Picture Framing Magazine - July 2020

VIRTUAL FRAMING WHEN TECHNOLOGY MEETS CREATIVITY

MOUNTING CHALLENGES • GUIDE TO EMPLOYER LIABILITY

Contents

PFM is a member of:

Volume 31, Number 6

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

On the Cover

The COVID-19 outbreak and the shutdowns that followed left many people wondering what, if anything, they could do to keep their business afloat. Despite a loss of foot traffic, framing retailers around the world have continued to serve their customers by turning the classic design table consultation into a virtual one For the full story, see page 28.

Features 20 26 28 38

Garment Framing Guide to Employer Liability Virtual Framing Tables and Fixtures

28

Columns 12 Mastering Mounting 34 Preservation Practices 46 Style Snapshot

Departments 8 10 42 43 44

20

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

38

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.

PFM Publishing

83 South St., Unit 307, 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

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 Sean Kliemisch • sean@wcafexpo.com CIRCULATION D I RE C TO R O F A U D I E N C E D E V E LO PM E N T

Maureen Robertson • maureen@wcafexpo.com PRODUCTION

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

Jin Dong • ads@pfm-group.com

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

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

Deborah Salmon • dsalmon@wcafexpo.com 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

pfmpubco@pfm-group.com

AD INDEX

PFM PUBLISHING, LLC PRE S I D E N T

6 PFM July 2020

Bruce Gherman

FROM THE EDITOR’S DESK

I

As businesses slowly reopen, it’s time to focus on welcoming your customers back and offering the great custom framing they’ve come to expect.

CONTENTS AD INDEX 8 PFM July 2020

n his book, “The Ride of a Lifetime: Lessons Learned from 15 Years as CEO of The Walt Disney Company,” Bob Iger lays out his 10 principles for great leadership. All of them are insightful, but lately, I’ve been returning to his second one: courage. “The foundation of risk-taking is courage, and in ever-changing, disrupted businesses, risk-taking is essential,” Iger says. “Innovation is vital, and true innovation occurs only when people have courage. Fear of failure destroys creativity.”

I think most people would agree that the past few months have been one of the most frightening times to be a business owner in recent history.

To weather the COVID-19 pandemic, you had to get creative, which meant overcoming fear and moving forward with courage. I have been heartened by the relentless determination of the retailers and suppliers I’ve spoken with these past several weeks; because of you, customers’ needs were met. You kept the industry’s engine humming.

As businesses in parts of the world begin reopening their doors, there are still hurdles to overcome and an unknown future to face. Resilience, creativity, and courage are still essential, and will be going forward.

In this issue, retailers and ven-

dors share the creative ways you can sell beautiful custom framing without the need for an in-person consultation (see “During Shutdowns,Virtual Framing Thrives,” page 28). By taking advantage of visualization and image editing software, video calls, email, and other digital tools, you can generate crucial sales during this unprecedented crisis, whether you are awaiting reopening or are accepting customers back into your store.

Have you started offering pickup and delivery services? Be sure to brush up on employer liability. Rob Markoff has put together a primer on what you need to know before sending staff members on errands (page 26).

Those articles and more await you in our July issue—an issue which also marks our return to print! We’re happy to be back in your mailbox, and will continue to offer digital versions of PFM to readers worldwide. To make changes to your account and renew your subscription, visit us online at pictureframingmagazine.com.

Kimberly Biesiada Editor

INDUSTRY NEWS Frametastic Unveils Revamped Website

voted a portion of its manufacturing capacity to the production of revised

PPE face shields for use in healthcare, retail, manufacturing, and

and reformatted its web-

other industries, and has made several donations of face shields

site, frametastic-llc.com, so

to local law enforcement and frontline healthcare workers from the

framers will find it easier to

greater Seattle area all the way to Virginia Beach, VA.

Frametastic

has

find the perfect handcrafted

Wizard’s face shields were designed with frontline workers in

moulding for their projects.

mind, and were based on input from ER nurses as well as other

The company has divid-

healthcare professionals, customer-facing retail workers, and

ed their line into four main

those in manufacturing environments. The shields are authorized

categories—Barnwood

for use in healthcare under the FDA’s Emergency Use Action. They

Moulding, Mirrors, Beyond Barnwood, and Photo Frames—each

are suitable for a single-use application, but also durable enough

of which are subdivided into various styles the company offers.

for multiple uses. For more information, visit wizardppe.com.

Wizard Donates Face Shields for First Responders

Framerica’s Michel Celebrates Three Decades

With the outbreak of the COVID-19 pandemic and the resulting

Catherine Michel, Framerica’s longtime credit manager, recently

shortage of Personal Protective Equipment (PPE) needed by front-

celebrated 30 years with the New York-based manufacturer.

line healthcare workers, Wizard

“Catherine is the finest credit manager in

quickly shifted its focus to the de-

our industry,” notes co-founder Gene Eichner.

sign, engineering, and manufactur-

“But she is so much more than that. It has taken

ing of face shields. Using its existing

three decades to foster the countless relation-

computer-controlled cutter technol-

ships that she has, but she’s been special from

ogy, along with the development of

day one.” PFM

specialized tooling, Wizard has de-

CONTENTS AD INDEX 10 PFM July 2020

Catherine Michel

MASTERING MOUNTING

by Chris A. Paschke, CPF, GCF, CMG

Mounting Challenging Items Thermographic papers, synthetic materials, and more can be tricky.

C

hallenging items are the ones that need an alternative mounting solution because of possible heat in-

tolerance, emotional value, overall size, or weight. I recently taught a class called Mastering Mounting: Challenging Items as part of The National Conference. At the beginning

image that is heat-sensitive at some tempera-

of each class, students are asked if they have

tures. Thus, heat applied during mounting

questions for a challenging project waiting for

could activate the entire sheet, turning it black

them at home, and they always do. There were

at higher temperatures. To verify heat sensitiv-

numerous queries about thermographic pa-

ity, gently touch the side edge of a suspected

pers, vellum and parchment, synthetic mate-

thermographic item with the side of a warm

rials like Evolon and Yupo, heavy textiles/rugs,

tacking iron; if it is, the narrow edge will dark-

and high-gloss photos. The moral there being

en. These items be should be pressure-sensi-

that even when something like a thermo-

tive mounted or hinged.

graphic paper has been around for decades, it

Thermal printing can also refer to raised

can still present a challenge today. Let’s look at

or puffed lettering sometimes seen on in-

how we can overcome such challenges.

vitations and business cards. This is very heat-sensitive and only pressure-sensitive or

Thermographics

preservation mounting is suggested. Once the

Thermographic is a term for heat-generat-

text is melted and flattened by heat, it is gone.

ed items that comes from the Greek therme,

CONTENTS

meaning heat, and graphikos, relating to the

Thermal Transfer

art of printing. Thermal printing is a digital

Thermal printing and thermal-transfer print-

process that activates coated thermochromic

ing are not the same thing. Thermal-transfer

paper by heating when the paper passes over

printing is a digital printing method in which

a thermal print head. The coating turns black

a wax ink is melted and applied to the recep-

in the areas where it is heated, producing an

tor substrate so it stays glued to the material.

AD INDEX

Chris A. Paschke, owner of Designs Ink in Tehachapi, CA, is a professional picture framer with over four decades of experience. She is an artist, a National Conference 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.

12 PFM July 2020

For digitals, there are two options: high tack pressure-sensitive board or film, and low 130F temperature HA board.

skin document or diploma should be

most often bring in completed paint-

hinged or conservationally mounted,

ings for adhering to a rigid substrate.

perhaps by creating a sink mount. If a

As a synthetic art substrate, Yupo

document is only slightly buckled, it

does not absorb liquids, and all wa-

is the nature of the beast and is truly

ter-based mediums will fully wash

part of the overall effect.

off. Alcohol ink and acrylic are permanent mediums that do not wash

Synthetic Materials A piece of sheepskin that has been dampened and air-dried. This shows damage resulting from applying both moisture and heat to the parchment at the same time.

