Picture Framing Magazine - October 2020

CREATING THE PERFECT CORNER JOINING EQUIPMENT REVIEW • TIMBER MATS

Contents

PFM is a member of:

Volume 31, Number 10

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

On the Cover

From compact, manually operated models to high-volume, computerized machines, today's frame joining equipment is more sophisticated than ever—and perfect options for businesses of every size. For the full story, see page 12.

Photo courtesy of Fletcher Business Group

Features 12 Finding the Right Joining Equipment for Your Shop 24 Photo Series Wins PPFA OPEN 28 Overcoming Joining Challenges 32 Timber Matboards

18

Columns 18 Framing Fundamentals 36 Successful Retailing Panel 46 Style Snapshot

28

Departments 8 10 39 42 43 44 45

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

24

32

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

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

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

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

CONTRIBUTORS

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

B USI N E S S E D I TO R

ADVERTISING SALES

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

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 October 2020

Bruce Gherman

FROM THE EDITOR’S DESK

T

Frame joining is an essential component of custom framing; this month, we look at equipment and techniques for perfecting your joins.

CONTENTS AD INDEX 8 PFM October 2020

his issue takes a closer look at frame joining; both the equipment involved in cutting and joining moulding and the best practices to ensure consistently accurate cuts and clean corners. As joining is an essential component of custom framing, it’s worth reviewing the machines and techniques you are using in your shop, whether you have been in business for three years or 30.

Our staff report on joining equipment highlights just a few of the many underpinners on the market today (p.

12). Performance features detail each machine’s capabilities, starting with manually operated models and moving to pneumatic models and, finally, the most sophisticated, computerized models. Whether you are currently shopping for a new machine or plan to upgrade in the future, the industry’s leading manufacturers offer models for every size shop, from small-volume retailers to high-production facilities.

In our latest Framing Fundamentals column, Wayne Baker, MCPF, explores methods for creating the perfect corner—and how to achieve consistent, repeatable results (p. 18). What qualifies as a “perfect” corner may differ slightly from framer to framer, but abiding by these rules of thumb

will help ensure your framing jobs meet everyone’s highest standards.

Of course, mistakes will inevitably happen; but while human error is a factor in any line of work, many frame production errors can be prevented by taking a few extra steps. In his latest article, Kevin Meath covers those steps from A to Z (p. 28). Kevin also offers solutions for overcoming challenges when joining tall, narrow, or warped mouldings. From machine maintenance to moulding selection, these expert tips will help you avoid costly mistakes.

This issue also features the third installment of a five-part series on this year’s Successful Retailing Panel, which took place at the 2020 WCAF Expo. This panel brings together expert panelists and framing retailers to discuss business challenges and solutions. This year saw a new format in which business owners took the stage to share their successes in marketing, management, and finance. I hope you find these stories as valuable as those in the audience did.

Kimberly Biesiada Editor

INDUSTRY NEWS Important WCAF Expo Update The management team at the WCAF Expo has kept in close communication with our partners in the event planning industry and continues to monitor updates regarding the COVID-19 pandemic. As of this publication date, there are still restrictions in place on meetings and large gatherings imposed by government and health authorities. Some hotels in Las Vegas remain closed to the public. While framing retailers and suppliers have reopened and are conducting business, the meeting and convention industry is still awaiting reopening instructions. The difficult decision has been made to cancel the original dates for the 2021 West Coast Art & Frame Expo (Jan. 24-27, 2021 at the Rio AllSuite Hotel and Casino).

“First and foremost is our concern for the health, safety, and comfort of our attendees and exhibitors,” says Deborah Salmon, trade show director. “Then it would be our ability to produce the high-quality event that our loyal customers look forward to every year. We respect the amount of time, resources, and manpower that our exhibiting partners, sponsors, and instructors dedicate to the trade event. Traveling has become quite challenging with restrictions from many international destinations, quarantine requirements, and other factors that would adversely affect attendees.

Currently, there are mandated meeting attendance limits without a known release date. With all the uncertainty, it is in everyone’s best interest that this decision was made now and not later in the year.”

The show management team remains dedicated to producing a live event. The phased reopening of facilities and release of restrictions on conventions will be monitored closely.

While dates for a future show are not available at this time, updates will be forthcoming.

“Our industry needs a live event,” Salmon says. “Art and custom framing are visual products. While other trade events might transition to a 100% online format, that would be a near impossibility for us. Retailers come to the show for a buying experience;

CONTENTS AD INDEX 10 PFM October 2020

to source new products, see new equipment, or take hands-on workshops to learn new techniques. They cannot enjoy the same quality virtually. It is a tactile experience where you can feel a product and see subtle differences in color and finish before making a commitment to carry a new line. The show also gives buyers the opportunity to watch and participate in live demos before investing in new equipment. The new technology and creativity we are seeing today for meetings and conventions is exciting and has a place, but not as a replacement for our industry.”

Bruce Gherman, publisher of Picture Framing Magazine, adds, “This has been a year like no other, but the industry is alive and well. I am encouraged as I continue to speak to both retailers and suppliers about strong sales since their reopening. It is also great to hear the overwhelming support for a future trade show.

PFM is looking forward to our next event, hopefully as early as the second quarter of 2021.”

For 21 years, the WCAF Expo has welcomed thousands of attendees and exhibitors from around the world every January.

This annual trade event features a trade show with new product launches, show specials on equipment and supplies, an annual convention with over 100 educational seminars, and a host of networking events. For more details, visit www.wcafexpo.com.

Framerica’s Dan Murray Celebrates 15 Years Dan Murray, a longtime member of Framerica’s national sales team, recently celebrated 15 years with the New York-based moulding manufacturer.

“For 15 years, Dan has tackled every task with unprecedented care and effort,” notes VP Josh Eichner. “He is adored by his Framerica

Dan Murray

family and his customers and is regarded as one of the top salespeople in our industry.”

For more information, call 800-372-6422 or visit www.framerica.com.

FIND THE RIGHT JOINING EQUIPMENT FOR YOUR SHOP

W

hether you have recently opened your own

joiners on the market for picture framing retailers of

frame shop, purchased an existing business,

all sizes. All products are listed alphabetically within

or are an established retailer looking to up-

each section. For further detail about these machines

grade your equipment, it’s important to keep up to date

as well as other models not listed here, contact your

on the joining machines best suited to your needs.

local sales representative or visit the suppliers online

Here, we take a closer look at just a few of the many

at the websites listed on page 16.

For the Small Retailer: Manual Underpinners The AMP U-200 is an entry-level

• Easy table tilt adjustment

Performance features:

frame assembly machine for small

• Join either from front or back of ma-

• Aluminum profile structure

retail operations. As a fully manual machine, it requires no compressed air or electrical power to operate.

This quiet, lightweight unit allows

chine • Cable adjustment for actuator pedal height • Requires small footprint: 18'' x 30''

• Stainless-steel working table • Adjustable, magnetic chevron hold down and solid crossbar • Easy wedge loading • Quick and easy wedge positioning

the framer to bring the joining operation in-house for cost control and

The Cassese CS1 Series is a manu-

quick customer turnaround. It can

al, foot-operated underpinner ideal-

handle moulding sizes up to 5 1/8''

ly suited to a small retail frame shop.

wide and 3 1/4'' high.

The CS1 is designed to join softwoods, hardwoods, MDF, and poly frames. It

Performance features:

includes an adjustable magnetic chev-

• Pedal actuator – requires limited

ron hold down on a solid crossbar and

force for nail insertion

features easy V-nail loading and sim-

• Spring-loaded pull pin locking

plified V-nail positioning. The CS1 is

clamp mechanism allows quick

designed to be simple and fast and can

adjustment for different size

handle moulding sizes up to 4'' wide

mouldings

and 4'' high.

