Picture Framing Magazine - February 2020

PERFECT GALLERY WALLS CREATIVE MAT DESIGNS

Contents

PFM is a member of:

Volume 31, Number 2

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

On the Cover Gallery walls continue to be a popular option in today's stylish homes and businesses.

In this issue, Meg Glasgow, owner of Finer Frames in Eagle, ID, shares her tips on how to build the perfect gallery wall for your framing customers. For the full story, see page 28.

Features 16 Fitting Table Efficiencies 20 Creative Mat Designs 28 Building a Gallery Wall

20

Columns 12 Mat Doctors 24 Mounting Methods 38 Style Snapshot

Departments 8 10 32 33 34 36 37

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

28

24

38

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

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

CONTRIBUTORS

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

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

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CONTENTS

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PFM PUBLISHING, LLC PRE S I D E N T

6 PFM February 2020

Bruce Gherman

FROM THE EDITOR’S DESK

W

Shake off the winter doldrums by learning to master some creative matting techniques.

Selling them in your shop will set you apart.

CONTENTS AD INDEX 8 PFM February 2020

hether you have found yourself snowed in several times already this season or not, there is something about the winter that can make us yearn for a new challenge to invigorate us amid the post-holiday peacefulness. It’s the perfect time to create projects that can hang on your wall to inspire your customers.

If you’re itching to do something creative, let our writers inspire you this month. This issue focuses on creative mats and matting, and showcases some beautiful techniques and designs you could add to your own repertiore.

In “Creative Mat Designs” (page 20), Don Strouf takes an in-depth look at four different framing projects that wowed his clients. All four have something in common: matting that takes the entire project to the next level. As you’ll see, everything from an original photograph to a coffee shop’s rewards card can be turned into a stunning framed piece for your customers. It may be what wins you repeat business!

In his latest Mat Doctors column (page 12), Brian Wolf shows you how to create a single, continuous curve over multiple openings using your

computerized mat cutter. The technique is a fun way to add romance and softness to a multi-opening mat design and break away from the standard “egg crate” look typical of a row of openings. To bring the design to life, take advantage of your design program to its fullest, then add a final touch of flair in your drawing program.

Once you’ve got your beautifully matted, framed pieces, why not offer to curate a gallery-style wall arrangement for a stylish customer? In her latest article (page 28), Meg Glasgow explains the principles of creating a picture-perfect gallery wall in your client’s home or business. She also wisely suggests offering installation services if at all possible to boost your profits and your customers’ overall experience. In that scenario, everybody wins—and that’s the ultimate goal for 2020!

Kimberly Biesiada Editor

INDUSTRY NEWS A.C. Moore to Close Its Stores; Some Will Become Michaels, Reopening Throughout This Year

Framerica’s Scott Aug Celebrates Decade Milestone Scott Aug, supervisor of Framerica’s expand-

Arts and crafts retail chain A.C. Moore will close its 145 stores,

ing strategic logistics program, recently cele-

and a portion of them will become Michaels, its parent company

brated 10 years at the company.

Nicole Crafts said in a recent release.

“Scott is a smart and dedicated leader,”

The 34-year-old, New Jersey-based company’s stores are

notes Framerica VP Jay Van Vechten. “He

largely located across the East Coast. A.C. Moore CEO Anthony Piperno said in the release that it was “very difficult for us to operate and compete on a national level.”

does a terrific job.”

Lauren Monte Scott Aug

For more information, call 800-3726422 or visit www.framerica.com.

“For over 30 years, our stores have been servicing the creative community with a vast selection of art and craft materials,

Wendy Sawyer Retires from SmallCorp

with one common focus: the customer,” Piperno said. “During

After nearly 25 years in SmallCorp’s customer service depart-

this process, we will continue to provide great customer ex-

ment, Wendy Sawyer retired from her position at the end of

perience while still delivering quality and value on your favorite

2019.

products.”

Sawyer started at

A.C. Moore’s website stopped accepting orders on Nov.

SmallCorp in 1996, hav-

25, 2019. Previous orders were not impacted by the closing.

ing previously worked at

The company is directing consumers to its website for informa-

the Franklin County Arts

tion about specific store closure sales. Additionally, the retailer

Council (now Artspace)

stopped accepting custom framing orders as of Tuesday, Jan.

as part-time administra-

14, 2020, according to its website.

tor. Her unique blend of

Up to 40 of A.C. Moore’s stores and a distribution facili-

experience, knowledge,

ty will be acquired by former competitor Michaels, which sells

sense of humor, and

similar products. The affected stores will be reopened under the

urgency to get things

new brand this year. The transaction will help grow Michaels’

done quickly made her a focal point in the office and the shop,

footprint to roughly 1,300 stores in 49 states.

according to the company.

Wendy Sawyer (left) has retired from SmallCorp

Michaels CEO Mark Cosby said that the transaction “en-

“She will be sorely missed by our customers and our staff,”

ables us to further expand our presence in strategic markets

says Mike Dunphy, sales and marketing manager. “Her incredi-

and serve even more customers both online and in store. We

ble knowledge of our industry, our customers, and our capabili-

are looking forward to re-opening these stores under the Mi-

ties are irreplaceable. Even after sitting next to her for nearly 10

chaels name in 2020 and welcoming new team members.”

years, I learn new things from her almost every day.”

For more information about in-store sales and closures, visit www.acmoore.com.

Universal Arquati Hires New Sales Representative Marsha Stollar recently joined the Universal

Easy Leaf, Framing Fabrics Launch New E-Commerce Sites with No Minimum Order Requirements

Arquati team as a sales representative for Northern California and Northern Nevada.

Easy Leaf Products and Framing Fabrics recently an-

Many customers will already know

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nounced the launch of two new e-commerce websites,

Stollar by way of her 20 years in the picture

www.easyleafproducts.com and www.framingfabrics.com.

All genuine gold leaf, imitation metal leaf, and related products on Easy Leaf’s site are being offered with no minimum or-

AD INDEX

der requirement. There is also no minimum order requirement on the selection of fabrics and other products on the Framing Fabrics site. All orders are shipped within 24 hours of receipt.

Both brands have served picture framers for over 35 years.

For more information, visit the new websites or call 800-5695323 (Easy Leaf) or 800-832-2742 (Framing Fabrics).

10 PFM February 2020

framing market, gaining solid experience in Marsha Stollar

both wholesale and retail sectors. She has a well-founded reputation for her outstanding

dedication and she prides herself on building long-term, positive, professional relationships, the company says.

