Picture Framing Magazine - February 2021

C REATIVE MATTING TO WOW C US T OM E R S Advances in Cutting Technology • Selling Specialized Matboard

Contents

PFM is a member of:

Volume 32, Number 2

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

On the Cover

This "Game of Thrones" design by Jarrod Perrott of 5280 Custom Framing in Denver, CO, stands out for its use of multiple mat layers—including a suede top mat—and over 40 openings cut to hold a set of signed collectible cards.

For the full story, see page 38.

Features 16 Advancements in Board Cutting 22 A New Take on Mat Panels 26 Specialized Matboards

30

Columns 12 Mat Doctors 30 Mastering Mounting 38 Design of the Month

22

Departments 8 10 34 35 36 37 39

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

16

26

Picture Framing Magazine® (ISSN 10529977) is published monthly, plus one issue by PFM Publishing, LLC, 83 South Street, Unit 307, Freehold New Jersey 07728; phone 732-536-5160; fax 732-252-2270.

Subscription Office: Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612; phone 888-238-0049. Subscription: $20 per year U.S., $40 U.S. Dollars per year in Canada and Mexico, $60 U.S. Dollars per year for all international. Single copies, $5.95. If a paid subscription magazine is returned by the U.S. Postal Service as non-deliverable, Picture Framing Magazine will maintain the subscription for one year. If after one year a new address is not provided, Picture Framing Magazine will cancel the order. No refund will be available for that account. Periodicals class postage paid at Freehold, New Jersey, and at an additional mailing office. Entire contents © 2020 by PFM Publishing, LLC. Printed in U.S.A. Picture Framing Magazine registered in the U.S. Patent and Trademark Office.

Postmaster: Send address changes to Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612 Agreement Number 1691910 Disclaimer The opinions and information in this magazine are not necessarily those of the publisher and are therefore not to be viewed as such. No part of this magazine may be reproduced without the expressed written consent of the publisher. PFM does not knowingly accept false or misleading advertising or editorial, nor does the publisher assume any responsibility for the consequences that occur should any such material appear.

PFM and PFM Publishing assume no responsibility for content, text, or artwork of advertisements appearing in PFM except those promoting PFM. The Publisher reserves the right to review all advertising materials submitted for publication and to not accept any such material deemed inappropriate for any reason.

PFM Publishing

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

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

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

CONTRIBUTORS

Jay Goltz • PRE S E RVATI O N E D I TO R Hugh Phibbs • M O U N TI N G E D I TO R Chris A. Paschke, CPF, GCF M AT D O C TO RS 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

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PFM PUBLISHING, LLC PRE S I D E N T

6 PFM February 2021

Bruce Gherman

FROM THE EDITOR’S DESK

I

Creative matting and high-quality boards can set you apart from your competition.

This issue is all about mat-related information and inspiration.

CONTENTS AD INDEX 8 PFM February 2021

n this issue, we take a closer look at the world of matting materials, equipment, and techniques. This fundamental framing element can make or break a design, so it’s worth examining the innovative products available today and the ways framers are using them to boost their business.

Today’s computerized mat cutters and multi-material cutters are more sophisticated, precise, and user-friendly than ever. If you haven’t been in the market for one of these machines in the last few years, you may not be aware of the innovations that have been made on both the software and hardware sides. In our feature on cutting technology (page 16), leading manufacturers discuss some major improvements made to their equipment in the last decade.

The matboard itself is, of course, a crucial design decision. Our feature on specialized mats (page 26) takes a look at some of the most popular specialty matboards on the market today—from silks, linens, and suedes to metallics and more—plus design and sales advice from top suppliers.

Paired with the right piece, a fabric or other specialized mat can take your design from good to outstanding— and keep your customers coming back to you time and time again.

Putting a modern spin on classic matting techniques is a great way to incorporate proven, time-honored design elements in ways that save you time and make you money. In his latest Mat Doctors column (page 12), Brian Wolf explores ways to recreate classic lettering and line decoration with your CMC’s drawing program.

By taking advantage of your machine and its software, you can create upscale designs with a little imagination and a few clicks.

In his latest article (page 22), David Lantrip explains how you can use your CMC and common materials to achieve an easy, modern take on the mat panel, an element of the classic French matting technique.

The products, techniques, and ideas highlighted in this issue all have the potential to expand your design horizons. I hope you are inspired to try something new that will remind your customers why nothing compares to great custom framing.

Kimberly Biesiada Editor

INDUSTRY NEWS SBA Releases Top Business Trends for 2021

Alternative payment options will proliferate. Another trend

The US Small Business Administration recently published a list

that is likely to last into 2021 and beyond is the dominance

of business trends that are likely to dominate this year, along

of alternative payment options. In their annual State of Retail

with tips on how to position your business for growth.

Payments study, the National Retail Federation found that no-

“Businesses will continue to prioritize e-commerce. While

touch payments (e.g. contactless credit and debit cards or

e-commerce was already growing before the pandemic, a re-

mobile pay) for retailers have increased 69% since January.

port by IBM shows the shift away from physical stores to dig-

Among retailers that have implemented contactless payments,

ital shopping has sped up by roughly five years. According to

94% expect the increase to continue over the next 18 months.

the report, e-commerce is projected to grow by 20% in total in

Heading into next year, explore touchless payment options for

2020. To prepare for this shift in consumer spending, fine-tune

your small business, including online payments with curbside

your small business’s e-commerce presence in 2021. Create

pickup.

a seamless e-commerce experience for your customers by making your site mobile-friendly.

Remote work will persist. During the pandemic, many small businesses shifted to part-time or full-time remote work schedules in response to local ordinances. According to a survey by Intermedia, 57% of small to medium-sized business owners said they will continue to offer remote work options in the long term. Depending on your type of business, you may need to consider offering remote work options to compete for talented workers in 2021 and beyond. This also means that you may need to invest in additional technology and soft-

The US Small Business Administration recently released its business trends for 2021.

ware solutions going forward to ensure that your employees can telework. For example, another survey from GGV Capital shows that 54% of small business owners spent more on software solutions in 2020 than in 2019, and 75% expect that spending to increase next year.

Businesses that offer virtual services will continue to be in high demand. According to the U.S. Chamber of Commerce, the pandemic has led to increased demand for certain business types, particularly those related to technology and virtual health and fitness. These include cybersecurity, at-home fitness, food delivery, gaming, home improvement, and telemedicine businesses. If you are considering starting a business, or are looking for ways to pivot or expand your business, look to these business categories for inspiration.”

For more information, visit sba.gov.

Framerica Welcomes Stacey Drake CONTENTS

Stacey Drake has joined Framerica’s customer service team, bringing a wealth of experience to the position.

“Stacey joined our team during the

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pandemic and still managed to fit in beautifully,” notes Lisa Olsen, the company’s head of customer service. “She has been

Stacey Drake

a great addition.”

For more information, visit framerica.com. PFM

10 PFM February 2021

THE MAT DOCTORS

By Brian Wolf, CPF, GCF

Letters and Lines Your CMC makes these classic design elements easy and practical.

H

ow to include decoration continues to be as important a question as the decorative element itself. Overlap-

ping is the theme behind so many inclusion ideas, but the details of implementation can be varied. In decorative cutting, for instance, overlapping and merging a decorative element with the opening is effective. A variation of implementation is overlapping, then dividing the element across two layers of the opening.

