Picture Framing Magazine - February 2022

Designing for Weddings TRENDS IN TEXTURED MATBOARD MASTERING FABRIC-WRAPPED MATS

Contents

PFM is a member of:

Volu ume 33,, Number 2

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

On the Cover Showcasing creative framing ideas that match current wedding trends can catch the eye of couples and wedding professionals alike and earn your framing business well-deserved attention. For the full story, see page 24.

Photo credit: Susan Elizabeth Photography

Features 18 Why Texture Sells 20 Fabric Wrapping: Mastering the Basics 24 Design Ideas for Wedding Framing

Columns

28

12 Mastering Mounting 28 Mat Doctors 38 Design of the Month

Departments 8 10 32 34 35 36 37

Editor’s Note Industry News Product Showcase Distributor Spotlight Framers' Quiz Index of Advertisers Quiz Answers

12

24

20

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 © 2022 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

Celebrating 20 years of fine frame making

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

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

pfmpubco@pfm-group.com

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PFM PUBLISHING, LLC PRE S I D E N T

6 PFM February 2022

Bruce Gherman

FROM THE EDITOR’S DESK

I

This month, it’s all about matting information and inspiration.

CONTENTS AD INDEX 8 PFM February 2022

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 innovations available to framing retailers and the ways framers are using them to boost their business.

The computerized mat cutters on today’s market are more sophisticated, precise, and user-friendly than ever.

In his latest column (p. 28), Brian Wolf takes advantage of the cutting and drawing programs on his CMC, creating a few design options for double openings that appeal to customers and are easy to replicate, saving precious labor time.

The matboard itself is, of course, a crucial design decision. Our feature on “Why Texture Sells” (p. 18) explores the long-lasting appeal of fabric, metallic, and other specialized, textured matboards. A few of the industry’s leading suppliers weighed in how you can use these products as a profitable element of your framing designs, and shared insight on which of their products are selling the best rignt now.

In that same vein, fabric-wrapped mats help framers create designs that keep customers coming back. Learn how to wrap your own matboards in a comprehensive, illustrated step-by-step

article from David Lantrip, MCPF, GCF (p. 20).

It may not be peak wedding season yet, but it’s never too early to start thinking about how to appeal to couples and wedding professionals in your area. In her latest article (p. 24), Meg Glasgow reveals the trends in today’s wedding decor and showcases some example designs that any framer can incorporate into their business— many of which involve creative mats and matting.

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.

And on an unrelated note: you may have noticed last month that Framer’s Quizzes are back, taking the place of the Crossword Challenge.

We’re curious to know what you think. All arrows can be slung at me, editor@pfm-group.com—but I hope the change was a welcome one!

Kimberly Biesiada Editor

INDUSTRY NEWS Wizard Launches New Platform for Custom Online Framing

Tru Vue Featured on Lifetime’s ‘Designing Spaces’

Wizard recently announced the launch of Horizon, a new e-commerce

ing on Lifetime TV, featured Tru Vue in one of its recent episodes.

“Designing Spaces,” an award-winning home improvement show air-

platform for custom picture framing. Horizon was designed to enable

The episode, which originally aired on Jan. 7, had a segment high-

independent framers to extend their business to the web and com-

lighting the many ways in which consumers can preserve and protect

pete online by offering truly custom framing solutions through their own

photographs, heritage items, sports memorabilia, and other memories.

uniquely-branded e-commerce storefront.

During the segment, the design process, as highlighted by FrameWorks

According to Don Everard, Wizard CEO, “Horizon levels the playing field, making it possible for independent frame shops to ef-

Miami, took a consultative approach to ensure that the consumer’s vision came to life.

fectively compete online.” Features and benefits of Horizon include:

“We love the challenge of guiding a consumer through their options

powerful, yet easy-to-use design tools; unlimited customization options;

and ultimately helping create something that they can be proud of,” says

enhanced customer satisfaction; improved efficiency; higher margins;

Cris Sweeny, co-owner of FrameWorks Miami.

expanded reach; increased brand awareness; and seamless integration.

