Picture Framing Magazine - December 2021

Season's Greetings Today’s Popular Substrates • Glazing Framed Canvases •

Contents

PFM is a member of:

Volume 32, Number 12

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

On the Cover For this year's holiday cover, "Skating on the Frozen Amstel River" by Dutch painter Adam van Breen (1585-1640) sets the perfect winter mood. The painting has been paired on our cover with a gilded wood frame that surrounds "The Triumph of Fame" by Giovanni di ser Giovanni Guidi (1406-1486).

Happy holidays from all of us at PFM!

Features 18 Popular Substrates 26 Canvas Framing: Glazing

Columns

22

12 Mat Doctors 22 Mastering Mounting 38 Design of the Month

Departments 8 10 32 34 35 36 37

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

38

26

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 I N TE RI M E D I TO R Chris A Paschke • cpaschke@pfm-group.com A RT D I RE C TO R Jin Dong • jin@wcafexpo.com

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 848-444-5164 maureen@wcafexpo.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

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PFM PUBLISHING, LLC PRE S I D E N T

6 PFM December 2021

Bruce Gherman

FROM THE EDITOR’S DESK A Interesting, informative, educational, and extremely useful is what we have come to expect from PFM, and this month once again doesn’t disappoint.

CONTENTS AD INDEX 8 PFM December 2021

rticles are supposed to educate and advise, allowing framers to make better choices when taking care of client art.

This month we cover a cross-section of topics, including frame design, canvases, substrates, and business.

Canvas backing was only half the story as David Lantrip continues to discuss the care and framing of canvases in “Canvas Framing: Glazing,” covering the pros and cons of the glazing debate (page 26). And as expected, his use of illustrations and close-up photographs support the valuable information.

Over the decades as framing has evolved from corrugated cardboard and masking tape, substrates have changed, too—some having been retired while others have been embraced. Foamboard was introduced back in 1957 by Monsanto, and then after only 30 years in the framing market, it was nally approved by the International Standards Organization (ISO) in 2007 as an accepted material to be used in enclosures, framing, and conservation. Jim Miller’s article “Popular Substrates” covers mountboard options from both outside our industry and our distributors that many framers are turning to for largescale honeycomb panels, ACM, and plastics in order to better accommodate the mounting of art today (page 18).

Creativity abounds with Brian Wolf’s Mat Doctors column, “Accented

Accents,” as he continues to expand the wonders of the CMC in frame design (page 12). His innovative approach to technological basics always gets us thinking outside the box bringing us to higher levels of mat design.

And our Design of the Month is a unique stacked frame showcasing a needlepoint using a colorful oat frame combination for a baby’s room (page 38). Float frames continue to grow in popularity with new launch mouldings and gallery wraps as popular as ever— so why not for needle art, too? And then there’s the oversized 48-star ag with its typical design challenges and options, resolved by stretched linen, wet/dry wrapping of liners, sewing, and acrylic (page 22).

What a way to end a year, and my few months as interim editor. It has been great fun, but it is time to get back to writing my own articles. I’d like to thank everyone who helped make my editorship such a positive experience, and I welcome Kim back to her position as editor.

I wish you all the very best of the holidays!

Chris A. Paschke Interim Editor

INDUSTRY NEWS PPFA Members Earn CPF Designation

lishing house. We are

Five US-based framers and members of the Professional Picture

committed to offering

Framers Association recently passed the certified picture framer

exceptional

(CPF) exam, earning the designation.

of outstanding quality

imagery

Two members—Hannah Fuqua, CPF, of The Frame Shop At

and design. We have a

Lakeside in Reno, NV, and Derek Ramsey, CPF, of The Great Frame

dedicated internation-

Up in Indianapolis,

al sales force and as a

IN—took the exam

result, our images are

online, while three

sold through galleries,

others— Betsy Wag-

framers, museums, gift

ner, CPF, of Bowman

boutiques, and art retailers throughout the world.

Lepa Zena

Design and Fram-

We are a business to business provider and do not sell direct-

ing in Portland, TX;

ly to the public, however we are happy to connect you to a retailer,

Elizabeth Boswell, CPF, of FastFrame and The Westlake Gallery in

framer, designer, or gallery in your area. If you would like to become

Austin, TX; and Kristina Marie Hattendorf, CPF, of H Frame Studio

a dealer, we would love to work with you!

in Thornton, CO—passed the written version hosted by the PPFA’s central Texas chapter.

To access Wiley’s newest work with POD Exchange, visit www. podexchange.com and set up a free account. Download the soft-

Both the CPF and MCPF (master certified picture framer)

ware and then search for Marta Wiley Publishing. For further infor-

certifications are used by framers as marketing and learning tools,

mation on Marta G. Wiley Studios, send an email to martawiley@

and as a way of showing their customers that they have achieved

martawiley.com, or go to the website at www. martawiley.com. For

a standard of excellence within the industry. For more information,

more details from POD Exchange, call 888-406-2858 or visit www.

visit ppfa.com or email certification@ppfa.com.

podexchange.com. Visit Marta Wiley Publishing to view our new releases!

Marta G. Wiley Studios Marta Gottfried Wiley Prints and MGW Studios is a publisher of

Framerica’s Kevin White Celebrates 20 Years

open edition posters, limited edition prints, framed art gifts, and art

Kevin White, Framerica’s manufacturing director,

cards. Our collection showcases an eclectic mix of incomparable

recently celebrated 20 years with the New York-

imagery by more than 200 international looks. The catalogue cel-

based moulding manufacturer.

ebrates the cultures of the world. From home to office, traditional to

“Kevin is a tremendous leader and inno-

cutting edge, our unique collection offers something for every taste

vator,” said VP Jay Van Vechten. “His relentless

and application.

effort and passion over these two decades have

With two distinct brands—Marta Wiley and MGW Studios—Marta is one of the most prolific artists of the 21st century, now a pub-

CONTENTS AD INDEX 10 PFM December 2021

helped to transform our company.” PFM

Kevin White

Industry Mourns Loss of Ken Frank

R

emembered by family, friends,

Frank will be remembered by his family

and colleagues for his unparal-

as a music lover, saxophone player, talented

leled work ethic, kind spirit, and

barbecuer, and dedicated father. He loved

dedication to the framing industry, Ken Frank

spending time with his three children—

passed away on Sept. 4, 2021 at age 58

Joshua, Isabelle, and Justin—and enjoyed

after a battle with pancreatic cancer.

attending their games, tournaments, and per-

Frank, former president and CEO of

formances. He was also a seasoned traveler;

Ultramitre, grew up in the family business,

the family took two cross-country road trips

which manufactured blades and offered

together between school years, and Frank

blade sharpening services for many different

logged thousands of air miles flying between

industries. After identifying picture framing as

his business in California and his home in

a potential niche market, Frank spearheaded

New York.

an effort to develop a blade to cut moulding.

And, of course, they will remember

Over time, he grew that part of the business

the inextricable link between his life and the

until it became its main focus and a well-

industry he devoted himself to. “It was in his

known name amongst framers.

blood,” Wendy said. “It was something he

Frank was not only a salesman; he was

loved, and it was a part of him.” PFM

also an educator, someone who took great joy in helping framers learn how to best cut and join different types of mouldings. He would readily share his knowledge at the many trade shows he attended over the years and in the National Conference classes he taught on the subject. He also contributed articles to industry publications, including PFM, further sharing his expert tips, tricks, and advice. Through his numerous contributions, Frank became a go-to source for framers who needed help troubleshooting issues with moulding and saw blades.

