Picture Framing Magazine - April 2021

FRAMING FOR SPECIAL OCCASIONS ADVANCEMENTS IN PRINTING TECHNOLOGY SPECIAL PHOTO FRAMES SHOWCASE

Contents

PFM is a member of:

Volume 32, Number 4

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

On the Cover Special occasions are perfect opportunities to promote custom framing. Creative images like this one by Terraze Ashfold of Arts Edge in Perth, Western Australia, are great marketing tools for emails and social media posts leading up to such occasions—in this case, Mother's Day. For the full story, see page 28.

Features 18 Innovations in Digital Printing 28 Special Occasion Framing 32 Do You Have What it Takes to be Successful?

22

Columns 12 22 34 46

Mastering Mounting Mat Doctors Retailer Profile Design of the Month

46

Departments 8 10 40 42 43 44 45

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

18

28

Picture Framing Magazine® (ISSN 10529977) is published monthly, plus one issue by PFM Publishing, LLC, 330 Mounts Corner Dr. #313, Freehold, NJ 07728; phone 732-5365160; 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 © 2021 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 Brian Wolf, CPF • John E. Ranes II, CPF, GCF • Tim Franer, CPF William B. Adair • Ken Baur • Jared Davis, MCPF, GCF • Paul MacFarland, MCPF, GCF James Miller, MCPF, GCF • David Lantrip, 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 April 2021

Bruce Gherman

FROM THE EDITOR’S DESK

O

What’s on tap for April: features on digital printers and special occasion framing, a photo frames showcase, and much more.

CONTENTS AD INDEX 8 PFM April 2021

ver the past few weeks, much has been said and written about the oneyear anniversary of the coronavirus pandemic and the global shutdowns it prompted. I won’t waste much time rehashing it here; I’d just like to say thank you for sticking with us through the last 12 months as we all adapted to the rapid changes and pervasive uncertainty in our day-today lives. It’s been a pleasure to hear from so many retailers and suppliers across the US and around the world who are, in fact, busier than ever, with no signs of slowing down.

The PFM staff has been busy, too, reporting on news that affects our industry and bringing you the most up-to-date information on framing design, preservation, mounting, matting, business management strategies, and more. This issue takes a closer look at wide format digital printing; a useful and profitable addition to frame shops of all sizes.

If you’re thinking of expanding your business’s services to include printing, or looking to upgrade your current printer, you may not be aware of the many significant improvements made to this technology just in the past year. In our feature story, leading suppliers explain some of the biggest advancements in their latest-generation printers—from color, clarity,

and speed to usability and operational costs—and offer guidance on what to look for when shopping. See page 18 for the full story.

Once you start printing customers’ images and/or fine art reproductions, you’ll need to know how to safely mount them. In her latest column (p. 12), Chris Paschke reviews the different types of inkjet prints and proper drying times and mounting methods for each, including a handy chart updated for 2020-21.

This issue also features a special Photo Frames Product Showcase (p.

40). Here, you can get a first look at what’s new and hot in readymades from top suppliers.

These articles and more—including our cover story on special occasion framing (p. 28)—await you in our April issue. Again, thank you for making us the industry’s leading trade publication 31 years running.

The future of framing is bright, and we look forward to being with you every step of the way for the next 31 years and more.

Kimberly Biesiada Editor

INDUSTRY NEWS Changes to Paycheck Protection Program Enacted Several modifications to the Paycheck Protection Program (PPP) have been rolled out following a late-February announcement from the federal government.

The changes, which are aimed at helping the country’s small-

• Restrictions preventing small business owners who are delin-

est businesses, include increased loan amounts for sole propri-

quent on their federal student loans or with prior non-fraud

etors and individual contractors, lifted restrictions around delinquent student loan debt and non-fraud felony convictions, and the allowance of some non-citizen business owners to apply.

Another major change was the establishment of an exclu-

felony convictions from applying have been eliminated; • Non-citizen small business owners who are lawful US residents can use Taxpayer Identification Numbers to apply, ensuring them access.

sive two-week window from Feb. 24 to Mar. 9, during which only businesses with fewer than 20 employees could apply for PPP

Of the total funding, $1 billion will be set aside for PPP

funding. Applications already in the pipeline also continued to be

loans to businesses in the sole proprietor/independent contrac-

processed during that time, according to the US Small Business

tor/self-employed category who are based in low- and moder-

Administration. PPP loans may be eligible for full or partial forgive-

ate-income areas.

ness if the money is used for qualifying costs, depending on the specific rules of the program.

According to the SBA, 98% of small businesses employ fewer than 20 people, but have received less than half of PPP funding thus far. The recent changes were designed to help

Changes to the program include: • Sole proprietors, independent contractors, and self-employed individuals can base their loan calculations on gross income, rather than net income;

CONTENTS AD INDEX 10 PFM April 2021

solve this disparity and help those who have had the most trouble accessing the program’s forgivable loans.

For more information on the program and to apply, visit sba.gov. PFM

MASTERING MOUNTING

by Chris A. Paschke, CPF, GCF, CMG

Inkjet Prints: Best Practices Types of inkjet prints and safe drying/curing times for each.

I

was recently asked what the current acceptable dry down time was for digital inkjet prints prior to mounting or framing,

but that cannot be answered without delving deeper into what is meant by “inkjet” in 2020.

Inkjet began as aqueous dye ink designed to print on standard bond papers. Since then,

nor pigment inks are considered waterproof.

many different types of inkjet printers, ink

Dye inks are more susceptible to fading

formulations, and materials have been devel-

and water damage, and lamination or clear coat

oped and embraced, from aqueous to solvent,

is recommended to protect large-format dye

eco-solvent, latex, UV-curable, and dye-sub-

prints from water, humidity, and prolonged ex-

limation—and all can be considered inkjet.

posure to UV light. Pigment inks have a higher

Wide-format inkjet includes roll printers, with

level of resistance to fading and water than dye

18''-100'' widths having been developed for

inks, and when printed on archival fine art and

outdoor signs, billboards, packaging boxes, fab-

photo papers, may last for generations.

rics, wall coverings, vehicle wraps, promotional products, fashion, and fine art.

Solvent and Eco-Solvent Inkjet Prints from solvent inks use volatile organic

CONTENTS

Aqueous Inkjet

compounds (VOCs) known as solvents that are

Desktop inkjet printers tend to use aqueous inks

generally waterproof and ultraviolet-resistant

based on a mixture of water, glycol, and dyes or

without requiring coatings. Solvent inks pro-

pigments and are used to print text, graphics,

vide exceptional durability without the need

or line drawings on uncoated and coated bond

for lamination or protective clear coat and are

papers, coated photo, fine art papers, canvas-

lightfast, waterproof, and scratch-resistant,

es, vinyls, display films, window graphics, and

making them ideal for large, outdoor presenta-

backlit films. The coatings on these materials

tions. Eco-solvent inks use milder solvents that

help control the performance of the ink drop-

don’t require extra ventilation in enclosed spac-

lets on the surface of the print, but neither dye

es, and decorative art printed on coated canvas

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 April 2021

As the world of digital printing technology continues to evolve rapidly, it’s important for framers to stay on top of the different kinds of inkjet prints that may be brought in by a customer (or printed in-house) and how to safely mount and frame each type.

Extreme Savings

™

order@decormoulding.com OFFER EXPIRES 6/30/21

$1.15/ft.

11145

10617

11146

$0.75/ft.

11147

11148

10768

$0.85/ft 10211

10650

$1.25/ft.

10667

11150

$0.75/ft

10618

8410

11149

10212

9722

10811

10812

10813

$1.15/ft.

10378

10814

10379

$0.89/ft 10666

10608

M471315

$1.09/ft 10352

10488

$1.49/ft 10609

10610

Prices shown are for 50 foot length min/style Phone: 631-231-5959 • 1-800-937-1055 • Fax : 631-231-5034 • 1-800-937-0006

Extreme Savings™ 10051

$0.75/ft 10188

$0.75/ft

6661

8800

11314

$1.29/ft 11315

9406

OFFER EXPIRES 6/30/21

6301

9633

$1.49/ft 9634

10994

$2.29/ft 10993

10187

11316

$1.69/ft 9407

CONTENTS

$2.69/ft AD INDEX

8955

9896

$2.69/ft 9895

8956

9088

Prices shown are for 50 foot length min/style Phone: 631-231-5959 • 1-800-937-1055 Fax : 631-231-5034 • 1-800-937-0006 Photographically reproduced & may vary from actual moulding.

Actual Size Shown. Quantities Limited. OFFER EXPIRES 6/30/21

Extreme Savings™ $0.49/ft.

9450

9220 $0.69/ft

10777

8412 $0.71/ft

$0.49/ft.

8694

8989

8413 $1.19/ft

$0.79/ft.

8411

10822

$0.69/ft.

8990

8693

$0.81/ft.

9440

11082

t

bbe

2” ra

$1.45/ft.

10800

10801

10780 10778 $1.09/ft.

10779 10772 Gloss Gloss $1.39/ft.

$0.99/ft.

1” rabbet

8690

8991 15 /8”

bet

Rab

$0.62/ft.

