not

moved, potentially injuring the framer. A canvas will also

be necessary with every job, but for valuable (whether

require a little extra attention, since it is very likely that

monetary, sentimental, or historic value) or particularly

it will not have a backing, and a slip or a dropped tool can

damaging flaws, it can help save your reputation.

be disastrous. Cut a board to place over the back of the

The first step of the actual work will be to remove the

canvas while unfitting to prevent accidents.

dust cover. It is very rare that it is necessary to remove it

With the art package out of the frame, the inspec-

intact for re-use, and in fact it will usually be so damaged

tion and work can begin. Ideally, the mat will have been

or brittle that there is no point in even trying. If there are

booked to the mounting board and it will be a simple mat-

stamps, stickers, or annotations relevant to the artwork’s

ter of lifting the window mat to access the artwork. It is

provenance, they can trimmed away from the dust cover

possible that the previous framer attached the mat to the

and replaced on the new one or tucked into a sleeve.

mounting board, in which case a thin spatula or burnish-

Next is the chore of removing the fitting hardware,

ing bone can be run between the two to separate them.

which may be points, nails, brads, or staples. There are

In a worst-case scenario, ATG or some other adhesive

tools made specifically for removing framing points, but

was applied close to the opening of the window mat and

a pair of wire cutters works well, slightly “biting” into the

attached to the artwork. This makes for a very difficult

PFM December 2020 23

of chemical reactions and offgassing. This is impossible to remove, and dirt and grime can be stubborn.

Older acrylic is often scratched and dirty. Consider making new glazing a standard part of all refits. Some framers will replace the glass on a case-by-case basis without charging simply to save time and aggravation.

When refitting, you might find that each point knocks loose dirt and debris from the frame’s rabbet, A cardboard backing is a common find in older framing. While it may be tempting to take the previous framer to task, it is bad form and materials like this were once generally accepted.

Instead, be diplomatic and point out that recommended practices and materials have changed.

It may be tempting to remove the

to remove the art without damage

tape, but the likelihood of damage

short of calling in a conservator. In

is high. It would be best to careful-

this case, it is best to remove the top

ly trim off as much of the excess

mat layer or layers and leave the

tape as is practical, leaving the rest

bottom mat on, covering it with the

on the art. Even something as egre-

new matting.

gious as a dry-mounted cross stitch

countered in reframing or refitting

is probably best left alone outside of referring it to a textile conservator.

artwork is the previous mounting. If

When it comes time to put ev-

the artwork was previously mount-

erything back together, two things

ed in an easily reversible manner

can slow you down: the glass and

(edge strips, corner pockets, etc.)

the frame. Glass can be quite dirty,

then it can be taken out and treat-

and may even be “etched” as a result

ed like a new piece of art. If it was

without constantly chasing after bits of debris. This can be avoided by

situation, as it is almost impossible

The most common problem en-

making it almost impossible to fit

lining the rabbet with frame sealing tape. It may be the aluminum-lined variety, but for the purpose of keeping dirt under control, almost any decent tape will do. As an alternative, the art package can be sealed by placing tape on the edge of the glass and wrapping it around to the rear of the backing. Debris will still come loose from the frame but it cannot get into the art package.

Another

problem

with

the

frame comes when applying a new dustcover. Wood frames often have

hinged, there should be no need to remove the hinges. Instead, cut through the crosspiece on either side of the hinge and remount it with a new crosspiece.

Things get more complicated

CONTENTS

when

less

preservation-friendly

methods have been used. As tempting as it may be to “fix” the problem, unless you are a trained conservator, you may make things worse. Of-

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ten the most practical course is to minimize the damage, prevent further damage, and let the decision be made down the road. A good example would be an etching taped to the back of the mat all the way around.