Twenty-first

century

off; therefore, the art could be framed materials

with no glazing as many artists are

have proved frustrating for fram-

currently requesting. A number of

ers. Among them are synthetic pa-

online Yupo instructors suggest us-

pers, which include various grades

ing acrylic gel paste as an adhesive,

Thermal transfer is preferred over

of plastics: polyvinyl chloride (PVC),

but manufacturers of gel adhesive

direct thermal printing on surfac-

polyethylene,

and

are not advocates of this mounting

es that are heat-sensitive, and has

polyester/nylon. Tyvek, Yupo, Evolon,

method, and it should be avoided by

been embraced as a popular process

and TerraSkin are all eco-friendly

framers. Remember, these paintings

for printing identification labels and

products that have been developed

are originals, and we are ethically not

high-quality barcodes. Because it is

for use in printing design, marketing,

allowed to permanently mount them.

a wax medium, it is very heat-sen-

labeling, and packaging, but have also

sitive; these are best hinged or pres-

been embraced by artists as a paint-

sitive, self-adhesive products will

sure-sensitive material.

ing and mixed media surface. Yupo—

effectively bond synthetic layers for

distributed by Legion Paper—is cur-

dependable, long-term fusion. In an

Vellum, Parchment

polypropylene,

Only

high-tack,

pressure-sen-

rently the most popular and most

attempt to maintain surface smooth-

There are always questions about

frequently encountered by framers.

ness, Yupo artists are requesting

vellum

vellum, not

It is available in various text and cov-

Gatorboard, Dibond, or Sintra as a

paper)

(animal-skin

translucent

and

er weights—both translucent and

substrate. Like Yupo, Dibond and Sin-

parchment (sheepskin). Though the

tracing

opaque—with 74 white, 144 white,

tra do not absorb, so only PSA is an

use of single-sheet animal skins

and 104 translucent being favored by

option with Coda Cold-Mount, Insta-

in the United States appears to be

artists for watercolor, gouache, alco-

Mount, and Neschen Gudy having all

more limited to university diplomas

hol ink, and acrylic.

tested well with synthetic materials.

as parchment, in other parts of the

Yupo artists often favor a con-

KoolTack InstaMount is a commer-

world it is extensively used for ev-

temporary look they are referring

cial pressure-sensitive board that has

erything from wedding invitations to

to as “no-frame” mounting and will

tested well with Tyvek and Yupo.

royal proclamations.

No two skins are truly alike. That is part of their natural beauty and the basis for framing them true to their

CONTENTS

nature. The 1852 sheepskin parchment ledger sheet shown here has two issues: a gentle curl and a wax seal that would be heat-sensitive.

Fully mounting parchment or vellum

AD INDEX

using any process restricts it from the natural expansion and contraction it craves through variations in temperature and relative humidity, and even after flattening it may return to its previous state. Preservationally, a 14 PFM July 2020

This 1852 sheepskin parchment ledger sheet has two issues: a gentle curl and a wax seal that would be heat sensitive.

The same is true for HA boards.

MountCor and MountCor Canvas bond at 130°F and love Yupo, Tyvek, and polyester encapsulates. Omega/ M&M Heat-Activated Mount (HAM) bonds at 170°F and loves synthetic papers. Others may not have the tear strength required for a proper bond.

Digitals For decades, digitals have been the number-one framer problem, but that is only because printers, inks, and substrates continue to evolve and the rules and guidelines continue to change with new technologies. The term “digital print” really means the medium, so to safely mount a digital, you must also know the printer type, ink type (dye, pigmented, wax), and substrate.

For digitals, there are two options: high-tack, pressure-sensitive board or film, and low-temperature HA board. Ask questions; determine if the item or art is non-replaceable or an original, and then determine what the best choice is. Use of a vacuum press, dry mount system, or roller laminator is up to you and your adhesive selection, but educating the customer to possible options and prob-

Thermographic ticket is darkened by hot taking iron. Tested at 150F-160Ffor 1 minute the ticket is fine, but not at 170F for 15 seconds. Low 130F would tolerate any time with no damage.

lems is a good place to begin.

High-Gloss Photos There is always a lot of discussion on forums and in classes about the sensitivities of digital images and high-gloss photos as though they are the same discussion, which they are not. Digitals are an ongoing source of testing to determine the safest mounting method, and that is also true for high-gloss photos. Traditional analog photos seem to have a higher heat tolerance than many of their digital successors, so extra care needs to be taken both when handling and mounting these items.

Original

Cibachromes

chrome Classics) come from slide film and are printed to a 100% poly-

CONTENTS AD INDEX Left to right: translucent Yupo, opaque Yupo with matte Krylon fixative, and TerraSkin.

16 PFM July 2020

(Ilfo-

acrylic; high-gloss paper prints, analog or digital, will not.

Disasters Versus Mistakes Webster’s Dictionary defines “disaster” as “a calamitous event causing great damage or hardship; a tragedy or catastrophe.” While a true mounting disaster probably cannot be repaired, a mounting mistake—an error caused by lack of skill, attention, Solid ink is a thermal-transfer process where was pigment is melted and applied to a receptive substrate. These should not be subjected to heat as they can melt, use only P-S or preservation mount techniques.

knowledge, or judgment—may be corrected.

Challenging items like the ones

ester film substrate, which is a glass-

Its replacement is the digital-

discussed here are unlikely to be-

like surface very susceptible to dam-

ly-produced FujiFlex, which is sur-

come victims of mounting disasters

age from fingerprints and scratching.

face-sensitive,

damages

because a high level of attention is

Static mounting to a piece of acryl-

with warm breath and is thinner

given to them from the start. Great-

ic sheeting became a wonderful,

and therefore very prone to surface

er care is taken during the mounting

non-invasive preservation method of

mountboard orange peel texture. It

and framing process to ensure the

mounting since it was 100% revers-

also static mounts as a Cibachrome.

correct ahdesives and techniques

ible and allowed the glass-like sur-

Note that only 100% polyester film

are implemented to prevent a ca-

face to remain unblemished.

substrates will statically mount to

tastrophe from ever occurring. PFM

but

also

CONTENTS

Have a question or comment?

Tell PFM what you think.

AD INDEX

Mail letters to PFM 83 South Street, Unit 307, Freehold, NJ 07728 Call 732-536-5160, Fax to 732-536-5761 Attn: PFM Editor or E-mail to pfmeditor@hobbypub.com

18 PFM July 2020

GARMENT FRAMING

By Wayne Baker, MCPF

G

arment framing presents unique challenges

Sweat, dirt, beer, and other grime on the jersey had been

to a framer. If these challenges are overcome,

enclosed in the bag along with a pair of boots and socks,

framed garments can be a profitable and valu-

and the jersey itself had become moldy. I asked the cus-

able addition to your business. Let’s look at some of the

tomer to have it cleaned before we would touch it. He

factors that need to be considered when it comes to

was initially concerned about losing the signatures on

mounting and framing these items.

the jersey during a cleaning, but ultimately had it hand-

Framers are brought many different types of garments by their customers, from small items such as baby

washed and brought it back to the framed—without the mold, dirt, and odor!

clothing to larger items like wedding gowns and uni-

Once you have a garment in a condition that is ac-

forms. These items are also made from a variety of ma-

ceptable for framing, the next step is to agree on a design

terials and come to frame shops in myriad conditions,

with the customer. To keep it simple, let’s look at some

from brand new to old and brittle. No matter what the

of the factors to consider when designing the framing

garment is, conducting an initial evaluation of the item

package. Good design will take into account the age of

is step one. Evaluations should note the age, material,

the garment, the type of fabric used, the color or colors

value, and condition of the garment at the time it en-

of the item, does the garment have sleeves and how are

tered the store. Having the customer present is helpful

these to be presented, the value of the item, are there

so they can answer some of these questions. The framer

any signatures, the potential use of preservation prac-

can also share their thoughts on mounting and framing

tices, any extras the customer would like included, such

the item during this conversation.

as photographs or memorabilia, and any size limitations

CONTENTS AD INDEX

When I talk about garment framing, the question

set by the customer. The most favorable outcome is a

of cleanliness often arises. I have personally refused to

design that tells a story about the garment and/or the

frame items due to the state they were presented in. For

owner. An example of this would be including medals or

example, a customer once came into my shop, pulled a

memorabilia and photographs with a military uniform,

jersey signed by a local football team out of a bag, and

which makes for an overall more appealing presentation

asked to have it framed. Nothing unusual about that. The

than just framing the uniform by itself.

issue was that the jersey had been worn for the duration

When it comes to mounting the garment, the framer

of the game and then placed straight into the bag, and

usually begins by making an internal support. The inter-

the game in question had taken place six months prior

nal support is placed inside the item and does as it its

to his visit. Can you see—or smell—were this was going?

name implies by supporting the garment and distrib-

20 PFM July 2020

uting its weight, allowing the garment to hang naturally and adding to the overall security of the mount.

The materials used to make the internal support will vary depending on a couple of factors; namely, the type and weight of the garment and any preservation requirements.

Some of the more common materials used to make a support are rag matboard in 4-ply and 8-ply, Mylar sheet, foamboard, and flute polypropylene board. The latter is suited to larger, heavy garments, but care must be taken when used as the cut edges can be sharp and potentially damage the item. Rag matboard and foamboard are suitable for many of the garments presented for custom framing. A Mylar sheet is suitable for light, transparent items such as baby clothes and sheer fabrics, as well as for preservation mounting.