Stollar can be contacted by email at marsha@universalarquati.com or on her cell phone at 650-224-6808. PFM

THE MAT DOCTORS

By Brian Wolf, CPF, GCF

Sharing a Curve Take advantage of your design program to bring ideas to life.

I

t is a worthwhile idea for framers to keep experimenting to develop new formulas for multiple opening ar-

rangements. This idea for a single continuous curve across a row of openings takes a few steps in the drawing program, but it is a way to break away from the mechanical egg crate look that is typical for a row of open-

two clicks. It is even easier in the design pro-

ings. Now and again a touch of softness is

gram to add layers, change the size, adjust

necessary to advance the story behind the

the curve, snap it into position, and to visual-

pictures.

ize the progress of the design.

In the Wizard program, this shape is tem-

The Process in the Design Program

plate 302. It has a parameter that controls the

Design and arrange the three openings. In this

artistic choice. In this example, it is set to 1

example, the small openings at the sides are

3/4”. The opening’s width is 20”. The arch top

the same size. All the openings are 5/8” apart.

opening has two layers, and the reveal size

Set the borders and the outside size as if the

matches the three rectangular openings.

arc height. The setting of the arc height is an

mat was it was ready to cut.

This may seem strange because only the

Positioning the Arch Top Opening

arch itself will remain in the final design and

This process works best when all three rectan-

it will be broken into pieces to make new

gular openings are inside the arch top open-

tops for the rectangular openings. How much

ing, so make it an inch taller and wider than

more direct would it be to simply draw the

the outside boundary of the three openings.

Add an arch top opening to the design.

CONTENTS

necessary arcs in the drawing program?

Center the arch top opening horizontally

But an opening is easy to add in the de-

and snap its top center point to the top center

sign program. Template shapes appear with

point of the large opening. This is a good time

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 February 2020

However orderly three openings lined up may be, there are projects that will benefit from the romance of curves.

Breaking an arch across these three openings is one idea of introducing curves. There is a step of prep work in the design program and a little work in the drawing program to finish the project.

1 In the design program, it is easy to add, change, and position openings. Arrange the three rectangular openings. Add the arc top opening, centered across them. It is behind the rectangular openings in the illustration so that it is easier to see that the large rectangular opening is snapped to the top of the arc, and the small openings’ top inner corners are slightly above the arc. The further alterations must be made in the drawing program.

In the drawing program, it is easier to see the arch top opening and its positioning with the rectangular openings. All the overlapping shapes are now broken at their intersections. The arrow points to a white angled line at the top left. It is highlighted and next to be deleted. Delete all the unwanted broken pieces to see better which pieces must be joined to form the new shapes.

to assess and adjust the size of the curve.

Move the small side openings down so that their top inside corners are fractionally above the arc. A slight amount of the image will be lost, but the diagonal arc across the top in the final design will crop much more.

Certainly, images were chosen for this project where a little cropping is harmless, if not helpful.

2

The Process in the Drawing Program Send the design to the drawing program. The first step here is to break the arc into the pieces that will be the new tops for the three openings.

There are several drawing functions that would do

All the unwanted pieces at the three left corners have been deleted.

The final shapes can be easily visualized now. Remember that each opening is two layers, and each layer’s top needs to be reshaped with a curve. The arrow points to one of the dozen broken pieces at the right still to be deleted.

this. Use your favorite, but breaking the intersections is the most direct. In fact, there is a button in the Wizard program that will break all the intersections in the drawing with one click. Usually this is inadvisable, but for this project, it will be ideal.

After all the intersections are broken, there will be a dozen broken pieces at the top of each opening that need to be deleted. This is not vital, but the clutter makes it difficult to see exactly which pieces need to be joined to

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3

form the final shapes.

Next, join the segments to form the new openings.

These are two-layer openings, so both layers of each opening will need to be joined. In the Wizard program,

AD INDEX

the new shapes will turn black when the segments are joined and closed.

After all the pieces are joined into the new shapes, the project looks complete. The one final step, though, is to assign cutting instructions to each shape. Every program is different, but each shape needs a bevel type, a 14 PFM February 2020

The segments of the two openings on the left have been joined to form the black shapes. Next the segments of the third opening will be joined, and the shapes will be ready for cutting instructions

layer, and a starting point assigned before it can be cut.

Once the cutting instructions are complete, cut the mat and finish the project.

It is easy to forget drawing program embellishments for multiple opening designs. It seems that there is al-

THE SCOOP ON CMCS

4 Every program has a different process for assigning cutting instructions. The arrow at the bottom of the left opening shows the starting point of the cut for that shape. Here all the bevels have been set in the Wizard program. The bright blue shapes are set to cut on the top layer. The faint blue shapes are set to cut on the bottom layer.

ready enough effort expended in the arrangement, and drawing projects have a reputation for absorbing inordinate amounts of time. But this project is a practical lesson about using the drawing program as just another tool to make final alterations. Remember, to bring ideas to life, do everything you can in the design program, where so many things are easy. Then do only what you must in the

It’s a great time to shop for a computerized mat cutter. CMCs on the market today are better, faster, and smarter than ever, and models are available at different price points to suit a one-person frame shop, a high-production business, and everything in between.

As you consider investing in a CMC for the first time or purchasing a new model to upgrade your current one, it’s a good idea to take an analytical look at your specific situation. How many mats do you cut per day? What CMC capabilities are you most interested in—complex cuts?

Multiple opening windows? Once you know what you have and what you’re looking for, compare the leading brands and shop around for a machine with the perfect specifications for you. The leading drawing software programs are versatile and easy-to-use across the board.

No matter what model you choose, your CMC will pay for itself in no time.

drawing program, to make it unique. PFM

PFM PFM Subscriptions Subscriptions • Renew Your Subscriptions • Make Address Changes • Contact Customer Service

Manage your account online!