With this variation in mind, imagine mat decoration a century earlier when decorative lines prevailed. A drawn decorative shape could overlap a line around an opening, and a clevflow into different parts of the line as it was be-

A Letter Divided Between Two Lines

ing inked. Without the rules, requirements, and

The first example, featuring the letter E (page

limitations of cutting, there are many possibil-

14), duplicates the cutting project described ear-

ities for incorporating the shape like this, from

lier where a shape is divided between two lay-

austere to artistic.

ers of the opening. The project begins in the de-

er framer could connect pieces of the shape to

A few of these possibilities are illustrated

sign program with a pair of closely spaced lines

in these projects. Here in the 21st century, de-

around an opening. The letter is positioned

bossing and pen work with computerized mat

across the lines.

CONTENTS

cutters make these drawing ideas from the past

The next steps—for this and for all the

practical. The decorative elements could be any

projects shown here—will be completed using

figures or silhouettes, but the examples here

the drawing program. But notice that all the

use letters. Letters come in an endless variety

elements of the design are generated and po-

of styles. Plus, monograms are a tradition in all

sitioned in the design program, where moving

the decorative arts.

and visualization are easy and more familiar.

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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 February 2021

A debossed or pen line around an opening is a classic formula, and monograms are another common addition.

The presentation is more unified when the letter can be joined into the line.

(Left, center) Just as a cutout can be divided between two layers of the mat, this letter is divided between two lines. This design can be either debossed or drawn with the pen. (Right) After the letter, lines, and opening are positioned in the design program, the letter and lines need to be connected in the drawing program. First, break the intersections of the lines and the letter. The right half of the letter is highlighted here to show the broken half. Next, delete the broken line segments inside the letter. Finally, join the left half of the broken letter to the left line, then join the right half of the letter to the right line.

In the Drawing Program

Evolution and Variations

Once the elements are in place, send the design to the draw-

The first example reproduced an idea that was designed to

ing program to finish the project. There is no need to be an

be cut. Realize, though, that the pen and the debossing tools

expert. A working knowledge of the program’s functions will

can render lines that are just segments. Complete circuits,

be sufficient. There will only be alteration, no real drawing.

like those in the first project (and those required for cutting),

Break the intersections of the lines and letters. In the

are not necessary.

illustration of the E in the drawing program, this has been

The second example, featuring the letter G, uses an in-

done. The right half of the letter has been highlighted to

complete circuit, and the design is simplified to use just one

show that it is divided. Then delete the unnecessary items.

rectangular line around the opening. The letter overlaps the

There are two vertical lines inside the E, and tiny horizontal

line and the intersections are broken. The pieces of the letter

segments at the top and bottom of the letter. Last, join the

are joined to the broken rectangular line to form one contin-

segments into the new circuits. The inner part of the E will

uous path. There are even gaps at the top and bottom of the

be joined to the inner rectangular line. The outer part of the

letter to emphasize the points where the path begins and

E will be joined to the outer line.

ends. To be sure, this same path could be drawn with tiny

In the projects that follow, perhaps some joined circuits

gaps that would not be noticed, but are interesting details.

will need to be separated, and some points may need to be

As the options for rendering these gaps are considered,

moved to more attractive positions in the drawing program,

a few other observations arise. First, all this line work is just

but all the elements in all the projects will be generated and

that—line work. However taken framers may be with the

positioned in the design program. Nothing new will need to

idea of the CMC drawing lines with a pen, lines are still thin

be created in the drawing program for any of the examples.

and insubstantial. Then there is debossing. Its most obvious shortcoming is that it is always so understated. It is only pressed into the matboard, after all, with no contrast of col-

CONTENTS

or. It is just a shadow.

Another Kind of Shadow The letters in the previous examples are outlines of the

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shapes of the letters as they need to be when they are designed to be cut as openings. There are a few single-line fonts in the Wizard program. The strokes are lines instead of outlines of shapes. Single-line fonts can only be debossed or drawn with the pen, and can be quite small.

Debossed and pen work can be just a line segment. This simplified variation joins the divided letter to one broken line.

14 PFM February 2021

There are indeed two copies of the letter M in this ex-

ample project. The second copy of the letter is moved down and over, but with a decorative font like this, the distances are less mathematical and more artistic—between 0.04'' and 0.09''. The separation needs to create wide and narrow strokes in the letter as well as the shadow illusion.

In the drawing program, some of the flourishes may be altered, either for appearance or to create more practical connection points to the rectangular line. In this project, the finishing strokes at the lower right of the letter were extended across the rectangular line. Usually the control points of the curves can be moved to re-shape the curves. Other times, it is easier to explode the stroke, delete the original curve, and draw a new one.

Placement

To create the shadow effect, one copy of the M is moved 0.06'' left and 0.07'' down. In the drawing program, the endpoints of the curved strokes at the lower right were extended to cross over the rectangular line, then broken and joined with the line.

they would connect nicely on the right side of the opening.

The only rule is that monograms are usually toward the bottom of the design.

When letters are integrated with lines, they can be on either

More than Monograms

side of the opening. There are no rules for this, but it should

Two things have inadvertently happened here. First, with the

be clear that some letters can be more naturally connected

quest for detail and the use of the Italic letters, the designs

to the left side of an opening, while others have strokes that

have become highly ornamented. Some may begin to think

connect more readily to the right side of the opening. The M

that these ideas are only for frilly additions. Second, with so

using the Italic font is easily connected with the rectangular

many letters, some may infer that this process is only for

line by extending the finishing strokes at its lower right, so

monograms. Neither is an intended conclusion.

the letter connects onto the left side of the opening. Alterna-

The final project shows how decorative debossed and

tively, the Roman letters for the first project were chosen so

pen elements look more naturally a part of the presentation when integrated into a rectangular line around an opening.

The accent is built with a triangle and a diamond. Like the letters, these shapes are positioned in the design program, then connected with the line in the drawing program.

Look closely at the illustration and see how similar the construction is to the second project. These are incomplete circuits, and there are even gaps in the shapes where they are joined to the lines. So, if the idea of a monogram is not

The triangle and diamond are template shapes in the design program. The triangle is 0.25'' high and wide. The diamond is 0.23'' high and 0.12'' wide. The separation between the shapes is 0.04'' at the bottom.

appealing, consider how the ideas of adding detail, shadows, and double lines would be adapted as variations to make dozens of geometric elements. PFM

PFM February 2021 15

ADVANCEMENTS IN BOARD CUTTING TECHNOLOGY

By Kimberly Biesiada

I

f you haven’t shopped for a computerized mat cutter or

some of the advancements made to Valiani CMCs in the late

wall cutter recently, you may not be aware of the tech-

2000s, including interchangeable heads—allowing for 40°,

nological leaps that have been made over the last several

45°, and 90° embossing—and the Mat-Stylus drawing tool.

years. Manufacturers have improved on the cutting ability

More recent developments include a vacuum table,

of their machines, making them faster and more accurate

oscillating cutting tool, fixed pen tool, button clamps that

than ever before. In the case of computerized machines, im-

allow for edge-to-edge cutting, and an adjustable stand.

provements to their software programs means a more us-

The company’s MatPro Ultra CMC, for example, includes all

er-friendly experience with a narrower margin for error.

those features, plus a camera kit for locating registration

Whether you are currently in the market for a wall cutter or CMC or will be in the next few years, it’s important to

marks, computer workstation, and V-Studio Create, Valiani’s design software.

understand what’s available from the industry’s top suppli-

“Whether you’re looking to create a unique framed jer-

ers in order to match a machine to your business’s needs. No

sey, a one-of-a-kind, reverse-beveled concert poster, or if

matter which product you choose, rest assured that today’s

your bevel cuts just need to be perfect, using a Valiani will

models offer the best in cutting-edge technology, helping

help you maximize your profits and protect your brand,”

you offer quality and consistency to your framing customers.

says Fuller.