After the appropriate material has been selected for the support, it can be shaped to suit the item. To do this, lay the garment on the support material in approximately the layout required and trace around the garment. Tracing can be undertaken with a pencil, a push pin, or a bone

Sports jerseys make for profitable framing. Just make sure they’ve been washed first. burnishing tool. I prefer the latter because it allows me to mark the support material while leaving nothing that can transfer onto the item and does not damage the garment. Use it like a pencil or gently press to leave marks in the support.

After tracing, place the garment to one side and trim the support along the points that were marked.

Gently slide the trimmed support into the garment to check for correct sizing and shape. This may take a couple of attempts to achieve the desired shape and fit. For me, the

CONTENTS AD INDEX A greyhound’s racing coat framed with some photos showing the dog in action.

22 PFM July 2020

correct size is when the support provides slight tensioning of the garment to keep it in shape without over-stretching. The garment may not sit totally flat; remember, we are trying to take an item which is designed to be worn on a three-dimensional figure and effectively mount it onto a two-dimensional support.

Be careful with some items such as cotton t-shirts and woollen knits, as they often stretch but do not return to their original size. If the garment has sleeves and they require support, it is often easier to make the body of the garment and the sleeve supports as separate pieces as opposed to one single support.

Place the supported garment onto the pre-cut mountboard and align to the desired final position.

Add any additional items into their designated positions and check the layout and composition. If this looks good, place weights onto the garment to hold in place while the garment is attached to the mountboard.

Appropriate weights are those which do not have sharp edges and will not damage the garment. Remove the additional items, placing them to the side while the garment is being attached to the mountboard.

There are a variety of methods commonly used to attach the item to the board. Which method is utilized will often come down to the individual framer’s choice, the type of garment being mounted, and any preservation requirements. As framers, we should all be looking at using methods and techniques which minimize any damage to items being framed. Sewing and couching, along with nylon tagging, are common mounting methods for these items.

Rare earth magnets can sometimes PFM July 2020 23

Rare earth magnets (neodym-

THE NEXT

ium magnets) are useful for sheer fabrics

and

items

with

limited

FRAMING

weight. If a preservation option is

CHALLENGE

paper tape wrap placed around the

required, they can have a quality rag magnet so they do not come into contact with the item.

Once you have securely mounted any additional items to the mount-

Compete against top framers from around the world in the new PPFA

boar, you can move on to the frame.

Sports fans of all stripes will appreciate a beautiful custom frame that will preserve their memorabilia for years.

Your choice of frame needs to con-

be used with small, lightweight, or

(20 mm) or more, depending on the

sheer items.

garment. No matter which frame is

International Framing Competition

CONTENTS

“DEVOTED THOUGHTS ABOUT DOGS”

by Plee (Penny Tucker)

AD INDEX

The small book is 2 1/2” x 3” x 3/4” closed and latched, 7” x 3” x 2 1/4” open and laid flat. It consists of six folded, hand-stitched, 10-page sections and two decorative end papers, making a total of 62 pages of adorable dog images and quotes from famous figures like Elizabeth Taylor and Charles De Gaulle.

Sponsored by FrameTek

sider the additional depth of the now-mounted garment; often 3/4”

For sewing and couching, try

chosen, ensure that the finished item

and match the thread used with the

does not come into contact with the

garment. To attach the item, make a

glazing. As a rule, keep the glazing at

hole in the mountboard using a small

least 1/8” (3 mm) away from the high-

awl or a push pin. Then, using a nee-

est item in the frame. To achieve this

dle and thread, sew from the rear of

separation, spacers are used to hold

the board through the support and

and support the mount board away

garment and then back again. Use

from the glazing. The spacer can be in

two holes with each stitch and tie off

the form of a raised window mat or

on the rear of the board. Secure the

spacers along the edge of the frame

thread ends with tape for improved

rabbet. Spacers along the frame rab-

security. Use multiple stiches to hold

bet can be made from 1/8” (3 mm)

the garment securely.

foamboard with matboard attached

Nylon tagging is a faster method of attaching garments to the mounting board and is undertaken by using a tagging gun. The gun has a needle which is pushed through the garment and mounting board.

By squeezing the trigger, a nylon tag is inserted and secures the garment to the board. Only micro tagging guns, needles, and micro fasteners or fine fabric tagging guns, needles,

PRINTS AVAILABLE TO PURCHASE WWW.PPFA.COM Winner to be featured on the cover of Picture Framing Magazine

and fine fabric fasteners should be considered

when

mounting

fab-

ric. Standard-size tagging tools are not recommended for preservation mounting, as the needle is large and may damage the garment fibers and

Professional Picture Framers Association

24 PFM July 2020

leave noticeable holes.

An example of a garment mounted to a mountboard, laying flat with the sleeves supported.

to the surface facing the garment and attached to the frame itself.

Finally, let’s consider glazing. It is recommended that glazing with a UV blocking of 97% or greater is used with garment framing. This limits the potential for fading from UV light, particularly on signed items where the signature is the first thing to fade.

Some framers avoid framing

Support areas marked prior to trimming.

garments, as do some of the bigger retailers. For the most part, these items are just a variation on any other textile. Some are more difficult than others, but by and large, many only require the framer to repeat a successful,

straightforward

tech-

nique.

Putting in a bit of practice and using some basic framing skills can result in a new revenue stream for your business, which can improve your overall profitability and reputation. If you can offer an original spin on the mounting and framing of garments, then you can create your own niche in the market and be able to set your own price point doing something that is not overly difficult.

Think a little bit out of the box, and give it a go! PFM

Wayne Baker Wayne is co-owner and operator of Framing Elegance and CJ Paste Pty Ltd. He has qualifications across a variety of fields, including a bachelor’s degree in production management, a master certified picture framer (MCPF) designation, and certifications in quality control.

During his career, Wayne has been exposed to many aspects of business and has been employed within the government sector, multinational companies, and small, medium, and big businesses. He is the current president of the PPFA Australia chapter, having previously held the position of treasurer. Wayne is passionate about passing on any skills or information he has to others within the industry and is always ready to listen and help.

PFM July 2020 25

EMPLOYER LIABILITY Having an Employee Run an Errand May Cost You in the Long Run

By Rob Markoff, CPF

I

magine this: it’s the middle of the day, you have an im-

In either such case, the employee’s personal car be-

portant job due tomorrow, and you need a matboard or

comes part of the employment environment, bringing the

some other supply. (Why is it that your equipment will

employee’s commute within the course and scope of their

inevitably screw up at 4 p.m. on a Friday when a job is due

employment and making the employer potentially liable for

Saturday morning?) It’s a busy day at the design counter,

injuries suffered or caused during the commute.

so you ask one of your employees to run down to your lo-

On the other hand, the employer has no liability if, on

cal supplier to pick up what you need. If they get into an

the day of the accident, they neither required their employee

accident while running the errand on your behalf, it is rea-

to have their car at work nor benefitted from their employee

sonable to expect that you are potentially liable because

having their car at work.

the accident occurred while they were performing a “business-related” activity. But your liability doesn’t end there.

As a protective measure, employers may adopt a written policy stating employees are not required to drive their

According to Dan Eaton, an attorney and business eth-

personal cars to or from work. Employers must also be care-

ics and employment law instructor at San Diego State Uni-

ful not to say or do anything that implies otherwise. It’s im-

versity, the law considers the employment relationship sus-

portant to remember that even with such a policy in place,

pended while an employee is going to the workplace from

an employer will still be liable if they happened to receive

their home and returning home from the workplace. This

some benefit from the employee having their car at work

“going and coming” rule means an employer is not liable for

on the day of the accident. In other words, if you have your

injuries the employee sustains or causes others, such as in

employee run an errand for you during the workday using

an auto accident, during the employee’s routine commute.

their personal vehicle, and they later get into an accident on

But the analysis is different if an employer, expressly or through implication, requires or relies upon their employee

their way home, you could be held liable for any resulting injuries or damage.

to have their personal vehicle available at work to perform

For these reasons, I have a “non-owned” auto insur-

their job duties or to respond to work-related emergencies—

ance policy for my business. It’s a relatively inexpensive

even if the employee rarely uses their car for work during

policy that is separate from my business owners’ insurance

the workday.

(BOP) and from my auto insurance that covers company ve-

CONTENTS

The analysis is also different if, on the workday of the

hicles. If you employ anyone at your framing business, you

employee’s accident, the employer benefitted directly or

may want to consider taking out such a policy, regardless of

indirectly from the employee having their car at work. The

whether you have employees use their cars for business-re-

most protracted court case in which I was involved hap-

lated activities. PFM

pened when an employee got into a small “fender bender.”