A final step in the design process is glazing selection. The segment

With a Horizon-powered e-commerce store, frame shop owners

featured both Tru Vue Museum Glass and Optium Acrylic projects and

can now provide consumers

Visit info.horizonstore.live for a demo

shared details about what to consider when choosing glazing.

with the ability to design their

“While there are trade-offs to the options, this segment provides

own bespoke masterpieces

more awareness for the consumer audience,” says Dot Heckle, director

online with virtually unlimited

of marketing for Tru Vue. “It was important to highlight why glass selec-

creative possibilities using

tion is critical so that consumers understand the value offered in a cus-

Horizon’s powerful design

tom picture framing experience.”

tools. While other online

Airing nationally twice, the segment will also air an additional 300

framing solutions are limited

times in syndication and be streamed online to reach millions of viewers.

to a set of predetermined options and sizes, Horizon enables framers to

To learn more about this episode, visit designingspaces.tv.

offer consumers a truly custom solution.

“Horizon opens up a whole new world of possibilities enabling con-

Three Framers Earn CPF Designation

sumers to create and order their very own custom frame design—com-

Jean Stryker of BlackBird Frame & Art in Asheville, NC, Zoe Foster of

pletely online—that perfectly suits their individual tastes, home decor,

Fastframe and The Westlake Gallery in Austin, TX, and Carla Hein-

and budget. There’s nothing else quite like it,” said Stefan McIntosh, mar-

rich-Trautwein of A Frame of Mind in Austin, TX, recently earned the

keting director at Wizard.

Certified Picture Framer (CPF) designation.

The Horizon e-commerce platform seamlessly integrates with

The PPFA certifications are a tremendous marketing and learning

Wizard’s FrameShop software and computerized mat cutters (CMCs)

tool and show customers a framer has achieved a standard of excel-

with its unique ability to generate a compatible ready-to-cut design file

lence that can be trusted throughout the industry.

for each custom design order. Store owners simply download the pro-

The objectives of the certification program are to:

vided Wizard cut file, load it into the software that powers their Wizard

• Standardize the principles and practices of the profession

mat cutter, and start cutting. A corresponding high-resolution composite

• Encourage self-assessment by offering guidelines for achieve-

digital print is also automatically generated and provided with each order.

ment

It simply needs to be trimmed to the final size using the included guides

• Award recognition to those who have met the established criteria

and then assembled, along with the completed mat, into the frame.

• Improve education within the industry by encouraging participation

CONTENTS

The Horizon e-commerce platform easily plugs right into any existing website or it can serve as a standalone custom-branded web

in continuing education programs For more information, email certification@ppfa.com.

presence. According to McIntosh, “Horizon was tailor-made with for-

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ward-thinking custom picture framers in mind. It was specifically de-

Ferrara Marks 15 Years at Framerica

signed for business owners who are ready to expand their reach beyond

Corinne Ferrara, Framerica’s director of marketing,

the walls of their brick-and-mortar shop to acquire new customers—

recently celebrated her 15-year anniversary with

particularly from younger generations who prefer to shop online.”

the company. “Corrine is a star,” notes VP Josh

Horizon is available now through Wizard and offered as an ongoing

Eichner. “Extremely talented, hardworking, and

subscription service with a one-time setup fee. For more information and

appreciated by customers. She, and the terrific

to see a demo, visit info.horizonstore.live.

team that she has assembled, are a huge part of Framerica’s success.” PFM

10 PFM February 2022

Corinne Ferrara

MASTERING MOUNTING

by Chris A. Paschke, CPF, GCF, CMG

Release Materials Learn the differences to help you select the right paper, film, or board.

I

’ve written and lectured about mounting basics since 1986, and silicone-coated release materials have always been an inte-

gral part of the mounting process. Yet, over 30 years later, there was still confusion expressed in my classes at the 2020 National Conference about when and where release materials should be used. They were designed to be used

to the framing industry; the next time you use

to envelop items being mounted to protect the

a bandage, notice the plastic tabs you remove

art—and the press—from adhesive transfer,

from the adhesive.

contamination, and each other. But not using

Release materials may be in the form of

release materials correctly, or using them past

plastics, vinyls, or Teflon, which tends to pre-

their prime, may cause just as many problems

vent adhesive absorption and allows them to

as not using release materials at all.

be peeled. But they also may be variable weights of paper or board with a coating of silicone ap-

Silicones

plied to the surface. These are dominantly what

First, it should be clarified that the silicone coatings used to prevent unwanted adhesion on release liners is not the same as the silicone adhesive that comes in a tube, and there are many types of silicone-coated papers and films, all with varying degrees of nonstick capability.