CMCS: HARDWARE CONTENTS

When it comes to your mat cutter, you want something that is precise, reliable, and versatile enough to tackle the creative cuts and decoration needed for outstanding custom framing. Today’s CMCs come in a range of sizes to suit

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the needs of one-person shops, high-volume production businesses, and everything in between.

Over the past 10 years, major improvements have been made to these machines’ cutting ability, says Tom Fuller, vice president of sales and marketing at Crescent, which distributes the Valiani line of mat cutters. You may be familiar with 16 PFM February 2021

Gunnar’s AiOX cutters are available in different sizes and configurations, and all machines feature an all-automatic cutting process.

can we make it easier for the operator to use?” Bastys says.

Wizard’s Z series cutters have been a significant development for the company since being introduced in 2010, improving upon speed, cut quality, and overall customer experience. In addition to the auto homing feature, the Z cutters have automatic depth settings—eliminating the need for users to manually adjust the depth when switching between tools—and zero-waste functionality, in which the machine will alert the user if any finger clamps will be in the way before cutting. If the user forgets to retract the clamps, they’ll get another alert before a cut is made—especially useful when a shop has multiple people operating the same machine.

Valiani’s Mat Pro Ultra includes the company’s V Studio Create design software.

For any manufacturer, product improvements are driven by the desire to present a user-friendly experience. Charles Woods, senior head of North America sales at Gunnar, says the company built its family of AiOX cutters “the way the customer wants it to be.” Available in different table sizes and configurations, every AiOX machine features an all-automatic cutting process, which allows users to have one uninterrupted production run from start to final mat product.

Button clamps are always included, and customers can also opt for a vacuum table.

Another major development in recent years is the introduction of Gunnar’s Novex Wall Decor, a multi-platform solution for cutting matboard, foamboard, acrylic, aluminum composite, corrugated board, compressed PVC, honeycomb panel, Gatorfoam, canvas, and more. The machine’s modular design allows for users to add features and modules after purchasing it. The Novex was designed to be highly flexible so it can grow with the business, says Woods.

“Whatever happens down the road in weeks, months,

All this automation makes it easier to train staff on the machines, says Bastys.

CMCS: SOFTWARE Today’s CMCs can cut a lot more than the standard rectangle and oval openings. The machines’ ability to make elaborate cuts extremely accurately offers added value to retailers, allowing for more creative matting options.

Manufacturers’ proprietary software programs have become as sophisticated as the machines themselves, allowing framers to design just about anything they can imagine with a few clicks.

“When we came out with FrameShop, it was to integrate our design software, visualization software, and trace functionality into a unified experience so you weren’t jumping back and forth between applications,” Wizard senior electrical engineer David Becker says of the company’s newest software program.

Introduced in 2015, FrameShop has another significant feature: automatic updates. Gone are the days of being mailed a CD and having to remember to manually install an

years, a customer can adapt fast and easy to new market challenges with a cutting system that can be adjusted to new materials and process workflows,” he says.

CONTENTS

Over the past three decades, Wizard has been improving upon its original CMC, and now offers a product line that includes the Eclipse and Eclipse Duo, Z1, Z, and 8000. The company is always looking to better their products through

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automation, according to lead engineer Mike Bastys.

The Z1, for example, is fully automated. Previously, machines had not been able to automatically find and return to their home positions, leaving room for user error. The Z1 has sensors which allow it to do just that.

“We’re looking at a machine from the standpoint of, how 18 PFM February 2021

Wizard’s Z series, including the Z1 shown here, marked a major step forward in the company’s user-friendly automation technology.

Statement of Ownership, Management, and Circulation (Required by 39 U.S.C. 3685) 1. Publication Title: Picture Framing Magazine.

2. Publication Number: 1052-9977.

3. Filing Date: December 15, 2020.

4. Issue Frequency: Monthly 5. Number of Issues Published Annually: 10 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.February 2021 14. Issue Date For Circulation Data Below: October 2020.

15. Extent and Nature of Circulation: Requester Average No. Copies Each Issue During 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)

CONTENTS AD INDEX

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)

Actual No. Copies of Single Issue Published Nearest to Filing Date

9946

6936

7275

6384

0

0

0

0

0

0

7275

6384

1918

95

0

0

0

0

665

390

2583

485

9858

6869

88 9946 73.80%

67 6936 92.94%

443

429

7718

6813

10301

7298

74.92%

93.35%

17. Publication of Statement of Ownership will be printed in the: February 2020 issue.

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

20 PFM February 2021

update; now, users are alerted right on the program when there is an updated version, and can install with the click of a mouse.

Valiani’s V-Studio program includes features like bar code Integration for quicker file detection, compatibility with Adobe Illustrator and Corel Draw, cloud storage for machine configuration, integration with LifeSaver point-of-sale software, and the capability to import a CSV file as a cutting list, to name a few.

Each Gunnar AiOX is equipped with the newest version of the company’s GMC software. Ready-to-cut box templates, a creative live-draw function, and on-screen preview of final mat artwork are among the features included.

WALL CUTTERS Multi-material cutters, colloquially known as wall cutters, have also seen advancements in recent years. They remain an integral part of a frame shop’s production area, not only to cut traditional matboard, foamboard, and glass, but also materials such as corrugated plastic, polystyrene, MDF, acrylic, and much more.

Wizard’s AirGlide is a material cutter powered by compressed air, eliminating the need for electrical power. According to Bastys, it was designed to reduce user fatigue, as the air-driven machine requires less muscle to operate than its manual counterparts. The AirGlide can cut full-size (4’ x 8’) sheet materials and features a 65” vertical cutting capacity. An air compressor is required for operation.

Not only has the technology changed over the years, but the way retailers use these machines has evolved, too. As substrates like aluminum composite material (commonly sold under the brand Dibond) have entered the world of custom framing, an increasing number of retailers are looking for the ability to cut such substrates in-house.

The Fletcher 3000 material cutter has seen incresed demand as substrates like acrylic continue to remain popular in framing.

Acrylic is another material enjoying popularity in recent years. Jim McNickle, director of marketing at Fletcher Business Group, says one of the company’s three wall-mounted cutting machines, the 3000, is one of their top sellers right now due to its glass and acrylic cutting ability. He has seen the rise of acrylics across industries, from wall décor to uses as protective barriers and shielding.

The 3000 is available in two sizes: one that allows cuts up to 60”, and one that allows up to 48”. McNickle says the company has been promoting the smaller version more than ever, and it has become increasingly popular with retailers who are dealing with space constraints in their shop.

Fletcher also offers the 3100, designed with an interchangeable cutting head platform, and the FSC, a more heavy-duty cutter. McNickle says he has seen more customers upgrade to the FSC recently due to aluminum and aluminum composite materials being used as substrates in framing.

“They’re proven machines,” McNickle says of the trio of cutters. “They’re been out there for years; people know them.”