She had offered to deliver a framed piece to a client on her way home, therefore making me (and my insurance) poten-

AD INDEX

tially liable for any resulting damages of an accident that occurred while she was on her way home. The outcome of the case was that I was not responsible because it was determined that the other party was at fault. Nonetheless, I had to devote a substantial amount of time to all the legal work, even though the insurance company provided a lawyer.

26 PFM July 2020

Rob Markoff Rob has been framing for over 40 years. He specializes in volume framing with an emphasis on oversized and challenging pieces as well as art installation. He has written extensively for industry publications and is a longtime educator at The National Conference as well as other framing venues worldwide. He received the Lifetime Achievement Award from the Professional Picture Framers Association in 2015.

DURING SHUTDOWN,

VIRTUAL FRAMING THRIVES

By Kimberly Biesiada

How retailers combined creativity with technology to keep their businesses running

L

ike so many frame shop owners, Becky Woodruff

began offering free pickup and delivery services and virtual

found herself shutting her doors when the world-

consultations during the shutdown. Woodruff’s hunch about

wide coronavirus outbreak led to temporary closures

customer demand was proven right as the calls poured in.

of nonessential businesses. In an industry like custom framing, which has always depended on in-store, one-on-one

“We got a big response from people who wanted us to come and pick up their art,” she said.

consultations, such closures were a nightmare scenario. But

She and her store manager, Scott, designated Tuesdays

despite the loss of foot traffic, Woodruff was able to fill or-

and Fridays for working on framing orders. Woodruff would

ders by turning the classic design table consultation into a

pick up a customer’s piece of art and bring it to the store,

virtual one with her customers—one that could be done re-

where Scott would set up a design on the table. The custom-

motely at the customer’s convenience.

er would then call in via a video call program like FaceTime

CONTENTS

“I didn’t want to stop framing,” said Woodruff, who

or Zoom at their appointed time to be shown the design and

owns The Frame & Print Shop in Chapel Hill, NC. “I felt that

discuss options. Once a job was complete, Woodruff would

there would be people who still wanted it, and that we could

deliver the piece back to the customer’s home.

figure out how to offer it.”

She and Scott were kept busy for the four or five hours

AD INDEX

By taking advantage of visualization and editing soft-

they were in the store on those Tuesdays and Fridays, she

ware, video calls, email, and other tools, framers like Wood-

said. The opportunity for remote work kept the business

ruff continued to create beautiful framing for their custom-

running when it would have otherwise been at a standstill.

ers, generating crucial sales during an unprecedented crisis.

CUSTOM FRAMING REIMAGINED

“We were able to break even in April,” Woodruff said.

“We had tremendously good sales, and our customers were fantastic. They wanted to support us.”

The Frame & Print Shop, which opened in 1973 and has been

Now that they have reopened, Woodruff is still offering

owned by Woodruff and her husband for the past five years,

virtual framing in addition to in-store appointments. She

28 PFM July 2020

Need to Sell From Home? use our

VIRTUAL DESIGN SERVICE

Wholesale framing since 1988 Our design experঞse makes nding the right frame easy Digital design service is free for the duraঞon of COVID-19 It’s as easy as emailing a picture Tell your clients!

www.goldleafpictureframes.com

Using LifeSaver’s visualization program, framers can create multiple designs and allow customers to preview each to compare. plans to keep their remote option in-

mote consultations since 2016. Us-

definitely as an added convenience

ing image editing software like Ado-

“It’s how we were able to get

for customers.

be Photoshop, Beauchemin’s design

some work through the time that we

team creates detailed digital mockups

were closed,” Beauchemin said. “We

using emailed photos of customers’

do four or five (remote jobs) per week

While many frame shops added

art, then emails back different design

on a regular basis; through the pan-

virtual options after the pandemic

options to go over with the customer

demic, we have been doing just as

hit, others have been offering it for

by phone.

many.”

“It’s definitely a great service to be able to offer,” she said.

years as a successful arm of their

Frames

Chelsea Frames was slated to re-

business. And just as every frame

apart is the quality of its mockups.

open in early June at the time of this

shop has unique qualities that make

Beauchemin has invested in room

interview, but it will continue to of-

it the right fit for the area it’s in and

settings—for-sale stock images of

fer virtual framing services to clients

the demographic it serves, everyone’s

styled living spaces—which he can

near and far. Beauchemin said the key

method of filling virtual frame orders

use in his editing software to show

is to keep every consultation, wheth-

differs slightly: some rely on picking

a customer what their framed piece

er it’s over the phone or face to face,

up the physical artwork or having

would look like hanging on the wall

focused on your customer’s wants

their customer drop it off, then using

of a furnished room. Customers can

and needs, on the story behind what

a video call to go over design options,

also email photos of their own homes

they want framed. Top-notch service

like Woodruff does; others accept

so Beauchemin can create a mockup

should always be the guiding force

emailed photos of the art, creating a

that shows exactly how their framed

behind every customer interaction.

design mockup that’s entirely digital.

art is going to look in their space.

Some offer both methods.

What

sets

Chelsea

in New York City.

That feature, along with details

SOFTWARE SOLUTIONS

CONTENTS AD INDEX

No matter what tools a retailer

like adding drop shadows behind the

PFM conducted a recent survey of

uses for virtual framing, what mat-

art, making sure the frame and mat

framing retailers around the world

ters most is to go through the process

are to scale, and even showing what

and found that solutions varied from

with their customer as professionally

different glazing options would look

FaceTime and Zoom to Photoshop,

and seamlessly as they would in per-

like, means customers “can’t tell it’s

email, and using their shop’s existing

son, said Daniel Beauchemin, owner

not the real thing,” Beauchemin said.

visualization software in a new way.

of Chelsea Frames in New York City.

It takes no more time to work on

Many retailers have been using

“One thing that’s important is to

these mockups than it does to have

visualization for years in-store as part

do it well,” Beauchemin said. “If you’re

an in-store consultation, he said, and

of the consultation process, show-

going to do it, do it well. Build it into

the ability to offer this type of virtual

ing design options to customers on

your brand.”

framing has meant steady business

a screen in real time. This technolo-

during a time of near-total shutdown

gy is also another way for framers to

Chelsea Frames has offered re30 PFM July 2020

work on designs remotely with their

of their software to discuss design

see an image of what they are creat-

customers—something

be-

options remotely. Visualization, com-

ing at the bottom of the screen. From

come more important than ever this

bined with email and phone com-

there, the framer can launch visual-

year. Using visualization software, a

munication and pickup/drop-off ser-

ization, creating design options for

designer can show a customer what

vices, prevented the business from

their customer and allowing the cus-

their artwork or object will look like

grinding to a halt.

tomer to preview the images, either

that’s

as a finished framing package before

“Now that we’re open, people

ever cutting a mat or joining a length

who don’t feel comfortable coming

To get the customer’s artwork

of moulding.

in can still drop their artwork off out-

into the design, the framer can up-

“We saw the use for it right

side the store and we can send them

load a photo their customer emails

away,” said Lucy Quay, MCPF, sales

our designs,” Quay said. “It’s been

them; or, if they have the physical

manager at Bradley’s Art & Frame in

very helpful.”

piece, they can take a photo them-

Houston, TX. The business, founded 50 years

LIFESAVER SOFTWARE

in-store or virtually.

selves on their phone and, using LifeSaver’s free app, upload the im-

ago by Pat and Bill Bradley, was an

Over the last five to 10 years, var-

age straight into the program. Those

early adopter of the technology and

ious software programs have been

using an iPad can capture an image

has been using Picture It First soft-

updated to work seamlessly with one

right in the visualization program it-

ware for the past 15 years. When the

another, giving retailers another ad-

self, skipping the app step. Once an

business was closed for a month due

vantage. LifeSaver’s visualization pro-

image of the artwork is in the pro-

to the pandemic, Quay said they were

gram, for example, is fully integrated

gram, the framer can show side-by-

still getting voicemails from custom-

with its point-of-sale (POS) program.

side comparisons of different options,

ers who wanted framing. They set up

As a framer is entering an order de-

take advantage of pre-loaded design

appointments and took advantage

scription into the POS system, they

templates for popular items, and use

PFM July 2020 31

project and attach them to the order, which helps mitigate production mixups, said Stefan McIntosh, marketing director.

“One of the things we talk about is improving production accuracy,” he said. “So if someone’s doing a lot of projects, or if one person designs a project and someone else comes in to start the production, they know exactly what they’re looking for in the finished product because they have a visual mockup of what it’s supposed to look like, as well as all the specs. It reduces the potential for error.”