Remembering Ken Frank “My friendship with Ken began 25 years ago when he entered the framing industry. “I witnessed him catapult his business from a local blade sharpening company to a national brand. We spent many hours together talking about the framing industry, family, friends, and about life in general. Ken demanded excellence from everyone, including himself. In addition, he was very straightforward, compassionate, and caring. I admired his honesty, strength, courage, and his ability to take risks. I considered him a good friend and confidant, and I will miss him.”

—Bruce Gherman, PFM publisher

“He couldn’t stand to see a picture frame that had a gap,” said Wendy Frank, his wife of 26 years. “If he saw one anywhere we Ken Frank (1963-2021)

went, he’d shake his head. He was a perfectionist when it came to that.”

What she and others remember above all was his love for the industry, how it was baked into his identity, and how fulfilling he found the work he did and the help he gave to retailers all over the world. He rarely took a day off or missed a phone call. His generosity meant that he was quick to share what he knew with those around him, and his sharp business acumen meant that no one was left wondering how much changing to a different blade type or thickness would cost; he had it figured out down to the penny.

11 PFM May 2020

“I knew Ken for over 20 years. He was always a great resource for information and was totally devoted to the industry. He was also simply a very nice guy that was a pleasure to run into. I will miss him at the next trade show. My deepest condolences go out to his family.”

—Jay Goltz, author, educator, and PFM business editor “Ken was an incredibly smart businessman, but more importantly, he possessed tremendous wisdom and strength. It was not just his keen business sense, but also his understanding of life. He often reminded me of a lighthouse; no matter the storms that were battering him, he stood strong and was a beacon for others. No matter how rough life was, he always had time for a friend.

He was a guiding light for others when they were in the midst of their own storm.”

—Jim Parrie, Ph.D., CPF, industry consultant and educator

THE MAT DOCTORS

By Brian Wolf, CPF, GCF

More Accented Accents Making a simple triangle—or two—look like a million dollars.

O

ne effective formula for including decoration is to add small shapes at the sides, but sometimes, little

shapes can be awfully plain. More detail in the cutting or maybe more color would perk them up. The concern though is that inventing more cutting detail usually invites cutting problems.

The fix then is to enlarge the decoration, and suddenly the elements are no longer small shapes at the sides.

There was once an article called “Accented Accents.” One relatively simple decorative shape was cut on the top layer. A smaller shape was cut on the bottom layer, and part of it was exposed through the shape cut in the top layer, adding cutting detail and a spot of a third color.

The elements were useable and attractive, but the shapes in this earlier article were drawing program projects full of curves and critically measured placements, a time-consuming impractical effort.

There is another way. The accented accents here use geometric shapes from the template library, which offers variety without drawing program work and practically guaranteed to cut

CONTENTS

nicely. The shapes can be aligned using the stan-

Making Accented Accents

dard tools in the design program. The only nec-

To contrast with the complicated examples

essary drawing program operation is setting the

in the earlier article, the beginning shapes

accent shapes to cut on the layer underneath.

here are triangles, the simplest shape possi-

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

12 PFM December 2021

Top: Merging decorative shapes at the sides of the opening is a more unified presentation, but there is also simplification and a loss of cutting detail.

Adding accent shapes (the narrow green curved shapes here) cut in the bottom layer restores the cutting intricacy, and there is an additional color.

Bottom: The curve parameter for the shape on the top layer is set to a negative value to make it concave. The arcs in both shapes are about 3” in diameter, and the element is 1” high.

and paste to duplicate as desired. Use the alignment tools to center the new triangle and move it horizontally to form the inner accent. To make its position easier to evaluate in the design program, set the accent triangle as a V-Groove. It will be easy to see through it to judge the size of the inner accent while it is being moved from spot to spot.

For reference, the final step to finish an accented accent project is to send it to the drawing program and set the accent shape to cut as a normal bevel on the bottom layer.

But before that, there are a few more points still to discuss.

A Snapshot The first example using the accented accent begins where the initial testing has left off. The rectangular opening for the picture is the correct size and it is two layers. Triangle for the top layer is in position at one side, but the accent shape has been changed. Look again at the illustration with the three triangles.

To make either of the other accents in the illustration, or to invent new ones, explore the options in the template library and change the shape and size of the accent shape.

Here it is as an arc top template. In the illustration with the three triangles, the element in this example is the one on top.

More Choices The rounded accent shape is at one corner of the triangle.

Top: Accented accents begin as small cutout shapes in the top layer of a mat. Then part of a smaller cutout shape cut in the bottom layer shows through it to add the illusion of more detailed cutting. The triangle on the top layer is 0.55” x 0.45” wide.

Bottom: The rounded shape cut in the bottom layer has a curve 0.85” in diameter allowing a strip about 0.17” wide to show through the triangle.

This seemingly random placement raises questions about symmetry. If an accented accent is to be a medallion centered at the bottom—another very nice idea, by the way— the accent shape will only look correct if it is centered within the triangle. However, if accented accents are intended to be used at the sides of an opening, the accent shapes can

ble. Begin testing with a small rectangular opening and add

be decidedly off center. Symmetry comes when the two ele-

a triangle shaped opening about half an inch wide. Position

ments are mirrored at the sides.

it about 0.2” away from the rectangular opening. A test cut

CONTENTS AD INDEX

will verify that this cuts nicely and looks good. Adjust the

The Drawing Program Steps

spacing to correct any cutting problems, and keep notes.

Here is the status of the project. The rectangular opening

Keep track of the preferred minimum distance between the

for the picture, its borders and outside size are all set. One

triangle and the rectangular opening, and the triangle sizes

triangle has been positioned on one side of the opening to

and shapes that are pleasing. The critical technical details

be cut on the top layer. One accent shape has been added

are now determined.

and positioned behind the triangle, but it has been changed

Now add the accent shape. Look at the illustration of

to be a groove. The project could be nearly finished here

the three triangles in the drawing program. The element at

using the tools in the design program. The shapes could

the bottom is the easiest to make. The faint accent trian-

be duplicated and moved to the other side of the opening

gle is identical to the blue triangle on the top layer. Copy

where they could be rotated and the alignment tools could

14 PFM December 2021

line them up and space them evenly.

framers regard the drawing program

But there would still be a step in the

with trepidation, all the remaining

drawing program to set the accent

steps could be finished with just a

shapes to cut on the bottom layer.

handful of clicks in the drawing pro-

Consider

this. Though

many

gram and no actual drawing. First set

Accented Accents Ideas and Construction The top illustration shows three ideas for accented accent elements while they are in the drawing program. The blue items are the shapes that will be cut on the top layer of the mat. The faint red items are the accent shapes that have been set to cut on the bottom layer.

All the triangles on the top layer are 0.55” x 0.45” wide.

All are 0.2” from the opening.

Top Design The curved accent shape is an arc top template.

It is 0.75” x 0.375” wide.

It has been rotated 90°.

The arc is 0.85” in diameter.

Its placement is an artistic decision. Move it to be larger, smaller, higher, or lower.

Here, its bottom visible point is 0.1” above the bottom point of the triangle.

Its top visible point is 0.17” away from the left edge of the triangle.