Another area that has improved across the board over the last decade is customer service. Sophisticated supplier websites allow for easy side-by-side product comparison, online ordering, educational resources, replacement parts, and more. And if you should run into an issue with your machine, representatives are just a phone call away, ready to troubleshoot at a moment’s notice.

Whether you are investing in your first CMC, upgrading an old wall cutter, or anything in between, I encourage you to take advantage of this top-notch customer service. Call your supplier, ask questions, and let them share their expertise so you and your employees can get the most out of your

Wizard’s AirGlide material cutter is air-powered, a development that’s aimed to reduce user fatigue when doing repeated cuts.

machine. Think of them as partners in your business who can empower your lasting success. Happy shopping! PFM PFM February 2021 21

A NEW TAKE ON MAT PANELS

By David Lantrip, MCPF

M

at panels, an element of French matting, usu-

that can be printed and used, including maps (free of

ally take one of two forms: marbled paper or

charge) from the United States Geological Service.

wash panels. Strips of marbled paper with mi-

There are really only two limitations. First, the paper

tered corners are adhered to

should be fairly thin, not much

the face of the mat around the

thicker than ordinary copy pa-

opening, and wash panels are

per. It will be put between two

soft panels of color painted on

layers of a mat, and excess bulk

the mat, often bounded by ruled

will keep the mats from laying

lines. Both are classic, timeless

together flat. Second, the paper

elements of matting, and both

must be permanent. Look for

have a bit of a learning curve.

lignin-free

Let’s have a look at how you can

and fade-resistant colors. Paper

use your computerized mat cut-

marketed as scrapbook paper,

ter (CMC) and common materi-

bookbinding paper, or for con-

als to achieve an easy, modern

servation use will generally fit

take on the look.

the bill. While it might be fun

“acid-free”

papers

CONTENTS

Aside from the usual mat-

to use something like wrapping

ting and adhesives, you will

paper for a whimsical touch, it is

need 3M 810 permanent tape

meant to last only a short while

(plain Scotch tape) and 3M 811

and will quickly fade. In this ex-

removable tape. You will also

ample, it would be better to scan

need decorative or colored paper that will become the panels.

Marbled or hand-painted paper

A traditional marbleized paper is used on this vintage sepia-toned photo. In this case a third mat color is introduced in the panel, easily accomplished by cutting the top mat twice on two mats and then switching out the panel.

is a classic choice, but there are

a piece of the paper and print it on better-quality paper with colorfast inks.

To start, lay out a double

AD INDEX

also many other choices available, including patterned

layer mat and add an open V groove. Depending on your

origami paper; mulberry paper with different inclusions,

CMC, this can be done by adding a V groove around the

colors, and textures; silk paper; bark paper; lace washi

mat opening and then setting the width to anything

paper; and maps.

greater than zero, or it can be done with a stock template.

If you offer printing, your choices are virtually unlim-

Use good design sense and vary the width of the various

ited. A quick online image search will turn up patterns

elements enough that it looks deliberate, keeping the de-

22 PFM February 2021

Place all three parts of the cut top mat back together, making sure they are aligned and flush with each other, and then secure at the corners with low-tack tape.

Place ATG on either side of the open groove, marked here in blue for better visibility.

Position the paper strip across the groove, making sure its angled end goes from the corner of the outer mat to the corner of the inner panel, marked in red.

Continue around the mat in a pinwheel fashion until all four strips are in place. A small piece of release paper under the end of the strip you just placed will make it easier to position the next strip.

sign elements to the inner third of the mat. A good start-

a small piece of release paper under it so that the straight

ing point is a 1/8'' reveal on the bottom mat, with an open

end does not get stuck down yet.

V groove 1/4'' wide set 3/4'' away from the opening. Your

Lift the straight end of the first paper strip and place

CMC software will allow you to adjust the parameters on

the second strip in the same manner, again being careful

the fly until it looks right.

that the angled end connects the corners. Continue with

Next, cut the mats and be very careful to save all the pieces cut, including the “ring” from the open V groove that would normally be thrown away. You will need it.

the last two strips and then burnish them down gently to ensure the ATG holds well.

To finish, attach the two mat layers together just like

Set aside the bottom mat for the time being. Working

any other double mat with your adhesive of choice. The

face up, place the three parts of the top mat (the outer

only difference is that you want adhesive on the inner

portion, the inner panel, and the “ring”) back together.

panel as well as the outer portion. Finally, remove the

Since they were cut on a CMC, they will be very precise

“ring” from the open V groove. It might help to jab the

and should go back together perfectly and flush. Place a piece of 811 removable tape across all three pieces at each corner. On a larger mat, you may need extra pieces. At this point it will look like an ordinary mat with an opening, aside from all the tape. Flip the mat over.

Next, prepare the paper strips. Cut four lengths, one for each side of the open V groove, about 2'' longer than each side. Make them wider than the open V groove with enough extra width to make it easy to handle. For a 1/4'' groove, a 5/8'' strip works well. Cut one end of each strip at a 45-degree angle; though you should try to be accurate, it does not have to be 100% precise. This is a forgiving process.

Place ATG on either side of the open groove, very close to the bevel edges. The inner application of ATG will probably require a narrower size. Starting at one corner, place the mitered end of the paper across the corner so that its angled end connects the corners across the open groove. Press down to hold it in place and continue along its length, stopping a couple inches short of the end. Place

The wide variety of papers available makes this a technique that can be easily adapted to many types of artwork, from the classic to the whimsical. Show a few on framed artwork so customers can see real-life examples. If you want to sell it, you have to show it!

PFM February 2021 23

Once all strips are in place and burnished, attach the bottom mat and remove the ring. When attaching the bottom mat, be sure to apply adhesive to both the outer mat portion and the inner panel.

The result is a mat with all bevels straight and parallel, and a paper panel with perfectly mitered corners.

Adding thread lines to an inlaid panel mat, especially a fabric mat, is an interpretation of a painted panel bounded by ruled lines, a classic element of French matting. For more details see “Thread Lines and Fabric Mats,” May 2019.

A similar method can be used to create an inlaid panel emulating a painted panel. Simply cut the same top mat out of two different colors and place the ring of one into the open groove of the other, then secure on the back with permanent tape.

point of an X-Acto knife into it to help lift it up. Discard the ring.

This method is elegant in its simplicity. The corners of the paper panel will appear to have perfect miters as long as one end is cut straight and is lined up across the corner perfectly. Placing the elements of the cut mat back together with the removable tape ensures that everything will line up straight and parallel to each other the first time, every time.

One thing to keep in mind is that the sheets of handmade papers used are often fairly small, which can be a

CONTENTS

limitation. There are two ways to work around this. Some paper can be torn on one end and feathered, much like tearing a hinge. Simply overlap that with the next piece, and often the seam will blend in. Others with a small pat-

AD INDEX

tern can just be overlapped with a straight cut; the pattern may be busy enough that the seam will disappear.

Another option is to modify the design. Every CMC has templates with an open V groove interrupted by straight A design with elements going across the open V groove is a great way to hide seams when using small sheets of paper, such as this origami paper.

24 PFM February 2021

or curved elements going across the groove. A seam can be easily hidden under one of these elements.