Wizard’s FrameShop Visualize program allows users to compare design options and showcase creative embellishments, multiple layers, wider mat borders, and various mouldings to their customers, which could lead to more profitable jobs.

The visualization program not only ties into Wizard’s design program, but it also allows users to seamlessly transition to production by sending

the program’s “suggestion” button to

they’re going to get; there’s no more

the finished concept straight to their

generate framing treatments based

guessing.”

computerized mat cutter. With these

on the colors of the artwork, among other features.

WIZARD SOFTWARE

The program has hundreds of

FrameShop Visualize by Wizard

products from leading matboard and

allows framers to compare design

moulding companies in its database,

options and showcase creative em-

but will alert users if a product image

bellishments, multiple layers, wider

is unavailable. If there is a product

mat borders, and various mouldings

you wish to use that cannot be found

to their customers, which lends itself

in the database, you can use the

to upselling and could lead to more

app to take a photo of it—a stick of

profitable jobs.

CONTENTS

moulding, for example—and the app

The designer can select any prod-

will create an image you can use for

ucts they wish for a project, but they

a mockup. Steve Smeltz, VP of opera-

have the added option to see auto-

tions for LifeSaver, also suggests con-

matically-generated matting choices

tacting your vendor and asking them

in colors that complement the art.

to send product images to LifeSaver to

They can also upload photos of any

be added to the database.

product that isn’t already available in

AD INDEX

More people than ever are adding

the database. Once a framer is happy

virtual and remote framing to their

with a design, they can open a cus-

shop’s repertoire, which is a good

tomer-facing preview screen to show

thing for their bottom line, Smetlz

what the finished product would look

said.

like. If the customer wants to make

“Data shows that the average

changes, the framer can save a snap-

ticket price goes up when a customer

shot of their original design and use it

sees their framed piece on a screen,”

later for side-by-side comparison.

he said. “The confirmation rate is also

Another benefit is the ability

increased because people see what

to save digital image previews of a

32 PFM July 2020

programs working in harmony, “you can literally go from preview to production in one click,” McIntosh said.

As McIntosh noted, remote, virtual consultations aren’t a total replacement for in-person purchases; rather, they are a tool that provides greater selling possibilities outside a retailer’s physical store. As customer interest in visualization software continues to grow, McIntosh predicts these kinds of solutions will be implemented more widely, especially as framers navigate pandemic-related

shutdowns

and

other measures that will remain in place after businesses reopen.

“A situation like this sometimes changes how we do things, and going forward, I think it’ll just become more a part of what everyone’s doing, whether it’s required or not,” he said.

FRAMEREADY SOFTWARE FrameReady, which offers POS software for framing retailers, is currently developing an interface with

Wizard’s CMC and visualization software to be rolled out later this year.

Carol Graham, director of customer relations at FrameReady, said the company also offers some tools their customers can use immediately to simplify the process of selling fram-

SOFTWARE SOLUTIONS The following companies listed visualization software as a product they offer in the PFM Annual Directory or responded to the magazine’s survey:

ing to customers who aren’t table to

ArtTeck

Gunnar USA

come into the store.

artteck.com

gunnar-usa.com

Designer Moulding

LifeSaver

apple.co/2UAo6ES

lifesaversoftware.com

By storing an image of each complet-

EstLite

ed piece, the software creates a visu-

Picture It First

estlite.com

pictureitfirst.com

to each order. The framer can scroll

FrameReady

SpecialtySoft

through and then duplicate a previ-

frameready.com

specialtysoft.com

ous order for a new customer.

FrameSmart

Wizard

framesmart.co.nz

wizardcutters.com

Framers can store a single image or multiple images of an order in their FrameReady software, Graham said.

al resume of past designs connected

With the program’s Picture File function,

framers

can

document

damage found on artwork before it

FullCalc

entered the frame shop and add com-

fullcalc.com

plex layouts to easily see the placement of each item.

“One of our clients cleverly used the Picture File to create a visual storyboard to explain why custom framing costs more than a readymade frame, with each image outlining the care and skills required for each step of the process,” Graham said.

Whatever the method used, virtual framing is an added service that can be critically important to a business’s bottom line during an unforeseen crisis like the coronavirus pandemic. Even after reopening to foot traffic, it’s clear many retailers have seen the value of adding a design table in the digital realm for those customers who lack the ability to visit a frame shop. Even the smallest shop can offer this digital design table without losing the creativity and

DESIGNER MOULDING

W

NE

VIRTUAL FRAME BUILDER

• Work with clients from a distance • Work with all our moulding with our closed corner frames • Work with our mouldings or others • It’s Quick & Simple!

• Upload images or take a picture with your smart device • Use our APP which has AR Technology

expertise of a professional, custom consultation. PFM

PFM July 2020 33

PRESERVATION PRACTICES

by Hugh Phibbs

Preservation Mounting The methods and materials used for safe mounting of paper.

W

hen the term “mounting� is applied to works on paper, it has differing meanings on opposite

sides of the Atlantic Ocean. In Europe, it is a catchall term for matting procedures, while to a North American ear it may imply overall

come loose if the housing is turned face-down

adhesion; something that is problematic in a

without restraint to keep the edges flat. The

preservation context. Such mounting is prob-

simplest edge support design involves folded

lematic because so few mounting strategies al-

strips of paper, such as lignin-free interleaving

low for complete and safe reversal and because

tissue (available from University Products and

there is a high likelihood of deformation of the

other preservation suppliers) or a spun bond

support board. While that may be safely done,

synthetic material like Hollytex 3249, which

the safest way to display a paper item is with

can be found at Talas.

window matting and edge support, or with

Here, strips of paper or spun bond are fold-

hinges adhered to the verso of the object when

ed down their length so that one side is wider

its entire front must be seen. Let us review the

than the other. The wider back side offers sup-

fundamentals of both practices.

port while the thinner front side obscures less

Edge support can be used with works on

of the work. With either material, the vertical

paper that are stiff enough that they would

support strips are slit at their fold to allow the

stand if rolled into a column. Since we have

horizontal strips to pass through them. Each

neither invisible support materials nor magi-

strip is secured with tabs of gummed paper or

cal means, edge support relies on matting that

linen tape at its ends and is pulled taught as it

covers the margins of the sheet and support

is secured.

CONTENTS

strips and slings, which give as much support

As the size of the item grows, the strips

to the center of each sheet as possible. If sup-

must be scaled up and an additional device can

port is given only to the corners of the sheet, it

be added. This device is comprised of a shallow

can suffer in an accident or bend forward and

tab cut in the center of the back side of the bot-

AD INDEX

Hugh Phibbs is the former coordinator of preservation services at the National Gallery of Art,

Washington, D.C. He is an author and educator in the framing industry as well as a frequent contributor and advisor on the PPFA Framers Corner Forum. He served on the PPFA Education Committee, has contributed to the PPFA Guidelines series of books, and is a regular contributor to PFM and instructor at The National Conference.

34 PFM July 2020

Strips of ligninfree interleaving tissue or spun bond synthetic material are for edge support when mounting works on paper.

tom strip in the shape of an a shallow inverted V. This tab

support strips. This less-costly material enables the en-

can be folded down and adhered to the back mat with a tab

largement of the hinge to a size that covers all but the out-

of gummed tape to lock that part of the strip to its proper

ermost edges of the art, with adhesive lines spaced along its

place on the back mat. As things are scaled up to accom-

width; more closely for heavy items and more broadly for

modate larger items, the back mat must be made thicker to

light items. This gives the broadest possible support to the

resist bending when the edge strips are pulled taught.

sheet and can support even thin tissues.