24 PFM December 2020

Wire cutters work well to get a good grip for removing brads and points. A magnet helps collect the hardware and keep it in place.

ier and cheaper to start from scratch rather than redoing something, and you should not hesitate to point this out when reworking existing framing is simply not practical. A realistic outlook on pricing and adding the tips presented here to your bag of tricks will make things easier and profitable. PFM

David Lantrip

The artwork was previously dry mounted to an acidic board, trimmed down and taped to the back of the wood pulp mat. Its value did not justify reversal of the dry mount by a conservator, so it was mounted in a sink mat with preservation-quality mats and backing.

a layer of dirt and oxidation; the ad-

charge and be consistent.

hesive for the new dust cover sticks

Refitting will probably never be

to that rather than wood, prevent-

any framer’s favorite task. As with

ing adhesion. This can be cleaned

so many other jobs, it is usually eas-

David is the director of education for Franchise Concepts, and the franchisor for Deck The Walls, The Great Frame Up, and Framing and Art Centre stores. He has served in a number of roles in the PPFA including as a member of the International Board of Directors and serves on the Chapter Relations Commitee as well as the Guidelines Task Force. David recently earned a Masters in Mass Communications degree from the University of Florida.

off easily by applying masking tape to the back of the frame, burnishing well, and then removing. The old layer of dirt will peel off with the tape. If it needs additional cleaning, a few swipes with a sanding block will suffice. Solvents are unnecessary and carry the risk of damaging the frame finish.

All this is time consuming because you are doing two jobs; taking everything apart and then putting it back together. To be profitable, you must charge accordingly and have flexibility in pricing. A good start would be a refit charge, equal to one-and-a-half or twice your normal fitting fee. Depending on your pointof-sale software, you may be able to choose a quantity for more complicated jobs. Another option would be an hourly fitting fee so that you can charge in half-hour increments.

Whichever option you choose, make it easy for the person at the design counter to choose the appropriate PFM December 2020 25

DESIGN ELEMENTS:

RHYTHM

By Chris A. Paschke, CPF, GCF, CMG

I

once heard a radio ad that stated, “Select one of our tile designs for your new interior so that any other artwork in the room will never be noticed.” As an artist and custom

framer, that comment really saddened me. For decades, we have been taught to design framing to enhance the art while allowing the art to remain the focal point.

Rhythm is the underlying principle of the universe, like a heartbeat, breathing, or the cycle of the days into seasons.

It surrounds us in most everything we do, hear, and see. Re-

Rhythmic progression is seen here as the moon in the artwork is echoed by increasingly larger circles within the design. Although the V-grooved square creates contrast, as well as a transition from circle to square, it reflects the tension between the moon and mat and visual concentration remains on the image. Photo courtesy of Ray Dwyer

introducing similar patterns, colors, textures, and shapes

whole are visually reproduced in a rhythmic manner, the

within different areas of a frame creates a unified feeling

design will often appear well thought out.

through rhythm, also called repetition. Rhythm is the direct

The metric, mathematical beat of repetition uses the

result of repetition, while repetition is a method used to em-

same visual element multiple times within the same com-

phasize visual units in a marked pattern. Use of repetition

position. The use of the same moulding pattern in various

does not always mean exact duplication, but rather a close

weights, widths, and colors as a stack creates progressive

similarity. Slight variations add interest to a pattern that

repetition between the outer moulding and inner fillet.

could otherwise become visually boring.

TYPES OF RHYTHM There are three basic natural types of rhythm. Repetition is found in a heartbeat; alternation is akin to the ebb and flow of the tide; and progression is a visual transition seen in the growth of a tree trunk into branches. If portions of the

The use of spatial repetition can create an alternating rhythm by a recognizable repetition as one with a visual accent instead of beated similarity. An example of literal alternating rhythm was created between the petal flower and the double line design in the moulding replicated from the artwork. Take care with literal repetition such as this, for in some cases, it might be considered copyright infringement rather than harmless design enhancement.

A sequential change during repetition, as with the size variation between a tree trunk into branches, establishes

CONTENTS

progressive rhythm. Sizes can grow, shapes can evolve from round to octagonal, and colors can gradually fade from gray to green—all these framing elements exemplify a progressive rhythm. Rhythmic progression can be seen in this ex-

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ample as the moon in the artwork is echoed by increasingly larger circles within the design. The V-grooved square creates contrast as well as a transition from circle to square, while visual concentration remains on the image. The gradAn alternating rhythm was created between the four-petal flower and the double-line design in the moulding replicated from the artwork. Frame design courtesy of Universal Arquati 26 PFM December 2020

uated circles visually draw the eye down into the smallest inner circle—the moon—within the print.

sign in the 21'' x 18'' photo of Bigby Bridge on page 27. The scooped pattern of the moulding emulates the arched structure of the actual bridge, tying it together.