8446

8993

2

$2.59/ft. $0.65/ft.

10431

10432

8691

$1.69/ft.

10104

15/8” deep, black side

3/4” rabbet

”

7/8

10493

$1.69/ft.

10105

15/8” deep, black side

11084

8992

$1.09/ft.

11085 11086

$1.15/ft.

8811

11083

$1.35/ft.

$1.69/ft.

10759

17/8” deep, matte white

$1.35/ft.

9798

$1.69/ft.

8683

17/8” deep, matte black

$1.69/ft.

10465

15/8” deep, gold side

9797

$1.69/ft.

10466

15/8” deep, silver side

t

bbe

a /”r

1 2

Extreme Savings

™

11157

11292

$0.75/ft 11158 11159

$0.85/ft 11293

order@decormoulding.com OFFER EXPIRES 6/30/21

$0.45/ft.

6183 2007

11238

11151

11152

$1.39/ft 11300

$0.79/ft 11153

$1.35/ft 11154

11326 Strainer Bar 11/2”W x 1/2”H $0.31/ft.

11155

10573 Stretcher Bar 2”W x 1/2”H $0.41/ft.

$0.54/ft.

6185 2009

9821 Stretcher Bar 11/2”W x 2”H $0.75/ft.

DUAL-PURPOSE STRETCHER BAR 10731 11/2”W x 3/4”H $0.41/ft.

10861 Stretcher Bar 11/8”W x 2”H $0.72/ft.

9960 Stretcher Bar 11/4”W x 13/16”H $0.33/ft.

10625 w/Notch 11/8”W x 15/16H” 9820 Stretcher Bar $0.49/ft.

11/2”W x 13/8”H $0.57/ft.

11156

CONTENTS AD INDEX

t

abbe

$1.29/ft. 11307

2008

11301

1” R

11306

6184

11294 8609 Stretcher Bar 15/8”W x 9/16”H $0.33/ft.

11299

$0.49/ft.

11128 Stretcher Bar 2”W x 17/16”H $0.75/ft.

8610 Stretcher Bar 9999 Stretcher Bar 21/4”W x 13/16”H 1 $0.56/ft. 2 /2”W x 1”H $0.83/ft.

Prices shown are for 50 foot length min/style Phone: 631-231-5959 • 1-800-937-1055 • Fax : 631-231-5034 • 1-800-937-0006

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

do not require any protective varnish

additional time required for other inks

can result in cracking on flexible ma-

or clear coat to remain resistant to fad-

to dry down.

terials.

UV-Curable Inkjet

Dye Sublimation Inkjet

Latex Inkjet

These inks have chemistries that cure

Since the chemical process is very spe-

A water-based carrier mixes with

to form a rigid film when exposed to

cific for dye sublimation, you’ll need

pigment as latex or resin-based poly-

controlled intensities of UV light, and

to use a specific type of ink known as

mer dye that bond to a substrate af-

once the ink has been cured, is com-

disperse dyes, referred to as dye-sub

ter passing beneath radiant heaters.

pletely dry. It is highly versatile and can

inks. These inks go from solid to gas-

Unlike traditional solvent inks, latex

print on a huge range of coated and

eous under high temperatures and will

ink is odorless, eliminating ventila-

uncoated materials, including wood,

easily bond to polyester fabrics result-

tion issues. Used for outdoor signs,

metals, plastics, ceramics, glass, acryl-

ing in vibrant colors. The images are

wall coverings, durable fabrics, backlit

ics, objects, fabrics, paper, and flexible

initially printed on coated, heat-resis-

signs, canvases, banners, and signs,

materials in very bright, bold colors.

tant transfer paper as a reverse image

ing or abrasion.

latex ink is being presented primarily

However, these inks are quite ex-

of the final design, which is then trans-

as an alternative to solvent inks. They

pensive, requiring not only the pur-

ferred onto polyester fabric or other

retain their appearance outdoors for

chase of the ink itself, but also a print-

surfaces like aluminum panels using

three years without lamination, and

er with a built-in curing function. This

a heat press around 375°F. Textile inks

the print is dry immediately upon ex-

type of ink is also rather heavy, creating

are designed to print on the many dif-

traction from the printer, removing the

a raised surface on the substrate that

ferent types of washable fabrics used

CONTENTS AD INDEX 14 PFM April 2021

to produce curtains, sheets, T-shirts,

natural that it will take longer to dry. The

usually heated immediately before

and fashion apparel.

only way for you to evaluate how much

and after the print heads apply ink.

photo printing ink is on the photo pa-

Eco-solvent inks have rapidly gained

Dry Down (Curing) Time

per is to find out the color density of the

popularity in recent years as their

Back in 2013, I wrote that inkjet prints

image. If it’s high, then you may need

color quality and durability have in-

required two weeks of dry down time

to wait longer. The brand of the photo

creased while ink cost has dropped

to fully cure prior to mounting or en-

printing ink also factors in. Matte pho-

significantly.

closing in a frame. There are two fac-

to paper dries faster than glossy photo

Instead of evaporation, UV inks

tors for consideration: first, is it dry

paper because matte papers have a top

become dry due to a chemical re-

enough to be handled? And second, is

layer and photo printing ink goes under

action in the ink when the print is

it dry enough to be framed? Most mod-

this top layer to create texture. As in the

passed under UV light. Molecules in

ern photo printers and photo print-

case of photo printing ink, the brand of

the ink start a reaction that causes

ing inks can be handled the moment

photo paper also matters. To expedite

other molecules to grab onto one an-

they are processed. However, they are

the drying of a printed photo, use the

other and produce a dry-to-the-touch

only dry enough to be lifted gently and

right amount of ink on glossy paper

ink film after the print exits the unit

moved to another place. Even when the

and place the print on a flat surface in a

and cools down. This reaction hap-

ink surface is dry to the touch, the ink

room with low humidity, high tempera-

pens very quickly, which leads to

beneath the surface skin may still have

ture, and a fan.

instant drying that result in a com-

moisture that has not yet fully evapo-

pletely cured graphic in a matter of

rated and set. This is called curing, and

Dried vs. Cured

seconds. This also allows for a very

full curing is what prevents outgassing

Many people think that dried and cured

fast print process. Because of this in-

of moisture within a sealed package.

mean the same thing, while others be-

stant chemical reaction, no solvents

Many manufacturers support the

lieve that the difference is based on ink

penetrate the substrate once it comes

24-hour standard of dry down for ag-

chemistry, such as solvent or UV-curing.

off the printer, which also allows for

gressive handling and placement in

When an inkjet is printed, the initial

high quality prints—but they can be

photo albums. Framing before curing

point where the ink becomes hard and

expensive, and the surface has a bit of

is ill-advised because of the outgassing

does not smear when touched is when

relief from cured ink volume that can

of solvents during the curing process.

it is considered dried, and this is true of

crack if printed to flexible substrates.

If you frame photo printed inks before

all inkjet.

These inks contain sublimation

CONTENTS AD INDEX

these solvents have had time to evapo-

Aqueous and solvent inks dry by

dyes and are used to print directly or

rate, the inside of the glazing may get

evaporation resulting in a dried ink film.

indirectly onto fabrics, which consist

cloudy.

The dried ink is non-tacky and resists

of a high percentage of polyester fi-

scratching. A common test for dryness is

Photo Prints

bers. After printing, a heat drier caus-

pressing a thumb to the ink and twisting

es the dyes to transfer and fuse from

While 24 hours may be acceptable, the

with medium pressure. If ink does not

the printed sheet into the fibers to

actual time will vary depending on

smudge, it is an indication of dryness.

create an image with strong color and

type of inkjet ink, paper, printer, tech-

And while a film may initially be dry to

good durability.

nology (aqueous, solvent, etc.), room

the touch, inks in which a chemical re-

The ideal length of time to allow

temperature, and

humidity. When

action takes place—known as reactive

for aqueous inkjet curing is current-

normal printing ink is used to print on

inks—take longer to dry. This longer

ly thought to be seven days. Framing

photo paper, it could take weeks to dry;

hardening of the ink is sometimes re-

or mounting a print before it is dried

and the problem is, you may not know

ferred to as the curing stage, not to be

or cured means you will be sealing it

all the variables needed to make an in-

confused with curing of UV ink when

in a moist environment. This mois-

formed decision.

exposed to ultraviolet light.

ture can then cause unwanted effects

If you are printing the image for

The high print speed of many sol-

such as color bleed and discoloration.

your client, you will have control over

vent printers demands special drying

Allow as much time as possible for

these elements. If the amount of ink

equipment; usually a combination of

prints to cure before framing. I con-

printed on photo paper is high, then it’s

heaters and blowers. The substrate is

tinue to push for two weeks. PFM

16 PFM April 2021

INNOVATIONS IN DIGITAL PRINTING

By Kimberly Biesiada

I

f you haven’t purchased a wide-format printer in the last two years, you may not be aware of the many advancements that have been made to this evolving tech-

nology. The newest generation of printers from market leaders like Canon, Epson, and HP have grown in leaps and bounds from their predecessors, boasting improved print color and clarity, lower operational costs, and increased speed, among other benefits.