Middle Design The trapezoid accent shape is 0.4” x 0.11” wide.

It is 0.11” away from the left edge of the triangle.

CONTENTS

Its top side is 0.16” down from the top of the triangle.

Vary its width and vertical placement.

Bottom Design

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The triangle accent shape is 0.55” high x 0.45” wide.

There is 0.17” of the accent triangle showing.

Vary its exposure and its vertical placement.

The bottom illustration shows all three finished accented accent ideas.

16 PFM December 2021

the accent shape to cut as a normal opening on the bottom layer. Then mirror both the triangle and the accent shape onto the other side of the rectangular opening. With these few clicks in the drawing program, the accent shapes are set to cut correctly, the accented accents are symmetrical on the sides of the opening, and the project is ready to cut.

These are the steps using the Wizard program. Other CMC programs may have these functions in different places, but finishing the design will require these same steps, no matter the program.

Another Direction Experiment with other shapes. The accented accent in the second example uses rotated arc top templates for both shapes. The quick description in the caption under the illustration is likely not sufficient data to reproduce this example precisely, but it is enough to launch further exploration.

The more important aspect of this example is that the top layer shapes of the accented accents are merged with the opening. The elements be-

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come part of the opening, and there is no need for test cuts to determine a workable spacing distance between the items.

Amid all the explanation about merging, spacing, and drawing pro-

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gram work, remember that accented accents exist to add cutout detail behind a simple cutout shape. The added detail creates the illusion of more intricate cutting but without adding any of the cutting problems that actual intricate cutting normally brings.

Manage your account online!

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

Plus, the opportunity to add a spot of a new color is a welcome surprise in any presentation. PFM

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POPULAR SUBSTRATES

By James Miller, MCPF, GCF

A

substrate is the essential underlying support

lose, chemically non-reactive, buffered, and generally

for mounting and framing of paper artworks,

suitable for preservation framing. It may be an appropri-

photographs, textiles, and objects of all sizes

ate substrate in its own right, or it may be used as a stur-

and weights. Many substrates are suitable for framing

dy reinforcement for matboard. The porous paper surfac-

applications, so here we will describe some of the most

es are suitable for most types of framing adhesives.

popular ones in today’s framing market.

Decades ago, the selection of mounting substrates included little more than untreated, acidic wood pulp matboards; so-called acid-free (buffered wood pulp) matboards; acidic paperboards—often called X-boards; and wood products such as hardboard (Masonite), MDF, particleboard, and plywood. Then foamboard was introduced, whose quality has improved dramatically over the years.

Also, higher-quality matboards have risen in popularity, as the use of lower-quality paperboards has diminished.

Archival corrugated board and substrates from other in-

Honeycomb Panels Honeycomb mounting panels, such as Hexacomb, are available in 1/2” and 3/4” thicknesses and sizes up to 48” x 96”, from suppliers of conservation materials. However, these preservation-grade honeycomb panels, like archival corrugated boards, are manufactured using high-quality, buffered, virgin alpha cellulose papers. Construction consists of rag paper outer layers separated by an inner assembly of honeycomb shaped paper. These smooth, rigid

dustries, such as honeycomb panel, fluted polypropylene, and aluminum composite material, continue to grow in popularity.

Archival Corrugated Board CONTENTS

Lineco and Heritage brands offer archival corrugated board in thicknesses from 1/16” to 1/4” and sheet sizes up to 71” x 88 1/2”. Often used for making archival storage boxes, these boards are suitable when a smooth, rigid,

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thin-profile substrate is desired. Similar in construction to corrugated boxboard, archival corrugated boards consist of two outer sheets of paper glued to a corrugated inner layer of paper. The outer and inner sheets may be different colors, but the papers are similar in quality to conservation-grade matboard; 100% virgin alpha cellu18 PFM December 2021

PPFA Class I “Museum” 100% cotton mats, Class II “Conservation” virgin alpha cellulose mats, and Class III “White Core” mats all have core papers that will remain white over time.

substrates are suitable for direct mounting and as reinforcements.

Composite Substrates Composite materials are generally available in multiple thicknesses and sheet sizes up to 60” x 120”, consisting of layers of dissimilar materials laminated together. Foamboards are the most popular type of composite substrate, consisting of an expanded polystyrene core, covered on both sides with paper of various qualities. Standard foamboards are suitable for general-purpose framing, and acid-free paper and cotton paper coverings may be used in better-quality framing.

Foam center boards are lightweight and more rigid than matboards, and available in 1/8”, 3/16”, 3/8”, and 1/2” thicknesses. These boards are structurally suitable as

Hexacomb panels are smooth, rigid sheets suitable for mounting and reinforcements in museum, conservation and preservation framing applications. Their 1/2” and 3/4” thicknesses make them especially suitable for framing large, heavy items.

mounting substrates for many framing applications, in-

core. Some conservation authorities still resist using foam-

cluding moderately heavy objects. Often, when a colored

boards, but the manufacturing processes have improved,

background is needed, foam center board is used to rein-

so many framers now use them for framing applications

force a matboard substrate. It is notable that in the past all

calling for at least moderate preservation features.

foamboards were considered unsuitable for preservation

The smooth paper coverings on foamboards work

framing, regardless of the quality of the paper covering,

well with most types of adhesives, but may be most of-

due to off-gassing of styrene gas from the polystyrene

ten used as a dry mount substrate with heat-activated dry

PFM December 2021 19

Plastic Substrates Several plastic sheeting products may be useful as framing substrates, available in several thicknesses and sizes up to 48” x 96”. Like the ACM, most plastic substrates are also popular in the sign and graphics industries.

Clear acrylic, 3mm (.118”), 3/16”, and 1/4” thick, is most often used as glazing, so it is readily available in many frame shops. As a substrate, acrylic can be used as smooth, hard surfaced, chemically stable reinforcement for fabric, matboard, and other lightweight substrates in many applications, including preservation framing.

Fluted polypropylene (polyflute) such as Coroplast is available in many colors, thicknesses from 2 to 10mm, and sheet sizes up to 60” x 120”. It looks something like a plastic version of corrugated cardboard, since the plastic sheet is extruded with thin skins on both sides, separated by vertical flutes. Easy to cut and handle with ordinary utility knives and mat cutting blades, this plastic sheeting prod-

From the top down: 3mm Aluminum Composite Material (ACM), 3/16” foam center board, 3/16” black GatorFoam high density foamboard, and 1/2” white MightyCore high density foamboard.

uct is chemically inert and stable at normal temperatures, making it generally suitable for preservation applications.

It is especially useful as a lightweight, rigid reinforcement,

mount tissues and films. In recent years, pre-adhesive,

but due to its rippled surface, it should not be used in direct

pressure-sensitive, and heat-activated foamboards from

contact with customer art. It makes an excellent secondary

several manufacturers have gained popularity and are now

substrate under matboard or fabric and for framing three-di-

available in several thicknesses and colors.

mensional objects. When embedded mounts are used such

High-density foamboards, such as GatorFoam and

as formed rods, a hard-setting glue such as hotmelt or epoxy

MightyCore, provide greater rigidity, but may not be suit-

may be used to encapsulate the mounts in the air spaces be-

able for preservation framing due to issues with the chemistry of their core materials and coverings. Even so, these boards may be used as reinforcements for other mounting substrates in many framing applications.