COMPLEX RHYTHM Composite complex rhythm uses two or more recurring measures which exist simultaneously as a complex variation with a particular accent. This is the most common type of rhythm found in framing design; this example illustrates complex imaging of the texture, color, and arched motif of the columns replicated in the elaborately created mat. This design by Universal Arquati successfully uses color, texture, intensity, and rhythm in a dynamic presentation. It accomplishes a dominance of one basic visual idea by creating a feeling of an overall harmonious relationship.

A black fillet stacked with a silver frame beautifully picks up the black edging of the gondola in the exterior frame.

The stacked frame seen here uses a high-gloss black lacquer fillet under the frame lip of a silver leaf scoop moulding to add a tactile texture that emulates the feel of a gondola

SIMPLE RHYTHM Dynamic use of rhythm and repetition are frequently found in successful framing designs. Each portion of the design must hold its proper portion of visual dominance or attention, known as emphasis; to get a viewer’s attention, a featured portion needs to be in contrast with its surrounding area. But take care, as too much repetition may also become visually fatiguing and chaotic.

Rhythm may be simple or complex in nature. Both are strong design statements. Simple rhythm involves the repetition of only one portion of a motif found in the artwork for continuity and emphasis. That does not mean it cannot remain a dominant visual element.

A perfect example of simple rhythm is the reintroduction of the pattern from within the art into the frame de-

bow. Though not an exact replica of a pattern in the photo, it uses the essence of the boat design for the reintroduction of rhythm without being a literal copy.

RHYTHM AND TEXTURE Use of texture is another visual form of introducing rhythm into a design. Suede boards are a subtle and profitable way to introduce repetitive textures into the framing. Once reserved for polished, high-end art and framing, suede has a mottled, soft tactile and visual appearance that works well with earthy photos and landscapes. It easily draws the eye into the foggy, brushy landscape helping connect the framing to the image as seen in this example.

“If a customer doesn’t know you have fabrics as an option, then you have already made the decision for them to use traditional mats,” says Alan Yaffe of Peterboro Matboards. “Fabric mats are anything but ordinary. When used correctly, the subtle textures and warmth they add instantly elevate a custom frame from ordinary to spectacular. Fabric

CONTENTS

mats now come in every color imaginable and run the gamut from rustic to contemporary.”

COPYRIGHT VS. TRADEMARK

AD INDEX

Copyright is a form of intellectual property law that protects original artwork. Copyright begins immediately upon completion of the art. The only person allowed to copy or modify that art is the artist, and ownership of the copyright stays The tactile and visual textures of suede boards allows them to work well with high-end, sophisticated period looks as well as mottled landscape photography.

28 PFM December 2020

with the artist even after selling it to a collector. The new owner does not have rights to make prints or sell copies un-

less express permission has been obtained in writing.

Copyright is a form of intellectual property law that protects original artwork. When visual art is created—paintings, drawings, photographs, sculptures, etc.—copyright begins immediately upon completion of the art. The only person allowed to copy or modify that art is the artist, and ownership of the copyright stays with the artist even after selling it to a collector. The new owner does not have rights to make prints or sell copies unless express permission has been obtained in writing.

A logo or trademark is any photograph, word, or symbol used to identify a brand, service, or product. Permission must be obtained to use a logo unless it is for editorial or information purposes. Trademarks differ from copyright in that merely printing someone’s logo doesn’t automatically mean an infringement has occurred, and most logos are not protected by copyright law. Use of repetition and rhythm in design through literal copying and recreating a logo, symbol or tracing can easily cross into copyright infringement even if only used to tie a design together. Finding a familiar rhythm from within is always a better design replication than use of a traced pattern.