Whether you’re signing up for the first time or making a change.

http://www.pfmsub.com/Renew PFM February 2020 15

FITTING TABLE EFFICIENCIES

By John Ranes II, CPF, GCF

O

ne of the most important areas of any framing

ting components within immediate reach is paramount

business—and often one of the most seldom

to efficiency, but it is also important to have those sec-

discussed—is the fitting table. It is where time

ondary tools and parts nearby and easy to grab as well.

is saved, procedures are improved, and perhaps where

Having a “home” for both the immediate and secondary

the most errors are made! When framers go on vaca-

items requires some organization and good housekeep-

tion and happen to visit another framer’s shop, it is

ing skills. Some framers will have dedicated places with

the “mystery” of their backroom that is oh-so-enticing

hooks and clearly labeled on the sides of their fitting ta-

and interesting to see. Not many readers of this pub-

ble. Others will utilize tabletop caddies to store tools and

lication will deny that they haven’t asked permission

hardware directly on the fitting table.

to see what goes on behind the scenes in someone

I recently put together a poll on a popular online

else’s frame shop! If permitted to take a peek behind

framers’ forum asking what framers would classify as

the wall, in addition to comparing layouts and perhaps

their must-have tools at the fitting table. It will come

what equipment is used, framers should observe the

as no surprise that rulers/tape measures and wire cut-

other procedures and note that often, the key to back-

ters ranked among respondents’ top five must-haves.

room efficiency lies in the details in and around the

Taking last-minute measurements of empty frames,

fitting table.

art, and glass makes all sorts of sense in minimizing small measurement errors, and wire cutters might be

TOOLS AT HAND

one of the most commonly used tools, period; not just

Having your most frequently used hand tools and fit-

for cutting wire, but also for removing framer’s points and V-nails from a rail to an incomplete frame. (A dedicated pair for this function saves on the wire-cutting capability of the other pairs!)

Also making many people’s top five was a cutting device of some sort, whether that be a utility knife, scalpel, or just a plain razor blade. I guess sometimes, simple tools do the trick! Rounding out the top five an-

CONTENTS

swers (and certainly I would rank these as indispensable) were an ATG gun and a power drill/screwdriver.

It’s also important to have secondary storage for all the other tools and components you need to keep nearby, such as hanging hardware. Whether you are a

AD INDEX

one-person shop or have a large staff, having quick acThis utility tray with a built-in lazy Susan can hold a variety of hand tools at arm’s length, while the small compartments below can hold D-rings, screws, framer’s points, and any other miscellaneous hardware you might want to have nearby.

16 PFM February 2020

cess is efficient both in time and money. I recommend investing in clear, stackable tilt bins for this purpose.

Make sure they are large enough to hold adequate amounts of your supplies and still allow room for label-

When every tool has a place, the job at hand is that much easier. This fitting table shared by Troy Veluz is well thought out, where each tool has a labeled home.

ing. For large framing projects, the bins can be removed and brought to the fitting table for convenience.

FITTING TABLE SURFACES For years, many framers would cover their fitting tables with carpet in search of a soft-yet-firm surface to work on. Unfortunately, carpet can harbor glass shards and debris even when vacuumed daily. They can also be a bit abrasive (synthetic) and perhaps a bit too soft for some people’s liking.

Many framers have moved away from solely using carpeting and carpet squares in search of a cleaner surface. One tactic is to cover the carpet with layers of bedsheets or another material that can be removed and cleaned. Some other creative ideas I’ve heard to achieve the right balance of firmness, softness, and ease of cleaning include padded tablecloths, moving blankets, and theatre backdrop fabric. One of the more popular materials used for this purpose today Is Coroplast. This fluted, corrugated poly material is easy to keep clean, has some give to it while still being firm, and shows dirt and debris easily. (Some prefer black Coroplast for this reason.) Two other creative materials

The side storage and tiered area on this fitting table provides small storage areas and helps keep the fitting surface clean and clear of additional items and clutter. Photo courtesy of Rick Granick

PFM February 2020 17

These Tilt-Bins can easily be removed when necessary and brought to the fitting table when quantity needs to be immediately at hand.

are vinyl flooring and rolled foam (packing material from U-Line). Many framers see this material in incoming deliveries protecting frame chops during transit.

I prefer to use oversized bath towels draped across a laminated table. Similar to Coroplast, the cotton material of the towel has a small amount of cushion to it, and it is very non-abrasive. It conveniently can be shaken clean Labeled for easy identification and reordering, these Tip Bins can be stacked and mounted in a variety of places. They are also offered in a variety of sizes. In this picture, you will see backup inventory of fitting components are stored alongside lesser-used fitting alternatives.

CONTENTS AD INDEX 18 PFM February 2020

of debris from time to time and can be laundered as frequently as necessary.

Finally, here are some general tips on keeping that

fitting area working at full efficiency: • Keep things organized by insisting that your staff and yourself adhere to putting all tools away following a project. Good habits beget good habits.

• Label the back side of all storage containers of fitting components with the item ID number or a torn package sample; this makes reordering easier. Also include the vendor’s information.

• Many framers recommend keeping a small Dyson cordless vacuum on hand for quick, easy cleanup of debris.

These newer, smaller, more powerful portable drills make life easy at the fitting table. Also within this image you will see a variety of Fletcher Business Group fitting guns and some wire caddies.

• If planning a new workshop, keep the glass rack storage and the glass cutter within steps of the fitting table. This will not only increase efficiency, but also prevent accidents.

• Rather than having your backup supply of tape, glue, nails, and more scattered in various places, consider a single large, metal supply cabinet. When all backup inventory is in one place, it is easier not to find yourself out of stock; when reordering, you are examining the entire inventory in one visual sweep. PFM

John Ranes, CPF, GCF John is a highly respected instructor of workshops and seminars worldwide. John teaches for The National Conference and the PPFA and consults for The Fletcher-Terry Company and Tru Vue. John has served as a PPFA Chapter officer on two Midwest chapters as well as a director on the National PPFA Board. John was awarded the PPFA Lifetime Achievement Award in January 2015.

John, with his wife, Sarah, own The Frame Workshop of Appleton, a frame shop and gallery in Appleton, WI. Established in 1978, their shop has won more than 100 framing awards, including two successive awards from the Fine Art Trade Guild in the UK as well as a National Australian Framing Competition award.

PFM February 2020 19

CREATIVE MAT DESIGNS

By Don Strouf

F

ellow picture framers, along with a few customers now and then, have asked me the same question: “How do you come up with your designs?”

Everyone wants to know what the process is so they can duplicate it with their customers. It’s a simple question, and it has a simple answer—I ask questions!

First and foremost, I try to have great customer service. From the time the customer enters my store to the day they pick up their project and beyond, they become like family.

I also ask a lot of questions. I think it is extremely important to get to know your customers on a personal level. I like to find out where they’re from, what brought them into my store, and most importantly, what the story is behind the artwork they brought in for framing. I start out by complimenting them on the piece—because remember, the value of art is not just monetary, it’s also sentimental. I find that most of my customers are bringing in art that they bought when on a vacation or music posters from a concert they attended. Sometimes it is artwork from a friend or family member that either made it for them or gave it to them as a present. All this information is crucial when picking out the proper fram-

CONTENTS

ing for a piece of art.