Aluminum Composite Material (ACM) is another type of substrate now commonly used in picture framing. These boards, available in thicknesses from 2 to 6mm, consist of a polyethylene core with smooth, thin aluminum sheets on both sides. Originally developed for indoor and outdoor signage, digital and screen printing, and for displays, it

CONTENTS

comes in many colors. ACM may be cut most neatly with a twin-disc tool, which is an available accessory for some cutting machines popular in the framing industry. The resulting cuts have smooth, gently rolled edges. It can also

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be cut using a heavy-duty blade by scoring the aluminum on both sides and snapping the core, like the cutting procedure for acrylic sheets. ACM may be cut using a saw as well, but the edges would need to be smoothed by filing.

20 PFM December 2021

From the top down: Clear acrylic is the same as the Premium Clear Acrylic used for glazing. White PVC expanded foam sheeting has a smooth surface and is soft enough that flathead screws will countersink into it easily. The translucent 4 mm fluted polypropylene is generally considered to be the archival version, which is virgin material without additives, such as colorants and UV inhibitors.

tween the board’s flutes, resulting in strong, rigid supports.

particleboard, MDF, and several varieties of plywood may

Expanded (foamed) polyvinyl chloride (PVC) sheets,

still be used in certain applications, but all of these sub-

such as Sintra, are available in thicknesses from 1 to 12.7mm

strates contain invasive chemical elements that would has-

and in sheet sizes up to 60” x 120”. This lightweight plastic

ten the deterioration of items framed as well as some other

sheeting product has a smooth, moderately hard, matte-fin-

materials within the framing package. Additionally, these

ished surface that is suitable for mounting with pres-

wood-based sheeting products are usually heavier and less

sure-sensitive adhesives, but it will warp and deform at tem-

convenient to cut and handle than the products described

peratures approaching 200°F, so it should not be used for dry

above, and may be more costly as well. As the picture fram-

mounting. Since PVC can outgas inside the closed environ-

ing industry has evolved, more and better framing materials

ment of a picture frame, even in normal ambient conditions,

have become practical for most framing applications and

this product is not suitable for preservation framing. Also,

more readily available to framers. Hopefully, this trend will

since it is dimensionally stable, moderately rigid, and easy

continue. PFM

to cut and handle, PVC makes good frame reinforcement.

That is, reverse bevel the edges to fit the outside perimeter of the frame’s back and attach it using small flathead screws, which neatly countersink themselves into the surface of the sheet.

The materials described here are among the most popular substrates in custom framing today, and all of them are fairly easy to work with. Most are readily available from full-service framing distributors and suppliers of conservation materials.

Older technology materials like hardboard, X-board,

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

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

PFM December 2021 21

MASTERING MOUNTING

by Chris A. Paschke, CPF, GCF, CMG

Shadowboxing a 48-Star Flag Structural requirements of oversized framing is a large part of design.

A

client brought in his grandfather’s 42” x 72”, 48-star flag from the war found recently in his footlocker. He

wanted it stretched flat and framed with acrylic to protect it. Since it had been hung on a flagpole, it was out of rectangle from use and wear.

Stars were beginning to unravel and stitches were broken, but overall, it was in good shape.

We decided to place it in a shadowbox using a mottled brown leather moulding with Frank’s Fabrics Java Brown, Verona linen fabric, and TruVue UV Conservation Clear Acrylic as glazing.

Backing vs. Substrate The flag was lightweight, so it did not require the support of a rigid backing of honeycomb panel (Hexamount or Tycore) or Gatorboard; it was stitched to a stretched backing instead. A 1/2” x 1 1/4” strainer was built and cross braced with all four corners reinforced with 2” corner angle plates, both front and back. This was then stretched and stapled with a layer of 48” wide Fiberglas screening to both prevent stretching and help stabilize the unit. A layer of quilt poly-

CONTENTS

ester fiberfill padding was cut to the face measurements and layered on top of the screen, then the linen was stretched over all and stapled to the back of the strainer. The polyester

both lifted the linen, giving it body and softness, and helped hold it from shifting or sagging.

Since it was decided to limit the outside dimension to the 48” width of a sheet of 48 x 96” acrylic, it allowed for a 2” float space around three sides, with a little more at the left where it had stretched from being displayed over the years. The neutral brown linen was chosen to contrast from the flag—avoiding red, white, or blue—which helped make the visual transition from the flag to the brown leather frame.

Fabric Wrapping Wood strips 1/2” x 3/4” were selected as spacers rather than Gatorboard or foamboard for stability, rigidness, ease of wrapping, and installation of wood. The fabric was 55” wide, which easily

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.

22 PFM December 2021

Installed 48 x 76” flag. Photo courtesy of K. Burton

Left: Fiberglass screening, polyester quilt batting, and linen fabric cover the support strainer.

Center: 8” strips of mitered wood were chopped and evenly coated with PVA from the test adhesives and allowed to dry. After two coats were applied and dried, test linen was ironed on to the small legs with a household iron set at wool and allowed to cool.

Right: Gridded release paper from HA foamboard is a great tool to assist in both the trimming and alignment of strips of fabric for these spacers. allowed for the 48” strainer covering as well as two 3” wide

nailed without requiring the corner vise. The back of the

strips of length for the long legs of the spacers—adequate

spacer unit also had 2” corner plates added for stability. The

yardage was ordered to accommodate the two end legs.

spacer frame unit was secured to the wrapped strainer bars

Since fabric is prone to absorption, it is best to use a wet/dry

rather than the frame so they became a bonded part of the

PVA mounting technique for bonding fabric to wood.

strainer unit rather than another independent piece. Brads

Since strips of linen were being bonded to mitered legs

1” long were gently pressed from the outer top edge of the

of wood, two PVAs—Lineco Neutral pH Adhesive and Frank’s

wrapped spacer—to be hidden under the rabbet lip—into

Fabric Adhesive—were tested for glue bond once heatset.

the padded strainer frame using a manual brad setter (push-

Small 8” strips of mitered wood were chopped and evenly

er) tool rather than a hammer. And since the spacer was

coated with PVA from the test adhesives and allowed to dry.

mitered with the 3/4” width against the strainer, it created

After two coats were applied and dried, test linen was ironed

additional visual width—a like a square wrapped linen lin-

on to the small legs with a household iron set at wool and al-

er—and made a better support shelf for the acrylic.

lowed to cool. After tear peel testing, Frank’s Fabric Adhesive was used for this project. Two coats of PVA were applied to

Flag Mount

the four legs of the spacer and allowed to fully dry.

Once the backing was constructed, the flag was ironed,

If fusing to a flat substrate, the fabric is aligned to the

aligned, and pinned in preparation for sewing. Cotton quilt-

substrate and placed in a 190°F press for the required time

ing thread was purchased to match the colors of the flag

(which varies depending on mechanical or vacuum press

and the top edge was stitched. The flag was then allowed

and thickness of materials) to reactivate the PVA and bond

to hang a day or two to settle. Since the flag edges were to

the fabric to the substrate. In this case, a household hand

remain 2” from the edges of the strainer, the perimeter could

iron was used at a wool setting. It has higher temperature

not be adjusted to eliminate sagging. A few areas were only

setting and a larger footing than a tacking iron (which does

tacked, and the other three sides were sewn and allowed to

not get hot enough), so more heat can be applied to fully

settle another few days. Stitches were all placed in the orig-

activate the adhesive.

inal sewn lines with matching cotton thread, so none were

Gridded release paper from HA foamboard is a great

CONTENTS

tool to assist in both the trimming and alignment of strips of

visible. Many of the stars were beginning to unravel and required satin stitching to mend.

fabric for these spacers. Once the four 3” strips were cut, they were aligned on the grid, topped by the spacer leg in order to maintain that alignment during heat bonding. This keeps

AD INDEX

the thread pattern square and the fabric straight.