A design like a painted panel, without bevels, is easy to achieve using the same mat layout. With this design, you will want to make the width of the V groove a bit wider, say 5/8'' or 3/4''. Cut the mats as usual, then cut the top mat a second time in the accent color. Just as you did before, reassemble of the cut parts of the top layer, but use the “ring” from the accent. Again, because they were cut on a CMC, they should fit together precisely. Temporarily tack everything together with the 811 tape and then turn it over. Place the permanent 810 tape along both seams and burnish well. Then attach the bottom mat layer.

With this method, it is important that both mats—the main and the accent—are the same thickness so they are flush to each other. It is best to use mats from the same manufacturer and the same line to avoid any variations.

Believe it or not, that’s all there is to it. With your computerized mat cutter, materials you already have on hand or can easily obtain, and a little bit of creativity, you can create an updated version of an old classic perfectly on your first attempt. Have fun! PFM

Maps are a great choice when framing travel photos or other artwork tied to a location, such as a couple’s first house or an engagement photo in a special location.

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 and serves on the Chapter Relations Commitee as well as the Guidelines Task Force. David recently earned a Masters in Mass Communications degree from the University of Florida.

PFM February 2021 25

SPECIALIZED MATBOARDS: A VERSATILE DESIGN OPTION

By Kimberly Biesiada

O

ne of the best ways to add excitement to your designs and boost your bottom line is the use of specialized matboards. Specialty matting gives

framers an opportunity to enhance a wide array of artwork, resulting in unique and profitable looks that can earn retailers more dollars and more customer loyalty.

There are more options than ever, with thousands of colors, textures, and finishes available on the market from leading suppliers. As the home redesign craze continues from 2020 through this year, there has never been a better time to take advantage of this versatile framing element.

AN ELEGANT CHOICE Specialized matboards can add texture, elegance, and warmth to a wide array of designs. Common types of specialty mats include linen, silk, metallics, suede, and other special textures. Sometimes, a mat is chosen to highlight a similar texture found within the artwork; other types of surfaces, like foil-covered mats, can enhance special effects in a piece, adding flash in a way that is still stylish.

Jack Dempsey, creative director at Crescent, says mixing and matching multiple matboard colors and textures “is a truly inspired way to enhance a piece.” The company’s Couture line of matboard incorporates hand-finished, artisan surfaces designed to help framers make each of their designs unique.

“When it comes to matboard with a given texture, there’s no trick or formula to getting it right,” Dempsey says. “Just keep your eyes open to what you love and your mind open to considering out-of-the-box ideas. From rough jutes to smooth copper, textured matboards open completely new doors of expression for the works of art you are framing.”

26 PFM February 2021

No matter what type of matboard you use, the pre-

ping. Suppliers like Framing Fabrics and Frank’s Fabrics

dominant goal is to bring out eye-catching colors and fea-

for Framers offer hundreds of fabrics to choose from,

tures of the artwork without overpowering it. Alan Yaffe,

from silks and cottons to linens and synthetic fabrics.

president of Peterboro Matboards, says the company’s

Fabric mats are a good way to add to the perceived

matboard line is structured around the idea of offering

value of a framed piece in the eyes of your customer, says

products that work with the art, not against it. “I had a

Larry Neuberg, president and CEO of Neuberg & Neuberg

picture framing business for 25 years, and for me, fab-

Importers Group, Inc., which operates Framing Fabrics. In

ric always broke up a design and gave it some interest

addition to selling fabric by the yard, Framing Fabrics also

without competing,” Yaffe says. “I always wanted to have

offers a custom mat and liner wrapping service. Custom-

matboards in our line at Peterboro that didn’t compete

ers can submit an order form online, including the size

with the art.”

needed, and receive a quote before ordering.

The company, which added 38 new fabrics to their

Frank’s Fabrics carries a wide array of fabrics and tex-

line last year, offers a wide variety of textures. Yaffe says

tiles for custom framing projects. More than 500 colors

silks and linens are among their top-selling specialized

are represented in the company’s 3 x 6 swatch books,

mats.

and retailers can also take advantage of custom mat and

“I think one of the best looks a framer can do that’s quick and easy is to use a fabric matboard, reverse the

liner wrapping services.

bevel, add a gold or silver fillet under it, and then cut a

SHOW AND SELL

sub mat,” Yaffe says. “You’ve got an outstanding look.”

A common concern many framers have is that their cus-

Faux linen and suede are among the best-sellers at

tomers won’t want to pay more for specialty mats. The

Specialty Matboard, according to Kevin Mitchell, director

right retailing techniques, such as showcasing the mat’s

of sales and marketing. Like Yaffe, Mitchell stresses that

added design value, can usually overcome this issue.

the true beauty of these kinds of matboards are their abil-

“If they pull it out and show it, they’re going to sell it

ity to enhance the art without becoming the focal point of

at least half the time,” says Yaffe. He says he often hears

the design. “There’s just enough pattern that you can see

retailers say, ‘My customers won’t buy it.’ In response,

without overpowering the art,” he says. “You just want to

Yaffe encourages them to show customers a special-

accent it. It’s added value.”

ty mat option at the design table alongside paper mat-

Specialty Matboard serves both the wholesale and retail markets, with about 75 products—called the Gallery

boards. “The next thing you know, [the retailer] is ordering from us,” Yaffe says.

Line—set aside for retailers. The company releases new patterns every six months, then solicits feedback from both customers and distributors before deciding whether to add the product to a line.

Many designers believe every frame design can benefit from a fabric component. Linens and silks have a rich appearance and archival quality, for example, and have maintained a high level of popularity over the years.

Whether you share those designers’ beliefs or not, fabric and other specialized mats can offer an upscale solution to just about any project.

In addition to ordering specialized matboards, another option for framers is to order fabric by the yard and wrap their matboard themselves in-store. Both methods have benefits: buying the matboard means having beautiful, specialty products that are ready to cut, while buying the fabric allows retailers the flexibility of custom wrap-

Crescent’s Royal Moorman line includes linen, suede, woven fabric with metallic touches, and more.

PFM February 2021 27

Framing Fabrics offers a wide range of over 400 fabrics, including linens, silks, suedes, cottons, and burlaps.

In-store sample displays and

Like the matboard companies,

framed example pieces will open

Framing Fabrics offers 4” corner

your customers’ eyes to a world of

samples of every fabric in their line,

design options they may not have

which can be ordered as sets or in-

been aware of previously. It’s also

dividual samples for your shop dis-

important to include a fabric or oth-

play. The company’s complete line

er specialized mat option during a

can also be viewed in their sample

consultation, when a customer can

book; all swatches are also available

see what their artwork would look

to view online. Similarly, in addition

like with that kind of enhancement.

to their own swatch books, Frank’s

“Lay out your options, then ask,

Fabrics also offers 4-ply and 8-ply

‘What if we do this?’ Mitchell says.

mat corner samples as well as cus-

“Then lay a corner or a mat that’s already pre-cut on top of their piece to show them that, hey, for a few dollars more, you’ve just increased the look and depth of the piece.”

Suppliers offer a range of sales and design tools for retailers to help with this process. Specialty Mat-

CONTENTS

board carries a specifier and will provide 4” bevel-cut corner samples to customers at no charge upon request. Peterboro Matboards also car-

AD INDEX

ries chip specifiers and corner sets; retail framers can order samples on their website. Crescent offers specifiers for all its product lines, corner samples, and live support functionality on its website.