CONTENTS

For the Mid-Sized Retailer: Pneumatic Underpinners

AD INDEX

The AMP U-300 is a benchtop frame

joint. The V-nail insertion is actuated

joining machine popular with custom

using a pneumatic pedal. The U-300 will

• Quick-change, magnetic pad hold

framers. The design of the U-300 al-

join mouldings up to 3 3/4'' wide and 3

down feature fitting most mould-

lows the operator to set the front and

1/4'' high.

ing profiles

back measuring stops for V-nail inser-

Performance features:

tion. The frame is then moved across

• Pneumatic loader to eliminate nail

the nail head and V-nails are driven or stacked anywhere along the frame 12 PFM October 2020

jams • “Soft clamping” pneumatic feature

for damage-free joints

• Requires small tabletop footprint: 19'' x 18'' x 14'' • Operates only with pneumatic air, no electrical hookup needed

COUNT DOWN

TO A BETTER BUSINESS

10 MOUNTING METHODS FROM CHRIS PASCHKE

7 PRESERVATION FRAMING FROM HUGH PHIBBS

4 FRAMESHOP CREATIVITY FROM JOHN RANES II

1

9 A LOOK AT FRAME HISTORY FROM WILLIAM ADAIR

8 PROVEN SALES STRATEGIES FROM JARED DAVIS

6 MAT DESIGN FROM BRIAN WOLF

5 MARKETING TOOLS AND TECHNIQUES FROM GINGER HARTFORD

3 RETAILING TIPS FROM KEN BAUER

2 STRAIGHT TALK ON BUSINESS FROM JAY GOLTZ

PICTURE FRAMING MAGAZINE The Number One Source For Everything Framing!

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

• Dual-function foot pedal for separate control of clamping and V-nail insertion

• Self-adjusting fences make it easy to match moulding profile

Performance features: • Uses standard V-nails in the fol-

• Cassese’s exclusive Smart Nail

lowing sizes: 7, 10, 12, and 15mm

• Designed with a unique, trou-

Drive System eliminates the

• Includes four interchangeable

ble-free piston V-nail driver block-

need to adjust the top clamp lo-

heads and two self-adjusting hy-

blade system for years of depend-

cation and eliminates the need

draulic clamps designed to hold

able single and multi-stacking

to adjust air pressure between

the moulding in place to simply

operations

hardwood and softwood • Adjustable and magnetic chev-

The Cassese CS20 Cart pneumatically-operated underpinner offers

piece together your corner • Operator sets front and back

ron top hold down

stops and then uses the joystick

• Quick and easy nail positioning

to insert and/or stack V-nails

excellent flexibility for small framers up to medium-sized contract

The Universal Arquati DY104 is a

framers. Simple and easy to use with

high-value, bench- or stand-mount-

clamps for both the front and top of

ed pneumatic underpinner that is

the moulding to produce the high-

designed to join wider mouldings.

est-quality corners. Able to join a

It has a single-stage pneumatic foot

wide range of mouldings widths and

pedal that engages the horizontal

heights.

and vertical clamps. The DY104 can insert any number of V-nails be-

Performance features:

tween the front and back stops. The

• Patented, powerful, double-ac-

DY104 will join mouldings up to 6''

tion

horizontal

clamps

hold

wide and 4'' high.

moulding tight

For the Large Retailer: High-Volume Production Joiners file data storage of 5,000 different

erator comfort

frames, the operator can easily recall

• User-friendly touch-screen oper-

any frame profile either alphabeti-

ation with data storage for 5,000

cally, numerically, or using the bar-

frame profiles

code reading option. The U-600 will

• Bar code scanner option for

join mouldings up to 4 1/2'' wide and

production integration and ef-

3 1/4'' high.

ficiency

CONTENTS

• Join from front or back of maPerformance features: The AMP U-600 is the most advanced frame joining machine in

AD INDEX

the AMP line. This machine is ideal for high-production facilities that require flexibility for different sized V-nail fasteners or a common mm size through a market unique configurable channel feature. With pro14 PFM October 2020

• Equipped with five individual

chine •

Machine

handles

all

types

V-nail storing channels, capable

of wood, plastics, and MDF

of holding up to 220 V-nails each

materials

• V-channels can store multiple sizes or one common size for

The

production uptime and produc-

MemoTS+ is designed as a high-

tivity

speed production machine. Within

• Easy table tilt adjustment for op-

A-Plus

Automation

A6-

the same work cycle, the operator

MANUFACTURERS

• Nine nailing positions, up to nine nails per position

AMP: www.fletcher-terry.com A-Plus Automation: www.a-plusautomationusa.net

•

Storage

for

3,000

moulding

profiles

Cassese: www.cassese.com

• Wide mouldings – 7 1/2'' stroke

Universal Arquati: www.universalarquati.com

•

Powerful,

retractable

“Ultra”

clamps draw moulding tight

can insert and/or stack different

tion operations, with programmable

The Universal Arquati DY102 is a

V-nails in the different insertion po-

memory and a user-friendly touch-

high-value, fully automatic, comput-

sitions. The programs can be opera-

screen interface. This machine is

erized underpinner. The DY102 comes

tor input or downloaded from a PC.

designed to join softwoods, hard-

with four interchangeable heads,

The operator can select the frame to

woods, MDF, and poly frames. The

one for each size of V-nail. Chang-

be produced via the touch-screen or

touch-screen tells operators which

ing V-nails is a simple, three-minute

by scanning with the optional bar-

cartridge size and accessories to use.

task with this machine. It can store

code reader. The machine will au-

The programmable memory stores

up to 2,500 individual profile setups

tomatically adjust, and production

up to 3,000 profiles (unlimited pro-

in any alpha-numeric sequence. The

can start immediately. The barcode

files if full parameter barcode and

DY102 will join mouldings up to 6''

reader can also fully program the

scanner are used). The Mach 4 Cart

high and 4'' high.

machine using a special QR barcode.

will join mouldings from up to 6''

Performance features:

The A6-MemoTS+ will join frames

wide and 4'' high.

• Uses standard V-nails in the fol-

up to 7 1/4'' wide 4 1/4'' high.

lowing sizes: 7, 10, 12, and 15mm Performance features:

Performance features: • Magazine composed of five channels which contain five sizes of special steel wedges: 5, 7, 10, 12, and 15mm

draulic clamps and an adjust-

joiner • High-speed – 3,300 cycles/hour

able horizontal clamp • Vertical clamps have a separate

(two nails/corner)

pedal to allow self-adjusting

• Cassese’s exclusive Smart Nail

• Within the same work cycle, op-

Drive System eliminates the

erator can insert and/or stack

need to adjust the top clamp lo-

wedges of different sizes in the

cation and eliminates the need

different insertion positions

to adjust air pressure between

• Store an almost endless number

• Two self-adjusting vertical hy-

• Electronic + pneumatic memory

setup • Easy to set up, program, and operate •

Storage

for

2,500

moulding

profiles PFM

hardwood and softwood

of programs, which can be entered manually or downloaded from a PC • Operator can easily recall the

V-NAIL VS. DOVETAIL

CONTENTS

program through the touch-

Both an underpinner/V-nailer, like the models seen in this article, and a dovetail rout-

screen or through the use of an

ing machine are important pieces of equipment for a custom framing retailer. Dovetail systems are particularly useful for achieving strong joints in narrow, tall stem mouldings;

optional bar code scanner to restart production immediately

AD INDEX

• Horizontal, vertical, and fence

deep shadowbox frames; unusually shaped frames, including multiple angles; and other mouldings that won’t easily join on an underpinner.

clamping devices provide very precise tightening of the frame The Cassese Mach 4 Cart is a fast, heavy-duty design for high-produc16 PFM October 2020

Hoffmann Machine Company manufactures a number of benchtop and high-production dovetail routing machines. For their complete lineup and details about each model, visit them online at www.hoffmann-usa.com.

FRAMING FUNDAMENTALS

By Wayne Baker, MCPF

Techniques for Creating a Perfect Corner

Following these steps will help you achieve consistently great work.

W

hat is a “perfect corner?” To some, it will be a finished corner that replicates the look of a closed-corner

frame; for others, it will mean a corner with little or no gaps along the joined surfaces. To others still, it may just mean a good, solid join.

Your customers will have their own idea of what a perfect corner is, and it may align with any of these definitions. However you define

each reacts differently to environmental vari-

it, there are some basic skills, principles, and

ations such as heat and moisture. The key to

techniques you can use to achieve high-quali-

achieving the perfect corner finish is to use a

ty, replicable corners for your framing projects.

quality moulding that is straight, without any

Let’s first look at some of the different

bowing or warping. By using a quality mould-

components and processes used when mak-

ing, you will find that the profiles will be more

ing a frame that can impact on the finish of

consistent in patterning and thickness over

not just the corners, but also the look of the

the entire length than is available with some

completed frame.

lesser-quality frames.