Spacer Completion

Assembly and Fitting Once all elements were completed—flag sewn to the linen-covered strainer frame, linen-wrapped wood spacers, and acrylic cut—the sheet of acrylic was laid on top of the bottom unit and the frame was fitted over it, face up. It

Once the legs were heat wrapped, each corner was cleanly

was gently turned and face down so all hardware could be

trimmed at the miters, corners glued and securely clamped

added. There is a 1 1/2” rabbet depth in the selected mould-

to the work table. This allowed for the corners to be cross

ing, which allowed for the acrylic, wrapped 1/2” deep wood

24 PFM December 2021

the top and side legs and rate at 80#, but there was an issue with the wall hangers. Large, heavy-duty, three-hole vertical strap hangers were ultimately chosen for direct hooking to wall hangers. In a perfect world, the picture hangers would be nailed into studs, but even if it’s only two heavy duty 50# angled picture hangers into sheetrock, they will easily support the weight and bulk.

Design Comments The spacer frame unit was secured to the wrapped strainer bars rather than the frame so they became a bonded part of the strainer unit rather than another independent piece.

This was a bit of a work in progress; small alterations were made to eliminate weaknesses and strengthen the overall structure as steps progressed. A few of these were pleasant

spacer, and backing strainer while still allowing for framing

surprises to the client during installation day. I changed the

points and 1/8” offset clips for strength. After it was fully fit-

1/4” wide Gator spacer to a 3/4” wide wood spacer that al-

ted, the back was papered with Lineco neutral-pH paper and

lowed an additional brown segment to jut out from beneath

hangers were attached for direct-to-hanger display. Addi-

the rabbet lip, and she pointed it out and loved it before I

tional strips of 8” wide polyester fiberfill were tucked against

even mentioned it. I think the moral of that story is to do the

the verso side of the frame before papering to protect the

right thing rather than the easy thing. It will most likely be

exposed threads from being broken if the backing paper be-

the best choice and will always prove your expertise. PFM

came torn at any point during transport or delivery.

Hangers The moulding is strong and large enough to handle the weight of the flag, but it is not a hardwood, and hanging by wire could have stressed the strength of the moulding and screws. A 100# wire was dismissed because even with fourhole steel picture hangers, there would have been too much stress on the softwood side legs. A metal French cleat was considered, but all the stress would have been on the top leg and corners of the frame. Wall Buddies for large wood frames would have been a decent option since they screw to both

Stitches were placed in the original sewn lines with matching cotton thread so none were visible.

PFM December 2021 25

CANVAS FRAMING PART 2: GLAZING

by David Lantrip, MCPF, GCF

I

n part one of this series, we took a look at the advantages and mechanics of a solid backing behind a

This close view of “A Woman” by Robert Campin shows the web of cracks that develop in the varnish layer of a painting and collect dirt. The stable environment of a frame with a solid backing and glazing will slow the development of this craquelure and keep dust, dirt, and smoke away.

framed canvas to help avoid mechanical damage in

the form of tears and dents, as well as to protect from

This craquelure can be a charming feature of old paint-

soiling and insect damage and excessive flexing. This

ings, and there are a number of products meant to

sort of protection is a giant leap forward from the out-

reproduce the effect. The cracks, though, will collect

dated practice of leaving the back open, but it is only

dust, smoke, and other pollutants. Soiling can affect

half of the story. For maximum protection, a work of art

the entire surface in fact, especially smoke, and mud-

on canvas should be framed with glazing.

dy the colors of the work. A trained conservator can

A quick internet search will easily turn up numer-

remove the cracked and soiled varnish layer and apply

ous high-profile examples of valuable canvases suffer-

new varnish, but this process, no matter how skilled

ing serious damage. As a well-known example, casino

the conservator, is invasive and carries some risk.

owner Steve Wynn’s Le Marin by Picasso suffered seri-

Acrylic paints, like oils, can be soiled but in a

ous damage when a contractor inadvertently tore the

slightly different manner. As acrylic paints dry, tiny

canvas. The cost to repair it was nearly half a million

pores known as evaporation cones develop. Conserva-

dollars and lowered its value by nearly $20 million. In

tors still do not have an effective method for removing

2013, another Picasso at Houston’s Menil Collection

soiling from these dust collectors. In the case of both

was vandalized with spray paint by a college art stu-

oil and acrylic paintings—and any medium for that

dent. The damage was discovered almost immediately

matter—glazing will protect from soiling and cleaning

and conservators were able to remove the graffiti.

becomes a matter of routine cleaning of the glass or

Although these are rather dramatic and high-pro-

acrylic.

CONTENTS AD INDEX

file cases, they serve to illustrate the value of glazing

A solid backing behind a canvas provides a buffer

on canvas. In both, any damage would have been limit-

against air currents that flex the canvas and against

ed to the glazing and the cost would be no greater than

wide swings in temperature and humidity, which

replacing that glazing. In more mundane circumstanc-

cause expansion and contraction of the canvas and its

es, a canvas can be damaged by careless handling and

various layers. Glazing in front of the canvas completes

simple accidents in the home and office.

this protection, creating a more stable environment for

Just as with the verso of the canvas, there are ad-

the artwork. Significant protection is provided even if

vantages to protecting the recto of the canvas from

the frame is not airtight, a goal which is seldom practi-

dust, pollution, and soiling. Over time, the varnish lay-

cal or absolutely necessary.

er of an oil painting will develop a web of fine cracks.

26 PFM December 2021

UV protective glazing is standard for most profes-

benefit from UV protection. As well as collecting dust and smoke, the varnish layer will yellow as it ages. As mentioned previously, that layer can be removed and fresh varnish applied, but it is a job for a skilled conservator and it carries some risk. UV protective glazing is cheap insurance that will help slow down the aging process.

The features, benefits, and characteristics of framing materials must be considered in any project. UV protection has benefits, even when framing a work on canvas, and that is a feature available in nearly every glazing option. Although glass is the most common glazing option, it does carry some risk, especially on

Punctures and tears are a very real threat to works of art on canvas, and there is no way to know how many have been lost due to this sort of damage. Shatter-resistant glazing is an inexpensive way to preserve and protect the artwork. Photo courtesy of The Conservation Center

larger works. Shattered glass will severely damage the

sional framers, and its benefits for virtually all artwork

Laminated glass can still break, but much like a car

are known and accepted. Even when framing objects

windshield, a layer of PVB (polyvinyl butyral) between

like stone arrowheads, its protection keeps the fram-

the glass layers will keep the broken pieces in place.

artwork, something that can be easily avoided through the use of acrylic when used in proper thickness, relative to size, to avoid bowing or with laminated glass.

ing components looking fresh. Conventional wisdom

One common objection from consumers and fram-

holds that oil paints are quite durable and do not need

ers alike is that the reflections from glazing may in-

UV protection. That is not completely true. Pigments

terfere with the enjoyment of the artwork. One might

such as those found in oil paint are generally more

wonder why that objection does not arise with other

lightfast than inks or dyes, but not all are. Also, there

types of artwork. This problem can be deftly avoided

are different grades and qualities of paints with vary-

with anti-reflective glazing. This option is available in

ing degrees of durability. Some works of Van Gogh’s are

all suitable glazing products: glass, laminated glass,

perfect examples. There is only so much that can be

and acrylic. When a painting is displayed under an-

done to counter fugitive pigments, but UV protection

ti-reflective glazing and carefully lit, it is virtually im-

can certainly slow down their degradation and extend

possible to see reflections from all but the most ex-

their life.

treme viewing angles. By the way, this is the answer to

Along with the paint itself, the varnish layer can

CONTENTS AD INDEX Surface cleaning of a canvas or removal and application of varnish is a routine task for conservators. As knowledgeable and skilled as they may be, it still carries some risk. Properly installed glazing will help avoid most of the soiling that makes this task necessary. Photo courtesy of The Conservation Center 28 PFM December 2021

from the artwork will work.