The fact that professional-quality prints have never been easier to produce pairs well with the fact that printing—and framing—are in high demand thanks to consumers spending more time at home over the past year, looking through pictures and updating what’s hanging on their walls. Offering your customers a full-service printing and framing experience means you aren’t losing out on an additional revenue stream.

BETTER COLOR, SHARPER CLARITY

Canon’s PRO Series, including the PRO-4100 shown here, are popular among framing retailers. Updates in the past year are aimed at improved ease of use in addition to speed, color, and clarity.

Gary Barker, national sales manager at Digital Tech-

For most independent frame shops, an aqueous print-

nology Group, pointed to new printers’ Dmax as an indica-

er—a printer that uses water-based inks—will make the

tion of how good the color has become. Dmax is a measure

most sense based on capacity needs and physical foot-

of the deepest black tone a printer/ink combination can

print. (There are other kinds of printers, such as solvent,

produce, and it’s an extremely important quality factor;

eco-solvent, and latex, that may also be a good fit for your

the better the black, the more contrast a print has.

business if you plan on printing at very high volumes.) The

For example, the Dmax of the Epson SureColor P9570,

newest aqueous printers can reproduce more colors than

a 44'' wide-format printer released in December 2019, “is

ever before, and pigments are rich and long-lasting.

probably four to six times greater than it was four generations ago,” Barker said. “Just in the last upgrade, it’s 1.5 times better than it was.”

The latest generation of printers can also match 99 percent of Pantone’s solid-coated color guide, Barker said. That’s particularly important when printing fine art reproductions; the greater your printer’s color

CONTENTS

gamut, the better opportunity you have at matching the colors in an original piece of art.

Rich Reamer, senior marketing director at Canon USA, said the company’s PRO Series printers—first

AD INDEX

introduced in 2016, with the latest update released in December 2019—have better color than ever before.

“I think what this series does really well is keeping Epson’s SureColor P9570 is another big seller for frame shop and gallery owners. It works in tandem with Epson’s ink, which has been tested to last at least 200 years for color and at least 400 years for black and white.

18 PFM April 2021

up with the camera side of the business,” he said.

“Cameras can capture so much within an image now, and I think where the PRO Series really thrives

is being able to reproduce what you’ve captured.”

Today’s printers also offer better print clarity than their predecessors, so the wide range of printable colors will show up clean and sharp on both fine art reproductions and customer photos.

FASTER SPEEDS Time is money, and when you’re offering printing as part of your framing business, you want to be able to move through jobs efficiently.

The newest printers cut down on production time, often by notable amounts. According to Digital Technology Group’s data, the Epson P9570 prints up to three times faster than the P9000, which it replaced. What does that look like in numbers? In the P9000’s quality mode, its print speed was 65 square feet per hour. In the same mode, the P9570 can handle 194 square feet per hour.

For those who want to dip their toe into the printing world but aren’t ready to make the investment in a larger printer, Epson’s SureColor P700 and P900 printers are smaller, less expensive options that have proven popular with framing retailers.

nozzle. The PRO Series printers also have features that pre-

For example, if a retailer wants to print a 20'' x 30''

vent users from starting a print without enough ink or me-

image for later framing, “what used to take them 15 or

dia in the machine, saving them from a mid-print panic.

20 minutes on an older printer can be done in just about

“Features like this are in place to keep the overall perfor-

three minutes,” Barker said.

mance where it needs to be, and the user doesn’t have to

“Even if you’re not doing a high volume of printing

think about those kinds of things,” Reamer said.

daily, the ability to complete a high-quality art print very

A major feature of Epson’s newest flagship printers,

quickly allows you to get that print mounted and framed

the P9570 and P7570, is the addition of dedicated channels

much, much faster,” he added.

for matte-black and photo-black inks, said Reed Hecht, se-

USER҃FRIENDLY DESIGNS

nior product manager at Epson. Whereas older models had a single set of nozzles that would switch between the two

Over the last few decades, digital printing technology has

inks, the 9570 and 7570 can handle a glossy print, then a

evolved in game-changing ways; but that isn’t the only

matte print, then another glossy print successively with-

reason behind some of today’s most user-friendly printer

out switching, saving time, ink, and users’ need to plan

features. Many changes have been made in recent years as

their print order ahead of time.

a direct result of customer feedback.

Another feature aimed at making things easy for us-

“Ease of use is sometimes overlooked,” said Ream-

ers? A light. After noticing many of their customers us-

er while highlighting some of the features of the Canon

ing the flashlight on their cell phones to check on a print

imagePROGRAF PRO-4100. The PRO-4100, which is a 44''

as it was coming out of the printer, the Epson team in-

model, is a popular choice with frame shop owners today,

stalled lights inside the 9570 and 7570 so anyone in the

according to Reamer. Some have invested in its 60'' coun-

frame shop can easily walk by and make sure a print looks

terpart if they have room in their shop to accommodate

good—without pulling out their phone, Hecht said.

its footprint.

Among these printers’ latest usability improvements is automatic internal cleaning, aimed at eliminating problems like banding on prints that can result from a clogged

LOWER COSTS Another major factor to consider when investing in a printer is operational costs. According to Barker, the falling PFM April 2021 19

cost of ink in recent years has worked to drive down overall operational expenses. This improvement can result in real savings for retailers.

“Generally speaking, for someone who’s purchasing a new printer and replacing an older one, it’s not unrealistic for them to reduce their ink costs between 30 and 50 percent” depending on their specific circumstances, Barker said.

Some of the most common printers found in frame shops were purchased in the last five to 10 years. “Most of those shops are probably paying somewhere in the neighborhood of 36 cents per milliliter for ink,” Barker said. “You can easily cut that cost in half by buying a current-generation printer. It’s a significant savings.”

When taken in combination with today’s high demand for printing, these reduced operational costs can help re-

The Canon PRO-4100 has dual-roll capability, meaning users can load two different types of media and the printer will automatically switch between rolls as needed.

tailers see a return on their investment within months of purchase.

frame shop owner to have this great printing technology

Canon’s PRO-4100, for example, ships with a set of 330

combined with what they’re historically good at—creating

ml ink tanks already inside the printer. “The ROI can be

unique framing designs. You put those two together, it’s a

pretty quick with this technology because that ink tank

one-two punch.”

will take you a good way,” Reamer said. “And if you think

In addition to factors like color, clarity, speed, usabil-

about printing something for a client and then framing it,

ity, and operational costs, Barker encourages retailers to

that can be a very good source of income that can quickly

consider the level of customer support when making any

pay for the cost of the printer in under a year. The long-

major equipment purchase. A few things to look for in the

term capability is pretty amazing.”

company you are considering buying from are color man-

PRINTING AND FRAMING: A PERFECT MATCH

agement services, training, installation, support documents and resources, and a help line for when things go awry. That last one is critical; you want to work with a company that’s

Barker has seen countless framing business grow over the

there for you when you’re struggling with a problem under

years after adding printing services to their repertoire. “If

the tight deadlines all retailers are familiar with.

a frame shop owner doesn’t own their own printer, they

Interested in upgrading your printer, but not sure if

are missing a huge opportunity,” he said. “If they are re-

it’s necessary? Some distributors, such as Digital Technol-

quiring customers to find another source for the print, that

ogy Group, allow their customers to email an image file

other source probably offers the same services the frame

and mail a physical print of the image using their current

shop owner does. They’re not only at risk of losing the rev-

printer. The distributor will then print the same image on a

enue from the print, now they’re also at risk of losing the

newer printer and send both back for comparison.

mounting and framing revenue.”

“We like to tell people, ‘The proof is in the print,’” Bark-

CONTENTS

And virtually every person who walks through the

er said. “Compare what your printer is capable of produc-

doors of a frame shop has digital images on their devic-

ing against what a current-generation printer offers, and

es—either photos they took or downloadable art prints

see for yourself.”

AD INDEX

purchased from online sellers like Etsy—waiting to be

Whether you are looking to invest in a printer for the

printed and framed. Shops that offer printing can jump on

first time or want to upgrade from an older printer, you

that extra business; shops that don’t have to rely solely on

can’t go wrong with the leading models on today’s market.

physical prints being brought in.

The ability to produce fine art reproductions and customers’

“If I’m a frame shop owner without a printer, I can’t

photos in-house can help establish your business as a one-

take [a customer’s image] in an email. I can’t take a picture

stop shop for everything art and framing—a great incentive

on a phone,” Hecht said. “There’s an opportunity for every

for people to return to you time and time again. PFM

20 PFM April 2021

THE MAT DOCTORS

By Brian Wolf, CPF, GCF

No More Rectangular Lines Decorative lines are more interesting than ever thanks to the CMC.

L

ines around openings may be the oldest idea in matting, but debossed and pen lines should still be part of every-

day designs. Some have said that in the era of the computerized mat cutter, those stodgy things should be left behind, but the CMC is the vehicle that makes lines more interesting than they have ever been. It will come as no surprise to read that this interest will be added in the form of decorative work.

These designs can be done either as pen work or debossing. The illustrations show the stark contrast of black lines against a light mat, but the original intent of this entire series was to invent designs where debossed work would shine as brightly as any other decorative work, despite being only a shadow on the surface of the mat.