Exact replication does not tie a design together and

Bixby Bridge framed with Larson-Juhl 400370 Brimfield Cafe Mocha. The scooped pattern of the moulding emulates the arched structure of the actual bridge, wonderfully tying it together.

cess—meaning, it cannot be added after the fact as though it were something like a dab of paint. In framing, rhythm should become a principle that naturally finds its way into successful designs. It aids in establishing balance, emphasis, and the unity any design should be striving for. PFM

could be illegal. Use of the essence and repetition of a detail from within the art can visually connect the art and framing without being literal. If the desired shape, pattern, or texture were introduced into another frame, would it visually be linked to that specific art? If not, it is simply the repetition of a pattern. But if it stands alone as an identifiable entity such as a logo, marketing symbol, or trademarked item, it could be copyright infringement.

Within art, rhythm cannot be added to an artistic or visual composition. It must be implicit in the process of creation and in the experience of the artist during that pro-

Chris A. Paschke Chris is the owner of Designs Ink in Tehachapi, CA, is a second-generation professional picture framer with over four decades of experience. She is an artist, an educator, and has authored numerous article series, including “The Essence of Design,” “Design Concepts,” and “Digital Directions.” She has authored 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 has been honored with the PPFA Award of Distinction for Leadership 2008, Vivian Kistler Recognition for Innovation Award 2010, and PMA Distinguished Service Award 2012 for her contributions to and education in framing digital imagery.

PFM December 2020 29

SUCCESSFUL RETAILING REAL FRAMING RETAILERS, REAL STORIES

Jay Goltz

Loren Feldman

President and Founder, Goltz Group, Inc.

Chief Content Officer, 21 Hats; Host, The 21 Hats Podcast

This is the fifth in a series of articles from the Breakfast Panel Discussion at the 2020 National Conference. This annual event brings industry experts together to discuss successful approaches to overcoming challenges in the art and framing industry.

Part 5: Finance and Management LOREN: Next we have Jill Warlick, owner of Infantry Gifts

JAY: I’m impressed you can say, “We have the chopper,” and

and Military Frames, to continue our discussion on finance.

you’ve got all five fingers. Because if you’ve ever used a chop-

What’s your story, Jill?

per, which I did 30 years ago, that thing’s a little scary.

JILL: I started out with a photography studio before securing

JILL: We do about 500 frames a month with the chopper.

a contract with the US Army. Now that I was working with my local Army base, I realized I needed to expand my business. I

JAY: Wow.

decided to vertically integrate and become my own framing

CONTENTS

company as well. Once I got into framing, I financed a Wizard

JILL: Yes, it’s time to get a double miter. I’ve been in this

9000Z computerized mat cutter. I love it! I also bought a la-

business about a year and a half, and I’m confident it’s going

ser engraver, which was an important service to offer when

to stick. It’s time to move on from the chopper. Just before I

framing for the military. If you’ve never worked with the mil-

came to this panel, I actually spoke to a finance company

itary, it’s a great market. If you have a base near you, I highly

about my options. I literally called them from the show floor

recommend you try and get some of that business.

and said, “Hey, I want to buy this equipment.” They said, “Let

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I financed (the Wizard cutter) because I learned a long

me know where to send the PO. You’re good.” It was that easy,

time ago to lease things that depreciate and buy things

and then you work out the terms of however long you want

that appreciate. Period. When I first decided to start selling

to pay it for. If you’ve been in business long enough, almost

framing, I spent $5,000 on a chopper, a glass cutter, and an

any finance company will finance a piece of equipment for

underpinner—all used. I still have that chopper. I still have

you at a good rate.

that underpinner. My husband curses it regularly.

30 PFM December 2020

JAY: It’s called a lease, but you’re buying it.

working with my bank primarily for that.

JILL: You’re buying it, but it’s a lease purchase. At the end

JAY: Use the bank for inventory, because no leasing com-

of the lease, you buy it out for $1. There is a finance fee in-

pany has any interest. Nobody has interest in inventory.

volved, but it’s much better than a loan.

For inventory, for cashflow things, you need a bank line. For equipment, you’re doing the smart thing.

JAY: It’s better than a credit card. It’s more money than getting a bank loan. It’s maybe 7-8%?

JILL: My bank line is used for the things I need, and my cash is still where I need it to be.

JILL: Depending on how long you’ve been in business.