Let’s explore a few examples of creative uses of matting when designing a framed piece for your customer.

A POLICE CAPTAIN’S COIN AD INDEX

A customer belonging to the University of Oregon Police Department came in one day with a coin in his hand.

This type of coin is called a challenge coin, and members of the military and police force trade them with other units as a sign of respect (they are also used for 20 PFM February 2020

Great framing shouldn’t be reserved for great artwork. Even a coffee shop’s rewards card can become a conversation piece (p. 24).

awards). This customer had intended to visit the local trophy/awards store and get a wooden plaque with the coin glued to it and engraved words. But before he got there, he heard that I might be able to create a more special and unique design. Luckily, we are in a whole new world of custom framing since I started 34 years ago; to create something unique back then took finding the one person who could master the “dreaded oval cutter!”

Before we talked about design possibilities, I asked my customer who he was giving this coin to and what the meaning was behind it. I don’t usually ask about a budget at this point in the consultation; it can sometimes be a good idea to do so, as you can end up wasting a lot of valuable time designing something they cannot afford.

I always have samples hanging in my shop to show off different design techniques. In this case, I didn’t have a clue offhand what I could design for them. While showing the police captain around the store, I was able to get an idea of what he liked, what was important, and what was not important. As a new customer, he was a little apprehensive about just letting me do my own thing. However, by asking questions and telling him a little about me and my shop, he was willing to give me some artistic license as I designed the piece.

I asked him if he had an extra patch that I could use

in the design, and he brought one in later that day, along

I am happy to report that what was once a first-time

with names and other information for the piece. He was

customer has evolved into a regular client. He has since

anxious to see what I would come up with. So was I—did

brought in a box of coins and patches for me to have on

I mention I had four days to complete it?

hand for future framing projects, and when he wants

There is nothing wrong with simple framing some-

something done, he sends me a text with a due date and

times; I frequently tell my customers that for certain

all relevant information and gives me free reign with the

pieces, simpler is better. With this one, however, I felt

creative aspects of the design. Every time he picks up a

that it needed to have that “wow” factor, as I could see

piece, I always get the “wow!”

this customer turning into a repeat visitor over time.

Armed with a coin, a patch, and some writing, I set to

A FLYING DUCK

work creating a design that would satisfy myself and my

I once had a customer bring in a rather straightforward

customer.

framing job: a photo of a flying duck. He explained that

I took a photo of the patch and traced it in CorelDraw (the software I use to create shapes for computer-

he took the photo and wanted to hang it in his office, but also wanted it to be a conversation piece.

ized mat cutting), then turned the shape into a clip art

He had seen some of my creative sports pieces, but

file I could use with my Valiani Mat Pro Ultra. I measured

not being a sports fan, he said he still wanted to have

the coin and entered its size into the program, then en-

something special done on this piece. It took me a day

tered all the wording that was given to me by the cus-

or two to come up with the design. I didn’t want to de-

tomer. Sometimes finding the right font is the biggest challenge; I want to use something that is easy to read, but with a little more flair than Arial or Times New Roman.

With this particular piece, it was a no-brainer to incorporate the State of Oregon shape into the framing.

Once I had everything inputted to the CMC program, I started moving the shapes and writing around until the design looked cohesive. This is actually the part I love the most about the design process. Having a CMC allows me to shape objects into others with clicks of a button.

I have also found that when the writing is right on the matting instead of a metal nameplate, it gives it a more personal touch, and customers have said that it makes them feel like they have a one-of-a-kind piece that was made just for them. Most of the time, what I have in my head as a design going into it is not what the final piece looks like.

The top mat I used is Crescent #5598 Etched Black, and the inside of the state shape is Crescent #9599 After Dark. Using a shiny mat with a matte finish mat creates some dimension and texture. Using a brush tip pen, I colored the core of the mats blue to go with the police theme. Spacing the pieces up from the bottom mat gave it some depth to add to the “wow factor.”

After presenting this design to the police captain,

A police officer’s challenge coin and patch were showcased with this eye-catching mat design that utilizes the shape of the State of Oregon (cut on a CMC).

This piece turned a one-time customer into a repeat client!

PFM February 2020 21

I traced the coffee company’s logo in CorelDraw and, using my CMC, drew the design onto the mat along with lettering. I attached the card on another piece of matboard and floated it on the back mat. When the customer picked it up, he insisted on paying more because he thought it was the best thing he had ever seen!

A RETIREMENT GIFT Our local parks and recreation company wanted to give a framed piece for a retirement gift for the local city manager. However, they didn’t have anything to frame other than words. I’ve done other pieces for them in the past, but they always had some art to go with them. Giving me only two days to come up with something, I quickly put This simple photo of a duck was enhanced with creative mat design. “Grass” and “cattails” add dimension and visual interest.

my thinking cap on.

tract from the photo itself, so I thought maybe I could

and printed them out. Creating a collage of photos in the

enhance it a little with the matting. By adding the cattails

middle gave it that little extra touch that was needed. I

and grass clip art into the mat, it gave it the 3D look I was

also printed out the logo and trimmed it to fit a small

going for. The customer was blown away when he picked

matboard piece. Again, floating pieces within the matting

it up!

gives it more depth. The city manager’s response when

A COFFEE REWARD CARD

I pulled some images of local areas off the internet

he received it? “This isn’t an award, this is a piece of art!”

My advice for getting these kinds of responses are to

Sometimes custom framing can be really fun. A local cof-

ask a lot of questions, give great customer service, and be

fee drive-thru gives customers a stamp on their rewards

creative, because the world of custom framing is compet-

card for every coffee they buy—get 10 stamps and the

itive and always changing. PFM

11th is free! A customer of mine said his wife was always stealing his filled-up cards, so he wanted me to frame one

Don Strouf

of the cards so she couldn’t cash it in. Since this was a

Don has over 34 years of experience in the custom framing business and owns his own shop, Ducko’s Custom Framing 2.0, in Springfield, OR. Starting out cutting mats on a C&H table top mat cutter, over the years he has advanced to hand carving designs and has taken mat cutting to a whole new level with the Valiani Mat Pro Ultra.

prank, my customer wasn’t looking to spend a lot of money and wanted a simple, small frame around the card. I told him I would only charge him for a simple frame if he’d let me have a little fun with the design.