The series began by dusting off several existing decorative ideas and miniaturizing

in general; why must decoration always com-

them. When they are debossed, the presen-

mand all the attention?

CONTENTS

tation would look like a nicely framed picture

Far from being put upon to be the vehicle

from across the room. Even on close inspec-

of stodgy old ideas, the CMC is the only way

tion, the patterns of details would still be in

to design and execute these decorative lines.

the background, but they would be impressive

The best news is that these projects use tools

surprises when the viewer glanced their way.

that are already available and familiar to the

This makes debossing a more worthwhile consideration, and it also answers one of the

professional framer, making it easy to start generating designs for your customers.

most persistent objections about decoration

AD INDEX

Brian Wolf began framing pictures while attending Iowa State University. In 1973, he won the Janice Petersen Andersen award for outstanding design student. He began demonstrating his hand-carving technique for mats at conventions and teaching for the PPFA. Brian started his own framing business in Cedar Rapids, IA, in 1983. Since 1989, he has focused on leading workshops around the world on his matting techniques. He has authored books, appeared in videos, and contributed to trade magazines.

He joined Wizard International, where he contributed his artistic touch to product development. He continues his work with Wizard through education, events, and design content.

22 PFM April 2021

The flared corners at the sides of this line are 0.08” wide. This is a good example of the relative size of the ornaments in all these designs. It is also an example of setting parameters to keep only some aspects of a template shape. This template is designed to have a camelback top, too. Several parameters are set to zero so that only the side flares remain.

Sizes Alongside the illustrations, there are suggested sizes for the various segments of the details. While the machine will render anything that can be devised, limits are necessary for This illustration shows the template used in the finished example along with three other templates that might be used. The corner details are enlarged to show their differences.

1) The flared-corner design: the sides flare 0.08”. The chamfer at the corner is 0.05” long. The radius of the arc is 0.45”.

2) The quarter-circle design: The radius of the small arc is 0.08”. The separation between the two arcs is 0.06”.

3) The square-at-the-corner design: The square is 0.15” wide. The step at the side is 0.07” long. The radius of the arc is 0.35”.

4) The circle-at-the-corner design: The radius of the circle is 0.1”. The step at the side is 0.06” long.

Lines with Decorative Corners The above design adds detail to the lines by using the template shapes in the CMC design program that are intended to be cut as openings. Typically, they have decorative elements at the corners. When they are cut as parts of the opening, these elements need to be understandably large so they cut nicely. However, when these lines are set to be drawn as pen lines or debossed, the corner details can be rendered a quarter of the size.

Twenty different templates can generate small elements like the

CONTENTS

flared corners in this first example.

Other templates can add patterns of arcs, inset shapes, and all manner of geometric line work. The illustration

AD INDEX

shows the line drawn with the pen because it is a more understandable image. But imagine the effect of this—and the decorative work in the other examples—if the lines had the minimal contrast of debossing.

24 PFM April 2021

the patterns to be distinct. As initial suggestions, line segments need to be at least 0.05'' long, separations need to be at least 0.05'' wide, and arcs need to have a radius of at least 0.07'' so that arcs look like curves.

The other aspect of the size is the value itself. Increments of eighths and sixteenths of an inch will not form the range of useable shapes and sizes necessary for these projects. The decorative details in

Another classic formula for decorative additions is to arrange them at the sides.

These squares are centered symmetrically a bit below the center. Overlay shapes should be a little larger than the absolute minimum sizes suggested earlier. These squares are 0.18” wide and they remain small accents. There is a wide variety of possible shapes for these simple accents in the template library.

these examples were developed and

shapes, there are many templates in

tested by changing settings a few

all the CMC programs that can gen-

hundredths of an inch with each

erate secondary shapes via parame-

step. As a result, suggestions for siz-

ter changes. In the Wizard program,

es use these more accurate, albeit

for instance, there are two templates

unfamiliar decimals.

that can generate trapezoids through parameter settings. One is intend-

Overlaid Shapes

ed primarily for making pennant

The other idea for adding details to

shapes, and the other is designed to

lines begins with a rectangular line,

make fans. Experiment to find more

then decorative shapes are arranged

shapes that will add variety.

symmetrically at the sides. One precedent for this idea is from print-

Rotation

ers 200 years ago. Lines were used

Shapes can be generated and minia-

to outline and separate sections of

turized, but often their orientation is

the copy. Every printer had a drawer

not appropriate to the vision of the

full of ornaments that could be set

design. As an example, the triangle

as part of the line to add emphasis

opening in the Wizard program is

and style.

generated with its point up. To form

Framers are looking for just a

the ornament in the next illustra-

shape to be an accent. Again, the

tion, it was rotated 180° so its flat

template library is the best resource

side is up.

for shapes that can be easily add-

Rotation does more than flip

ed, manipulated, and aligned. There

shapes upside down. The rounded

are templates that generate many

triangle in the next illustration is

of these shapes directly: triangles,

generated using one of the fan tem-

squares, and diamonds, for example.

plates. Its arc is designed to be on

In addition to these obvious

top. To point the rounded triangles toward the opening, the shape needs

an ornament. For these examples, a search for images of geometric earrings turned up enough ideas for the next 50 projects.

Style is important in nearly every component of a presentation, but these ornaments are too small for the usual terms of style to apply. The following list is more to determine The illustration here shows the overlaid square from the finished example along with three other shapes that might be used. They are enlarged, but the list below shows their sizes in use. The earlier rules for sizes and separations still apply to these added shapes. In practice, though, overlaid shapes are clearer and more effective ornaments if they are a few hundredths of an inch larger than absolute minimums. The shapes cannot be just a blur on the line, after all.

coordination and appropriateness rather than style, but these points will be instructive in making decisions as the ornament takes shape.

• Size. Should it remain narrow, or should there be a few wider shapes? Should it be short, or would it be more proportionate

1) The square: the sides are 0.18”. It is centered over the line.

if it was taller?

2) The diamond: 0.18” x 0.21” high. It is centered over the line.

straight lines, or would some

3) The triangle: 0.19” x 0.22” high. It is centered over the line. The triangle is rotated so the point is down.

• Complexity. Should the orna-

• Content. Should it be all curving elements be fitting?

The questions of size, content, and complexity are always helpful in constructing overlays. The choice here was to keep it small and compact, with lines and angles but no curves, and complexity would be a plus. The two diamonds here overlap and form a smaller third diamond between them. However, the details created by multiple overlapping shapes are always a welcome effect. And with debossing in mind, there is seldom a danger of too much detail.

4) The rounded triangle: 0.16” x 0.22” high. The radius of the arc is 0.18”. The shape is rotated so that its point is toward the opening. It is positioned visually over the line so that most of the point is toward the opening.

to be rotated 90° on one side and 270° on the other side of the design.

Multiple Overlaid Shapes The next step is to build ornaments with several shapes. The mechanical aspect of building them is easy.

The shapes come from the template library, and all the rules and suggestions for sizes and separations still apply. The shapes for all the ornaments in the illustrations are lined up on their vertical centers and centered on the line, though centering and symmetry is not always a requirement.

Inspirations are all around for which shapes might be included and how they might overlap to form PFM April 2021 25

Never lose sight of the original inspiration for these designs; add details to a line to breathe life into debossed decoration. The temptation is to adjust parameters and add multiple shapes that build something grandiose. For once, indulge yourself. This is debossing, after all—only a shadow on the mat. What 1) Two diamonds: this is the ornament in the finished example. The top diamond is 0.26” x 0.28” high. The lower diamond is 0.16” x 0.23” high. They overlap 0.09”.

2) Semicircle with rounded triangle: the semicircle is 0.37” x 0.15” high. The rounded triangle is 0.14” x 0.4” high. The radius of the arc at the top is 0.13”. The separation between the shapes is 0.05”.

better way to breathe life into it than to construct an ornament alive with detail? Even if the decoration is drawn with the pen, it will still be one small touch in the presentation.

Another example of a single overlay design, such as the one seen in the ship example on page 24.

The only admonition is that these ideas should be able to be

the star template. Sizes, parameters,

3) Three rounded triangles: the top rounded triangle is 0.4” x 0.2” high. The radius of the arc at the top is 0.37”. The next rounded triangle is 0.24” x 0.13” high.

The radius of the arc at the top is 0.27”, and these two shapes overlap 0.07”. The elongated rounded triangle at the bottom is 0.12” x 0.45” high. The radius of the arc at the top is 0.12”. The separation between the two bottom shapes is 0.07”.

completed with a handful of clicks—

and rotation can be set to form al-

and without learning any new pro-

most any six-sided shape you can

cesses. The results will be a bright

imagine.

4) Hexagon with two triangles: the top and bottom triangles are 0.11” x 0.5” high. The hexagon is 0.25” x 0.14” high, and the separation between each shape is 0.06”.

The semicircle and the hexagon are

spot for all.