When thicker items are being housed, they require

Methyl cellulose gel is superior in suppleness to cooked

more robust support, including sinks and slings. Sinks are

starch, which means that this gel will not need straining

back mats with cavities built into them. The sides of the

or added water to achieve an easy-to-flatten workability. By

cavity are made from pieces of matboard of appropriate

limiting the water in the mix and creating a methyl cellu-

thickness, height, and width laid out in a pinwheel pattern

lose gel, we limit the swelling action of water, but hand-dry-

to enable easy assembly. The support sling is comprised of a

ing is still essential during this process.

full sheet of paper or spun bond that is larger than the item

Another adhesive, Klucel G, can be dissolved in isopro-

so that its edge can extend out or warp around the edge of

pyl alcohol, which eliminates the swelling action of water;

that item. They are wrapped around the edges of the sup-

especially if concentrated alcohol, 91%-99% is used. The in-

ported art on board if it is flat and laced through each other.

troduction of alcohol raises the issue of tide lines being cre-

If the board being housed is not flat, a sling can be made

ated in optical brighteners in the paper. Testing with a UV

with edges that extend out onto the sink, having been cut

light can show whether brighteners are present.

in a pattern that radiates out from the center of the sling so

Klucel G, or hydroxypropyl cellulose, is used in a di-

each section can be pulled up to the level the undulating

lute formulation by conservators to consolidate degraded

surface its verso.

leather, but if it, too, is mixed one part powder to several

Here, too, the window must cover the edge of the item

parts alcohol and left to settle overnight, a clear and supple

and that window can be kept tight to the back mat with

gel should form. This can be applied to a folded strip of in-

lashing of linen tape, which are secured to the back of the

terleaving tissue in spaced lines for adhesion to the verso

window and which pass through slits in the sink, to be se-

of the art paper, but since there is little water present, the

cured with gummed tape to the back of the back mat/sink

bond will form after the alcohol has evaporated. This pro-

(see image on page 32).

cess is not something that can be accelerated with desiccat-

When items must be displayed so they can be seen in

ed blotter, so extensive weighting is needed.

their entirety, adhesion is required. Traditionally, this has

Since hydroxypropyl cellulose has surfactant prop-

entailed the use of cooked vegetable starch and handmade

erties, it may be useful in adhering plastics, but it should

Asian paper. This is laborious, given the rigors of cooking

be regarded as a sheer adhesive and not used where peel

and storage that proper handling of the starch require.

forces are an issue. Since Klucel G can be used with min-

CONTENTS AD INDEX

Non-food materials like methyl cellulose and Klucel G

imal chance of deformation of the hinged sheer, it is ideal

were considered too weak. However, recent developments

for hinging very lightweight papers. Tracing and other thin

have shown that both of these non-biological adhesives can

papers are translucent enough to allow the hinge behind to

provide adequate strength if they are prepared as gels and

be seen to some extent, and here it helps to adhere a sheet

applied appropriately. One part methyl cellulose powder

of interleaving tissue that is only slightly smaller than the

can be combined with several parts water in a jar, shak-

hinging subject but taller than the subject, so that the upper

en vigorously, and left overnight to create an adhesive gel.

edge of the hinge sheet can be folded to create the portion

This can be stored in a clean, closed container and should

that will be attached to the back mat. The adhesion of the

not spoil at room temperature. This gel can be applied to a

hinge sheet to the tissue subject and to the back mat can be

hinge with a cotton swab in lines that are perpendicular to

done with stripes of HPC/alcohol.

the hinge’s edge. The adhesive-loaded hinge can be pressed

Here I have reviewed what falls under the header of

onto the back of the art sheet and the adhesive itself can be

mounting, but there are other topics that can be covered

dehydrated with a desiccated blotter.

in the future, such as Mylar edge strips and tabs and over-

The hinge can be made of the same economical, lignin-free interleaving tissue that was used to make the edge 36 PFM July 2020

all adhesion using reversible, non-biological adhesives and synthetic-felt support layers. PFM

PFM DIRECTORY 2020 COMING IN SEPTEMBER SUPPLIER LISTING A comprehensive guide of manufacturers and distributors featuring contact information, profiles, and more.

PRODUCT INDEX With 38 major categories and 150 subcategories, retailers will find whatever products they’re looking for.

ARTICLE INDEX Need information on a specific topic? This is your go-to source to find everything related to framing from the pages of PFM.

SPECIAL PRODUCT SHOWCASE This special section features the top-selling and most innovative products featured in PFM.

FREE TO PREMIUM SUBSCRIBERS A $14.95 VALUE For listing information, email sales@pfm-group.com www.pictureframingmagazine.com

PFM July 2020 37

TABLES AND FIXTURES FOR FRAME SHOPS

By James Miller, MCPF, GCF

W

orktables are among the most fundamental

ene such as Coroplast brand (or equal) are readily available

provisions in a frame shop, and functionality

from distributors of sign-making materials and distributors

is essential. It would be ideal to have different

of industrial plastic sheet and tube products. Several col-

tables dedicated to specific tasks, but many shops simply do

ors and thicknesses are available, but I recommend using

not have the space for several tables, and one or two all-pur-

4 mm white sheeting, which shows all kinds of debris and

pose tables can work quite well. Whether you want to set

contamination. It also reflects light from the ceiling fixtures,

up a new shop, add to what you already have, or just replace

which seems to make the shop brighter. On the other hand,

an existing table, here are some attributes to consider.

black sheeting makes it easy to see fingerprints and smudg-

Sturdy and stable. Framing work involves a lot of push-

es on anti-reflection glazing. In any color, the matte plastic

ing and pulling, usually in specific directions and often with

surface is smooth, non-abrasive, slightly cushy, and non-hy-

precise force. A wobbly or unstable table could make these

groscopic, so liquids will not soak in. It can be cleaned easily

motions uncertain and more difficult, so it pays to build ta-

and effectively using glass cleaner or a mild abrasive clean-

bles that are rock-solid. Tables built out of dimension lum-

er such as SoftScrub. It also makes a good cutting surface.

ber nailed together, such as 2 x 4s or 4 x 4s, tend to loosen up with use over time. They may need to be reinforced with angled braces to prevent movement in any direction, and the braces may limit or interfere with under-table storage.

Assembly with screws, washers, and nuts helps. Using glue in the joints helps, too, but makes disassembly difficult.

Flat, rigid, level top. Regardless of size, a worktable’s top should be flat to avoid deflection or twisting of long frame rails, for example. The top should be rigid enough to support heavy items without sagging, which involves supports underneath. Also, the top should be level, so that screws,

CONTENTS

pencils, and other round/cylindrical objects stay put.

Smooth, durable surface. It’s a good idea not to slide frames on a table, but sometimes that’s hard to avoid, especially with large or heavy frames. A smooth table surface

AD INDEX

helps to minimize the chances of damage, such as abrasions to a fragile frame finish. Since normal wear and tear would eventually damage most table surfaces, it’s a good idea to use an easily-replaceable covering. Perhaps the best and most practical replaceable worktable coverings are plastic sheets, retained by a border frame installed all around the tabletop’s perimeter. 48” x 96” sheets of fluted polypropyl38 PFM July 2020

This drawing represents a 48” x 96” x 42” tall table designed for general purposes. Note that the base and top panels are prepared with slats in mirror-image to separate the vertical dividers. Both sides have vertical bins for storage of boards and glass, plus shallow shelves for small items (shown in blue). The black shapes represent the cuts of 1” aluminum angle stock to connect the parts, and the pieces of “U” channel under the base panel.

In my small shop, the Coroplast table covers usually last about three months. I turn them over and use the other side for another three months before replacing.

PVC sheeting, such as Sintra brand (or equal) also works well as a replaceable table covering. Like fluted polypropylene, PVC is available in 48” x 96” sheets and in several matte-finish colors and thicknesses. This material is somewhat solid, but still provides a little cushioning, so I recommend using 1/8” thickness. Again, the surface probably would last a few months, then you can turn it over and use the other side for a few more.

Some framers cover their tables with Kraft paper or corrugated cardboard (boxboard), which is fairly cheap, readily available, and provides a useful bit of cushioning, but these paper surfaces are fragile and quite abrasive. Carpeting may also be used as a table covering, which is generally intended to be permanent rather than replaceable. Carpet is often too cushy for practical purposes, and the carpet’s nap holds all sorts of unseen debris, such as glass shards, splinters of wood, and sawdust from sectional-aluminum frame moulding. Even with frequent vacuuming, carpeted worktables can harbor damaging debris.

This cutaway drawing shows how a border frame can be installed on the perimeter of the tabletop to retain the edges of the replaceable cover. It can be made out of frame moulding or 1” x 2” unfinished wood.

Proper height. Elbow-height is about right, but in a shop with tall and short framers, this general rule might not help much. If a table is too low, bending over it could contribute to problems with muscles and joints; if a table is too high, reaching across it may be difficult. For people of average height, 36” may be too low and 44” may be too high, but any height within that range might be suitable for your particular shop. It comes down to personal preference.

Storage underneath. It seems there is never enough storage space for everything in a framing shop. Of course, it’s best to keep tools and materials where they are most

PFM July 2020 39

inspecting, and sorting lengths near the moulding storage racks, the saw, and/or the chopper. An underpinner could be placed against a free-standing table in this area, or it could fit into a recess in its top. Likewise, if there’s a dovetail routing machine in the shop, it could sit on or be recessed into this sort of table. However, it would not be practical to have

By slanting the vertical supports, a 36” wide table can be adapted to fit 40” long boards. Note that about half of the vertical supports are angled in each direction, providing stability. In this walk-around design, triangular shelves fill the open areas under the top. often needed and well organized for easy access. Tables can

both types of joining tools at the same table because that might restrict the positioning of frame parts being joined.