JAY: I’m just saying, it’s not terrible. I can go to the bank tomorrow, because I’ve got collateral, and get a 5% loan. This

JAY: Have you taken business classes or anything? You said “vertically integrated,” and that’s a business phrase.

will cost more, but it’s not that much more, and it’s fine.

JILL: I “grew up” in manufacturing, if you will.

JILL: It depends; 6-7%, somewhere in there.

JAY: Vertically integrated means you buy down the buying chain. You buy something that you used to have made some-

JAY: Finance companies exist because they’re not as strin-

where else. If you start out buying pencils, for example, you’d

gent as the bank, and they get a few extra points, and it’s

buy a pencil factory, and then you’d buy a forest.

fine. It’s well worth it, because the thing pays for itself.

JILL: I set it up so I could sell any modular part of my busi-

JILL: It pays, yeah. We decided to go that route because I’m

ness at any time, depending on what I want, without affect-

growing yet another business at the same time, and I’m

ing the other pieces of the business.

PFM December 2020 31

JAY: Excellent.

CARL: Yeah, kind of! So, you have to talk to a lawyer and

LOREN: That was great! Thank you. Talking about finance,

get a handbook started. Then you’ve got to read it and edit it,

you mentioned that you can get a bank loan, you have col-

and for me, five years passed. I hadn’t finished the employ-

lateral. You’ve been in business 41 years, Jay. Do you still use

ee handbook. Then, we had some really big challenges with

your house as collateral?

some employees, and...

JAY: Yeah, sure. All in. I have to tell you, people who think,

JAY: We can call them problems. Let’s just say that.

“Oh, I’ve got a bank. I’ve been using them for years.” The reason you get a loan is because they have the equipment. If

CARL: We hired a company consultant to help us through

you think you’re going to walk into the bank and go, “Hey,

these personnel problems. We’d have problems with em-

Bob! How’re you doing? Can you—?” No. They’re going to say,

ployees, and I’d call the consultant and say, “Ugh, they just

“Do you have any equity in your house?” They want equi-

did this thing, and I want to get rid of them.” The consultant

ty, because for a lousy 5% loan, they can’t take a lot of risk.

would say, “Did you talk to them? Did they see the employee

That’s why leasing is such a good thing.

handbook?” I told her I hadn’t finished the handbook yet.

She goes, “Well, you have to finish your handbook, and you

LOREN: Does your wife know you borrow against the

have to set the rules down. You have to do write-ups if you

house?

have a problem with somebody. You have to have a meeting and write it up.”

JAY: My wife doesn’t know I’m even here! I don’t bother her with details. She’s living a nice life, and that’s all good.

JAY: Document, document.

LOREN: For our final segment, we’re going to talk to a few

CARL: Document. California’s litigious. A lot of it’s protect-

other retailers about management.

ing against lawsuits, just in case. Most people aren’t going to sue you, but if you have a successful business, you have to

CARL: I’m Carl Martin. I run a studio shop gallery and studio shop annex in Burlingame, CA, by San Francisco.

protect yourself against getting sued.

JAY: Just to be clear, it’s not just the lawsuits. It’s the gov-

GLENN: My name’s Glenn Vardy. I’m from Frames Now in

ernment. They don’t have to sue you. They can just go to the

northern Australia. We’ve got some retail stores. We also do

governmental agency, especially in California. Now you’re

wholesale and fulfillment for online businesses.

got the Department of Whatever going after you. They don’t even have to spend a dime for a lawyer.

LOREN: Tell us about your management evolution. What have you figured out?

Carl: Right. There’s an Employment Development Department in California.

CONTENTS

CARL: I have eight employees. The biggest thing we’ve done

When you have a problem with an employee, you’re

was to create a personnel handbook and standard operating

supposed to document what happened and have them

procedures, which I learned in a class here about 10 years

sign it. It goes in the file. We started doing that and we also

ago. Making a personnel handbook is really hard. You have

finished the employee handbook. I then had everyone sign

to go to lawyers and get legalese to cover all the state em-

a release stating that they had read the handbook. All my

ployment laws in your state and federal employment stuff.

employees are considered at-will, which means you can

AD INDEX

hire or fire at any time. It’s important to be really clear with

JAY: What state are you in?

the employee that it’s not a contract.