Spacers on the edge of the glass may seem a reasonable option, but this is not the best choice. It is best to avoid placing anything that will apply pressure to the face of the canvas, especially one freshly painted.

Instead, cut strips of 8-ply matboard equal to the thickness of the stretched canvas plus enough to space the

Strips of 8-ply matboard (green) attached to the sides of the canvas are an easy and cost-effective method to space the glazing away from the canvas without applying pressure to its surface. If there is any concern that the strips will show, choose a color that will blend into the artwork or the frame. another common argument against glazing; museums don’t display paintings under glazing. They most likely do, it is just very difficult to tell.

Incorporating glazing into the framing for a canvas is not difficult or complicated, and it is well within the skillset of any experienced framer. Other than mats, most of the usual options for spacing glazing away

When a minimal look and maximum preservation is desired, a float frame can be capped with a narrow cap stem moulding with glazing placed between the two. Volara foam applied to the top of the floater stem acts as a gasket to avoid rattling and further reduce dust intrusion and air flow.

PFM December 2021 29

and free of dust. If the minimal look of a floater frame is desired, the floater frame can be capped by a narrow, deep frame in a similar color and finish, with the glazing between the two.

It should be noted that while glazing and a solid backing behind a canvas will provide a high degree of protection, it comes with caveats. First, proper curatorial care is a must. As with any other medium, display conditions play an important factor and extremes of heat, temperature fluctuations, humidity and light must

Stacked frames and fabric liners have a long history in the framing of works of art on canvas, and placing glazing between the frames is an elegant solution. For best visual continuity, use anti-reflective glazing.

be avoided. Second, oil paintings will offgas as it cures, just as some other types of artwork offgas over the years.

This offgassing will deposit a film on the inside of the glazing which will need to be cleaned periodically, as

glazing away from the highest points of the canvas by

part of curatorial care and routine maintenance.

at least 1/8”, or about 3mm. Tack or staple them to the

The idea of glazing to frame works of art on canvas

outside edge of the canvas; when installed in the frame

is, for most consumers, artists, and even framers, a nov-

the glazing will rest on the top edges of the matboard

el one. Be prepared to discuss the benefits and address

strips. The frame will need to be cut slightly larger to ac-

concerns diplomatically; a good way to counter outdated

commodate the added dimension, so measure carefully.

objections is to open with something like “We used to

If there is any concern about the spacer strips showing,

think so too, but we’ve learned that…” Also, have at least

choose a color that will blend into the frame or artwork.

one example of a framed canvas under glazing, prefera-

J trim, or edge trim, is an aluminum extrusion used

bly anti-reflective, to show. You may not be able to con-

on the edge of countertops. It can be used in a manner

vince every customer every time, but you may find it an

similar to 8-ply matboard strips. Available in 6- or 12-

easier sale than you thought. PFM

foot lengths (approximately 2 or 4 meters) it is a good choice for large works. Being much thinner than 8-ply matboard, it adds less dimension to the stretched canvas and hides well under the lip of the frame.

The glazing can also be held away from the canvas by placing it between two frames or between a frame and a fabric liner. In the case of a fabric liner, an added advantage is the fact that the liner will be kept clean

CONTENTS AD INDEX 30 PFM December 2021

David Lantrip David is the director of education for Franchise Concepts, and the franchisor for Deck The Walls, The Great Frame Up, and Framing and Art Centre stores. He has served in a number of roles in the PPFA including as a member of the International Board of Directors. David recently earned a master’s degree in mass communications from the University of Florida.

Product Showcase

888 Manufacturing Corporation

Bainbridge

888’s new black hanging hardware features beautiful black anodized hardware and new black screws in both flat head Phillips and pan head Phillips, manufactured by 888 to high-quality standards. In stock now and ready to ship.

The elegant look of Bainbridge Metallic Rice Papers comes in a palette of nine colors ranging from classic neutrals to glistening golds and blue tones. Featuring surfaces handmade by Japanese artisans, the shimmering brushstrokes of rice fibers is sure to provide a one-of-a-kind piece!

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

Call: 847-419-3477 www.crescentbrands.com/bainbridge

Bella Moulding

Craft Inc

Inspired by medieval knights’ shining armor, Bella showcases Chaucer. A rounded profile in two widths is clad in gold leaf, silver leaf, or a vintage champagne. With both linear and beaded detail, Chaucer makes a regal impression on classic portraits and statement mirrors. View the full collection and request samples online.

The Champ toggle press allows you to easily install Craft Inc’s self-fastening hangers and easel hinges that are made in the USA. Call: 800-827-2388 www.craft-inc.com

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

Crescent

Fixons

Don’t use messy and harmful sprays for your mounting projects. Crescent’s Perfect Mount products are self-adhesive mount boards ideal for posters, inexpensive prints, photographs, and more. Perfect Mount is available as film, or pre-mounted on either board (white or black) or foam (white or black) with acid-free adhesive.

Ultra-Premium 100% Cotton Canvas is designed for professional photographers and artists seeking the highest quality.

Microporous waterproof coating technology. 100% cotton tightly woven for better durability. Dries instantly for Epson/Canon/ HP inks. Wide color gamut. 19 ml thickness.

Reproduce correct skin tones. Use Original Windows ICC profiles. 100% satisfaction guarantee.

Call: 847-419-3477 www.crescentbrands.com/ crescent-cardboard

Call: 714-526-3455 www.fixons.com

Framerica

Framing Fabrics

Black Terracotta is visually textured, bakedearth finish with traditional pottery shading and a black wash overlay. “We’ve gotten a great response to the traditionally colored terracotta,” notes VP Josh Eichner. “So adding black was a natural progression.” Black Terracotta is available in profiles ranging to 3”.

Designer Edition Fabric Sample Book is available for $50 and contains over 300 swatches of specially selected fabrics, including silk, linen, and suedes. Available with no minimum order, Framing Fabrics offers custom wrapping mat and liner services with over 40 liner shapes—including bevel, scoop, and tapered—to choose from.

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

Call: 800-821-2742 www.framingfabrics.com

CONTENTS AD INDEX

Hoffmann

Jack Richeson

The manually operated MORSO F-Deluxe Miter Chopper features a 60” color-coded measuring scale for accurate inside-rabbet measurements, cast-iron extension table and adjustable rabbet supports. It has an industry-leading five-year manufacturer’s warranty, and is shipped complete with knives, safety guard, and sliding stop. More automated models are also available.