CONTENTS

The moulding you are using to make your

The next step after choosing the moulding

frame is the first item to consider. These can

is to cut the frame to size. There are a number

be made from metal, a synthetic or plastic ma-

of different corner joints used when making

terial, or timber. All moulding types come in a

a frame, the most common of these being the

variety of profiles, shapes, finishes, and qual-

45-degree miter-cut corner. For this type of

ity. Of these three, wooden mouldings make

corner, there are several cutting tools available

up most of what is used by framers. Wooden

to the framer; the one ultimately chosen will

mouldings are made from either softwood (co-

depend on the individual and, to some extent,

nifer trees) and hardwood (broad-leafed trees);

the quality of the corner required. There are

AD INDEX

Wayne Baker, is co-owner and operator of Framing Elegance and CJ Paste Pty Ltd. He has quali-

fications across a variety of fields, including a bachelor’s degree in production management, a master certified picture framer 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.

18 PFM October 2020

Though the definition of “perfect” is somewhat subjective, there are concrete techniques you can use to get corners that look beautiful in the eye of any beholder.

An outside corner of a frame before and after being joined. Using high-quality moulding free of bowing or warping is an important first step in the frame joining process.

basic miter boxes and hand saws, foot-operated or pneu-

equipment, refer to the owner’s manual or contact your

matic choppers/guillotines, and electric compound miter

manufacturer’s representative.

and double miter saws. Each has its advantages and disad-

Whatever method and piece of equipment is used for

vantages over the others, and all can offer a quality cut in

undertaking the joining process, I recommend that you

the right hands.

check the lengths of frame for being the correct size and

What is important with whichever cutting tool is used

being free from imperfections, place the moulding lengths

is to ensure it is correctly set up, adjusted, and aligned to

together in pairs (long lengths together and short lengths

give an accurate 45-degree cut; that the blades are sharp;

together), and color the top cut edges of the frame with a

and that the correct technique is used for the chosen tool.

touchup pen or similar on all four cut corners with a col-

Each cutting tool will have a different method for achiev-

or that approximates the moulding finish color—slightly

ing a good, clean cut, so refer to the owner’s manual or

darker gives the best results.

ask your machinery representative for the correct setup,

Check that the setup of the joining equipment is set

alignment, and cutting technique. When cutting, check the

for the size and type of moulding to be joined. Once done,

moulding piece for correct sizing by comparing against the item to be framed and ensuring there is a small allowance factored in for the expansion.

Once you have the moulding sections cut to size, the cut lengths can be joined to form the frame. Joining is the process of bonding the frame lengths at the corners, using glue, nails, and/or wedges. As with the process of cut-

apply a thin, consistent layer of a quality wood glue across the entire cut surface of both faces of one pair of frame lengths. Place a long and short length together and align for the best corner before undertaking the actual clamping and joining of the frame. Repeat for the other pair of frame lengths and then join the two sections to form the complete frame, aligning each corner for the best overall

ting, there are several different techniques and pieces of equipment that are popular with framers to hold and join a frame. Strap clamps and nails, corner/miter vises and

CONTENTS

nails, underpinners with V-nails, and routing with wedges are some of the more common tools and methods used when joining the moulding lengths together into a frame.

As with the cutting equipment, it is important that which-

AD INDEX

ever equipment is used, ensure that it is adjusted and set up correctly and in a safe working condition.

As an example, check for an accurate 90-degree corner for a square or rectangular frame, and if used, check the backing fences for being vertical to the base. If you are unsure of any of the steps to set up and align the piece of 20 PFM October 2020

Checking an underpinner for squareness. Whether you are using a machine like this, a double miter saw, or other cutting tool, make sure it is properly aligned and set up in a safe environment.

This example shows the process of coloring the cut face of a piece of moulding. Color the top cut edges of your frame with a touchup pen on all four cut corners with a color that approximates the moulding finish color. A slightly darker color gives the best results.

finish. Wipe any excess glue off the face of the moulding if

of moulding, or a piece of equipment that’s slightly out of

it has been forced out during the joining process with cloth

alignment. The last one will be most noticeable, as it will

(this is common if an adequate amount of glue has been

occur on almost every corner that has been joined. What-

applied). Set the joined frame aside for 30 minutes or so to

ever the cause, the resulting joint(s) may be open slightly

allow for the glue to dry.

on the top surface or the side, the ornate patterning at the

If the above steps are completed with straight, quality moulding lengths, accurately adjusted and set up

corners may be at differing heights, or there may be slight marks on the moulding that you didn’t notice before.

equipment, and the correct techniques, you should have

Can these imperfections be improved? In most cases,

a near-perfect corner joint! I say “should” here because

the answer is yes. If the corner has a pronounced gap, the

sometimes, even if you have done everything in your pow-

best solution is often to restart the process and recut the

er to ensure good, consistent results, the corner joint is not

frame. This effect sometimes occurs when using a miter saw

as good as you would like. This can be caused by such fac-

and a frame with a slight twist. When cutting and using front

tors as a tiny twist in the frame when it was cut, a layer

clamping, the saw blade cuts the moulding in one direction,

of gesso that’s a slightly different thickness on the pieces

and as it retraces the path, a frame with a small twist may

CONTENTS AD INDEX 22 PFM October 2020

actually twist ever so slightly in position due to the clamp pressure and the blade will remove an extra amount of material. Normally this is towards the top, or face, of the moulding. When you try and join this in a corner, the top face will have an obvious opening along the join.

If a gap or imperfection is minor, there are a number of products available to improve the overall finish and look.

There are corner and nail fillers, gilders paste, wax retouch crayons, and putties and pastes, to name a few. There are pros and cons for each of the products, and as with the

An inside corner of a frame, before and after joining. Check your lengths to ensure they are the correct size and are free from imperfections, and place them in pairs (long and short lengths together).

equipment used for cutting and joining, everyone has their preferred products when it comes to improving the look

ing lengths that are as straight as possible. You can further

and finish of corner joints. Like the pieces of equipment,

improve your chances of achieving that perfect corner by

they all need their own methods of application for achiev-

using equipment that is in good condition and is set up and

ing the best results. These products come in an assortment

aligned correctly, and by using a technique that is applicable

of colors and textures, and as with the markers used to

to the individual piece of equipment. Finally, you can rectify

color the end faces of the frame prior to joining, the pref-

any minor imperfections in your joined frame using one of

erence here is to use a color that is slightly darker than the

the many finishing products made for this purpose. When

frame for the best finish.

these processes are undertaken with due care, you should

So, can you achieve the so-called perfect corner? Whatever your personal definition is, it is possible to achieve a

end up with a corner that fits your—and your customers’— interpretations of “perfect.” PFM

very good, consistent corner finish by using quality mould-

PFM October 2020 23

FELINE PHOTO SERIES TAKES FIRST PLACE IN PPFA OPEN COMPETITION

C

By Kimberly Biesiada hristine Hasenhündl, CPF, owner of Hako-Oja Stu-

I paid close attention to his words and actions, and began

dio in Wainwright, Alberta, Canada, took home

to mentally record all my past experiences in other shops. I

first place in the 2020 PPFA International Framing

even slowly began collecting random equipment and stash-

Competition, Open Category. Hasenhündl used her custom

ing it for the future.

framing skill set to create a design showcasing a film strip of photos taken of a beloved pet.

When did you open your own business?

In a recent interview with PFM, she discusses the inspi-

One day in early 2004, my husband took a job out of town.

ration for the design, her journey in the industry, and her

Moving from a big city to a small town had me wondering,

advice for framers seeking their own first-place win.

“What am I going to do now?” My husband insisted I open my dream. Hako-Oja Studio and Custom Framing was born

How did you get your start in framing?

on March 27, 2004, in Wainwright. This was a huge jump for

I was an artist first, and when I started to develop a list of

me from working in mainly assembly to now facing the pub-

collectors, I began to receive framing requests for my com-

lic and the design counter. I was terrified and determined. I

missions. Like many first-timers, the price of framing took

purchased all my equipment with a credit card and opened

me by surprise—especially when an artist tries to make

the doors.

money on a request. So in 1998, I began searching for a fram-

Two years into establishing myself as Wainwright’s

ing job. Malcolm and Nancy at Expressions and Images in

framer and hiring a “greeter” (my shop cat, Mina), my hus-

Edmonton gave me my chance.

band got called back to the city for work. I couldn’t bring

In the years following, I went on to work in other rep-

myself to close the shop so young in its life, so I made the

utable local frame shops. I’m glad I did; it allowed me to

unusual decision to keep it open. I cut the shop hours to

experience different levels of the industry, giving me a vast

one-and-a-half days per week. With only one vehicle in the

outlook on quality and quantity framing. One retailer in par-

family, Mina and I would drop my husband off at his job,

ticular, Bill Zorzos of William Zorzos Custom Picture Fram-

drive to Wainwright, open the shop for the day, spend the

ing, unknowingly planted the seed of opening my own shop

night, open the shop until 1 p.m. the next afternoon, and

one day. His longevity and business sense is second to none.

drive back to Edmonton to pick him up at work.