28 PFM February 2021

Peterboro added 38 new fabrics to their line last year.

frame a bigger piece, you can make 8 x 10s, for example, with nice fabric mats, making your smaller art look great. And you’ve already paid for the board.”

With many more people working and learning from home starting in early 2020, interior designers have enjoyed a swell in business— and it seems the framing industry Linens and silks are among Peterboro’s best-sellers.

tom-wrapped liner corner sets.

Neuberg says retailers should sell the fabric to their customer first via corner sample, then only order what they need—half a yard, three-quarters of a yard, etc., as Framing Fabrics has no minimum order requirement. “You don’t need to invest in any inventory from us,” he says.

An advantage of investing in sheets of matboard, on the other hand, is that you can use the offcuts to add premium matting to additional pieces. “Generally, you can get a number of frames out of a single matboard,” says Yaffe. “After you

has caught the same wave. All the suppliers interviewed for this story, for instance, report increased website traffic and high sales volume

This faux suede mat from Specialty Matboard adds interest and depth to the piece.

through the back half of 2020 and

in Springfield, OR. Strouf, who uses

into this year. As their retail clients

specialized mats for framed sports

continue to do well, they continue to

memorabilia and more, appreciates

fill orders, noting a shift from over-

the variety of colors and textures on

the-phone orders to online orders

the market today, which offers virtu-

via email or their websites.

ally unlimited design options. A spe-

With

business

booming,

it’s

cialty board can also provide the per-

clear that the demand for special-

fect solution when a customer isn’t

ized mats is as strong as ever. It is

sold on a double mat, but the framer

up to retailers to showcase this pre-

wants to elevate the design, he says.

mium product to their customers,

“It’s fun when you find the right

which can set them apart from their

unique mat,” Strouf says. “It makes

competition.

or breaks the piece.”

“For the right piece, wow, do

Creating such unique designs

they do well,” said Don Strouf, own-

in your shop can help turn shoppers

er of Ducko’s Custom Framing 2.0

into loyal customers. Try it out! PFM

PFM February 2021 29

MASTERING MOUNTING

by Chris A. Paschke, CPF, GCF, CMG

Synthetic Materials: Part 1 How to safely mount synthetic papers like Tyvek, Yupo, and more.

M

odern synthetic materials have become popular with crafters, textile, and mixed media artists serving

both as substrate and art, and in turn are making their way into frame shops. Originally designed for short-term use in the sign and marketing industries, synthetic materials include

source with samples for weight comparison

various grades of plastics like polyvinyl chloride

and identification.

(PVC), polystyrene, polyethylene, polypropylene,

Tyvek is 100% polyethylene (spunbonded

and polyester/nylon, and are known as dura-

olefin) without the use of binders that may

bles, synthetics, or plastics, but are neither pa-

be sewn or glued, and is used for weather-

per nor fabric.

proofing, packaging, interleaving, drop cloths,

Popular synthetic papers may be more

and artwork. It is a synthetic that comes in

familiar when referenced by their manufac-

white and black which may be painted, print-

tured product names, including: Tyvek, Yupo,

ed, stitched, and used as backing for frames.

Pixiss, TerraSlate, Evolon, Lutradur, Zeelon,

It is lightweight, flexible, smooth, particu-

TerraSkin, and Mineral Paper, but these are

late-free, opaque, and resistant to water, rot,

just the tip of the synthetic and microfiber

mildew, chemicals, abrasion, and aging. There

iceberg.

are two types of Tyvek; smooth texture (Grade 10G) Tyvek paper, a stiff, non-directional sub-

Synthetic Paper

strate; and soft structure (Grade 14-M) Tyvek,

Synthetic papers do not absorb or react with

which has a waffle pattern and is low-lint,

other materials to create a new chemical

opaque, and may be sewn.

CONTENTS

reaction, rendering them stable and inert.

Yupo is a smooth, bright-white, water-

Samples of these materials are available for

proof polypropylene that is nonporous and

framers to test and familiarize themselves

has a neutral pH. This satin-coated material

with. Talas Synthetic Paper Sampler booklet

is used for signage and art and has become

for Evolon and Yupo is also a great reference

a unique and intriguing alternative to tradi-

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.

30 PFM February 2021

TerraSkin scores, cuts, glues, embosses, punches, hot-stamps, varnishes, and laminates well.

tional art paper due to its strength

without glazing. It was designed

and lifting properties. It has a silky

for print, packaging, and labels, and

sheen and holds ink well with love-

has been adopted by artists for its

ly, bright visual contrast, but since

unique qualities. Translucent Yupo

there is no saturation, waterbase

produces less vibrant colors because

mediums should be placed under

of its lack of opacity, which may be

glazing or fully sealed if displayed

subdued or lost when mounted to a darker substrate such as a wood panel.

Pixiss is a 100% polypropylene synthetic art paper for watercolor, alcohol ink, acrylic paint, debossing, monoprint, silkscreen, oil pastel, pencil, and graphite that is smooth, strong, and

has

a neutral pH.

Though comparable to Yupo, they Also known as Pellon, Lutradur is a spunbonded, 100% nonwoven polyester with coarser fibers than Evolon and Zeelon that absorbs both paint and ink for garments and mixed media art.

feel different to the touch and react uniquely to some mediums such as alcohol ink.

TerraSlate is a polyester synthetic designed for use on laser or digital printer/copiers for materials subject to frequent handling or extreme conditions—it is sometimes referred to as “waterproof laser printer paper.” It is 100% tree-free and recyclable, tear-resistant, and waterproof; withstands rain, heat, and temperature variations with-

Evolon AP is archival, and due to its lightweight, stable properties, it is favored for book conservation, art restoration, or used as backing for fragile papers. This sample is 98gsm, lightweight.

Evolon CR has been developed for use in conservation and is well suited for use in preservation, wrapping, cleaning, and storage.

standing up to 450°F; and deters grease, solvents, and chemicals.

TerraSlate has recently joined the

Tyvek may be sewn or glued and is used for weatherproofing, packaging, interleaving, drop cloths, and artwork.

PFM February 2021 31

ranks of other synthetic papers fa-

drapes well, and is more like fabric.

vored for use with alcohol inks like

Lutradur is stiffer, semi-transpar-

Yupo.

ent, has little or no drape, and is more like interfacing. It is acid-free,

Fiber Synthetic Paper

tear-resistant, and may be sewn,

Depending on the product, this

painted, pleated, dyed, die-cut, fold-

paper is placed in the non-woven

ed, woven, and run through inkjet

or unwoven fabrics category, but

printer if pre-treated with a thin

is accepted as a synthetic paper.

It is characterized by its superior strength, softness, and flexibility, but is not as smooth as Yupo and is less suitable for printing. It is more absorbent, wicking moisture away from the surface immediately after application, resulting in spreading and bleed. Unlike paper, spunbonded materials may be washed, dyed, painted, stitched, burned, fused, melted, and cut to create innovative artistic effects.