Underneath

the

frame

assembly

tables,

large,

well-supported shelves could be provided for storage of large, heavy items like cast-iron miter vices, sanders, staplers, pinners, hammers, and chisels. In the interest of

be designed and constructed to utilize nearly all of the area

better organization, plastic bin boxes could fit neatly on

underneath, which provides excellent storage. Vertical bins

these shelves. The stain markers and colored waxes used

are useful to store boards and sheets of glass. Drawers or

in joining could be stored on shelves or special racks at-

pull-out shelves for tools and supplies can be designed in,

tached to the side of the table.

and the worktables can also include shallow shelves for

A table in the glass cutting area could include verti-

bottles and jars of glues, inks, powders, and paints; fitting

cal bins for storage of boxes of glass and acrylic in var-

and hanging hardware; and hand tools.

ious sizes. Special bin sections with pullout boxes could

Size. Some framers believe that the larger the table,

also be built for storage of glass offcuts with interleaving

the better. But in my experience, 48” x 96” is a practical

separators of paper or plastic. For fitting and finishing, a

size. Larger tables require more walking around, and short-

walk-around table should be large enough to accommo-

er framers may not be able to reach across their width. For

date most frame sizes. A turntable allows frames be ro-

confined areas, perhaps 48” x 48” tables would be better.

tated during the work process. This table might also have

This size works well in the frame joining area, too, where

racks built in to hold rolls of dustcover paper and shelves

it may be necessary to walk around to all four corners of

for the tools used in that section of the shop.

a frame. Oversize frames usually can overhang the table’s

Regardless of the number or types of tables you need,

edges without consequence, and adjustable roller/support

the designs shown here can be modified and adapted to

stands can be used, too.

suit your purposes. These tables can be built using ½” and

Location and spacing. Free-standing worktables are

¾” thick, melamine-coated particleboard panels or PVC

most convenient, with at least 36” of space all around; this

sheeting. The PVC is more attractive and requires no edge

way, people can pass in the aisle or work back-to-back on

finishing, but it usually is more costly than the particle-

separate tables. For tables with board storage underneath,

board; and since it is made of plastic, the table parts would

be sure to allow even more space so that 40” long sheets can be pulled out of their vertical bins. Sometimes it is useful to place a table against a wall. In that case, I suggest limiting the width to 40”, which would enable most people

CONTENTS

to reach all the way across. In larger shops, where multiple, special-purpose tables are practical, a mat cutting table might have a straight-line mat cutter recessed into its top, and it could be located near the computerized mat cutter.

AD INDEX

This table would include vertical bins underneath for storage of matboards and shelves for storage of all the tools and materials used for manual mat cutting and decoration.

One or more frame assembly tables may be located near the cutting and joining equipment. Perhaps a long, narrow table could be placed against a wall for unpacking, 40 PFM July 2020

First, the top and bottom panels are prepared with slats in mirror image to separate the vertical supports. Next, the bottom panel is leveled. See the next page for more detail.

carry a static charge that could attract more dust. These sheet materials are available from most home improvement stores in white, 48” x 96”.

Once cut, the base and top panels are fitted with horizontal slats in mirror image to separate the vertical panels.

From that point, the rest of the table parts slide together like a puzzle. Notice that in most designs, the vertical panels are placed at 90-degree angles and attached by cuts of 1” aluminum angle stock. This design of perpendicular supports provides the stability of these free-standing tables.

Most floors are not perfectly level, so final assembly usually involves leveling the base panel and resting it directly on a wood or tile floor. If the shop floor is bare concrete, which holds moisture, it is important to raise the table off the floor by a fraction of an inch to allow air circulation. For this purpose, pieces of ½” x 1” aluminum “U” channel can be screwed to the bottom of the base panel.

That is, for a 48” x 96” table, use five 48” pieces of channel, equally spaced.

If you’re looking for solid, affordable, adaptable, attractive worktables for your shop, adaptating these designs may be very useful for you. PFM

This was my first interlocking-panel table, built out of unfinished particleboard in 1988. I cut all the parts using an ordinary circular saw and painted them white. This table still stands, after having been moved and reassembled three times.

James Miller James founded ARTFRAME, Inc. in 1988. His storefront business, sold in 2015, specialized in protective framing, with emphasis on creative framing of three-dimensional objects. In 1990, Miller earned PPFA’s Certified Picture Framer (CPF) designation, and in 2004, he earned the Master Certified Picture Framer (MCPF) designation. As a member of PPFA’s Certification Board, he helped develop the MCPF program and oversaw a review of the CPF program.

As an educator, Miller presents framing courses at educational venues like The National Conference. As a staff writer for PFM, he has authored numerous feature articles on various framing topics. He has authored two instructional books for framers: Mounting Objects with Clear Film and The Complete Guide to Shadowboxes and Framing Objects.

PFM July 2020 41

Distributor Spotlight

CONTENTS

DISTRIBUTOR SPOTLIGHT

AD INDEX

A complete innovative marketing section designed especially for distributors.

For more information, sales@pfm-group.com 42 PFM July 2020

Index Advertiser

Page

Advertiser

Page

Active Sales ........................................................................17, 42

House of Troy ...........................................................................31

800-937-2255

800-428-5367

www.activesalesco.com

www.houseoftroy.com

Alpina Manufacturing, LLC ........................................................42

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

800-915-2828

800-233-2404

www.fastchangeframes.com /www.bannergrip.com

www.richesonart.com

Arlo Spacemaker Products, LLC..................................................23

LifeSaver Software....................................................................31

800-332-2756

800-381-0600

www.reevesextruded.com

www.lifesaversoft.com

Capax-Frame It ........................................................................10

Michelangelo Moulding .............................................................13

800-942-2729

877-422-8812

www.capax.com

www.michelangelomoulding.com

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

Omega Moulding Company .......................................9, 10, 18, 45

301-476-7440

800-289-6634

www.cmimoulding.com

www.omegamoulding.com

Decor Moulding & Supply ..................................18, 21, 41, 42, 45

Picture Framing Magazine.........................................................37

800-937-1055

800-969-7176

www.decormoulding.com

www.pictureframingmagazine.com

Designer Moulding....................................................................33

Picture Woods Ltd. ....................................................................23

800-634-0032

800-321-6522

www.designermoulding.com

www.picturewoods.com

Encore Products Inc ...................................................................15

Pro Tapes & Specialties..............................................................19

800-873-4868

800-345-0234

www.encoreproducts.com

www.protapes.com

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

Professional Picture Framers Association ....................................24

800-422-6731

732-536-5160

www.engelsenframe.com

www.ppfa.com

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

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

714-526-3455

800-297-1566

www.fixons.com

www.rhondafeinman.com

Foster Planing Mill ..............................................................37, 42

Sepp Leaf Products ...................................................................25

323-759-9156

800-971-7377

www.fosterplaningmill.com

www.seppleaf.com

Framerica............................................ 2, 3, 4, 10, 18, 39, 45, 48

Studio Moulding, Inc. ................................................................27

800-372-6422

800-262-4174

www.framerica.com

www.studiomoulding.com

FrameTek .................................................................................16

Tru Vue ......................................................................................7

800-227-9934

800-621-8339

www.frametek.com

www.tru-vue.com

Frank's Fabrics for Framers.......................................................22

Universal Arquati ........................................................................5

888-332-2749

800-668-3627

www.franksfabrics.com

www.universalarquati.com

Global Art.................................................................................35

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

866-310-4278

800-880-8315

www.globalartinc.com

www.wallmoulding.com

Gluefast Company ....................................................................42

Wizard International .................................................................11

800-242-7318

888-855-3335

www.gluefast.com

www.wizardint.com

Gold Leaf Frame Makers of Santa Fe .........................................29

Z Hardware ..............................................................................42

800-873-5525

800-880-9315

www.goldleafpictureframes.com

www.zhardware.com

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

Ziabicki Import Co. ...................................................................39

866-248-0100

262-633-7918

www.hoffmann-usa.com

www.ziabicki.com PFM July 2020 43

Product Showcase Atlas Saw & Tool

Crescent

Atlas Saw & Tool’s engineered plastic saw blades feature unique blade geometry designed for high-volume plastic and acrylic cutting with smooth easy cuts on ultra-low melt plastics and reduced chipping on thin acrylic sheets. Plus, get increased hourly production output and yield rates with the ability to cut stacks of acrylic at one time.