Once we had all the employee handbooks signed by

CARL: California.

staff, when we kept having problems, the consultant said, “Now you can let them go.” It’s a lot of paperwork. We also

JAY: You need a lawyer on staff, probably, for California.

32 PFM December 2020

kept making the SOPs. For so many things in our store,

whether it’s how to sell a frame job, how to enter stuff into

plexity of custom framing, we need to be able to detail that

FrameReady, an opening procedure, a closing procedure,

in a way to send to somebody else to do.

we write SOPs. I started out doing all of them myself. Then I learned I can have other people do it. I can delegate. Oh,

LOREN: Who do you outsource it to?

you want a new opening procedure? Hey Joe, why don’t you do that? Staff become invested in the procedures in

GLENN: A company called Chamton. They do a wholesale

your shop if you’re having them write the procedures. We

fulfillment, but then the price is reasonably aggressive, so

keep all of it in Google Docs so it’s available to all our staff

we in turn get to re-wholesale that back. If I think about my

on any device.

journey and some of the things I’ve been faced with over the course of growing my business, I’ve definitely dealt

JAY: The person you fired, Carl, is now working in another

with people not turning up, all of that. Another highlight

frame shop, aren’t they? (To the audience) They’re probably

would be that someone was charged for theft.

working for you. Do you know why they’re working for you?

Because you didn’t call Carl for a reference.

Earlier this week, I went to Zappo’s shoe store around the corner here. They’re very big on their recruitment and training, and certainly training is something that we take

CARL: No one ever called us for a reference.

incredibly seriously. If you get a job there, you spend your first four weeks working in their call center. It doesn’t mat-

JAY: There you go. No one calls for references. I want you all

ter what level of job you’ve got; even if you’re CFO, you do

to get this: his employee that he went through so much trou-

four weeks of call center training. At the end of four weeks,

ble to get rid of, that was probably borderline a nightmare,

they then ask you if you want to stay; and if you don’t want

he fired them, and they went to somebody else. They’re

to stay, they will pay you four weeks’ salary to leave at that

working in a frame shop right now, driving that boss crazy

point. They say from that point on, they’re going to invest

or screwing up their business. That’s how it goes.

more in you. It’s actually cheaper for them just to pay you for four weeks and call it quits at that point. Then, if the

CARL: Also, in California, if they do call for a reference, I

call center is actually where you’ll be working, you do an-

can’t say anything other than, “Yes, they worked here.” What

other four weeks of training.

were the dates? What was their job title? That’s about it. If I

Training is really strong in that business. Looking at

call for a reference, you either get, “Oh, they’re great,” or you

my own retail sales, if we took our bottom person and our

get, “Yeah, they worked here.” You read between the lines.

top person and looked at their average sales, and we mon-

You can tell what’s going on.

itor those on a weekly and monthly basis, there’s double the difference in what those people’s average sale is. If

JAY: You gave a perfect example of proper management,

everybody sold what the top guy was selling, we’d all be

thank you. This is what we’re supposed to be doing. Employ-

driving Ferraris. If everybody sold what the bottom person

ee handbooks: how many days off do you get? What hap-

was selling, we would be out of business. The bottom per-

pens when you’re late? How many lates do you get before

son’s new, and they’re learning, but that training—which

you’re written up, suspended? I know it sounds boring, but

includes mentoring, procedure manuals, and online re-

trust me, it’s easier doing that than dealing with the afteref-

sources—is absolutely critical, whether you’ve got two em-

fects of having an out-of-control business with people you

ployees or 150.

can’t manage.

JAY: Excellent. You gave some great examples of everyday LOREN: What’s it like in Melbourne, Glenn? Does this res-

management. The answer is yes, it takes a little energy, but

onate with you?

at the end of the day, you have a nice, well-running machine.

And then when you decide to get out of business, you actu-

GLENN: Definitely. In our business, we’ve got 40 people.

ally have a business worth selling. Little pain, lot of gain.