Evolon is synthetic microfilament fabric created with 70% polyester and 30% polyamide (nylon), making it soft and pliable with a suede-like texture. The polyester/ nylon paper-like fabric is tear-proof, lint-free, and doesn’t stretch or expand when wet. It is used for printing and painting. Evolon is available in three classes: Evolon/Evolon Soft, Evolon AP, and Evolon CR. Evolon AP is archival, acid-free, and wicks away and equalizes moisture while

Yupo is used for signage and art. This shows alcohol ink on translucent.

being mold-resistant. It is available in 168gsm (lightweight watercolor paper weight) and 98gsm (sketch paper weight). Due to its lightweight, stable properties, it is favored for book conservation, art restoration, or used as backing for fragile papers. It may be cut, sewn, glued, embroidered, dyed, painted, and distressed with soldering iron or heat gun, having a full melt point of 446°F. But since polyester is heat-sensitive, high temperatures may cause it to melt, shrink, or deform.

Evolon CR is a non-woven microfilament textile of polyamide and polyester fibers. It has been developed for use in conservation and is well suited for use in preservation,

coat of matte gel medium. Available in 30gm light, 70gm medium, 100gm heavyweight, and 130gm extra heavy, it is strong, does not fray or unravel, and has been used as reinforcement in the creation of garments and framing.

Zeelon is made of white nylon fibers and is available in light, medium and heavy weights. Lutradur light has a slight stiffness to it, while Zeelon light is like a strong cobweb. The heavyweight is soft but crisp and still has the transparency that Lutradur is known for. Zeelon 13oz was developed as an economical, medium-weight, inkjet banner material for solvent, eco-solvent, UV, and latex printing. It has superior ink adhesion, is latex-free, tearand fade-resistant. It may be glued, sprayed, painted, dyed, sewn, em-

wrapping, cleaning, and storage. Its dimensional stability, water permeability, wicking, and fast-drying capabilities recommend it as a wet or dry support for textiles and paper. It can also be used as an intermediate

CONTENTS

layer on suction tables; is lint-free, absorbent, and fray-resistant; and with no binders or fillers, it can be washed at high temperatures, making it reusable.

AD INDEX

Lutradur (also known as Pellon) is a spunbonded, 100% non-woven polyester with coarser fibers than - Evolon (top) is synthetic microfilament fabric created with 70% polyester and 30% polyamide (nylon). Pixiss (bottom) is nonabsorbent.

32 PFM February 2021

Evolon and Zeelon that absorbs both paint and ink for garments and mixed media art. Evolon is softer,

Yupo (top) and Pixiss (bottom). Though comparable, they feel different to the touch and react uniquely to alcohol ink.

The same three colors—lettuce, indigo, and eggplant—were identically applied to both samples.

broidered, distressed, and printed,

allows for crisp lines for use with

making it favored by artists.

both wet and dry mediums including ink, paint, pencil, pastel, pen, and

Stone Paper

marker. Tear- and water-resistant, it

In the late 1990s, new papermaking

does not bleed and may be inkjet

technologies called rock paper (also

printed.

known as limestone paper and stone paper) were developed by Lung Meng

Mounting Demands

Technology Co. in Taiwan. Over 40

Original textiles are usually mounted

countries now have patents on this

using preservation methods such as

type of paper and products. Stone pa-

sewing, lacing, Velcro attachments,

Talas Synthetic Paper Sampler for Evolon and Yupo, offering weights for comparison and identification.

per is a bio-plastic mineral paper of

or other means of non-invasive

or Sintra after creation, which gen-

strong and durable paper-like mate-

mounting. But today’s synthetic pa-

erally requires a wide-format, high-

rial consisting of three components:

pers and stone papers may be both

tack, pressure-sensitive PSA and

calcium

high-density

the substrate and part of the art.

roller machine.

polyethylene (HDPE) non-toxic resin,

Since Yupo was originated for large

Evolon and Lutradur are soft,

and a proprietary coating developed

signage, it is available in an array

strong, flexible, fabric-like synthetics

by each individual manufacturer to

of weights and rolls for large-scale

ideal for textile art. Stay tuned for

enhance printing quality and perfor-

printing, which artists love. Yupo

the next installment of this series,

mance for specific applications.

artists often expect their completed

which will cover more about mount-

TerraSkin is a tree-free, non-pa-

originals to be smoothly mounted to

ing, teat tolerances, and framing of

per polyethylene resin coated prod-

a rigid backing like a cradled box or

fiber synthetic papers. PFM

uct made of >75% calcium carbon-

hardboard and topped with Dibond

carbonate,

ate and <25% HDPE. It is an opaque, creamy white, pliable, and supple sheet that is susceptible to handling creases. Degradation may occur in the presence of heat and/or UV radiation. It is waterproof, tear-resistant, grease-resistant, mold-resistant, and acid-free, and is used for packaging, printing, and art. It is made from natural minerals and is totally recyclable. It uses 20-30% less ink than paper with no pulp fibers that absorb ink and is suitable for regular ink, vegetable/soy-based ink, and alcohol ink. It scores, cuts, glues, embosses, punches, hot-stamps, varnishes and laminates well.

Mineral

Paper

by

Yasutomo

is similarly water-resistant with a smooth finish like Yupo, but with 80% calcium carbonate and 20% HDPE, is more comparable to TerraSkin for its workability, tooth, and absorption.

Its bright-white, vellum-like surface PFM February 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 February 2021

CROSSWORD CHALLENGE Across 1 It creates breathing space between image and frame, 2 words 6 ___strate 8 Color qualities that relate to whether colors are warm or cold or light or dark 9 Brand name of a rigid sheeting coating 10 Leave 12 Survives for a long time 14 Varnish ingredient 16 Connect 17 Notch or series of notches cut from the inner edge of a mat 20 French for gold 21 Compact 22 Material used in making absorbent cloths used for cleaning scratch free surfaces 25 Continent south of the US, abbr.

27 Big Apple sch., abbr.

28 Cutting tool 30 Colored 33 "Measure twice, ___ once" 34 Cleaning cloths for glass surfaces 35 Golden brown color and a nut of this color

SEE PAGE 37 FOR THE SOLUTION

Down 1 Picture surrounds usually made from aluminum, 2 words 2 Colors created when solid colors are mixed with white 3 Approves 4 Carpentry grooves 5 Inner lip of frame in which the picture framing materials, including the glass, mats, artwork and backing are held 6 Similar to a regular mat, ____ mat 7 Two-fold 11 Make an indent or line in a surface 13 Encircles 15 Frame molding used within the outer molding/picture frame 18 Plastic laminate used to coat picture frames 19 One of a kind 20 Spanish for bear 21 ___ edge: feathery, uneven edge of some handmade or purposefully cut papers 23 Size of type 24 Speculate 26 Yellowfin tuna 29 Entertainment 31 Increase 32 Wide shoe size letters

PFM February 2021 35

Product Showcase

Decor Moulding & Supply

Delta Picture Frame Co.

Introducing Tempo, a beautiful new line of 14 modern polystyrene styles in two widths (1 5/8” and 2 11/16”) and two rabbet heights of 5/8” and 1”.

Tempo has a double frame profile, which creates a contemporary visual feature. In seven attractive finishes of matte black, matte white, antique silver, antique gold, pewter, coffee bean, and stainless steel.

Order corner kit #CS-TEM1 to get the smaller width styles and kit #CS-TEM2 for the larger widths.

Just released, these brushed finishes have a cube profile which measures 1 ½” wide, 1 1/8” tall with a 13/16” rabbet.

These items are available now; please call the office for samples and pricing.

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

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

Fox Moulding

Framerica

The new Greek Key pattern is a 3/4'' wide moulding with a 7/16'' rabbet. Fox Moulding has taken an old-world design and given it a clean, modern flair. Made in Italy.