Examples of Multiple Overlaid Shapes secondary shapes from the template library. In the Wizard program, the semicircle is made with the arch top

ment be built with many shapes and complicated overlapping, or should it remain relatively uncluttered?

template. Its height and arc parameter can be set in concert to form semicircles with a variety of arc

These guides for making secondary shapes in the Wizard program will not be accurate for all programs, but I hope these ideas will spark inspiration to experiment with the secondary shapes in whichever program you use. I encourage you to get creative, and when you have a few designs that you like, to display them as finished, framed pieces to generate customer interest. PFM

heights. The hexagon is made with

CONTENTS AD INDEX

SPECIALTY MATBOARD SPRING 2021

Timber Series & Armor Series Contact us for details. 1(800) 280-6287 / 1 (256) 891-1366 Shipping Direct Daily Where No Distributors are Available 26 PFM April 2021

SPECIAL OCCASION FRAMING: BRINGING MEMORIES TO LIFE

By Jared Davis, MCPF, GCF

T

he heart of our profession is bringing life to people’s moments and memories. The prime conduit for obtaining these types of framing jobs are the

special occasions in life; those moments and milestones that bring definition and meaning to people’s lives. When you think about it, it is an honor to play a part in this aspect of people’s lives and to know that what you do for

Creative promotional imagery is ideal for promoting framed concepts. This one was used by Terraze Ashfold of Arts Edge in Perth, Western Australia, as a Mother’s Day promotional campaign on their social media.

them will be bring them joy for years to come.

Because of this, framing items for special occasions transcends the typical value of decorator art in the eyes of your customer, and can be worth a much higher-value sale. This means less price sensitivity and more openness to design options. These opportunities can allow you to explore more unique and upscale designs, because they’re both special and “worth it.”

In this article, I’m going to discuss how to best to target and maximize the opportunity for framing for those special occasions.

RECOGNIZE OPPORTUNITIES There are dozens of lifetime events and celebrations that can become framed memories on a wall; the most common being weddings, birthdays, baby showers, graduations, sporting achievements, awards and medals, family A display featuring a heart-warming concept like this framed first birthday dress with a hand and foot sculpture by Impressionable Kids in Queensland, Australia, triggers a powerful emotional desire in any parent.

holidays, retirements, and even the passing of loved ones.

There are also the annual seasonal opportunities such as Mother’s Day, Father’s Day, Valentine’s Day, Veteran’s Day, and more.

The question is, how can you make your customers

CONTENTS

aware and educated about your ability to provide wonderful framed pieces for these moments in their lives? The answer is simple—show them!

AD INDEX

PROVIDE INSPIRATION People aren’t always short of money, they’re just short of ideas. But you need to inspire, to create desire. People generally know they want something when they actually see This in-store gallery wall display from Arts Edge in Perth, Western Australia, provides inspiration using emotive personalized imagery featuring special occasions, family, and loved ones.

28 PFM April 2021

it. And “seeing it” is not easily achieved with just a corner sample of matboard and a moulding chevron. You need to

ally, you will inspire your walk-in customers at the right time before the event. For example, graduation season is the best time to frame diplomas, so get in front of this and create your display a few weeks in advance. Don’t forget to add some signage as well; for example, “We Frame Diplomas” or “Ideas for Mother’s Day.”

EXPLORING MORE CHANNELS You walls and windows should not be the only selling tools you use to provide the visual inspiration customers need.

Other channels include: The framed wedding photo display by photographer and framer Wayne Pratt of Queensland, Australia, becomes a must-have concept for any bride-to-be, regardless of price. The top mat layer has a printed black and white photo with a custom-cut window on a CMC.

show the real deal.

The walls and windows of your store are valuable real

• Your website. Build up a library of photos of your favorite framing jobs, and use these to update your website to provide inspirational photo galleries of your best framing ideas. Keep in mind when consumers are seeking inspiration, they’re searching by feeling, not function.

estate. If you want to sell more high-value custom framing, then show more high-value custom framing ideas on your walls. In fact, every custom framer should have an “inspiration wall” dedicated to great framed ideas. This can be used to display framed examples of different, upscale and

Design Tips for Framing Special Occasions When something’s special, it’s time to explore higher-value options. Here are some ideas and tips to help you create the best possible design.

• Get creative. Say to your customer, “Do you mind if we try something a

desirable framing ideas with a high proportion dedicated

little creative for a few minutes? Put price on hold, and imagine you’re

to the high emotional value content of framed moments

framing this for yourself, no holds barred.” When you become inspired,

and memories. When customers walk into your store, they will be amazed and inspired by the ideas and designs you can offer. Create display pieces which best help demonstrate the marvelous ways that you can frame keepsakes, heirlooms, and personal memorabilia.

The current gallery wall trend is also ideal for special family celebrations and occasions like weddings and holidays, so if you have the space, create an example of this.

You can also price and sell these types of gallery wall concepts as a unified single-package price, rather than having to price it piecemeal.

TIMING IS EVERYTHING Let’s take this idea one step further. People don’t always know or even recall the types of things you can do when these special occasions come around, so you need to promote these ideas at a time when a strong impulse to buy

chances are your customer will contagiously become so, too.

• Personalization is key. When a customer brings in a special item or keepsake for framing, ask the customer for a photo of the person it relates to. This helps personalize and tell the story. For example, if someone brings you some medals to frame, ask for a photo of the veteran to accompany this. It will not only make a better overall design, but it will also lead to a higher-value sale.

• Make it timeless. If it’s going to be on a wall for a lifetime, avoid applying any novelty or fleeting design trends that may make the piece look dated in a few years.

• Focal point. Is there a hero piece to this? If so, identify it, position it to be the focal point, and build a display around it to help tell the story.

• Scale and proportion. Use ample matboard borders and avoid constraint.

Keep in mind that you may need to allow more border distance if you are designing a shadowbox to avoid any shadows from the sides of the frame casting over the items within.

• Use depth. Shadowboxes draw people in with their depth. Use this depth to build layers of items and objects. The use of foreground and background can add dimension.

• Use texture. There are countless fabric and specialty matboards that can

can be made. Providing the right inspiration at the right

be used to help convey sensations such as delicate, opulent, fine, coarse,

time can really pay dividends.

rugged, silken, and more.

There are plenty of seasonal opportunities that you can take advantage of every year. It’s a good idea to plan ahead and update your inspiration wall monthly with examples that relate to these upcoming opportunities. Ide-

• Premium glazing. If it’s something special, then it’s worth considering anti-reflective glazing and UV protection.

• Frame to preserve. If it’s going to last a lifetime, then it’s important to use conservation materials and methods.

PFM April 2021 29

So rather than just categorizing your online photo galleries by function (jerseys, shadowboxes, memorabilia, etc.), curate some photo galleries categorized by meaningful occasions, such as weddings, birthdays, holidays, etc. You could even use these galleries as a digital consulting tool when working with your customers.

• Online photo sharing. One way to expand on this concept is to use third-party online photo sharing platforms such as Pinterest, Google Photos, Facebook, and Instagram. Once again, categorize your photos into albums based on special occasions.

• Email marketing. Once you’ve created these photo galleries, you can incorporate links to them into your electronic digital marketing (EDM) campaigns; for example, in direct emails that are strategically scheduled to be sent at optimal times of the year.

• Social media. Regularly sharing photos and ideas of

Odette Miles from Fastframe in Melbourne, Australia, worked with their client to help them create a design that personalized the story of their loved one’s historic life achievements.

framed examples of special occasions can help build a solid presence in your timeline. When you can schedule

ways tell a story. In your marketing campaigns, share

and target your posts for the optimal demographics at

the meaning behind the framed idea, and try to keep

the right times, this could be enough to stimulate a cus-

it short and sweet. For example, rather than saying

tomer with an idea and desire to do something similar.

“Here’s a framed tea cozy,” you could say, “Grandma’s

• Sell the story. Don’t forget that special occasions are about telling a story, and an image alone doesn’t al-

favorite tea cozy!” Sell the feeling, not the function.

GET THE STORY Once a customer is inspired, they’ll hopefully come into your store to get their special moment framed. Many of the framing jobs that land on your design counter have an underlying background, and part of the reason behind having them framed is to tell that story. This why it is important to ask every customer, “Why do you want to frame this today?”

If there’s an emotional connection, it will rise to the surface of their mind and they will share their motive with you. This is also important to help remind them why they wanted to get custom framing in the first place, which can sometimes be forgotten on their way to into your store as they face distractions such as traffic, parking, and more.

CONTENTS

IT’S NOT ABOUT PRICE When it comes to designing for a special occasion, go for it.

If you’re worried about price, think about this; people pay a

AD INDEX

lot of good money for things that don’t last—beauty treatments, hairdressing, restaurant dinners, holidays, etc. Comparatively speaking, picture framing is not that expensive; especially when you consider not only is it a unique, oneThis 3D layered shadowbox design by Adam and Nicole Green in Brisbane, Australia, is something timeless that that shares a collection of a couple’s milestones of life in a single frame.

30 PFM April 2021

off, custom-made item, but unlike the previous examples mentioned, it is something that will last a lifetime. Remem-

and use their name when speaking with them. Get your customer involved in the design process, and where possible, compliment and encourage them on their choices. Most importantly, aim to make the process pleasing, enjoyable, and memorable.