Making its debut in Crescent’s top-of-the-line RagMat Museum Solids collection is Winter White, the most brilliant white the company offers. Made of 100 percent cotton with solid color throughout, Winter White is available in both 4-ply and 8-ply. Naturally acid-free and lignin-free, RagMat matboards are specifically designed for the display and protection of artwork.

Call: 888-484-1488 www.fletcher-terry.com

Call: 847-537-3400 www.crescentcardboard.com

Decor Moulding

Fox Moulding, Inc.

Introducing Savoy, a new line of six contemporary styles.

Each style has a subtle surface texture positioned on an angled profile that is the focus of its visual highlight.

Available in two popular widths of 7/8'' and 1 3/8'' with substantial rabbet depths of 5/8'' and 3/4'', respectively.

Choose from three rich colors of gold, pewter, and black, adding excitement to these styles. Order corner kit #CSSAV to get these high-demand styles on your walls today.

Stack up your profits with Readymades.

Design your own assortment of readymade and empty frames from the Fox Moulding inventory. Quick turnaround!

Call: 800-341-0101 www.foxmoulding.com

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

Framerica

Michelangelo Moulding

Framerica’s Illusions profile, which was designed to allow for a single moulding to appear stacked, is now available in the company’s entire woods collection.

“Demand for the Illusions profile has been growing steadily, even over the past three months,” notes VP Josh Eichner. “We’re excited to make it available in all of our wood tone finishes.”

The new poly series 622 is now available from Michelangelo Moulding. The collection of 11 distinct finishes, each measuring 1 5/8'' X 1 3/8'' with a 7/8'' rabbet, is available in four groups: metallics (gold, silver, bronze), colors (black, white, charcoal), barnwoods (light gray, walnut, gray), and woodgrains (walnut, white). View them on Michelangelo’s website.

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

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

Sepp Leaf

Superior Moulding

Liberon Gilt Colors: Liberon offers six gilt tones in gilt cream, gilt varnish, and gilt filler sticks. Four gold tones, silver, and bronze.

All intermixable for perfect color matching.

All named after castles in France, and each color just as rich! Imported from England by Sepp Leaf Products, Inc. and available on the website below.

Superior introduces Skyfall: two profiles, four unique, multicolored mouldings with a textured and glossy finish. The modern finish on this series complements modern farmhouse designs that are so popular today. These mouldings work great with landscapes, from oceans to mountains, and the profiles pair well to create stunning double frames. Request a color catalog online or call for samples and pricing.

Call: 800-582-5608 www.framewareusa.com

CONTENTS

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

AD INDEX

Universal Arquati

Wizard

Universal Arquati is excited to present the additions of Edge II by Universal. This collection incorporates mid-century designs with silver, gold, and champagne tones, in high-quality finishes, with the recent addition of the Oak Black Veneer!

Edge II comes in three profiles for floating, stacking, and glass framing designs. Samples of this collection 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.

Introducing the Wizard Z1—the ultimate mat cutter combining edge-to-edge cutting with a suite of automation features that virtually eliminates human errors. It’s the only CMC with advanced features such as: auto-homing, digital depth control, and Wizard’s innovative new Intelli-Clamps collision detection and avoidance system, as well as all of the decorative design capabilities found in every Wizard Z Series cutter.

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

44 PFM July 2020

Call: 425-366-7294 www.wizardcutters.com

(Continued from page 46) work with the painting and the interiors as a cohesive whole.

footing with fine art. Rossetti also designed furniture, wallpaper,

The earliest common features were straight profiles and

bookbindings, stained glass, and architectural elements that

gilded oak with some form of decoration. Later frames used by

were consistent with his frame designs and paintings.

Rossetti varied in the addition of a gesso layer for a smoother gilded surface, some silver-leafed variations), and ebonized

Additional comments and/or anecdotes. By the end of the

detailing, but the basic profiles remained constant.

nineteenth century, British decorative and fine arts held equal

Other design departures included central medallions,

aesthetic value. As a reaction against industrialization, a number

incised or punched designs in the frieze, and patterns of applied

of concurrent or overlapping movements were formed, begin-

or carved motifs on the inner and outer moulding. Rossetti re-

ning with the Pre-Raphaelite Brotherhood (1848) and [William]

peated some motifs in his frame designs throughout his life, but

Morris & Co. (1861) and progressing through the Arts & Crafts

he also designed one-of-a-kind frames adorned with allegorical

and Aesthetic Movements (1870s and ‘80s). Credos such as John

symbols proportioned to coordinate with the carefully planned

Ruskin’s “Truth to Nature” and William Morris’ “Have nothing in

decorative compositions of his paintings as well as painted

your homes which you do not think to be beautiful or know to

captions or quotations that related to his subjects. Rossetti and

be useful,” profoundly influenced Victorian artists and design-

other artists often used variations of the Italian cassetta with

ers in Europe and America. The value of ornament, an empha-

friezes incised or decorated a bulino to enhance the pre-

sis on craft, and the concept that true beauty in art could only

Renaissance qualities of some of their paintings.

be achieved through an adherence to medievalism and nature

Probably influenced or inspired by Rossetti, American expa-

led to some of the most original designs for furniture, interior

triate artist James McNeill Whistler also developed the concept

decoration, and frames. PFM

of reeded cassetta profiles and gilded oak surfaces that were

“Best of PFM” takes a look back at some of the magazine’s

integral to his own paintings. With refined variations of more

most popular articles on frame history as it celebrates its 30th

tightly bundled narrow reeding, alternating flats, gilded oak sur-

year in publication. This article appeared in its original format

faces with varying karats of gold leaf chosen to enhance specific

in the February 2010 issue.

works, and sometimes painted decorations, the eponymous Whistler frame has become a frame category unto itself.

What type of artwork would this frame most likely house?

Nineteenth-century British Pre-Raphaelite, late Victorian, and Symbolist paintings.

What furnishing/interior styles accompanied these style frames in their time? Pre-Raphaelite frame designs integrated paintings with contemporary interior environments—Aesthetic Movement, Arts & Crafts, and Anglo-Japanese tastes were prevalent. In these rooms, decorative arts were presented on equal

PFM July 2020 45

Style

BEST OF PFM

SNAPSHOT All photos courtesy of Gill & Lagodich Fine Period Frames, NYC.

By Tracy Gill

A look at a frame, its characteristics, and history What style frame is this? A Rossetti frame.

Where is it from? England.

What time period is it from? It first appeared in the From Frameworks by Paul Mitchell & Lynn Roberts, Merrrell Holberton Publishers, London, 1996, p. 357.

early 1860s.

Who was instrumental in developing this style frame? This was a collaborative design of Dante Gabriel Rossetti (1828-1882) and his mentor, Ford Madox Brown (1821-1893).

What are the defining/common characteristics of this style? The Rossetti is a decorative, flat artist’s frame ornamented primarily with geometric shapes—usually permutations of low-relief roundels, medallions, and squares—placed on fairly plain, wide moulding, sometimes with triangulated outer elements. Rossetti formed the Pre-Raphaelite Brotherhood, an association of English artists who wanted to recapture the beauty of medieval and ear-

moulding, also relates to the Italian cassetta frame.

ly Renaissance art and natural forms. The flat wood

CONTENTS

construction of the eponymous Rossetti frame was

What design departures might be seen on some

based on medieval precepts and simple frames of

frames of this style? The nineteenth-century British

Flanders and The Netherlands. The “honest” archi-

artists Dante Gabriel Rossetti, Ford Madox Brown,

tecture, at first with the butt-joint construction of

William Holman Hunt (1827-1910), George Frederick

medieval plank frames, was often augmented by

Watts (1817-1904), John Everett Millais (1829-1896),

gold leaf applied directly on the oak frame to show

and William Morris (1834-1896), among others, used

the beauty of the grain. The basic “box” profile, a

and designed frames that, perhaps for the first time

flat surrounded on either side by a narrow higher

in the history of secular painting, were intended to

AD INDEX

Tracy Gill is a co-owner of Gill & Lagodich Fine Period Frames & Restoration in New York City.

She has devoted more than 25 years to collecting, studying, restoring, selling, and curating period frames. The gallery has an inventory of over 2,000 American and European period frames spanning over 400 years. Gill has written numerous articles on period frames and lectures on the subject for collectors, schools, museums, and other institutions.

46 PFM July 2020

(Continued on page 45)

Top: This1860s Rosetti frame was gilded on 4”-wide milled and hand-carved quater-sawn oak.

Bottom: Dante Gabriel Rossetti, Lucrezia Borgia, 1860-61, 43.8x25.8 cm, oil on canvas (Tate Gallery, London).

CONTENTS

AD INDEX