Citrine Yellow is the newest addition to Framerica’s Solids Collection. “Citrine will brighten any wall,” notes VP Josh Eichner.

“Our designers dialed in the shade to popular seasonal artwork.” Citrine Yellow is a Framerica exclusive.

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

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

Michelangelo Moulding

Peterboro Matboards

Michelangelo Moulding has added a new series to their growing floater collection: the 362 family. This set comes in four handcrafted finishes; creamy white, muted black, light subtle gray, and a smoky charcoal gray. These elegant neutrals pair perfectly with many products in today’s current designs.

From natural and rustic to chic and contemporary, Peterboro Designer Fabrics offer both sophistication and elegance to your framing projects. Made with a conservation core and conservation backing, our selection of linens, silks, crushed silk, naturals, and weaves will add a unique design element to any work of art.

Request samples and specifiers online today.

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

Call: 866-292-3031 www.peterboromatboards.com

Sepp Leaf

Superior Moulding

Liberon’s Wax Filler Sticks. Available in 16 wood tones, including white, ivory, and ebony.

Ideal for filling larger frame repairs and corner gaps. This harder wax can be shaped for missing elements and finished with Liberon Gilt Cream or Varnish. Simply work a small piece with fingers to warm up and soften the wax, then apply to the damaged wooden area. Imported from England by Sepp Leaf Products.

Introducing Alpine, two bold, slanted profiles in a pair of versatile finishes. You will find uses every day for these clean, simple-yet-elegant wedge profiles on modern art and contemporary graphics. Request a color catalog online or call to get samples and pricing.

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

CONTENTS

www.talasonline.com

AD INDEX

Tru Vue

Universal Arquati

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

D’Orsay by Arquati 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 UA by phone (below) or fax (661-362-6263).

Universal’s entire collection can be viewed online.

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

36 PFM February 2021

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

(Continued from page 38)

thought about using hinging tape as well, but didn’t want

40'', and we took advantage of just about every inch of it!

to risk it if the cards ever needed to be accessed or removed.

We were really challenged on this project, and in the

After some additional thought, one of our talented framers,

end, our customer was absolutely thrilled with the finished

Matt, came up with a great solution. He cut the openings

product. He received both the protection he wanted for

(44 in total) in a 2-ply mat. The openings were the exact

his cards and a visually beautiful frame job. We are very

same size as the outside dimension of the cards. He then

proud of this project, and we hope it inspires other people

glued the 2-ply mat down to acid-free foamcore and placed

to frame their collections in a similar way. PFM

the cards within the cutouts. After that, he placed the gray suede mat over the top, holding the cards in securely. It worked perfectly and gave Tim the look he was going for while also protecting the cards.

Matt is also a “wizard” on our Wizard CMC. He cut out the Game of Thrones logo into the top of the suede mat, and we used a metallic silver and gold mat (Crescent 9724) as the undermat to make the logo pop and because the col-

Crossword Challenge Puzzle Solution

ors lent themselves to the overall feel of the show. For the frame, we selected Smoke (74-330) by Framerica, as well as Tru Vue’s Conservation Clear glass to protect the cards from fading by direct or indirect light. We then added the house sigil patches at the bottom to complete the look and achieve Tim’s vision. The piece ended up measuring out to be 32'' X

PFM February 2021 37

DESIGN OF THE MONTH

By Jarrod Perrott

A Design Worthy of the Iron Throne

B

eing in the heart of downtown Denver, we typically have no shortage of

For this project, 44 openings were cut to showcase a client’s “Game of Thrones” trading cards signed by the cast of the hit show. The mat was glued to foamcore, the cards were placed in the openings, and a gray suede mat was placed over the top to hold the cards securely.

cool or interesting projects. As a great

sports town and a hub for many talented artists, we always seem to be framing high-end and/ or autographed memorabilia. Last May, a man by the name of Tim reached out to us in search of a local framer who could help him display his “Game of Thrones” trading card collection, which was signed by the entire cast, the producers, and the author of the novels on which the show is based, George R. R. Martin.

At that time, Denver was under a mandatory stay-at-home order due to the Covid-19 pandemic. I corresponded with Tim via email for a couple of weeks while we waited for the OK to reopen. He was also waiting on some additional items to arrive that he wanted to include in the frame. Tim provided a photograph of a design on a similar project he had found online and wanted us to use it as a template for his project.

The template included a “Game of Thrones” logo at the top and a signed print by the cast in the center, which was surrounded by small images

Rightfully so, Tim’s main concern was the protection and preservation of the signed cards.

We had multiple discussions about how to mount the cards within the matting; not only for their preservation, but also to make it aesthetically pleasing. Our first suggestion was to use corner pockets. Though not the most ele-

CONTENTS

of cast members with an engraved name plate

gant look, they would safely and securely hold

and the house sigils at the bottom. Our project

the cards in place. Tim wasn’t a fan of how they

would inevitably mirror this design, but on a

looked and didn’t want them peeking out from

much larger scale!

behind the matting. I didn’t blame him. We

AD INDEX

Jarrod Perrott is the owner of 5280 Custom Framing in Denver, CO. He has been involved

in the framing industry since 1992. Jarrod’s shop has won numerous awards for frame designs and customer service. He has traveled around the United States presenting on the importance of marketing for small businesses and enjoys helping other small business owners succeed.

38 PFM February 2021

(Continued on page 37)

Index Advertiser

Page

Advertiser

Page

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

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

800-937-2255

866-248-0100

www.activesalesco.com

Alpina Manufacturing, LLC ........................................................35 800-915-2828

www.fastchangeframes.com /www.bannergrip.com

Arlo Spacemaker Products, LLC..................................................33 800-332-2756

www.reevesextruded.com

Artist Supplies & Products..........................................................34 262-797-8101

www.gilderspaste.com

ASF - A Street Frames ...............................................................34 800-805-7655

www.astreetframes.com

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

House of Troy ...........................................................................37 800-428-5367

www.houseoftroy.com

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

www.richesonart.com

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

www.joinrite.com

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

www.michelangelomoulding.com

www.cmimoulding.com

Connecticut Saw & Tool .............................................................34 203-318-4302

www.hoffmann-usa.com

www.ctsaw.com

Picture Framing Magazine.........................................................20 800-969-7176

www.pictureframingmagazine.com

Crescent Cardboard Co. .............................................................19

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

800-323-1055

800-297-1566

www.crescentcardboard.com

Decor Moulding & Supply ..................................13, 15, 25, 35, 37 800-937-1055

www.decormoulding.com

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

www.fixons.com

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

www.fosterplaningmill.com

Framerica............................................ 2, 3, 4, 10, 15, 35, 37, 40 800-372-6422

www.framerica.com

FrameTek ...........................................................................31, 35 800-227-9934

Specialty Matboard ...................................................................29 800-280-6287

www.specialtymatboard.com

Superior Moulding Corp. ...........................................................34 800-922-7914

www.supermoulding.com/www.zelanto.com

The Fletcher Business Group ......................................................17 800-843-3826

www.fletcher-terry.com

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

www.tru-vue.com

www.frametek.com

Frank’s Fabrics for Framers .................................................28, 35 888-332-2749

www.rhondafeinman.com

www.franksfabrics.com

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

www.universalarquati.com

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

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

800-242-7318

888-855-3335

www.gluefast.com

www.wizardint.com PFM February 2021 39