CONTENTS AD INDEX 22 PFM February 2020

MASTERING MOUNTING

by Chris A. Paschke, CPF, GCF, CMG

Brass and Stone Rubbings How to safely mount and frame one of the oldest print techniques.

R

ubbing, one of the oldest techniques used

in

printmaking, is

created

by carefully pressing paper onto a

carved or incised surface so that the paper conforms to replicate the features on the original.

The paper is then inked as the raised surface areas become colored, while indented areas remain white. Rubbings of graphite, charcoal, chalk, wax, and ink have been pulled from brass plates, stone carvings, monuments, and fish for centuries. Japanese fishermen used rubbings to record the size of the various fish they caught while Buddhist texts were rubbed from wooden blocks in Japan as early as 8th century AD. The

CONTENTS

archaeological petroglyph from Sweden shown here illustrates the rubbing of the raised background to show early recessed carvings.

Memorabilia of rubbings have been framed

AD INDEX

for decades. As some have been created with light-fugitive, acidic materials, the mounting and handling of them may not be a high preservation issue. But the thing to consider is since the original stones and brasses have become protected, original artifact rubbings are becoming rare and irreplaceable. So even if the rubbing you have to frame has little monetary value, was not taken from an original artifact but a smaller replica, or is only available as a highpriced antiquity, it may be a memory from an

irreplaceable trip. Items like this must be treated with care.

Brasses Brass monuments were introduced in the thirteenth century throughout northern Europe as a memorial to the dead. Brass was flat, durable yet soft enough for engraving, and could be placed on the floor, wall, or top of a tomb. These engravings could be as simple as a marker with name, birth, and death, or as an elaborate carving with figures, canopy, heraldic shields, religious emblems, and inscription. A large monumental brass was composed of one or more pieces of brass plate set into the surface of a stone slab which was laid in a church either as a grave cover or as a memorial without burial.

These resulting monuments have served in various ways as historical documents, allowing a pictorial history of armor from the early fourteenth to seventeenth century; vestments of

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

24 PFM February 2020

Archaeological petroglyph, Sweden. The paper is lightly taped and colored for the background debossing to become visible.

This is negative imprinting since the background is replicated.

a small quantity of water to produce a dark liquid, which is then applied with a brush. Artists and calligraphers vary the concentration of the ground ink to their preference by reducing or increasing the intensity and duration of ink grinding. The ink required for pouncing needs to be thicker than used for calligraphy or art.

Chinese Inscriptions Chinese scholars carved inscriptions into stone as a way of preserving history and culture. Records of important events were inscribed on bone and bronze as early as the second millennium B.C., but the medium most used for Portion of Sir Roger de Trumpington brass monument embedded in stone at parish church of Trumpington, Cambridge, England. The brass is protected by a clear sheet.

long inscriptions was stone. By the beginning of the seventh century, the Chinese were inscribing old records into

clergy from priest to archbishop; and fashion in men’s dress

stone that could be used as a master to recreate multiple

from tunic to knee-breeches and women’s attire for over a

inscriptions on paper with ink as prints. These copies could

500-year period. The Victorians developed the art of brass

then be easily transported and distributed in volume.

rubbing, while clergymen found it a way of preserving a re-

To begin the transfer process, lightly moistened xuan-

cord of their church. Since World War II, Americans have de-

zhi (Shuen paper, rice paper) is aligned over the stone tablet,

lighted in discovering brass rubbing and spent hours search-

which is then tapped with a moistened felt pad and mallet

ing out the perfect brass to duplicate throughout Europe.

or brush to work the paper into recessed areas as it softens in preparation for inking. Stick ink is ground in an inkstone

Rubbing Materials

as water is added one drop at a time for desired consisten-

Common rendering materials include charcoal/graphite,

cy and filled into a cloth. The ink is then stippled onto the

inksticks, or wax sticks—not crayons. In Asia ground stick

paper without bleeding into the engravings using the cloth

ink is used, and in the West, a mixture of wax and carbon black, called heelball, is popular for gravestone rubbings.

A carefully made rubbing provides an accurate, full-scale facsimile of the surface reproduced. A brass rubbing is a particular form of relief printing (unlike a traditional block print) in which the top of the paper is rubbed with a wax stick to pick up the raised texture beneath. Brass rubbings are generally created as black on white paper, or metallic gold or silver on black paper. A creation of an image from stone or brass to paper is much like a tracing.

The engraved design on the brass is transferred to paper by rubbing it with a special hard wax called a heel ball: a

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mixture of beeswax, tallow, and lamp black developed in the 1830s. Originally called cobbler’s wax, it was used by shoemakers who held a ball of it in the heel of their hands to wax the thread as they worked—hence the name heelball.

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It is currently available in natural colors of black, gold, silver, bronze, and copper.

Inksticks and ink cakes are a solid block ink used traditionally in several East Asian cultures for calligraphy and brush painting. Inksticks are made mainly of soot and animal glue. The inkstick is ground against an ink stone with 26 PFM February 2020

Mulberry paper is aligned onto the stone tablet and debossed into the characters using a wooden mallet and felt pad to prepare for inking.

Joseph Scheer Blog,”Ink rubbings, Forest of Stone Tablets-Xi’an China-Preparing the Paper”.

to apply ink to the background negative spaces. When the soft, ink-filled pad touches the hard stone under the paper, it gives out some ink that is quickly absorbed by the paper.

This is repeated until desired blackness is achieved. When done, the paper is allowed to dry and peeled off.

Damage and Erosion Rubbings made a century ago preserve a far better record of the inscription than the stone itself, which may have suffered from natural erosion, or damage caused by having been tamped in the process of taking thousands of rubbings. Thai, Siamese, Cambodian, and Mayan carvings are created from stone or clay and the process of creating rubbings has degraded them. These rubbings are most often done with softer, less aggressive materials like chalk or ink on various natural papers, the best having been done by monks. Typically, they are made from black charcoal chalk on a white background, but are also found brown or blue.

In 1995, the Thai government banned the process of Temple Rubbings and the exportation of any rubbings for the protection of their historical temple carvings.

Heavily creased or folded rubbings will require starch mounting to kozo paper as a reinforcement backing for strength and stability. All folds will disappear.