Some are used as removable liners to protect pressure-sensitive or heat-activated adhesives

CONTENTS

until ready to use. Others might be applied to

we deal with in the framing industry. Release papers used in conjunction with the heat of a dry mount press have a different degree of silicone than those used only for storage protection only. Compare the difference between the release sheets from back of a laminating film to a commercial two-sided release paper for use in a press to see the difference.

the back of heat-set laminating vinyl to allow

Coated Papers and Film

for rolling and storage, also until ready to use.

Release materials are designed to keep adhe-

In any event, release materials are not limited

sive from contaminating mounting surfaces

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Chris A. Paschke, owner of Designs Ink in Tehachapi, CA, is a professional picture framer with over four decades of experience. She is an artist, a National Conference educator, has authored numerous magazine series, including The Essence of Design, Design Concepts, and Digital Directions for PFM, and has four self-published books on mounting. She currently writes the Mastering Mounting column for PFM and is a contributing writer to The Artist’s Magazine, The Pastel Journal, and Watercolor Artist Magazine. She was honored with the PPFA Award of Distinction for Leadership 2008, the Vivian Kistler Recognition for Innovation Award 2010, and the PMA Distinguished Service Award 2012.

12 PFM February 2022

(L-R) Single-sided release paper, lightweight single-sided gridded release liner, Mylar film, double-sided release paper, commercial release board.

orange peel on some commercially created boards because of the substrate. This texture may be transferred to the surface of a softer foam-center board or photo emulsion.

The solution would be to create your own release boards by mounting single-sided release paper to a smoother base boards than the gray board commercially used.

In-House Boards In order to achieve a smoother-surfaced release board, try

Wrap single-sided release paper around sponge pad in mechanical press, backed by 1/4” hardboard in metal bottom of press.

making them in-house. Select the substrate, adhesive, and

and residue from coming into contact with artwork. They

board surface for smoothness by running a light fingertip

protect both the platen in the top of the press and the pad

touch across the board surface to detect unevenness. The

or diaphragm in the bottom of the press.

acidity or buffering factors do not much matter, since dry

single-sided release liner to make your board. Check the

Release materials come in a variety of widths and sizes

mounting is considered an invasive mounting method and

and are available from many different manufacturers. Pa-

the silicone sheet is a barrier. If there is any visible surface

pers are available both as single-sided and double-sided in

texture in the selected board, the bonding of tissue adhe-

rolls up to 54” wide. Double-sided release paper is a slick,

sive and heavyweight release material will not necessarily

lightweight, off-white paper with a silicone coating on ei-

make it any smoother.

ther side. It is slick, rather limp, and more prone to folding over when working with a 40” x 60” format.

Use a permanent, porous, tissue adhesive to bond the release liner to the board. A permanent tissue will bond

Single-sided release paper has a heavier base paper

in the press as it reaches temperature and will stay bond-

with a single-side silicone coat and a pale blue appearance

ed with each future heating. A single-sided paper must be

to help distinguish it from the uncoated paper side. Bien-

used because double-sided silicone coated paper will not

fang/D&K single-sided paper is a heavyweight base paper

stick to anything.

with a blue tint added to the silicone treated side, allowing for easier identification during mounting. The uncoated

Using Release Materials

side is raw paper and will bond itself to exposed adhesive

The lower price and flexibility of using either side of dou-

when placed incorrectly against a mount project. This is the

ble-sided paper makes it a big seller. The base paper is light-

paper used when creating in-house release boards. Drytac

weight, making it a little tougher to handle when dealing

single-sided release paper is a lightweight liner that has a

with large vacuum press mountings, and the thinner paper

grid pattern on the uncoated side, which is the same grid-

is prone to creasing, folding, and damage. Single-sided re-

ded release liner found on its vinyl laminate products.

lease paper, being of heavier base paper, is more rigid and

Clear release paper isn’t a paper at all, but a Mylar- or

non-slippery, making it perfect for wrapping around the

Teflon-coated sheet or film, originally designed to be used in

sponge pad of a mechanical press. Wrapping the sponge

conjunction with glass-topped vacuum presses so mountings could be better monitored.

CONTENTS

Release Boards Release boards are single-sided release paper bonded to a 4-ply equivalent substrate. Release boards are commer-

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cially available, or you can make them yourself using a smoother base substrate and a permanent, porous adhesive. A removable adhesive would reactivate each time it was placed in a press, and delamination would occur each time it was introduced to the heat mounting process.