Kiln-dried pine is connected to a specially milled aluminum bar, which will never warp due to environment changes. The aluminum stock provides a structural frame of strength and stability. The outer bar offers a smooth, rounded edge and a solid surface for stapling. Pro-Bars can be cut to any length.

Call: 866-248-0100 www.hoffmann-usa.com

32 PFM December 2021

Call: 800-233-2404 www.richesonart.com

Michelangelo Moulding

Omega Moulding

Michelangelo has expanded its shadowbox assortment, adding the 331 Series.

Comprised of seven finishes—gold leaf, silver leaf, black, white, bronze, grey/brown, and charcoal—this wood set measures 7/8” x 2 3/4”. Its fusion of sophistication and refinement is rare. You must consider having these styles in your collection.

Made in Italy, Xavier is a collection of eight mouldings featuring four metallic finishes of gold, silver, pewter, and dark pewter upon a classic silhouette. The pitted and rubbed surface of the metal finish lends textural and tonal complexity. Its neutral finishes of silver and pewter add depth to black-and-white photography.

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

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

Picture Woods

Pro Tapes & Specialties

Meet Picture Woods’ newest hard maple finishes: City Grey and Country Grey.

They’re a little bit country, a little bit rock ‘n’ roll, and all handcrafted in Boulder, CO, for a rustic look that you can still take uptown.

Pro-410 ATG, also known as Strong ATG, is a double-sided tissue transfer tape with an aggressive, pH-neutral acrylic adhesive.

Pro-410 ATG has excellent adhesion to a wide variety of surfaces, which makes it ideal for object framing. It’s compatible for use with the Pro-ATG HD Dispenser.

Call: 800-321-6522 www.picturewoods.com

Call: 800-345-0234 www.protapes.com

Rhonda Feinman

Studio Moulding

New from Rhonda Feinman Custom Frames, these block and rosette reeded frames come in several widths and are available in 22K and 12K gold finishes.

Corner ornaments lend subtle interest to your framing designs.

Introducing the new Sierra II collection, available in two scooped profiles and five finishes. The exquisite oak veneer finishes are hand-selected to create visual impact and add elegance to any room. The warm wood tones are perfect complements to a wide variety of art.

Call: 718-707-3203 www.rhondafeinman.com

Call: 800-262-4174 www.studiomoulding.com

Superior Moulding

Ten Plus

Superior Moulding is proud to introduce a third finish to the Alpine line, now with two bold, slanted profiles in three versatile finishes. You will find uses every day for these clean, simple-yet-elegant wedge profiles on modern art and contemporary graphics.

Ten Plus introduces a new line of polystyrene moulding, finished as a rustic wood, with sizes ranging from 3/4” to 3” wide. All items are available at Ten Plus’s Santa Fe Springs, CA warehouse.

Call: 800922-7914 www.superiormoulding.com

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

Tru Vue

Universal Arquati

New Museum Glass counter displays are ready for you to incorporate in your design process! If you have voted for one of these new counter displays, it will be arriving shortly! Visit Tru Vue’s website for more details.

Universal Arquati is excited to introduce its newest line—D’Orsay by Arquati. This collection consists of three profiles and gold and silver tones in high-quality finishes.

Samples of this collection are available now! Please contact your local sales representative or view this new collection online.

Call: 708-854-2731 www.tru-vue.com

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

PFM December 2021 33

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 34 PFM December 2021

Have a question or comment?

Tell PFM what you think.

Mail letters to PFM 83 South Street, Unit 307, Freehold, NJ 07728 Call 732-536-5160, Fax to 732-252-2270 Attn: PFM Editor or E-mail to editor@pfm-group.com

CROSSWORD CHALLENGE Across

1 Include

7 Antique

2 Raise

9 Pixel density, abbr.

10 Objects connecting an owner with past events or people

3 Trophy cases remind people of good ____ 4 Colonnade tree 5 ____ buttons: tabs with screw holes on one end

12 Painting medium

that are used to hold the artwork contents

13 Fundamental

within the frame

16 ___- glare plexiglass

6 Display ____: where sports items might be shown

18 Dynamic quality

7 Shape like a square but it does not have equal sides

20 Company that makes and

8 Bargains

distributes adhesive coatings

11 2nd in the family

22 ___ 40 rock group

14 ___ brush painting

26 The Show Me state, for short

15 Create

27 Shadow box frames with a gap

17 Portland's state, abbr.

between the glass and the backing,

19 Tastes good!

2 words

20 Works out the dimensions, materials and

31 Wood sometimes used in frames 32 The often-interfering result of the

colors for a frame 21 Former Rockets player from China

reflective properties of glass

23 Edges

or plexiglass

24 Picture frame face design that has a concave curve

35 ____ size: measurement of the total size of the picture frame 36 Room often used for showing off trophies and framed jerseys, etc.

37 Make an indent or line in a surface by cutting or scratching with a blade

SEE PAGE 37 FOR THE SOLUTION

Down

1 Real and true

38 Brings together different elements

25 Reduced by 28 More valuable, as a signed baseball card for example 29 Glossy fabric 30 Garment signed by top sports celebrities 33 Trouble 34 Compass point, abbr.

PFM December 2021 35

Index

Advertiser

Page

Advertiser

Page

3A Composites Encore Products .......................................... 23

FrameTek ...................................................................... 6, 34

800-626-3365

800-227-9934

www.encoreproducts.com

www.frametek.com

Alpina Manufacturing, LLC ..................................................34

Frank’s Fabrics for Framers ................................................34

800-915-2828

888-332-2749

www.fastchangeframes.com / www.bannergrip.com

www.franksfabrics.com

Arlo Spacemaker Products, LLC ...........................................17

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

800-332-2756

800-242-7318

www.reevesextruded.com

www.gluefast.com

Artist Supplies & Products ...................................................34

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

262-797-8101

866-248-0100

www.gilderspaste.com

www.hoffmann-usa.com

Attach-EZ .......................................................................... 35

Jack Richeson & Co.............................................................34

800-527-1521

800-233-2404

www.attach-ez.com

www.richesonart.com

CMI Moulding .....................................................................34

LINC Systems (formerly Active Sales Co.) ............................34

301-476-7440

800-937-2255

www.cmimoulding.com

www.activesalesco.com

Connecticut Saw & Tool.......................................................34

Picture Framing Magazine ...........................16, 17, 21, 27, 31

203-318-4302

800-969-7176

www.ctsaw.com

www.pictureframingmagazine.com

Crescent Cardboard Co. ........................................................ 9

Specialty Matboard............................................................ 25

800-323-1055

800-280-6287

www.crescentcardboard.com

www.specialtymatboard.com

Decor Moulding & Supply .......................... 10, 15, 29, 30, 35

Superior Moulding Corp. .....................................................34

800-937-1055

800-922-7914

www.decormoulding.com

www.supermoulding.com

Fixons ................................................................................34

Ten Plus ............................................................................ 39

714-526-3455

888-944-8899

www.fixons.com

www.tenplusframes.com

CONTENTS

Foster Planing Mill .............................................................34

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

323-759-9156

800-621-8339

www.fosterplaningmill.com

www.tru-vue.com

AD INDEX

Frame Specialties ...............................................................19

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

800-777-3165

800-668-3627

www.kooltack.com

www.universalarquati.com

Framerica ......................................2, 3, 4, 10, 30, 35, 37, 40

Wizard International...........................................................13

800-372-6422

888-855-3335

36 PFM December 2021

www.framerica.com

www.wizardint.com

(Continued from page 38)

Statement of Ownership, Management, and Circulation (Required by 39 U.S.C. 3685)

canvas from the raw wood of the frames. I then used two sheets of acid-free foamboard bonded together as a rigid backer and covered it with Lineco gray 40-pound paper as a dust cover. Super Steel hangers and 40-pound plastic coated copper wire were installed for hanging the piece. Lastly, I added two clear silicone bumpers to the back of the frame since silicone seem to keep a frame from shifting on the wall better than felt bumpers.