Wax rubbings use hard wax sticks, which begin to soft-

Brass plaques in UK found are found in churches, having

en at 170°F, so dry mounting with any HA board or tissue

been popular between the thirteenth and sixteenth centu-

above 150°F is ill advised. Selecting low temperature 130°F

ries. Brass rubbings are created by laying a sheet of paper on

HA board in a well calibrated machine would be best.

top of a brass, then burnishing the paper with hard, colored

Pressure-sensitive adhesives and boards are also an op-

wax. Brass plaques are also being abraded by the process,

tion for mounting, but the rubbing itself would determine if

and in many cases, rubbing has been banned from touching.

this was a viable option as it would require a flat, non-cock-

Fortunately, brass rubbing centers have opened with smaller

led rubbing. The preservation mounting alternative should

replicas of the beautiful original brass plaques as a destina-

also be considered which would allow a lightly cockled rub-

tion in the UK for tourist and visitor rubbings.

bing to simply do its own thing by being preservationally hinged, edge-stripped, or sink mounted, depending on the

Mounting and Framing

flatness of the paper. That would preserve the memory for

Since rubbings are generally used to reproduce surfaces

generations allowing the paper to fade in its own time and

carved or incised by someone other than the person who

to expand and contract at will.

PFM

makes the rubbing, the end product is not considered an original print but rather an accurate record of the work of others. This is why dry mounting and pressure-sensitive adhesives are accepted mounting methods for them.

Purchased Chinese rubbings are often folded into small 5” x 7” pieces for ease of transport, which is often a problem for Western framers. Creases don’t matter when Asian wet mounting methods are implemented for mounting. Heavily creased or wrinkled rubbings will require starch mounting to kozo backing to remove and flatten the creases. This is not a recommended practice for framers without training and is only suggested for inked stone rubbings, not wax over brass rubbings.

PFM February 2020 27

CREATING A PERFECT GALLERY WALL

By Meg Glasgow

C

reating a gallery wall is a perfect way to make a big

or. Illustrations, paintings, book pages, and more can all

personal impact at home. This is an opportunity for

have a home on the gallery wall. It’s a good idea to mix in

your customers to make a statement about who they

drawings and photos with paintings to keep things eclectic

are and what they like. Gallery walls have become the new

and more visually interesting. Galleries can be tied togeth-

way for customers to design their homes. Whether they

er by theme, frame color, style, or image color palette. To

want to create a statement in the living room or make a

me, the most inspiring walls are those that mix a variety of

blank staircase come alive, a gallery wall can be a fun way

artworks representing a wide range of media, from photos

for customers to showcase favorite items.

to drawings, mixed in with personal items, like kids’ art-

For frame shops, there is an opportunity to capitalize

work or souvenirs from travels.

on this popular trend by helping customers curate, frame, and install their own collections. Arranging a wall collec-

TAKE YOUR TIME

tion can be intimidating when customers are confronting

Don’t rush to buy a ton of pieces online so you can cre-

a blank wall. To help them make a statement rather than a

ate a gallery collection at top speed. The best arrange-

haphazard jumble, here are my tips for how you can cash

ment should look and feel as though it were collected over

in on this hot consumer trend.

time. The grouping should be an interesting mix of artistic styles; for example, figurative work, landscapes, abstracts

KEEP IT PERSONAL

in drawing, or photography. It’s better to practice patience

It’s their home, so why not use art and personal items to

and take time in acquiring finds for a gallery wall.

make the wall stand out? I love to combine client’s family photos with children’s drawings and art they’ve pur-

DEVELOP A COLOR PALETTE

chased. If you’re looking for a fun way to inspire customer

Art can be showcased with a variety of vivid shades for a

creativity, consider suggesting old calendars, note cards, or

colorful display that is full of energy. For a more soothing

a favorite quote. Have fun and be playful.

display, use works in a similar color palette that complements the interior space. In bedrooms, it’s best to stick to

CONTENTS AD INDEX

TELL A VISUAL STORY

soft palettes with small splashes of color to tie furniture

Gallery walls can be used to tell a story of your travels.

and fabrics together. Simplicity is best in rooms where

Suggest that they include vacation photographs, prints, or

clients come to unwind and sleep. Keep the arrangement

postcards brought home from a recent trip. This is a won-

spacious to reinforce the relaxed feeling. Keep the color

derful way to display a collection that has so much mean-

palette limited to three colors; for example, two colors

ing. It’s a great conversation starter for guests that come

plus a neutral. (A more specific example could be cream

into their home. These interesting juxtapositions make

and black with gold.) In a busy room with lots of patterns

a gallery wall more personal. At the same time, you will

and textures, it’s best to stick to a single-color hue and add

need to look for ways to tie the variety of pieces together,

small splashes of an accent color in the mix.

such as through color or framing.

FRAMING IS KEY MIX IT UP

Of course, the gallery wall is not only about the artwork,

Mix paintings and photography, black-and-white, and col-

but also about the frames. For a clean style, suggest to your

28 PFM February 2020

The most successful gallery walls look as though the artwork and objects within were collected over time, rather than ordered all at once.

customer frames in the same color, shape, and style. If

TAPE IT UP

you’re working with a collection of artwork across themes,

Before you break out a hammer, I recommend laying the

using similarly styled frames is one way to tie the collection

framed artwork on the floor to try out a few arrangements.

to the style of your client’s home. Consistency in the frame

When working with a client on determining the best lay-

finishes is key to creating visual unity in the grouping. To

out, I like to use paper templates sized to each frame di-

give the feel that the art has been collected over time, mix

mension. By then taping these templates to the wall, you

and match frame widths and styles. If the desired look is

can experiment with different layouts without pounding

an old-world vibe, consider adding vintage frames in the

too many wasted holes in the wall. I mark on the template

mix to add visual impact. The reclaimed frames can add

exactly where the nail needs to go so when I’m ready, I just

an interesting look to make some art stand out.

hammer right through the paper knowing the picture will

SHELF LIFE

be in exactly the right place.