When I say we’ve got 40 people, we don’t do any framing. We

I think we’re out of time. Thank you to everyone who

actually outsource all our framing. That actually throws an-

attended and participated in this panel, and thanks for

other management thing up; if you think about all the com-

coming to the show. We will see you next year. PFM PFM December 2020 33

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

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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

Distributor Spotlight

Quality Saw & Knife is now part of Connecticut Saw & Tool. Contact us for all your picture framing saw blade and sharpening needs. www.ctsaw.com info@ctsaw.com

800-404-1220

CONTENTS AD INDEX 36 PFM December 2020

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Style

BEST OF PFM

SNAPSHOT

By Robert Kulicke

Madonna and Child

T

he fifteenth-century French Madonna and Child in the Frick Collection is a wonderful example of late Gothic art. The frame

is a carved-wood, gilded version of a contemporary church window as viewed from the outside.

The panel and frame were made as one

piece; carved, gilded, and punch-decorated to the painter’s design before he began his painting. An extraordinary thing about this small masterpiece is that the frame is not made from four pieces of joined moulding, as would seem reasonable and logical, but is carved entirely from one thick block of wood. That means the top and bottom sections of this frame are mostly carved on the end grain, a carver’s nightmare requiring enormous skill and patience.

While studying this frame at the Frick Collection with my master carver Miles Karpilow, he observed, “That surely is the hard way to prevent the corner joints from cracking.” A private joke between frame makers, yet after further thought, it was the only reason we could come up with for carving it from one block of wood.

I know of a few other one-piece frames, though none as beautiful. Every time I recognize

CONTENTS

one in a museum I am, as an ex-frame carver, so filled with admiration and sympathy for the unknown master who wrought such a marvel that I want to stop passersby that just glace at it

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and say loudly, “Come back here, you! I want you to know what you’re ignoring!”

PFM

This text appeared in its original format in A History of Frames, a special supplement to PFM written by Robert Kulicke.

38 PFM December 2020

French, Probably Burgundian, Virgin and Child, ca.

1390−1400, Oil and tempera on panel, Image: 8 УМ× 5 УМ. The Frick Collection, New York. Photo: Michael Bodycomb

Index Advertiser

Page

Active Sales ........................................................................15, 36 800-937-2255

www.activesalesco.com

Advertiser

Page

Gluefast Company ....................................................................36 800-242-7318

www.gluefast.com

Alpina Manufacturing, LLC ........................................................37 800-915-2828

www.fastchangeframes.com /www.bannergrip.com

Arlo Spacemaker Products, LLC..................................................25 800-332-2756

www.reevesextruded.com

Artist Supplies & Products..........................................................36 262-797-8101

www.gilderspaste.com

Hoffmann Machine Company ....................................................36 866-248-0100

www.hoffmann-usa.com

Jack Richeson & Co. ..................................................................36 800-233-2404

www.richesonart.com

ASF - A Street Frames ...............................................................36

Join Rite ...................................................................................37

800-805-7655

508-454-7477

www.astreetframes.com

Capax-Frame It ........................................................................23 800-942-2729

www.capax.com

www.joinrite.com

Michelangelo Moulding .............................................................11

CMI Moulding ...........................................................................36

877-422-8812

301-476-7440

Picture Framing Magazine...............................................9, 21, 27

www.cmimoulding.com

Connecticut Saw & Tool .............................................................36 203-318-4302

www.ctsaw.com

800-969-7176

www.michelangelomoulding.com

www.pictureframingmagazine.com

Decor Moulding & Supply ..................................17, 29, 31, 35, 37

Superior Moulding Corp. ...........................................................36

800-937-1055

800-922-7914

www.decormoulding.com

Fixons ......................................................................................36 714-526-3455

www.fixons.com

Foster Planing Mill ....................................................................36 323-759-9156

www.fosterplaningmill.com

Framerica............................................ 2, 3, 4, 23, 29, 35, 37, 40 800-372-6422

Tru Vue ......................................................................................7 800-621-8339

www.tru-vue.com

Universal Arquati ........................................................................5 800-668-3627

www.universalarquati.com

www.framerica.com

FrameTek .................................................................................36 800-227-9934

www.supermoulding.com/www.zelanto.com

www.frametek.com

Wizard International .................................................................13 888-855-3335

www.wizardint.com

PFM December 2020 39