Close examination of a board will show there is natural 14 PFM February 2022

In-house release board (L); new D&K Release Board (C); slightly yellow, retired commercial release board (R). The orange peel is fairly visible on the center sample.

above the 1/4” hardboard support helps protect it from adhesive residue during mounting. Once residue is embedded onto the sponge pad, it can transfer both adhesive and undesirable textures to thinner successive mounts. Wrapping the pad with single-sided release paper will not easily pull out during use as the double-sided does.

Why Boards?

Release boards are more of a material of choice over a mandatory product. There is only one time when use of a release board is mandatory in mounting, and that is when mounting an oversized project in multiple bites in a mechanical press. The board helps dissipate the pressure at the bite point and helps prevent indentations in softer foamboards.

The only reason a board is used in a vacuum press is for ease of operation. It is a common misconception that use of a release board will cut down on the use of release materials, or that no damage will occur to the release materials when using a board. Scratches and creases happen in boards the same as they do in paper, just not as frequently.

Boards are used by many framers for the convenience of lifting the board during placement of a project into the press. It tips up out of the way with one hand while the other inserts the project between it, with a sheet of release paper on the bottom. Never use a release board on the bottom of a mechanical or vacuum press. The lower sponge pad or rubber diaphragm must remain unrestricted so it can compress around the substrate and provide even pressure up against the heated platen or glass.

Release boards don’t easily indent, wrinkle, or fold over, but I need to warn against using them both top and bottom in either a mechanical or vacuum system. In a mechanical press, the project needs to nest down into the sponge pad to ensure a constant, even pressure against the platen. Likewise, in a vacuum press, the bladder or diaphragm needs to be allowed to contour up around the substrate in order to adjust its pressure against the platen.

CONTENTS

If a board is used both top and bottom, excess pressure can occur at the outer edges as the sponge or diaphragm attempts to conform to the shape of the desired inner project. The release board can then possibly create uneven

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mounting pressure in the project center.

Lifespan Indentations, or wrinkles, are created in bottom release papers and films worse than the top sheets when mounting substrates are properly pushed down into a sponge pad of a 16 PFM February 2022

Release boards are required for multiple bite mounting in mechanical press and should stick out a few inches each of three sides.

Image shows a gridded disposable release liner that comes with all MountCor boards. Both may be used when doing multiple bites, but only the board is required. mechanical press, or the bladder sucks up around the substrate in a vacuum press. That is the correct and natural result of pressure during the mounting process.

The problem with wrinkles arises when an attempt is made to push release materials beyond the point of their reasonable limit, which is generally suggested around 50 working mounting hours. That holds true for release paper wrapped around sponge pad or release boards. One alternative use of release paper is using a release envelope close to the size of the desired end product. In this way, the possibility of abusing a 24” x 36” envelope by imbedding smaller 8” x 10” impressions into the center of it will be lessened. Using properly sized envelopes could also avoid the transference of the same 8” x 10” indentations into the foamboard substrate from a previous 24” x 36” mount.

Similarly, you need to keep a lookout for any lines, wrinkles, or blemishes anywhere within your mounting package. Check newly created or manufactured release boards for character flaws, dents, or scratches prior to initial use. Pay attention to individual textures or the degree of smoothness with different release materials and manufacturers—remember orange peel. Also watch for transferred lines of adhesive remaining on the board or paper from previous mountings. Once adhesives have cooled, they can easily be dusted away by using a soft microfiber rag for ensuring a clean-release paper surface.

Final Thoughts Dry mounting shall always be a part of a full-service framer’s repertoire, and perhaps pressure-sensitive alternatives with a roller laminator. Release papers will be used with both of these processes, and knowing the differences will better help you select the right paper, film, or board for your needs. PFM

Crescent’s Cream Jute, Natural Brown, Barnwood Jute & Black Jute

Framing Fabrics’ Contessa Natural

Peterboro’s Heritage Weave Collection

WHY TEXTURE SELLS

By Kimberly Biesiada

T

he kinds of art people want framed—and the kinds

that texture, and even color, always has an emotionally posi-

of framing they want paired with that art—have

tive effect on people. It is universal.”

changed many times over throughout modern his-

After more than 30 years spent working closely with his

tory. (And you don’t even have to go that far back to spot some

custom framer clients, Neuberg said that linen is an “abso-

trends of yore; remember the mauve- and aqua-toned frames

lute top choice for any framer.” One of his favorite fabrics, the

surrounding Kinkade pieces in the ‘80s, or the elaborately

linens sold by Framing Fabrics are sourced primarily from Eu-

framed French posters of the ‘90s?) Art and design trends are

rope. Belgian linen, for instance, is sought for its durability

constantly evolving, which in turn affect the framing designs

and unique qualities that improve its appearance in a frame

and materials that become best-sellers.

package over time.