Using shelves is another way to add an unexpected

RULES FOR MEASURING

three-dimensional effect to the collection. Clients can eas-

When hanging over furniture such as a sofa or chair, leave

ily update the items without the need to rehang. Small

at least eight inches between the bottom of the frame and

shelves can be purchased rather inexpensively and paint-

the furniture to limit potential damage to the art. Avoid

ed to match if need be.

hanging pieces too low or too high. Eye level is best at 60”

HAVE FUN WITH THE LAYOUT

from the floor to the center of the grouping. A consistent two to three inches between frames works well for a for-

Gallery walls tend to fall into two design categories: a for-

mal grid arrangement; for a more casual collection, mea-

mal grid arrangement where each item lines up, or an eclec-

surements can be less precise.

tic group of images and objects in a relaxed style. Consider the desired feeling customers are trying to achieve in the

START WITH THE LARGEST ITEM FIRST

room, then recommend the best option. Grids give a formal

Balance and symmetry are key to creating an arrangement

feel and go nicely in a dining room. If a more relaxed mood

that works. Begin with the largest piece and use that as

is the goal, a personal collection in a salon-style arrange-

the focal point. I recommend working from the center out-

ment over a sofa or in a stairway could be your best bet.

ward and spacing the artwork at least two inches apart to PFM February 2020 29

Similarly styled framing ties this collection of artwork and photography together, giving the overall arrangement a polished, attractive effect.

make sure each item stands out on its own. It’s important

lection is installed properly. Adding an installation service

to arrange the pieces in a thoughtful way that keeps the

to your shop’s repertoire can be another profit source for

viewer’s eye moving through the grouping.

your business while also being a valuable asset to your clients. That’s a picture framing win! PFM

SELL YOUR SERVICES When it comes to hanging, this task can be overwhelming to some customers and a problem where you can become the solution. There’s nothing more frustrating than hanging art only to realize it’s at the wrong height. This offers a great opportunity for you to become a picture-hanging hero and offer installation service to make sure their col-

Meg Glasgow Meg is the owner of Finer Frames in Eagle, ID, Meg is a nationally recognized consultant in the art and framing field and the winner of Larson-Juhl’s inaugural Design Star competition in 2013. She travels widely around the US presenting sales and marketing seminars for small businesses, and has recently published her second book, “Recharge Your Business.” She is a popular instructor at The National Conference in Las Vegas.

HAVE A QUESTION OR COMMENT? TELL PFM WHAT YOU THINK.

CONTENTS

Mail letters to PFM 83 South Street, Unit 307, Freehold, NJ 07728

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Call 732-536-5160, Fax to 732-536-5761 Attn: PFM Editor or E-mail to pfmeditor@hobbypub.com 30 PFM February 2020

Product Showcase 888 Manufacturing Corporation

Hayaku by Lineco is a Japanese mulberry paper coated with acid-free, water-activated adhesive. This extremely strong hinging material saves both time and money. It is used for hinging work of art on paper, repair of paper, and structural applications in art and conservation.

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

Decor Moulding

Announcing Mason, a new line of eight textured styles that are a great combination of contemporary meets dramatic. Two widths of 1 3/4'' and 2 3/4'' with black, gray, and white finishes and gold, silver lip colors are the highlights of these styles. Great for all types of art. Order corner kit #CS-MAS to get these styles on your walls today.

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

Delta Picture Frame Co.

Framerica

Delta Picture Frame Company has your stretching needs covered with its wide variety of stretcher bar profiles, some of which can be seen here. Four of the profiles are dual-use, allowing you many options without taking up more space. Delta stocks large quantities of all profiles and offers competitive volume pricing. Call the office for more details.

Framerica’s brand new Illusions profile is specially designed to appear “stacked,” at a fraction of the cost of multiple mouldings. The innovative design provides endless beautiful options and unprecedented ease of use. Each of the three available sizes (1.25'', 2'', and 3'') gives the illusion of three frames in one; each is available in more than 20 finish options.

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

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

Michelangelo Moulding

Penny Lane Fine Art & Licensing

Filling another space in the widening shadowbox market, Michelangelo has developed a new series in 14 different finishes ranging from barnwood and hand-stained, to avant-garde finishes. 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 Michelangelo’s growing shadowbox collection. You can send your sample requests to sales@michelangelomoulding.com.

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

New artwork by Michele Norman!

Contact a sales representative by phone or emailing info@ pennylanepublishing.com for more information. All the artwork you see online is also available on canvas and wood products. Select images are also available as large format giclée prints.

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

CONTENTS AD INDEX

Presto Frame & Moulding

Sepp Leaf

Tenerife features a larch wood look, featuring a tight, strong grain pattern creating a clean, sophisticated look. Perfect for gallery framing and photos. Available in three profiles and three finishes to fit your every need.

Liberon’s Specialty Waxes - White Liming and Black Patinating. Achieve a desired Cerused finish with the Liming Wax. Ideal for hard woods like Oak. A tip is to use the Liberon Bronze Brush first. Antique and age any wood or gilt frame with the Patinating Wax. Imported from England by Sepp Leaf Products.

Call: 800-431-1622 www.prestoframe.com

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

32 PFM February 2020

Superior Moulding

Universal Arquati

Superior Moulding is pleased to announce its newest moulding line, Celeste—six sparkling new finishes on a single profile. Celeste is designed to add pizazz and depth to inspire your customers, whether used solo or as a liner. Celeste is perfect for the modern, millennial framing customer. Sleek, glittery, and galactic in its six stunning colors, designed to uniquely accent contemporary graphic images, whether in a dorm room or a professional office. Request a color catalog online or call to get samples and pricing.

Universal Arquati is excited to introduce the Keystone Collection for a new 2020 release!

This is a larger version of a mid-century classic, for use on oversized art dimensions, to be used with canvases and wall décor.

This collection is available in eight finishes and one profile. This product is now in stock!

Please contact your local sales representative to get a sample set. You can contact Universal Arquati by phone fax (866-239-1349).

View these mouldings along with Universal’s entire product line on the web.

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

CROSSWORD CHALLENGE

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

Across

Down

1 4 6 9 10 11 13 14 15 18 20 23

1 Imaginative and original 2 Rotates 3 Iridescent layer of a mollusk shell 4 Royal 5 They can ruin artwork 7 Bright and dazzling reflected light 8 Roman 51 12 Not wet 16 Sense of sound 17 Type of bolt 19 Stains 21 Dream up 22 Veto 24 Paper with a rough grainy surface 26 Name given to Mat board which is 100 per cent lignin and acid free 29 Additional 30 Endure, as frames and art are expected to 32 Auto 33 Current craze 34 Chapter in history 38 Tech dept., abbr.

25 27 28 31 35 36 37 39 40 41

SEE PAGE 35 FOR THE SOLUTION

Material used in a rag mat board Paper quantity What a miter saw measures Type of picture hanger Binding polymer in wood based paper Vitamin bottle info, abbr.