CONTENTS AD INDEX 24 PFM October 2020

Sixteen-plus years later, with the same hours, my framing turnaround time remains at one week for almost everything. I cut, assemble, and design everything at the shop.

It gets exhausting at times, but it’s all worth it to keep my dream alive. Although in 2016, the commute nearly took the

The end of the matboard that featured the curl was misted with water on both sides, then wrapped around a mailing tube with kraft paper for protection and clamped firmly in place.

lives of both Mina and myself after a distracted driver struck our Jeep head-on. The shop had to close its doors for 18 months while we recovered. Hako-Oja Studio has survived two shutdowns (the accident and this year’s pandemic) and a lengthy, drastic cut in business hours. As the sole owner and operator, I feel optimistic about its future, so long as I’m patient and hold on to my dreams.

Was this your first competition entry?

This was my third time entering the Open Competition. I first entered in 2016-17, when I won first place in my chapter for a framed Mack truck hood ornament. My second entry was in 2018-19; I won second place internationally for a

Backing was added on the film strip to give the underside a finished look. This was cut using the same technique as the main strip and attached with glue dots.

framed set of four vintage rhinestone cat pins.

The only other competition I’ve entered is the PPFA Print Competition, with a first-place win in my chapter in 2015-16.

That piece went on to win my first international award of Honorable Mention. I was hooked, and quickly began eyeing the top spot. In 2017-18, I took another Honorable Mention as well as Judges Award and Popular Choice. In 2018-19, it was a nail-biting Popular Choice. In 2019-20, I took second place internationally.

What inspired your design for this year?

The idea behind this piece came from a series of playful photos I took of my beautiful cat, Pirelli. She loved the sound of opening a fresh bag of food and insisted on playing with the closer seal that would normally be discarded.

For years, I had the photos in a simple rendition of a

The film strip was supported by its insertion into the side of the frame with a few glue dots on the back of the mat, under the curl.

Take me through the steps of the project.

I really wanted to give it the feel of an actual negative strip,

film strip hanging up as a sample in the shop, showcasing

but with the photos being positive. I used the actual 4'' x 6''

a multi-opening mat. After coming up short of first place in

photos that were developed from a 35mm film back in 1996.

the Open Competition with previous entries, my husband

The film looks as if it is being pulled from its casing and

suggested I enter the film strip. I rethought how to execute

holding its curl at the end. There are no supports mid-film

the photo series in a more advanced way, with one thing

because I wanted it to remain as natural as possible, with a

staying constant; honoring my late “Sweetie,” Pirelli.

loose feel. I wanted the frame to essentially act as a casing for the strip; nothing distracting, but not just a square box, PFM October 2020 25

while damp. This step was very important, because if it had been too dry, the mat would’ve cracked when I tried to unroll it enough to cut the remaining cuts within the curl. I cut far enough down the strip to not interfere with the curl after it set during the final cuts. Then, the matboard was again misted and placed back in the exact rolled position around the mailing tube and held overnight until dry.

Cutting all the lengthwise cuts prior to rolling prevented the matboard from needing to be positioned flat for future

A finishing trim of the same Crescent black rag mat used for the strip was hand-cut to surround the slit cutout and glued in place.

cutting. The crosscuts finalizing the individual openings were carefully cut while the curl loosely hugged the cutter bar, leaving no stress on the preset curl. Only the necessary remaining cuts were done before returning it to the mailing tube because I didn’t want the mat to dry between my steps to achieve the curl. Matboard can be cut while damp, but the blade needs to be sharp. After sitting overnight and drying fully, the matboard was carefully released from the mailing tube. I cut the remaining crosscuts all the way down the matboard to reveal the film strip.

There is a Rising 2-ply backing on the film strip that backs the curl so when its underside is shown, it looks finished. This was cut using the same technique as the main strip and at-

This wall is not adhered to the frame but slides into a column built snugly enough to have a near-perfect corner on top and bottom.

tached with minute glue dots. The photos were individually mounted with minimal hinges using Japanese paper and rice starch, as the 2-ply kept things quite snug. The last photo, starting the curl, was scanned and printed in reverse and installed in the bottom of the curl to appear like you are looking at the last photo from the backside.

The multiple mouldings that were chosen were simple.

These were cut with a miter saw and joined using a thumbnailer and Maxim black glue. The main frame was chosen for depth, while the outer frame was chosen for its design to mimic the film’s gear holes. Plus, it gave even more depth by adding it onto the box frame. The two frames were adhered

The moulding was chosen to complement the colors in the photos and not distract from the centerpiece of the design: the film strip.

together using Maxim black glue and brads. The inner fillet frame was the same family line as the outer frame to help tie in the stack, as well as give me a wider frame lip to work with.

CONTENTS

The fillet was cut using a Fletcher Fillet Chopper. Inside, lining either. I chose simple, complementary colors and textures for

the walls and backdrop, is Rising 4-ply Medium Grey matboard

the moulding.

on top of EnCore conservation foamboard.

AD INDEX

The curl process was just that—a process! The Crescent

The film strip was installed using minimal mounting

#2296 Optic Black rag mat was hand-cut on a Fletcher 2100.

techniques, but needed to be inserted in a specific order. It

After the measuring and drawing lines, I cut all the cuts going

is supported only by its insertion into the side of the frame

lengthwise first. The end of the matboard that would feature

with a couple of glue dots onto the back of mat under the curl.

the curl was first misted with clean water on both sides of the

To adhere the curl while inserting the starting point of the

board, then wrapped around a 2'' mailing tube with kraft paper protection on both sides and clamped firmly so it wouldn’t unravel. It sat clamped for about 20 minutes and then released 26 PFM October 2020

strip into the wall, and while setting the frame down in place, things needed to be done separately to be installed together in

one single motion. Three of the side walls were adhered to the

truck hood ornament mounted on a wooden, hand-carved

frame using ATG Turbo glue. This held the glass in place. Then

replica section of the hood as seen from the passenger side

the last wall, where the strip starts, was left loose to slide the

through the windshield. The view out the windshield was

end of the strip into. Before insert-

an original three-piece watercolor

ing the strip, I cut a slit through both

I painted depicting the gravel road

layers of the wall wide enough to

we were driving on. I think I con-

slip the strip into firmly.

fused the international judges by

I hand-cut a finishing trim of

not explaining my objective. They

the same Crescent black rag mat

couldn’t figure out what I was fram-

used for the strip to surround the

ing—the painting or the ornament.

slit cutout for the strip and glued it

I learned a lot from that experience

in place using the ATG Turbo glue.

and how important your objective is

Then it was time to slide the start

when presenting a piece for compe-

of the strip into the slit in the wall

tition. Your piece seems obvious to

and let it free stand while lowering

you, but it may not be for the view-

the finished frame with glass onto the mounted strip. This wall is not

Hasenhündl pictured here inside her business, Hako-Oja Studio, located in Wainwright, Alberta, Canada.

er. Make sure the artwork or object is the focus. With this piece, it was

adhered to the frame, but slides into a column built snugly

not so much an object being framed as it was a scene be-

enough to have a near-perfect corner on top and bottom.

ing played. That’s the art of framing: you have to know when

Because the first photo is close to the frame in its presen-

a frame is part of the art, when a frame is just a protective

tation, I added a strip of frame sealing tape to the frame on

home for the art, and when a frame is complementing and

that end for added protection. The whole unit is held into the

enhancing the art.

frame using framer’s points. Finally, the premium glazing was

Read your score sheets with an open mind. Don’t take

cut to size using Fletcher’s 3000 wall mount cutter. The back-

things as an insult, but as a learning curve. This one can get

ing paper was attached with ATG tape and finished with wall

tough sometimes because we like to think that ours is the

buddies and bumpers.

coolest piece out there.

The best part about entering PPFA competitions is that

How did it feel to win?

they’re so rewarding. To help with that, choose subjects for

I cried! I remember telling myself, “Get it together, it’s

the Open that have meaning to you. Frame your favorite

picture-taking time!” It was a huge honor and relief, like years

things. This will drive you to make it the best, and it won’t

of hard work had finally paid off.

feel like work. For the Print, try to find common ground be-

What advice would you give to a framer who is competing for the first time?