The nature of trends is that they come and go, but there

“When speaking to customers around the United States

are some elements of framing that have enjoyed long-last-

and the world, we always refer to Belgian linen as the Cham-

ing appeal. One of those is specialized matboard. Specialized

pagne of fabrics,” Neuberg said.

matboards can add texture, elegance, and warmth to a wide

Jack Dempsey, creative director at Crescent, said mixing

array of designs. There are more options than ever, with thou-

and matching multiple mat colors and textures can be a per-

sands of colors, textures, and finishes available in today’s

fect way to enhance a design. “When it comes to matboard

market from the industry’s leading suppliers.

with a given texture, there’s no trick or formula to getting it

CONTENTS

As demand for custom framing remains strong, consider

right,” Dempsey said. “Just keep your eyes open to what you

showing more of these special, textured boards during design

love and your mind open to considering out-of-the-box ideas.

consultations; you may be surprised how much customers

From rough jutes to smooth copper, textured matboards open

are willing to spend when you marry their art or treasured ob-

completely new doors of expression for the works of art you

ject with the perfect mat, moulding, and other design details.

are framing.”

Currently, the Crescent Select Jute Matboard Collection

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The ‘Universal’ Appeal of Texture

is enjoying popularity among retailers. Jute is a natural fiber

Common types of specialty mats include linen, silk, metallics,

with a rustic texture that includes some variance in thick-

suede, and other special textures. Sometimes, a mat is chosen

ness, offering a ton of texture for framers looking to upgrade

to highlight a similar texture found within the artwork; other

the designs they sell to customers.

types of surfaces, like foil-covered mats, can enhance special effects in a piece, adding flash in a way that is still stylish.

Tying it All Together

“Without fail, using a fabric mat results in increased per-

No matter what type of matboard you use, the predominant

ceived value and a happier customer,” said Larry Neuberg,

goal is to bring out eye-catching colors and features of the

president of Framing Fabrics. “The reason I have concluded is

artwork without overpowering it.

18 PFM February 2022

special texture. But as all framers know, when all the design elements work harmoniously together, the results are magic.

“Some may feel the patterns can be ‘busy,’ which is a valid point—it doesn’t suit every frame project,” said Kevin Mitchell, director of sales and marketing at Specialty Matboard. “But when utilized with the right combination of image and frame, it can change the whole look of the finished piece. The additional layer of the textured mat works to complement both the frame and the image.”

Some of Specialty Matboard’s best-sellers include its

Specialty Matboard’s Botticelli

faux suede and linen boards. Like Neuberg, Mitchell emphasized how much these products can lead to an increase in a customer’s perceived value of the finished piece. “When working with a client, show them both options—one without a textured mat and one with the texture,” Mitchell said. “It’s

Alan Yaffe, president of Peterboro Matboards, said the company’s product line is structured around the idea of offering matboards that work with the art, not against it. “Sometimes a single color around a piece of art is too stark,” Yaffe said. “In that case, texture can act to gently break the color expanse surrounding the art, being careful not to be distracting. Texture can also be an extension of what is being framed; some examples are linen around a winter scene, making a soft transition from snow to frame, or even a blue suede on a seascape, transitioning from ocean to frame.”

Yaffe said his particular favorite is “a soft, off-white, silk matting around a simple line drawing, accented with a fillet to match the frame. The finished look is elegant and does not compete with the drawing.”

Not every design will lend itself to a matboard with a

amazing how a textured mat can make the print image ‘come alive’ once it’s applied.”

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 wrapping. Suppliers like Framing Fabrics and Frank’s Fabrics for Framers offer hundreds of fabrics to choose from, from silks and cottons to linens and synthetic fabrics. (For a how-to guide on wrapping your own matboard, see page 20.)