Try out Make a mistake Fail to retain Word of agreement Patterned like a leaf ____ board, another name for Regular Mat Board Combine It’s used to polish and protect Appropriate Characteristic of some mat boards, 2 words ____ file: cabinet specifically designed for drawings, maps, prints, etc. ___ Antonio, Texas “Psychic” Geller Currently popular style Early types of this were made of cardboard High-tech ‘’fingerprint’’

PFM February 2020 33

Distributor Spotlight

CONTENTS AD INDEX 34 PFM February 2020

CROSSWORD CHALLENGE PUZZLE SOLUTION

PFM February 2020 35

Index Advertiser

Page

Advertiser

Page

Active Sales ..............................................................................34

Hoffmann Machine Company ....................................................34

800-937-2255

866-248-0100

www.activesalesco.com

www.hoffmann-usa.com

Alpina Manufacturing, LLC ........................................................35

ITMS GROUP.............................................................................22

800-915-2828

877-231-8060

www.fastchangeframes.com /www.bannergrip.com

BolognaFiere SPA .....................................................................31 31-260-0372

www.famaart.it

Capax-Frame It ........................................................................18 800-942-2729

www.capax.com

CMI Moulding ...........................................................................34 301-476-7440

www.cmimoulding.com

Craft Inc. ..................................................................................30 800-827-2388

www.craft-inc.com

www.thelibrarysupply.com

Jack Richeson & Co. ..................................................................34 800-233-2404

www.richesonart.com

Join Rite ...................................................................................34 508-454-7477

www.joinrite.com

Michelangelo Moulding ...............................................................9 877-422-8812

www.michelangelomoulding.com

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

Crescent Cardboard Co. .........................................................5, 23

800-297-1566

800-323-1055

Studio Moulding, Inc. ................................................................25

www.crescentcardboard.com

www.rhondafeinman.com

Decor Moulding & Supply ..................................11, 19, 22, 33, 35

800-262-4174

800-937-1055

Superior Moulding Corp. ...........................................................35

www.decormoulding.com

Engelsen Frame & Moulding ......................................................34 800-422-6731

www.engelsenframe.com

Fixons ......................................................................................34 714-526-3455

www.fixons.com

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

www.fosterplaningmill.com

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Framerica............................................ 2, 3, 4, 18, 27, 33, 35, 40 800-372-6422

www.framerica.com

800-922-7914

www.studiomoulding.com

www.supermoulding.com/www.zelanto.com

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

www.universalarquati.com

Wall Moulding ..........................................................................39 800-880-8315

www.wallmoulding.com

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

www.wizardint.com

AD INDEX

FrameTek .................................................................................34

Z Hardware ..............................................................................34

800-227-9934

800-880-9315

www.frametek.com

www.zhardware.com

Gluefast Company ....................................................................34

Ziabicki Import Co. ...................................................................34

800-242-7318

262-633-7918

36 PFM February 2020

www.gluefast.com

www.ziabicki.com

(Continued from page 38)

and Frederick Remington (1861-1909) used this frame on some of their later works.

In France, Barbizon landscape painters such as Théodore Rousseau (1812-1867) and Constant Troyon (1810-1865) and their erstwhile student, Leon Belly (18271877), also used this style of frame, illustrated here.

What furnishing/interior styles accompanied these frames in their time? Typically, less formal interiors outfitted with Arts and Crafts furniture from makers such as Gustav Stickley (1858-1942), an American furniture manufacturer, design leader, publisher, and the chief proselyEastlake, who was born in Plymouth, England, lauded the use of gilded oak in decoration. The style of furniture named after him, Eastlake style, flourished during the later half of the nineteenth century.

tizer for the American Craftsman style, an extension of the British Arts and Crafts movement. Places where Mission-style furniture was utilized also housed frames of this style.

What design departures might be seen on some frames of this style? There are many variations on the use of oil-gilded oak by many artists in the last quarter of the nineteenth century and beyond; look for oil-gilded oak or rough, weathered barnwood frames and you will see their influence.

Additional comments and/or anecdotes. Not one person can be credited for invention of this style, but the aesthetic had been greatly championed by the English Victorian art critic John Ruskin. His influential writing linked the aesthetic and the divine, arguing that truth, beauty, and religion are inextricably bound together, constantly prais-

What type of artwork would this frame most likely house? Paintings by English Pre-Raphaelite painters Dante Gabriel Rossetti (1822-1882), John Everett Millais (18291896), and Edward Burne-Jones (1833-1898).

In America, artists such as Thomas Eakins (1844-1916)

ing the honesty of all handwork in his writing.

This is especially true with the use of noble materials such as oil gilding, with pure gold leaf showing the beauty of the natural oak grain, which harmonized with the other furnishings. PFM

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

oil painting restoration workshops with an experienced conservator. E-mail blhaymondsupply@pacific.net, visit blhaymondsupply.com, or call 707462-4221.

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

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

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

sive course in traditional water gilding with an experienced professional.

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

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

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

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

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

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

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

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

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

B.L. HAYMOND SUPPLY (Ukiah, CA) offers hands-on, one-on-one, two-day PFM February 2020 37

Style

SNAPSHOT

By William Bruce Adair

What style frame is this? Neoclassical Arts and Crafts.

Where is it from? St. Omer, France.

What time period is it from? The last quarter of the nineteenth century.

Who was instrumental in developing this style? The use of gilded oak was praised

by British architect and furniture designer Charles Locke Eastlake (1836-1906), who popularized the work of British craftsman and poet William Morris (1834-1896). He was the

Léon Belly (18271877), “Ulysses and the Sirens,” Musée de l’hôtel Sandelin, St. Omer, France.

leading artisan of the day, whose rustic aesthetic in the decorative arts became known as the Arts and Crafts style.

Eastlake also revived the early English or “Modern Gothic” style, which called for simplification in the arts. Art critic John Ruskin (1819-1900), in addition to English architect Phillip Speakman Webb (1831-1915), were influential proponents as well for the Arts and Crafts movement throughout Europe and the United States.

What are the defining/common characteris-

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tics of this style? The primary characteristic of this style is the use of flat or angled profiles

a minimal, neoclassical design ornament

on rough-hewn planks or a quarter-sawn oak

such as a laurel leaf and berry arrangement

with oil gilding, sometimes embellished with

on the sight edge.

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William Bruce Adair received his B.F.A. in studio art from the University of Maryland in 1972.

For the next 10 years he worked for the Smithsonian Institution’s National Portrait Gallery as a museum conservator, specializing in the treatment of picture frames. In 1982 he formed Gold Leaf Studios to make frames and conserve gilded antiques. His clients have included the U.S. Department of State and the National Park Service. In 1991, he was awarded the Rome Prize in Design from The American Academy in Rome. Over the years, William has written articles in PFM that describe in detail some of the traditional embellishment techniques.

38 PFM February 2020

(Continued on page 37)

CONTENTS

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