As I mentioned, a few years ago, I entered a framed Mack

tween you and the piece. Because everyone is framing the same thing, finding a personal interest within it will make it yours. If you can achieve that, you’ll frame it beautifully and your ribbon will mean so much more. PFM

PFM October 2020 27

OVERCOMING JOINING CHALLENGES

By Kevin Meath

I

n this article, I will cover some ways to help make your

breakers. They help prevent chipping of the cut by sup-

life in the shop easier and more productive, and to help

porting the moulding as the blade goes through the ma-

you produce better-looking, higher-quality frames.

terial. If you start to see chipping on gesso moulding, this

Let’s talk about what makes some mouldings harder

is a good place to start looking. These chip breakers are

to join than others. Moulding cut quality is where I start.

replacement wear items and should be checked at every

If you are getting chops, there isn’t much you can do oth-

blade change or when excessive chipping starts to hap-

er than work with your supplier to get them to give you

pen.

better quality. If you are cutting your own moulding, there

Many saws today are equipped with hold-down

are several things to check. Is your saw in alignment, both

clamps. The correct placement of these clamps can make

horizontally and vertically? You can check this quickly

the difference between a poorly cut corner and a perfect

with a 6-foot straight edge or level. I check vertically first

corner. The clamps need to push the moulding straight

to make sure the infeed and measuring tables are perfect-

down, flat and tight against the top of the saw. Any rock-

ly in line with the saw table. Then I check horizontally to

ing or movement will show up in the cut and degrade the

make sue the measuring table fence perfectly matches up

quality of the cut. If you see or feel this movement, the

with the saw table fence. It’s not unusual for the saw to

leg can most likely be saved by using the AMP Disc Sand-

move a bit during months of operation, so I check at least

er (04-085) to true up the 45-degree cut. These machines

monthly. It’s a quick check and easy to do.

are a lifesaver with how they can improve the cut quality

Next, check your blades. Is it time for a sharpening?

before the moulding is joined! Be careful with how much

Telltale signs are burn marks, uneven and chattered cuts,

material you remove to not dramatically change the

and the motors slowing or bogging down as you cut. Time

length of the leg.

CONTENTS AD INDEX

to change the blades to a sharp, high-quality blade made

Before we move on from the topic of saws, let’s talk

for cutting picture frame materials. Make sure you use

about bowed or warped mouldings. These are common,

a high-quality sharpening service who understands that

and for the most part, such issues can be overcome. With

these are picture framing blades. If you have a double mi-

bow or warp, I cut the leg a bit long—usually 1''—and then

ter saw, the blades need to be marked as pairs. It is im-

trim to size. This almost always releases the bow or warp

portant that the blades be kept in sets; this helps ensure

and allows a high-quality cut. If this doesn’t quite take

the blades are sharpened to the same diameter. Blades of

care of the issue, I use the AMP Disc Sander to true up the

different circumferences will cause chipping on the out-

45-degree cut.

side corner of the smaller blade.

Twisted moulding is extremely difficult to join. If

While we are checking the blades, take a look at the

your sticks have twist, the best solution is to return them

chip breakers and make sure they are not worn out. Many

to your distributor. If that is not a possibility, again try to

saws have both bottom-support and back-support chip

cut the legs long and trim to size; or, you can sometimes

28 PFM October 2020

You can quickly check your saw’s alignment by using a 6-foot straight edge or level. I check vertically first to make sure the infeed and measuring tables are in line with the saw table, then horizontally to ensure the measuring table fence matches up with the saw table fence.

cut between the twist to salvage as

entire frame while joining. If the

space the V-nails. Some machines

frame droops or is held too high, the

allow only two nails per setup; oth-

quality of the join will be affected. If

ers will allow up to six. There are

your machine has arms only, there

also machines with “joystick” han-

are ways to help get them leveled

dles that have a front and back stop

up with the joining machine table.

but allow nails to be driven any-

If the arms are low, I use “fend-

where between the two stops.

er” shims from an auto parts store

For the height of the V-nail, my

around the bolts to shim them up.

goal is to select a V-nail or stack that

These shims are thin, “U” shaped

will be two-thirds the height of the

washers that are easy to slip onto

moulding.

the bolt in the joint between the

manufacturers will have a selection

arm and the machine. All the bolt

of V-nails for different wood types.

holes are slotted to allow for adjust-

There is a difference of the edge

ing the height. I find it rare that the

sharpening for hardwood, softwood,

arms will be high once they are cor-

and MDF nails. It’s best to use the

rectly adjusted. If they are, a slight

V-nails that match your material

hammer tap or two should bring it

type. Keep in mind that some wood

back down to level.

species classified as hardwoods are

High-quality

machine

much moulding as possible. After

Correct placement of V-nails is

getting the best leg I can cut, I go

also imperative to perfect corner

to the Disc Sander and true up the

joining. V-nail placement also de-

Some mouldings may require

miters as much as possible. Twist-

pends on the substrate you are join-

“stacked” V-nails to get the top of a

ed sticks will kill your yields, and

ing. MDF and polystyrene require

tall moulding to stay tight. This can

you will need more moulding than

some extra care to not split the

be difficult as some mouldings have

planned to get the best possible

moulding and cause extra touchup.

woodgrain structures that will cause

frame.

quite soft, and some softwoods can be quite hard.

When joining MDF or polystyrene,

the V-nails to go off track and pos-

Next, let’s move to the under-

I try to stay at least ¼” away from

sibly split out. Because of this pos-

pinner. Many of the issues with ver-

the outside and inside edges. Solid

sibility, I never stack more than two

tical and horizontal alignment we

wood can be closer, but take care, as

V-nails vertically.

found with saws also apply to your

it can split as well. This helps to al-

When I’m working with very tall

joining machine. The arms or table

low plenty of moulding strength to

mouldings or thin, gallery-style stem

that supports the moulding during

not have any material displacement

mouldings, I’ve recently started us-

joining must be in alignment with

from the V-nail show up on the

ing a Hoffmann dovetail joining sys-

the table of the machine. Keep in

outside of the join. The first thing

tem. The system routes a precisely

mind that you must support the

I do with a new moulding is decide

placed slot in the miter that allows a

where I want to put V-nails. I take a

CONTENTS

leg of the moulding and draw where I want to put the V-nails. I then place the moulding in the underpinner and set the machine to match

AD INDEX

my drawn lines. I often test a scrap or two on a moulding that’s new to me to make sure I get the best possible V-nail placement.

It’s not unusual for your saw to move a bit after months of operation, so check its alignment at least monthly. This easy check will help ensure fewer cutting errors.

30 PFM October 2020

Depending on your machine, you have choices with how you

An example of an underpinner that has been aligned correctly. Many of the alignment issues seen with saws apply here as well.

The Hoffmann dovetail joining system routes a slot in the miter that allows a plastic or hardwood “dovetail key” (seen here) to be inserted into the slot to hold the miter together.

plastic or hardwood “dovetail key” to be inserted into the slot to hold the miter together. This is a great system that can be used for any moulding, but it’s amazing on stems. The dovetail keys are made in many sizes; 3/8'' (10mm) to 4'' (102mm) long in four different thicknesses. The Hoffmann system can join anything an underpinner can join, but has the advantage of working so well on extra-tall mouldings where many un-

ant because the glue holds the frame

tice. I find that I become “untrained”

together, and the mechanical fasten-

when I don’t join frames regularly. If

er (nail, V-nail, or dovetail) is used to

I’m a bit out of practice, I’ll join a few

clamp the moulding until the glue

ready-mades first to warm up my

cures. I feel it is extremely import-

skills. Keep practicing, study your

ant to use glues specifically designed

frame, and learn from any mistakes

for picture framing. Picture framing

that happen. We all can continue to

glues have a slight flexibility, where-

learn our craft and absolutely wow

as regular wood glues have none

our clients. PFM

and will easily break. Picture framing glues are available from many sources and are now available tinted to dry clear, white or black. Using the glue correctly means that the entire surface to be joined is covered with glue; there will be some “squeezeout” that is easily cleaned from the joint before curing with a damp cloth. The tinted glues help eliminate touchup as they have very high solid and will fill many slight gaps.

Joining frames is an art; one that is learned through hands-on prac-

Kevin Meath Kevin is a framing professional specializing in operations, sales, and management. His skill set enables him to consult in all areas of frame manufacturing, from small, low-volume, extremely high-quality shops to very high-volume OEM factory production operations. He has extensive experience in plant layout and lean manufacturing practices, design, and product sourcing. Kevin is currently a consultant working with manufacturers who want to improve productivity, cut costs, and improve yields. His clients range from small companies looking to expand their offerings to larger operations with needs to control costs and improve productivity.

derpinners struggle. One disadvantage is speed. The Hoffmann system is significantly slower than an underpinner as it must be set up and the slot routed for each key and then the key installed into the slot with glue.