Framing items to celebrate special occasions helps people connect and relive life’s meaningful moments. I’d like to think that every framer has had those memorable framing jobs that brought a tear to a customer’s eye when they saw it framed for the first time. In fact, that’s the ultimate goal.

An inspiration wall such as this in-store display of personal achievements can be changed monthly to provide interest and promote upcoming seasonal opportunities, such as Father’s Day or Veteran’s Day.

You’re not just selling your customers a frame; you’re also selling an overall experience. If you create a “special occasion” out of framing someone’s “special occasion,” then you’ve got a customer for life. PFM

ber, when emotions are in play, people will pay. Don’t go cheap. If you do, you’ll leave money on the table and not

Jared Davis

even realize it.

Jared has 30 years of industry experience and is the business development manager for Frames Now, Australia. Jared has previously worked in roles including business development, strategic marketing and product management for companies such as Larson-Juhl and Gunnar International. In addition to writing for PFM, Jared has traveled extensively as an educator and speaker, teaching framers at many industry shows and seminars around the globe, including The National Conference at the WCAF Expo.

MAKE IT SPECIAL IN EVERY WAY Wherever possible, personalize your customer’s experience and make them feel that their story is unique and meaningful to both of you. Take a moment to get to know them

PFM April 2021 31

DO YOU HAVE WHAT IT TAKES TO BE SUCCESSFUL?

A

By Len Lastuck, Director of Product Development, Frame Specialties re you thinking of going into business for your-

physical courage, which is used to defend yourself or oth-

self? Are you already in business and looking to

ers; there is moral courage, used to defend what you believe

build long-lasting success as you move forward?

is right; and there is the courage to take a chance on the

In my 50-year career, I’ve observed many successful individ-

unknown. To do that, you’ll have to first have the courage

uals; and in my experience, there are five main traits com-

to believe in yourself—a necessary thing when starting a

mon among all of them. These traits helped make them the

business. You cannot and should not be afraid to fail. It is

success stories they are today. These five traits can contrib-

only through failure that we really gain experience and, con-

ute to building a profitable business regardless of the type

sequently, wisdom. People who have failed in business are

you are running, from commercial framing and independent

a better risk the second time around since they now know

retail framing to art galleries, consultancies, and more.

what not to do, and many people who have suffered career

The first is wisdom. Our main purpose as humans is to

failures have gone on to be extremely successful.

gain wisdom as we progress through life. Wisdom is gained

Everyone has a built-in threshold of courage for any giv-

from two aspects: knowledge and experience. Before we

en situation. You need to evaluate it and learn not to fear

begin to walk, we begin to gain knowledge about our sur-

what you don’t know. Lack of courage has prevented many

roundings and experience by interacting with our environ-

a person from achieving their greatest dreams. If you have

ment. We touch a hot stove and learn not to do that again.

the knowledge and experience along with the vision as to

We bump our head and learn to be more cautious. Knowl-

where you see yourself going, then what is stopping you?

edge may not be the main component of wisdom, but it sure

“The journey of a thousand miles begins with one step.”

makes gaining wisdom a lot faster!

The fourth common trait among successful business

Experience is the most important part of gaining wis-

owners is energy. It’s all well and good to have wisdom, vi-

dom. There have been many successful people who had very

sion, and courage, but if one does not have the energy to

little formal knowledge but a lot of experience, and who have

begin a long journey, it will be difficult to succeed. This is not

been very successful in their chosen field. If you want to be

necessarily tied to age; many young people don’t possess the

successful, begin to accumulate as much knowledge and ex-

energy or desire needed to build and maintain a successful

perience in this industry as you can. Eventually you will gain

business. If you don’t have a burning desire to reach your

the wisdom you require. Life is a learning experience.

goals, chances are it will be very difficult to reach them. This

The second trait is vision. Vision is an interesting one,

kind of energy is directly related to desire.

CONTENTS

as it has a direct relationship to wisdom. Vision is the ability

The final trait is enthusiasm. Without this, nothing

to look toward the future and base your assumptions of it

great will ever be accomplished. Enthusiasm is contiguous;

on what you already know. Most creative people have a tre-

it can spread like wildfire. It can start with one person and

mendous amount of vision. They also seem to think in many

before too long, it can reach thousands. One only needs to

different ways at one time—some call it “thinking outside

go back through history to see how one spark of enthusiasm

the box.” Having vision is one thing; however, putting that

grew to change the world.

vision into practice is called creativity.

If you can couple your desires and goals with honest

AD INDEX

The third is courage. This is without a doubt the greatest

enthusiasm, you can accomplish just about anything. Lis-

obstacle to becoming successful. We are always concerned

ten to successful people talk about what they do and you

with what we do not know. Wisdom and vision will always

will see a tremendous amount of enthusiasm come through

help in overcoming any apprehension we have going into

with every word they say. This is the time to start becoming

business, but each of us must evaluate the degree of courage

enthusiastic in everything you do, too; bring excitement to

we have in any given situation.

work with you every day and watch it catch on. Now start

We all have courage of one type or another. There is

32 PFM April 2021

your engine and reach for the stars! PFM

RETAILER PROFILE: CLINTON HILL SIMPLY ART & FRAMING GALLERY

By Kimberly Biesiada

F

or Lurita “LB” Brown, owner of Clinton Hill Simply Art

ing its name to reflect the expansion. For the last 30 years,

& Framing Gallery in Brooklyn, NY, joining the framing

Brown has become a fixture in the Clinton Hill/Fort Greene

industry was more of a calling than a business deci-

area and the larger borough; she is known to locals as “the

sion. As she put it in a recent interview with PFM, “Framing

framing lady,” and enjoys longstanding relationships with

chose me.”

customers who return to her again and again.

Brown, who worked as an advertising executive for Eb-

In her interview with PFM, Brown discusses the evolu-

ony Magazine before opening her business in 1991, has al-

tion of her business, how she has adapted over the years to

ways been a lover of art, and has a lifelong passion for col-

succeed in a changing neighborhood and economy, and why

lecting African, Latin, Caribbean, and Native American work

she is a staunch believer in attending industry events.

in particular. Seeing a rise in demand in the mid-1980s for works on paper—such as posters, prints, and fine art repro-

Your business started out as an art gallery. What made

ductions—as well as the growing popularity of works by art-

you decide to add framing?

ists of color, she had the idea to open a gallery, filling the gap

Once I opened the doors, I got a call from a framer who knew

she’d identified in the market.

me from having some of my art framed through his busi-

She didn’t know it at the time, but when she opened

ness. He said, ‘You’re never going to survive without fram-

her doors, Brown became the only paper/poster gallery in

ing.’ I told him I didn’t know anything about framing. He

the city that exclusively carried works by artists of color. She

said, ‘You don’t have to. You hire framers for that.’ That’s how

soon added custom framing services to her business, chang-

I first got involved. Over the years, I did hire framers to come work for me. And he was right; people would buy poster art from me and then they’d say, ‘Do you frame? Can you frame

CONTENTS

this for me?’

About 80 or 90 percent of the business at that time was just artwork on paper. What started to happen, because I was in a neighborhood and not a commercial business center, was artists who were printing their images to sell

AD INDEX

at cultural festivals would hear about me. They started to come in and ask if I would purchase their leftover posters from events. That helped me build a bigger base, because I became a form of distribution for them. And they all wanted Brown pictured inside her business in 1991. Photo credit: Adger Cowans 34 PFM April 2021

their posters framed.

Layered on top of that were the higher-end artists across

the tri-state area who started to hear about my gallery. These were artists who were into engravings and limited editions.

They were basically painters, but had some formal training in printmaking. I said, ‘I have an idea. The consumer base is not that defined right now for fine art prints. But if you can produce original works on paper—it can be mixed media, it can be pastel, it can be watercolor—I can show people the difference between offset lithography and something higher-end.’

I created a space in the business that would feature an upcoming painter. It could be watercolor. It could be charcoal. It could be pencil. It could be ink. It could be anything, so long as it was just above lithography—original work.

What happened then is customers started to come in who would buy prints and posters, of which I also had limited editions. And they’d think, ‘Well, I’ve invested in a signed limited edition; I’ve got to have it framed.’ So framing, again, complemented the paper gallery.

How has the framing part of the business—and your own expertise as a framer—grown over the last three decades?

By the year 2000, the art market was flooded with printing.

The digital age in terms of art reproduction was becoming very strong, introducing more of a market front for the artists who could now bypass people like me. They could print on demand, and the internet became a good way for them to distribute. I noticed a drop in poster sales, but upticks in original art and framing. I thought, okay, this business is older now and I’m seeing a shift in my profit margin toward

Today, Brown’s business functions as a full-service custom frame shop as well as an art gallery.

thought, this is an industry that probably has a convention or workshops that can guide me on the different levels of framing. That’s when I found the National Conference at the West Coast Art and Frame Expo.

Do you remember the first show you attended? Did you take a lot of classes?