It was an honor to have a part in creating and preserving a piece destined to become a family heirloom. PFM

Crossword Challenge Puzzle Solution

1. Publication Title: Picture Framing Magazine.

2. Publication Number: 1052-9977.

3. Filing Date: October 15, 2021.

4. Issue Frequency: Monthly 5. Number of Issues Published Annually: 13 6. Annual Subscription Price: $20.00.

7. Complete Mailing Address of Known Office of Publication: 330 Mounts Corner Drive #313, Freehold, NJ 07728 8. Complete Mailing Address of Headquarters or General Business Office of Publisher: 330 Mounts Corner Drive #313, Freehold, NJ 07728 9A. Name and Address of Publisher: Bruce Gherman, Picture Framing Magazine, 330 Mounts Corner Drive #313, Freehold, NJ 07728 9B. Name and Address of Editor: Kimberly Biesiada, Picture Framing Magazine, 330 Mounts Corner Drive #313, Freehold, NJ 07728 10. Owner: PFM Publishing, 330 Mounts Corner Drive #313, Freehold, NJ 07728.

Bruce Gherman, 330 Mounts Corner Drive #313, Freehold, NJ 07728 11. Known Bondholders, Mortgagees, and other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds, Mortgages, or Other Securities: None.

12. Tax Status: N/A. 13. Publication Title: Picture Framing Magazine.

14. Issue Date For Circulation Data Below: November 2021.

15. Extent and Nature of Circulation: Requester Actual No. Copies of Average No. Copies Single Issue Published Each Issue During Nearest to Filing Date Preceding 12 Months

A. Total Number of Copies (Net Press Run) B. Paid and/or Requested Circulation 1. Outside County Paid/ Requested Mail Subscriptions Stated on Form 3541. (Includes nominal rate subscriptions, advertiser’s proof copies and exchange copies.)

2. In-County paid/requested Mail Subscriptions stated on Form 3541.

3. Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and other Paid or Requested Distribution outside USPS 4. Requested copies distributed

by Other Mail Classes Through USPS C. Total Paid and/or Requested Circulation (Sum of 15b, (1, 2, 3, 4) D. Nonrequested Distribution (by Mail and outside mail) 1. Outside County Nonrequested copies Stated on PS Form 3541 2. In-County Nonrequested Copies Stated on PS Form 3541 3. In-County Nonrequested copies distributed through the USPS by other classes of mail 4. Nonrequested copies distributed outside the mail E. Total nonrequested distribution (Sum of 15 d 1,2, and 3) F. Total Distribution (Sum of 15C and E) G. Copies Not Distributed H. Total (Sum of 15F and G) I. Percent Paid and/or Requested Circulation (15C divided by 15F x 100) 16. Electronic Copy Circulation A. Requested and Paid Electronic Copies B. Total Requested and Paid Print Copies (Line 15c) + Requested/Paid Electronic Copies (Line 16a) C. Total Requested Copy Distribution (Line 15f) + Requested/Paid Electronic Copies (Line 16a) D. Percent Paid and/or Requested Circulation (Both Print & Electronic Copies) (16b divided by 16c x 100)

6766

6692

5888

5727

0

0

0

0

0

0

5888

5727

346

506

0

0

0

0

466

399

812

905

6700

6632

66 6766 87.88%

60 6692 86.35%

449

464

6337

6191

7149

7096

88.64%

87.25%

17. Publication of Statement of Ownership will be printed in the: December 2021 issue.

18. I certify that the statements made by me above are correct and complete: Bruce Gherman, Publisher, Picture Framing Magazine.

PFM December 2021 37

DESIGN OF THE MONTH

By Michael Mixon

A Unique Use of a Float Frame

A

fter working at other frame shops for 18 years, I opened my own in 2007 and named it Hanging Around Hoover,

Inc. This year marks my 32nd year as a picture framer, designer, public relations officer, counselor, confidant, and janitor. Of the many hats I

This piece was a custom-painted needlepoint canvas by Alice Peterson, depicting an alphabet of animals. I was told the piece would likely hang in a playroom and needed to be col-

wear, my favorite by far is that of a needlepoint

orful, and they liked the idea of incorporating

framer, which encompass a large percentage of

both pink and blue into the framing. Instead of

the pieces that come through my shop.

using mats to accommodate the desired color

Needlepoint clients often spend an enor-

scheme, I suggested using a pink molding with a

mous amount of time creating their pieces

blue float frame. The inner frame was a 7/8” baby

with precision and care, and they have the ex-

pink moulding and the blue outer float frame

pectation that the same care will be taken in

was a 2” x 3/8” with 1 1/2” deep rabbet Sky Blue

the preparation and framing of their work. My

Country Color Floater by Universal Arquati.

goal is to give my client a rewarding experience,

To prepare the needlepoint canvas for fram-

a satisfying design that provides them with a

ing, it was pinned to 8-ply acid-free matboard

completed framing package that does no harm

and laced with crochet thread. After lacing the

their art and preserves it for generations to

piece, the pins were removed, and it was glazed

come while also showcasing their workmanship

with Tru Vue Conservation Clear glass. To add

in a way that is guaranteed to give them a smile.

depth to the package, the top pink moulding’s

I am blessed with a multitude of customers

inner rabbet was aligned with the blue floater’s

that are very talented needle artists. Recently,

outer lip. The two frames were glued together

a husband and wife, Jay and Jackie, were look-

other using Omega’s Miter Magic Polyvinyl glue,

ing for the perfect frame to give as a gift. Their

and three screws were countersunk on each side

piece was created to celebrate the birth of a new

to allow the glue to dry and to add a mechanical

grandchild. I have known the family for several

bond to the stacked frames.

CONTENTS

decades and have seen their children and their

The rabbets of the combined frames were

grandchildren grow up. Jackie is quite a talented

sealed with Lineco frame sealing tape, which

stitcher, and I have had the privilege of framing

added a protective seal between the two frames

dozens of her works over the years.

and also protected the edge of the needlepoint

AD INDEX

Michael Mixon is the owner of Hanging Around Hoover, Inc., having established his company in 2007. Michael was a Framerica Boxer challenge finalist in 2005 and has won both national and international framing awards. including Framerica’s 2007 Boxer Challenge, Decor Magazine’s 2010 Best Interior Design award, Bella Creations Contest Grand Prize winner 2015, and Larson-Juhl’s Design Star category wins in 2014-2017. View more of Michael’s designs at hangingaroundhoover.com.

38 PFM December 2021

(Continued on page 37)

The pink moulding’s inner rabbet was aligned with the blue floater’s outer lip, glued together, and countersunk screwed each side.