As with the saw, if your machine has vertical clamps, they need to be adjusted correctly to keep the moulding held securely in place.

Many machines now have a system of hydraulically balanced double vertical clamps. This works extremely well on wider mouldings but can be a bit of a struggle on narrow or small mouldings. I balance the second clamp (the one that won’t reach the moulding) with a scrap block of wood or moulding when joining these smaller mouldings.

No matter which joining system you use, all picture frames should be glued before joining. This is importPFM October 2020 31

TIMBER MATBOARDS

By Jodie Prymke, CGF

W

e all know about beautiful, old timber matboards, often seen surrounding antique sepia portraits and photographs. If they are in good

condition, they can usually be brought back to life with a quick clean and a fresh layer of shellac. But how can we recreate the look if they are beyond repair; for example, bug- or water-damaged?

IMITATION TIMBER VENEER MATBOARDS We are lucky these days to have so many different products available that are readily accessible from all over the world via the internet. One product I have used with success is timber-look wallpaper purchased on eBay, which

Reviving an antique timber mat or recreating the look of one with new materials (like the mat shown here) can turn your client’s framed artwork into a standout piece. The frame and mat colors complement this black-and-white lemur artwork for a classic look.

can be seen in the example photo on page 34. For that

on the face of the veneer only. Make sure you allow at least

piece, the wallpaper was dry-mounted onto a black, 4-ply

1'' extra on the outside and the inside of the veneer, which

100-percent cotton rag matboard with dry mount tissue.

will be trimmed later. Apply Titebond Wood Glue to the

A domestic iron was used to fuse the dry mount tis-

back of the taped veneer as well as the 100-percent cotton

sue between the matboard and the wallpaper, with a piece

rag matboard to which it will be adhered. Wait until the

of calico placed over the top of the wallpaper to prevent

glue is touch-dry, then glue the two pieces together using a

it from scorching and melting. The wallpaper is match-

heat press or a domestic iron with a piece of release paper

able across the width, so the size required is not an issue

over the top to protect the veneer. Set aside to dry thor-

if you’re framing a large piece of art. Once mounted and

oughly overnight.

cooled, the matboard can be stained if you wish with any

Once completely dry, fill any gaps in the veneer with

timber stain, then cut in the usual manner with the tim-

a color-matching wood filler. Timbermate is a non-shrink-

ber face down in your CMC. Remember to adjust the blade

ing, water-based wood filler that is available in an array

depth to 5-ply to allow for the thicker matboard.

of different timber colors. Sand the veneer until it is com-

CONTENTS

GENUINE TIMBER VENEER MATBOARD For smaller artworks, and if you’re feeling adventurous

pletely smooth and flaw-free. Wipe off any excess sawdust with a cloth and apply two or three layers of shellac to seal the timber. Allow to dry completely.

AD INDEX

with your design, why not try a genuine timber veneer

When the veneer is dry, the mat opening can be care-

matboard? You can offer your clients a genuinely one-off

fully cut on the CMC. Adjust the blade depth to allow for

piece that simply exudes luxury. (Please note: this tech-

the extra thickness of the veneer covered matboard, which

nique is not suitable for conservation work.)

is now approximately the same thickness as a 6-ply board.

There are many different timber veneers available by

Set the cutting speed to very slow—10 percent is recom-

the sheet and length. Choose pieces which are relatively

mended—and always remember to use a fresh blade. Place

flat and thin; 0.5mm thickness or less. Prepare the veneer

the matboard in the CMC face side down and cut from the

by taping the pieces together using removable tape. Tape

back. Finally, trim the outside to size.

32 PFM October 2020

1

2

3

4

5

6

7

8

9

(1) Prepare the veneer by taping the pieces together using removable tape. (2, 3, 4) Apply Titebond Wood Glue to the back of the taped veneer and rag mat, and wait until the glue is touch-dry. (5) Glue the two pieces together using a heat press or a domestic iron with a piece of release paper over the top to protect the veneer. (6) Once completely dry, fill any gaps in the veneer with a color-matching wood filler. (7) Sand the veneer until it is completely smooth and flaw-free. (8) Wipe off any excess sawdust with a cloth and apply two or three layers of shellac to seal the timber. (9) When the veneer is dry, the mat opening can be carefully cut on your CMC.

The timber veneer used in the framed example above is Macassar Ebony, which was glued onto a black 100-percent cotton rag matboard. An additional black rag mat was used as an inner mat (cut separately). The black-and-white lemur artwork is from “The Natural History of Madagascar� c.1885 by John G. Keulemans. The piece was finished with

CONTENTS

premium glazing and a spacer was used to separate the glass from the timber matboard. The frame is an olivewood veneer timber in black from Bellini Fine Mouldings. PFM

AD INDEX

Jodie Prymke, CGF

Wallpaper that looks similar to a genuine timber matboard was dry-mounted to black rag mat for use with these larger artworks.

34 PFM October 2020

Jodie is an international award-winning frame designer and PFGV Certified Guild Framer. Her boutique framing gallery, Jodie Prymke Fine Art Framing, in North Adelaide, South Australia, opened in March 2008. She specializes in unique frame designs, French matting, and frame restoration.

SUCCESSFUL RETAILING REAL FRAMING RETAILERS, REAL STORIES

Jay Goltz

Loren Feldman

President and Founder, Goltz Group, Inc.

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

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

Part 3: Letting Go of Bad Employees and Marketing Success Stories LOREN: You explained to us how you figured out the thing

they like to do? What’s the hardest job they’ve ever had? Re-

with your production manager, but overall, how important

ally try to understand them.

was figuring out hiring to the success of your business?

Check candidates’ references. Most companies don’t do this, and I’m talking about every industry, not just pic-

JAY: The critical piece. I think hiring people is absolutely

ture framing. Nine out of 10 times, it’ll be a complete waste

the critical piece to growing your business.

of your time; but that one out of 10, you’ll find out, yikes—I dodged a bullet on that one.

LOREN: What have you learned about hiring?

And once you hire someone, you have to take the time to train them. It doesn’t take a week; it doesn’t take two months;

CONTENTS AD INDEX

JAY: Write a really good ad that resonates with people.

it takes six months. I have 115 employees. My average em-

“Looking for someone to work directly with the owner in an

ployee’s been with me for 10 and a half years. If you go to my

art field.” Write something that will make people think, “Hey,

booth, the Bella booth, you will see my all-star team. There

wow! I have an art degree. That sounds cool.” In our indus-

are three people there that have been with me for more than

try, where do people with art degrees go? Starbucks. Let’s be

20 years; the rookie’s been there for 12. You can do that. They

realistic: how many people with art degrees end up working

exist, but you have to get the business stuff right.

in an art field? I don’t have the statistic, but it’s certainly not 80%. So working for you is a great opportunity!

Interview a lot of people, and keep looking until you find the right person. Ask lots of questions. Don’t just talk about yourself and your business; ask about them. What would 36 PFM October 2020

LOREN: You had to figure out how to hire people. Did you also have to figure out how to fire people?

JAY: Yes. It’s the worst part of the job, clearly, but this is where

I say, grow up. If you think you’re going

your employees are happy, and to make

business has changed now, so you have

to go through business and not have to

sure you’re happy. If there’s something

to evolve—but there are still people

fire somebody, then you’re naive. Yeah,

this person’s doing wrong that’s screw-

that want nice, cool, interesting things

you have to fire people sometimes. You

ing that up somehow, it is your respon-

for their walls.

have to know when to fire them.

sibility to fix that. It’s not fair to your

LOREN: How do you know when to

customers to keep someone around

LOREN: On that note, let’s move into

that’s not doing a good job.

part two. Please welcome Deborah

fire them?

Salmon, trade show director.

LOREN: We’re going to have to move JAY: I have a really great, easy test.

on to the second part of this shortly,

DEBORAH: Thank you. As you en-

Imagine you’re back at work tomorrow,

but I’d love to hear your thoughts about

tered the convention area, I hope that

and the employee you’re struggling

where you think this industry is going.

you enjoyed the inspirational boards

with walks in and says, “Listen, I’ve

We hear a lot of scary stuff. We’ve all

that are on display, because you never

got some bad news. I’m moving out of

read about the retail apocalypse. You’ve

know where you’re going to find inspi-

state and I need to quit.” Is your viscer-

told me that 10 years ago…

ration. We’re hoping to find people in

al reaction relief? If it is, they shouldn’t

the audience that can help inspire ev-

be working for you. You should be dis-

JAY: …There were 25,000 frame shops.

eryone through this great conversation,

appointed when someone quits. You

Now there are 8,000.

and also in the pages of the magazine.

shouldn’t be relieved.