I do remember the first class, which I took during my second time attending. The first time, I just kind of scoped everything out. When I returned, I took a couple of classes taught

by Vivian Kistler. She approached me after one of them, and I told her who I was and what my business was about. She was so enthusiastic about the framing side and understood what I was trying to do. She encouraged me to attend future

picture framing. I know that there are different levels of framing, just as there are different levels of artwork. I started paying more attention when buying moulding and supplies to see what was cost-effective and most appropriate to use.

Then 9/11 hit New York City, and of course it was a strange economy that we were living with. But all of a sudden, people in the neighborhood started coming in and asking me to frame certain cherished items, whether it was an old, damaged photograph or something their child or grandchild made in school. I knew these kinds of things required higher-end framing. I started calling colleagues in the industry and asking their advice on what was appropriate. When you have relationships with people who have more industry knowledge than you and are willing to speak with you and offer help, it’s so valuable.

It just continued from there. Customers started saying, ‘You understand me. You understand what I want.’ I realized I was developing a skill set on the framing side. Then I

Brown said she enjoys watching longtime clients’ families grow over the years. Such is the case with client Jack Lazar and his family.

PFM April 2021 35

This wedding invitation is one of many upscale, custom designs created by Brown. As more personal objects were brought into her shop in the early 2000s, Brown expanded her framing knowledge.

classes and talk to her more. Up until her passing, I would meet with her every time I attended the show.

Out of curiosity—and by that I mean I wasn’t intend-

A lot of the shop’s business these days is custom framing for 3-D objects, like this metal spike from the 1930s building in the photo.

classes through the years just to see if I was on track.

ing to offer this service to my customers, but I had a special

Beyond that, what I’ve found to be a big advantage

interest—I started taking gilding classes from Marty Horow-

for me is that during a conference, you get to meet fram-

itz. He was a good person to talk to if you didn’t understand

ers from different regions. They will talk very openly about

something. And Marty was always colorful because he was

their experience owning a frame shop. It’s like, ‘Oh, you’re

from Brooklyn. Each time I’d go, I’d always make a point to go

from such-and-such. Did you experience this? Did you do

past his booth to talk to him. I’ve also taken a lot of business

that?’ I enjoy it. My customers recognize that in me when I come back from the show. They’ll say, ‘You seem like you’re recharged.’ And I am. When you can talk shop with someone who really understands what you’re talking about and is curious how you conduct business, how you handle certain problems—it’s great.

The other thing I enjoy is that on the show side, companies will give demonstrations and samples to introduce their new designs or equipment. I find that very beneficial because in framing, you’re going to have your wood, your paper, your metals, your glues, your glass. But it’s the quality, what it does, and its improvement over the years that’s

CONTENTS

important to pay attention to. When I see a new or relatively new manufacturer or distributor, I go to them to see what they’re offering. What are they bringing to the table? That’s how I discovered premium glazing. I’d bring samples back home and place them at the counter to show my customers.

AD INDEX

Once they saw the difference, it sold itself.

Who are your customers today, and what are they having framed? How has that changed from when you opened?

Brown cites this rare, vintage 4’ x 3’ album gatefold, brought in by a repeat client, as one of her most challenging designs to date.

36 PFM April 2021

How my business has changed is related to how my community has changed. People are now paying a million dollars

plus for a brownstone, and there’s new luxury residential development not far from where I am. But the advantage I have is the fact that I entered the industry with a passion for art and as more of a collector and a dealer. So when people came in with their work, I could recognize the quality of the piece and look at what the artist was trying to accomplish through their composition as well as admiring whatever the framer did. I could tell if it was a European or American frame job. I would talk to them about it, and they were awed that someone actually knew the work without them telling me anything. It became more of a referral business; ‘Go to that lady on Myrtle Avenue.’ I have a very high referral rate among my longtime clientele.

The business has become a fixture in its Brooklyn neighborhood and is a destination for art collectors and local residents alike.

the counter. At some point I tell them, ‘This sounds like you need to have a conference, because there are many options here.’ But what it also does is it tells me about the couple’s personality.

I started playing a game with them. I’ll separate them.

I’ll say, ‘Is it going to be a classical look? Contemporary? Ornate? We can go in any direction, but here’s the classic way of framing what’s being presented.’ Then I send them off to each pick three samples. I’ll tell you, they have discovered something about themselves at my counter! I’ve heard more than once, ‘Oh, I didn’t know you liked that.’ They discover something about their taste.

I’m happy with that because I try to convey that if you come to me, it’s because we are custom. We are not a depart-

Brown (third from left) with state officials, including NY Attorney General Letitia James (far left), at the opening of her gallery.

ment store. We are not a mass distributor. One size does not fit all with custom framing. PFM

Every 10 years or so, I’ve had to adjust to survive. When I started in 1991, 80 to 90 percent of my business was dealing with some form of paper art, from originals to offset lithography to signed/numbered/limited editions and consignment. Today it’s flipped to 90 percent coming from custom framing, and of that 90 percent, I’d say about 75 percent is more preservation framing services. Of that, I would say at least 25 to 30 percent is framing for some form of personal,

CONTENTS

three-dimensional object.

Are you seeing more millennials coming in? Do you approach the sales and design process differently with

AD INDEX

them?

There is a younger market that’s somewhere between 24 and 34, either singles or couples. If a couple is making a purchase together, a lot of times they’ll come into the shop together to decide what type of frame they want. That can be a nightmare because they want to discuss everything at 38 PFM April 2021

One of the referral jobs that came through Clinton Hill’s doors; a trio of paper decorations from a couple’s wedding celebration.

Photo Frames Product Showcase Alpina Manufacturing

Bella Moulding

Alpina Acrylic Stand Off Wall Frames are a beautifully modern way to display your photos. The photo is sandwiched between acrylic panels on positioning lines etched into the acrylic for perfect centering.

Aluminum mounting securely grips the acrylic sections together (in stainless, black, and brass).

Made in Chicago on Alpina’s new laser machine (no saws) in any size.

Come around to the Circa collection from Bella/Prisma. Circa photo frames are clear seamless acrylic with an accent of color on the frame lip. Color reflects back to the edges for a unique and special look. Available in 4'' x 6'', 5'' x 7'', and 8'' x 10'' in nine colorways. Frames come complete with UV protective glass and an 8-ply archival mat.

Call: 800-915-2828 www.fastchangeframes.com

Call: 888-248-6545 www.bellamoulding.com

Decor Moulding

Framerica

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 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 #CS-SAV to get these styles today.

Framerica’s Assisi (from its Vintage Collection) is an antiqued, moonlit silver finish featuring luscious black shadow shading, making it an ideal photo frame for black and white photography. Its classic tone and exquisite detail add a timeless look to any photo. This classic design works equally well with color photos.

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

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

Frametastic! LLC

Framing 4 Yourself

Frametastic’s Modern Fresco photo frames feature six designs (four are shown), fusing five layers of paint into swirling patterns of color and design. Three frame sizes are available for 4'' x 6'', 5'' x 7'', and 8'' x 10'' images and all include a leatherette easel back, UV protective glass, acid-free filler, tissue wrapping, and gift box.

Canvas is lovely, and our new floater frames really make your artwork POP! These colorful frames enhance the beauty of your artwork and provide the finishing touch to highlight your masterpiece. Make your life POP with these new floater frames.

Call: 973-962-0286 www.frametastic-llc.com

Gemini Builds It! & Showcase Acrylics

Call: 800-246-4726 www.framing4yourself.com

Giò Designs

CONTENTS AD INDEX

Stylish and chic, these gorgeous magnet frames will elevate any space. Made of 1'' pieces of clear acrylic (2'' total depth) and four earth magnets, your guests will be wowed by your taste level. Custom sizes available; no minimum. Contact sales@geminibuildsit.com for more info!

Giò Designs offers photo frames in a range of sizes, colors, and finishes. Each photo frame can be positioned horizontally or vertically using the attached easel back. Available sizes include 5'' x 5'' for Instagram photos and 3'' x 7'' matted for 2'' x 6'' photo booth strips.

All mouldings are made from a minimum 80% recycled material.

Call: 800-323-3575 www.geminibuildsit.com

Call: 800-674-3344 www.giodesigns.com

Global Art, Inc.

InLine Ovals

Global Art, Inc., a prominent manufacturer of quality readymade frames for over 35 years, is pleased to announce its newly updated website! See a selection of 150+ unique and stylish frames—all handcrafted in the USA.

InLine Ovals produces round and oval wooden photo frames in a variety of sizes. Dozens of profiles and finishes are available from simple to ornate, and each frame can hold convex or flat glass options. Samples available online.

Call: 866-310-4278 www.globalartphotoframes.com

40 PFM April 2021

Call: 800-456-1232 www.inlineovals.com

Michelangelo Moulding Echoing current trends, Michelangelo has a line of beautiful cubes, measuring ¾'' square.

Available in seven subtle-but-impressive woodgrain finishes, this series is perfect for diminutive photo frames or a small liner treatment. Colors include walnut, off-white, gray, black, dark walnut, natural, and charcoal.

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

Presto Frame and Moulding The Silhouettes Collection complements the classic art of silhouette cuttings. What better way to showcase that slice of time than in a silhouette frame? Like all Presto ovals, the Silhouette frame is wood with hand-leafed gold inner lip. The frame comes in a 5'' x 7'' or an 8'' x 10'' size, with glass and hardware. Easel back or white acid-free mat are optional.