You don’t have to go screaming at them and tell them they’re worthless;

Through a series of questions we are

LOREN: What do you see as the future

going to narrow down our participants,

of this industry?

so raise your hand if any of these apply

you call them into the office and say,

to you and you’d like to join us on the

“You know what? I’ve talked to you

JAY: As Mark Twain said, “The rumors

about this problem several times, and

of my demise have been greatly exag-

The first segment will be about

I’ve really realized this just isn’t the

gerated.” The industry is not dissolving;

marketing. We’re looking for someone

right place for you.” My other advice

it’s evolving. It’s changing. Just because

who spent at least $10,000 in the last

is, don’t turn this into a 45-minute ar-

we went from 25 to 8 doesn’t mean that

year on marketing.

gument. You don’t need to win. If they

two-thirds of the industry went away.

Our next segment is about finance.

try and argue with you about your de-

Probably these were the smaller places

Does anybody have a line of credit that

cision, you say, “I’m sorry you feel that

that were struggling. It’s survival of the

they’re currently using? Has anyone

way. You know, you might be right;

fittest. The better frame shops are left.

bought equipment here at the show? Is

stage.

CONTENTS AD INDEX

maybe I’m making a mistake. But I’ve

There are lots of small businesses

concluded today’s your last day. Let me

that have been pummeled, and framing

help you get your stuff together.” Unfor-

is not one of them. Customers still want

One more group. We’re now talking

tunately, you need to get over whatever

beautiful things to hang on their wall.

about management. We’re looking for

guilt you have about firing bad employ-

It’s custom; they need someone to help

someone who does more than $500,000

ees. There are some people who just

them with it. There’s no brand name. No

a year in custom picture framing and

can’t do what we do. It doesn’t make

one’s going to open a brand-name store

has more than five employees.

them bad people; they just can’t do it.

and go after you. We’re fine, and we’re

It’s your responsibility, for your custom-

going to continue to grow. I will say this,

JAY: Could you introduce yourselves

ers’ sake and your employees’ sake, to

though; you need to evolve and sharpen

first? Tell us who you are, where you’re

say to them, “This just isn’t the right job

your business skills, because this isn’t

from?

for you.”

the old days. For those of you that hav-

anyone using an SBA loan or used some form of debt to build your business?

And that’s that, and life is better

en’t been around, you just had to show

MEDI: My name is Medi Bendanna. I

the day after. At the end of the day,

up in the 1980s to do well in the framing

got into the industry about four and a

you’re in business to make sure your

business. You would do just fine. There

half years ago. I own Best Framing in

customer is happy, and to make sure

was just so much framing going on. The

Costa Mesa, CA.

38 PFM October 2020

CROSSWORD CHALLENGE Across

Down

1 Storing for long term preservation digitally 6 Ask for money 8 Load, as software 9 Company that produces fastener products and framing hardware 11 Nail or screw 13 Go down a mountain 14 Essential part 17 ___ hanger: hardware used to hang metal frames 19 Type of picture frame with ornate gold foil and intricate decoration 22 Also called a wedge: type of nail used as an underpinner, 2 words 23 International software company that produces creative multi-media programs 26 Titanium symbol 27 Determining exact width and height and other dimensions 28 Liquid used in printing 30 Carry out 31 First Greek letter 32 Ancient

1 Like paper materials with a pH of around 7, 2 words 2 Goes for 3 jpgs, pngs, gifs, tiffs and bitmaps 4 “___ need a digital image�

5 Metric measurement of paper density and weight, abbr.

6 Glass cutter, saw and hammer for example 7 Exactly measured 10 Length x width, for a rectangle 12 Make a picture frame more attractive by adding decoration or design 15 Put in proper order 16 Head __ head 18 Secondary part that extends beyond the inner edge of the top mat 20 Naming a price of a painting, say 21 Owners book 24 Place for trash 25 During 29 Young guy

SEE PAGE 45 FOR THE SOLUTION

PFM October 2020 39

AARON: My name’s Aaron Lapedis.

for $60,000. The owner literally lived

keting, we noticed our competition was

I own Fascination Street Fine Art and

in the shop. They didn’t have a single

not really into Instagram, so we focused

Frame. I’ve been in business for over 30

computer, didn’t have a credit card ma-

on Instagram. We picked one thing at a

years.

chine. From there, week one, we got

time and became really, really good at it.

FrameReady (point of sale software) set

LOREN: Jay, what do you want to

up. Week two, we set up a website, and

JAY: When you say you focused on

know about their marketing?

slowly but surely, we got set up in the

Yelp, does that mean you were man-

right direction.

aging the reviews you were getting, or

JAY: Tell us what your big hit with marketing was that worked or works.

were you actually advertising on Yelp?

JAY: You’re actually going to have to deliver some meat on this, because

MEDI: Right now, we spend about

MEDI: For us, we focused on branding.

everyone’s thinking, “Well, that’s nice

$3,000 a month on Yelp. We grew our

We brought in a firm that helped us set

to know. But what did you do?” Tell us

business from $180,000 to $2 million in

up a good style guide. We worked on our

what you did that made a difference.

four years. Yelp was a small part of it.

culture and which direction we want to

Tell us a marketing thing you spent

take our business. We looked at what

money on.

customers need, what our competition

When I got into the industry, I knew I could figure it out, but one thing I didn’t have was experience. What I did was,

is doing, and how we could position

MEDI: For example, I joined the Face-

during my first year in business, I came

ourselves so that our competition can’t

book groups and learned that almost

(to The National Conference) with three

compete with us. From there, we ran

everybody hates Yelp. I said, “Cool. I’ll

people, and we took as many classes as

into the same problems you ran into,

pick that.” If nobody else is competing

we possibly could. We did that year af-

Jay, starting with two employees and

with me there, then I’ll be number one.

ter year after year, trying to learn more

growing from there. I bought the shop

I’ll focus on that. When it came to mar-

and more. We asked someone how

CONTENTS AD INDEX 40 PFM October 2020

much we should spend on marketing, and they said 3-5%. Okay, we’re going to spend 5% no matter what. We’re just going to try things. Some things won’t work, but we’ll keep going until we isolate something that works well. Yelp got us really good traffic.

Now, Yelp isn’t for every city. The reason why we went with it is, we learned some things that they do.

They’re really good at SEO. They always come up first (in internet searches). The way it works is, somebody searches for a frame shop. Yelp comes up first, because of their SEO marketing that they’re spending in Orange County, CA. They click on that, and I’m all over that.

By setting up good SEO through Instagram, Pinterest, Yelp, everything targeting to our website, our website started coming up higher. Now, when you search in my area, I have an ad running on Google. I have Yelp coming in first, and then I have my website. I’m landing three or four times in the first page when you search for custom framing.

JAY: You’re spending $100,000 a year in advertising at this point.

MEDI: Probably more.

JAY: If you’re spending more than 5% advertising, at some point, is that eating away at your bottom line? I would agree with three, four, five percent. If you’re spending six, seven, eight percent, at some point, it chews away at your bottom line.

MEDI: Last year was our most profitable year. It comes out of our marketing budget, and sometimes when we get a quote, we might push that budget a little bit more. We’re still very comfortable with that marketing budget. PFM PART 4 COMING NEXT MONTH. PFM October 2020 41

Distributor Spotlight

www.GildersPaste.com

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

800-404-1220

CONTENTS AD INDEX 42 PFM October 2020

Index

Advertiser

Page

Advertiser

Page

888 Manufacturing Corporation ................................................22

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

888-338-3318

800-242-7318

www.888mfgcorp.com

Active Sales ........................................................................19, 42 800-937-2255

www.activesalesco.com

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

www.fastchangeframes.com /bannergrip.com

Arlo Spacemaker Products, LLC..................................................41 800-332-2756

www.reevesextruded.com

Artist Supplies & Products..........................................................42 262-797-8101

www.gilderspaste.com

www.gluefast.com

Hoffmann Machine Company ..............................................31, 42 866-248-0100

www.hoffmann-usa.com

Jack Richeson & Co. ..................................................................42 800-233-2404

www.richesonart.com

Michelangelo Moulding .............................................................11 877-422-8812

www.michelangelomoulding.com

Bella Moulding .........................................................................37

Picture Framing Magazine.....................................................9, 13

888-248-6545

800-969-7176

bellamoulding.com

C J Paste ..................................................................................22 cjpaste1@gmail.com

cjpaste.com

Capax-Frame It ........................................................................39 800-942-2729

www.capax.com

www.pictureframingmagazine.com

Pro Tapes & Specialties..............................................................33 800-345-0234

www.protapes.com

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

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

800-297-1566

301-476-7440

Studio Moulding, Inc. ................................................................35

www.cmimoulding.com

Connecticut Saw & Tool .............................................................43 203-318-4302

www.ctsaw.com

Decor Moulding & Supply ..................................10, 27, 29, 40, 45 800-937-1055

www.decormoulding.com

800-262-4174

www.rhondafeinman.com

www.studiomoulding.com

The Fletcher Business Group ......................................................15 800-843-3826

www.fletcher-terry.com

Designer Moulding....................................................................41

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

800-634-0032

800-621-8339

www.designermoulding.com

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

www.fixons.com

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

www.fosterplaningmill.com

Frame Specialties ......................................................................23 800-777-3165

www.kooltack.com

Framerica............................................ 2, 3, 4, 10, 27, 39, 45, 48 800-372-6422

www.framerica.com

www.tru-vue.com

Universal Arquati ..................................................................5, 21 800-668-3627

www.universalarquati.com

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

www.wallmoulding.com

Wizard International .................................................................17 888-855-3335

www.wizardint.com

FrameTek .................................................................................42

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

800-227-9934

800-880-9315

www.frametek.com

www.zhardware.com PFM October 2020 43

Product Showcase Decor Moulding

Delta Picture Frame Co.

Introducing Soho, a new line featuring six large, black and white gloss mouldings in very contemporary profiles. Widths range from 1 1/2'' up to 3'', and rabbet heights from 7/8'' up to 1 3/4''. Soho: classic beauty combined with contemporary profiles and glistening finishes. Order corner kit #CS-SOHO to get these high-demand styles on your walls today.

This collection of 2 3/8'' brushed silvers and blacks is a great go-to for black and white photography, mirrors, and artwork with metallic accents. For samples and pricing, please contact the office at the phone number below.

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

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

Framerica

Michelangelo Moulding

Traditional Spumante, featuring gold leaf markings and a sleek champagne tone, is now available in the company’s BW275 profile. The 1 ¼'' profile has a scooped lip and face coupled with a flat top and concave back. “This pairing provides a traditional gold option with an incredibly useful valued-added profile,” notes VP Josh Eichner.

For autumn 2020, Michelangelo Moulding is offering its very popular 3'' flat, 253 Series in four new finishes. Available in radius-edge stainless steel, walnut, gray, and black barnwood, the 253 Series now also includes black, warm silver, white, and espresso radius models.

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

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

Omega Moulding

Sepp Leaf

Edge by Omega Moulding is a collection of multiuse modular mouldings that can be used to create standard traditional frames or to serve as floater frames for graphic arts media such as face-mounted acrylic prints and other panel mounted work. Available in both black and white finishes (wood mouldings) and in aluminum (extruded metal).

Liberon Black Polish: premade Ebony Shellac is ready to use; just brush or pad on. This generous three-pound cut of shellac can be thinned with alcohol. Ebonize your frames! An outstanding, shiny, French-polish finish can be achieved. Using Liberon’s superfine 4/0 Steel Wool in conjunction with this product is recommended. Imported by Sepp Leaf Products NYC.

Call: 800-289-6634 (US) 877-452-3799 (Canada) www.omegamoulding.com

Call: 212-219-0770 www.talasonline.com

CONTENTS AD INDEX

Tru Vue

Universal Arquati

Optium Museum Acrylic is now available in smaller, single-sheet sizes, making it easier for you to offer the best glazing for any project. Suggested retail pricing is available, and product is stocked coast to coast. Request a sample kit, find a distributor, and get complete details at tru-vue.com/ optium.

Introducing a new collection of upscale and quality design mouldings. The full collection consists of 50 brand new items, various finishes, and unique profiles, all made in Italy! Stock and samples of the new Arquati Signature collection, and the collections within this brand, are available now! Please contact your local sales representative or UA by phone or fax (661362-6263). View these mouldings as well as UA’s entire collection online.

Call: 800-282-8788 www.tru-vue.com

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

44 PFM October 2020

(Continued from page 46)

frame ages and the wood expands and contracts, a slight

riod like Diego (Rodríguez de Silva y) Velázquez (1599-1660).

separation will appear, but it will not disturb the carving of

They would also work well around the quintessential Span-

these magnificent corner ornaments.

ish painter Francisco Goya (1746-1828). In addition, Spanish painters who emulated the style of their predecessors, like

What design departures might be seen on some frames of

Joaquín Sorolla (1863-1923), had a preference for these kinds

this style? Spanish frames from this period had surfaces that

of frames.

were completely gilded like this one. Many also had surfaces that were partially polychromed. It would be common to find

Additional comments and/or anecdotes. This frame has

frames with gilded corner and center ornaments, and con-

punch work in the center panels, a technique discussed above

necting panels that were either ebonized or had a rich col-

and often used on frames from the seventeenth and eigh-

or applied to them. I have seen everything from a subdued

teenth century. The technique was also used again centuries

brown-black to deep turquoise to a red tortoise shell pattern.

later by early twentieth-century American frame makers. The

What furnishing/interior styles accompanied these style frames in their time? Spanish furniture from this time would also have been decorated with expertly carved ornamentation. Like the variations one sees in seventeenth- and eighteenth-century frames, we also see the use of gilded,

most stunning example of punch work I have ever seen is on an Italian frame from about the same time period as this Spanish frame. The punch work tool used to decorate the surface was in the shape of a tiny star, and the frame was textured all over with hundreds of them grouped in close proximity; it was like a spectacular Milky Way, and the frame looked magical. PFM

wood finish, and polychromed surfaces in the décor elements from this period.

What type of artwork would this frame most likely house?

These frames would be found around artists from the pe-

“Best of PFM” takes a look back at some of the magazine’s most popular articles on frame history as it celebrates its 30th year in publication. This article appeared in its original format in the June 2006 issue.

Crossword Challenge Puzzle Solution

PFM PFM Subscriptions Subscriptions Manage your account online!

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

http://www.pfmsub.com/Renew PFM October 2020 45

Style

BEST OF PFM

SNAPSHOT

By Michele Brangwen

A look at a frame, its characteristics, and history What style frame is this? This is a gilded, Spanish frame, likely from the seventeenth century.

Where is it from? Spain.

What time period is it from? The seventeenth century, although it is possible that is was made in the early eighteenth century.

What are the defining/common characteristics of this style? This frame is carved with a gilded surface. It has a generous profile that is 7'' wide and slopes dramatically away from the edge of the painting in the form of a cove. The corner ornaments are large, shell-like shapes, which are often referred to by framers as cartouches.

Although not the accurate definition of the word, cartouche has stuck in the art world’s vocabulary as a word for the embellished shapes at the corners and centers of antique frames and is used far more often in that context than its original meaning. The center panels of the frame are decorated with a punch work design that gives them the feeling of being textured. Punch work is a technique of using a tool to make tiny indentations in the gesso before gilding.

CONTENTS

Spanish and Italian frames from the seventeenth and eighteenth century share many design and construction elements. It is often difficult to discern with the eye the exact region

and age of antique frames from this period. One defining characteristic of Spanish frame makers from this time is the tendency to take design motifs—for example, a row of beads—that would normally be quite small if used on an Italian frame, and render them in a much larger scale. Note the oversized, elongated beads along the inner edge of this frame, as well as the expansive corner cartouches that reach almost to the centers of the frame. The frame is bold and voluptuous in its deep and undulating carving patterns, which gives the framer obvious clues as to its country of origin.

The frame’s four sections are joined at the back by a standard block joint configuration, as opposed to the diagonal seam we often see on later frames. The block joint seam turns at the inner edge to form a short diagonal seam that joins only the inner liner. This construction is ideal for the design of this frame because as the

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Michele Brangwen has worked for more than 15 years as a framer of fine art with museums and private collections. She has researched and written articles on frame design for Catalog of Antiques and Fine Art, Parish Museum of Art Journal, and Picture Framing Magazine. She has lectured on frame history for Christie’s, New York University’s Appraisal Studies Course, Museum of Fine Arts Houston, San Antonio Museum of Art, and the Maier Museum of Art. She also worked in a sales capacity at Diego Salazar Antique Frames.

46 PFM October 2020

(Continued on page 45)

This 17th century gilded Spanish frame with carved ornament and surface punch work has an opening size of 175/8'' x 14 3/4'' x 7''.