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

Ten Plus, Inc. Introducing two traditional readymade frames, TP-255G and TP-255AG. These frames come in gold and antique gold finishes. Sizes available: 8'' x 10'', 16'' x 20'', 20'' x 24'', 24'' x 36'', 36'' x 48''.

Call: 562-404-0088 www.tenplusframes.com

Product Showcase Submissions To have your latest product featured here, please send a 50-word product description and 2'' x 2'' high-res image to the following email address: editor@pfm-group.com

PFM April 2021 41

Distributor Spotlight

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

800-404-1220

CONTENTS AD INDEX 42 PFM April 2021

CROSSWORD CHALLENGE Across 1 One of the file formats for storing digital images 3 The D in DPI 6 Flying geese formation 9 Type of hangers (such as adhesive for example), 2 words 10 Chemical whose ph level is below 7 12 Ambitions 13 Chestnut, e.g.

15 Cries of regret 17 Aka rasters 18 Caribbean island 21 The G in RGB 23 Without shine 25 Environmental factor that can damage artwork 28 Computer 30 Storage capacity measurement, abbr.

32 Photo session 33 C.V. 34 Glacial material 35 Another file format used for storing digital prints 36 Lady deer 37 Company that owns photoshop

SEE PAGE 45 FOR THE SOLUTION

Down 1 Color created when a solid color is mixed with white 2 Promotional item 4 Desert haven 5 Therefore 6 Computer graphic file stored as mathematical curves, 2 words 7 Terminate 8 ____ glass: picture frame style with no backing 11 Type of art that avoids realistic and recognizable imagery 12 Getting it done on your own, abbreviation 14 Scent detector 15 Summer month, abbr.

16 Letter enclosure to facilitate a reply, abbr.

17 Arts degree 19 Cherry or scarlet 20 Still in the original package 22 Profit, abbr.

24 Prefix with dermis or center 26 Quiet!

27 Quality of a color 29 Foam ___ board 30 Space 31 File format not recommended for wide format printing 33 Buddy

PFM April 2021 43

Index Advertiser

Page

Active Sales .................................................................................42, 47 800-937-2255

www.activesalesco.com

Advertiser

Page

Gluefast Company .............................................................................42 800-242-7318

www.gluefast.com

Alpina Manufacturing, LLC .................................................................43 800-915-2828

www.fastchangeframes.com / www.bannergrip.com

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

www.gilderspaste.com

ASF - A Street Frames ........................................................................42 800-805-7655

www.astreetframes.com

Bella Moulding ..................................................................................23 888-248-6545

www.bellamoulding.com

Blick Art Materials .............................................................................10 800-723-2787

www.dickblick.com

CMI Moulding ....................................................................................42 301-476-7440

866-248-0100

www.hoffmann-usa.com

www.reevesextruded.com

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

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

www.cmimoulding.com

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

www.richesonart.com

Join Rite ............................................................................................43 508-454-7477

www.joinrite.com

Michelangelo Moulding ......................................................................15 877-422-8812

www.michelangelomoulding.com

Picture Framing Magazine......................................................13, 33, 37 800-969-7176

www.pictureframingmagazine.com

Connecticut Saw & Tool ......................................................................42 203-318-4302

www.ctsaw.com

Crescent Cardboard Co. ......................................................................11 800-323-1055

www.decormoulding.com

Epson America ...................................................................................21 562-290-5183

www.epson.com

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

www.fixons.com

Foster Planing Mill .............................................................................42 CONTENTS

323-759-9156

www.fosterplaningmill.com

Framerica..................................................................2, 3, 4, 31, 43, 45 800-372-6422

800-297-1566

www.rhondafeinman.com

www.crescentcardboard.com

Decor Moulding & Supply ................................ 27, 31, 41, 43, 45, insert 800-937-1055

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

www.framerica.com

Specialty Matboard ............................................................................26 800-280-6287

www.specialtymatboard.com

Superior Moulding Corp. ....................................................................43 800-922-7914

www.supermoulding.com / www.zelanto.com

Ten Plus.............................................................................................17 888-944-8899

www.tenplusframes.com

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

www.tru-vue.com

FrameTek ..........................................................................................42 AD INDEX

800-227-9934

www.frametek.com

Frank’s Fabrics for Framers ................................................................42 888-332-2749

44 PFM April 2021

800-668-3627

www.universalarquati.com

www.franksfabrics.com

Global Art..........................................................................................39 866-310-4278

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

www.globalartinc.com

Wizard International ............................................................................9 888-855-3335

www.wizardint.com

(Continued from page 46)

he could ship me his framing projects because he just couldn’t

Acrylic. Acrylic is a great choice for a project like this that has

take them to anyone else. Yes, absolutely!

three pieces of glazing; it’s half the weight of glass and can’t

This time the project was Rush’s eponymous debut al-

break. I then fit this into a beautiful handmade frame from my

bum from 1974. This is an original copy, and what makes it

good friends at Daedalian Frames, based in Los Angeles. The

extra special is that it was signed by the whole band, including

corner motif perfectly coincides with the cover graphics, and

Rush’s first drummer, John Rutsey. After recording the drum

they were more than happy to accommodate my custom depth

parts for the album, Rutsey was unable to go on extended

and finishing the frame all the way around. I cut a matching

tours with the band due to health issues, which makes his au-

fillet to cover the framer’s points and give it a nice all-around

tograph very rare.

finished look.

My main concern when it came to the design for this

Now for the actual album. It was very important to show

piece was keeping the autographed album cover completely

the B side of the label, as my client has a special connection

intact. There is no adhesive of any kind touching the record

with a particular song on that side. We wanted to see the entire

sleeve, so it can come out in the exact condition it went in. I

label but not show the whole album, so I cut this custom mat

knew I wanted to make a double-sided, hinged frame to mimic

to allow the album to peek out behind the cards and reveal the

the feel of a double-sided vinyl cover—I just had to figure out

entire label. I floated the album off the same red color I used on

how to make it work.

the cover to tie the whole piece together. I then hinged the two

I cut two identical sets of mats for the front and back of

frames together to allow the piece to open like a vinyl cover.

the cover itself. I sandwiched the cover between the mats and

The album is safe and beautiful, the client is thrilled, and I’m

built up around the album cover with a 6-ply mat (the same

on to the next project. Bring it on! PFM

depth as the sleeve) to hold the cover exactly in place. I then sealed the matted cover between two pieces of Tru Vue Optium

Classified Established frame shop in Texas for sale; owners retiring after 40 years. Located in a growing city with 3 universities and a large hospital district. 5,500 sq. ft. building, land, inventory, fixtures, and equipment all for sale. Plenty of opportunities, affordable living, and no state income tax! Average $360K per year. Call 806-794-4477

Crossword Challenge Puzzle Solution

PFM April 2021 45

DESIGN OF THE MONTH

By Micah Ruiz

A Double-Sided, Hinged Frame That’s Fit for a Rock Star

A

s custom picture framers, we are presented with a unique opportunity to peer into our clients’ lives. We get to

This framing package, created to showcase a client’s original signed copy of Rush’s eponymous first album, mimics a double-sided vinyl and opens on hinges to reveal the B side label and back cover.

see a piece of them that is deeply personal upon first meeting. With this comes an immediate connection that doesn’t exist in most professions. We offer our creativity, expertise, and craftsmanship in exchange for their trust; and once that trust is built, you have a client for life! After that, each project just gets easier and more natural.

Every now and again you are blessed with a client that shares your same vision and taste, to

spoiled with the amazing projects we get to work

the point where they completely hand you the

on. I’m one of those old-school types of framers

reins. That is my favorite kind of client; the kind

that says yes to everything. When you are willing

who respects your knowledge in your field and

to say yes to anything that comes in the door, you

chooses to rely on your judgment. We as framers

get that reputation—and the people and projects

spend years honing our craft and cultivating our

just keep coming. The client and project featured

skills and design aesthetic, continuing to learn and

here are perfect examples of this.

CONTENTS

adapt with the trends and times. We strive for our

We have worked on several cool projects to-

best, knowing perfection is unattainable but stay-

gether, always coming up with interesting, con-

ing passionate and continuing the chase. We think

ceptual, and preservation-adherent designs for

about framing every single day, and when you can

every piece. So, when I heard that he was moving

get a client to truly let go, beautiful things happen.

out of state to Austin, TX, I was definitely bummed.

I manage both locations of Underglass Cus-

But I was both surprised and honored when he

tom Framing in San Francisco, CA. I feel totally

reached out to me after having moved and asked if

AD INDEX

Micah Ruiz has been picture framing for 20 years. He began his career in a wholesale frame shop and quickly fell in love with the precision and pursuit of efficiency. After mastering high-volume framing, he worked his way into high-end conservation framing, and that’s where his passion really ignited. Since 2014, he has been managing the two locations of Underglass Custom Framing in San Francisco, CA. When not in the shop, you can find him in his East Oakland home spending time with his wife, Alexis, his son, Asher, and his daughter, Arrow.

46 PFM April 2021

(Continued on page 45)