“The possibilities of adding texture to your framing are as endless as the types of art and assortment of fabric offered by matboard manufacturers,” Yaffe said. PFM

PFM February 2022 19

FABRIC-WRAPPED MATS: MASTERING THE BASICS

By David Lantrip, MCPF, GCF

Fabric-wrapped mats help framers create designs that keep customers coming back.

T

o be successful, a framer must always strive to a level apart from the others. The days of presenting a basic double mat and simple frame and expecting

to thrive are long gone. While there will always be a niche for that basic type of framing, most framers do not aim for mundane results, and the type of customers who shop on

Fabric matting can turn even an ordinary design into something special, creating a custom look that will stand out in customers’ homes.

price alone do not tend to be loyal. Fabricwrapped mats are a distinctive offering that allow a framer to offer customers

with fabric do not have to be anything special; any preserva-

the type of custom design that keeps them coming back and

tionquality mat, preferably in white or a light color, will do.

adds profit to a successful business.

Even when wrapping an 8-ply mat, nothing special is needed

As opposed to a fabric mat available pre-covered from manufacturers, a fabric-wrapped mat is created by cutting a mat and then covering its face with fabric. The fabric covers the bevel and wraps around to the back of the mat, fin-

since two 4-ply mats can be laminated together easily to create a thicker board.

While the results are quite impressive, the process is fairly simple:

ishing the bevel along with the face of the mat. Basic fab-

1. Prepare the work area by laying out a few layers of

ric-wrapped mats can be made with 8-ply or 4-ply mats and

kraft paper and gathering the necessary tools and materials.

with mats cut with a reverse bevel for a fillet. After master-

Cut the mats as usual, being very careful to save the fallouts

ing the basics, it is an easy step to covering more complex

and keep them nearby. Trim the fabric about 2” larger than

double mats and adding decorative elements.

the outside dimensions of the mat, paying close attention

CONTENTS

Regardless of the type of mats created, the materials needed are simple, inexpensive, and easily available. They

to whether the grain will run horizontal (as is customary) or vertical.

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include fresh razor blades, a good pair of scissors, plastic

2. With the mat face-up on a piece of kraft paper, ap-

putty knives in a few assorted sizes, an inexpensive paint

ply the fabric adhesive to the bevels of the mat by tilting the

pan, a small foam paint roller, and kraft paper to provide a

roller so that only its corner is in contact with the mat. This

clean work surface. The most expensive tool is likely to be a

ensures that the cut bevel, which will absorb the adhesive, is

good pair of scissors set aside for cutting the fabric to size.

well coated.

The liquid adhesive formulated specifically for fabric as well

3. Next, apply adhesive to the entire mat, including the

as fabric meant for mats are both available from a number

bevels again. A light but thorough coat is all that is need-

of suppliers to the framing industry. The mats to be covered

ed; check the mat from various angles to highlight any areas

20 PFM February 2022

that may have been missed by the roller.

4. Replace the kraft paper with a clean layer and place the mat face up. Lay the fabric down onto the mat, ensuring that the grain is running straight and parallel to the mat edges and in the correct orientation— vertical or horizontal.

If the fabric is opaque and it is difficult to see the grain, it may be easier to lay the fabric face down and then lay the mat onto the fabric.

5. Push the fabric down slightly into the mat window and place the fallout in the opening. Pressing firmly, run your thumb around the edge of the fallout to press the fabric onto the bevel and into the corners. 6. Working quickly, carefully press the fabric flat onto the mat to smooth it out and work it down into the layer of adhesive. Work from the center of the mat out towards the edges and corners to avoid wrinkles, applying gentle but firm pressure with the palm of your hand. If the mat is cut with a reverse bevel, place the fallout in the opening to support the fabric during this step.

7. Remove the fallout and set aside or file it away for later use. With a burnishing bone or similar tool, work the corners of the bevel to make sure they are straight and crisp.

Because the adhesive will soak into the cut bevel it is important to “prime” it with adhesive first. Another coat will be put on once the face of the mat has had its adhesive applied.

When laying opaque fabrics onto the mat it may be difficult to see if the grain is running parallel to the mat edges. It may be easier to place the fabric face down and place the mat on the fabric.

PFM February 2022 21

Left: It is essential to apply a light but even coat of adhesive to the mat. Check the mat in a raking light as you work to check for dry spots.

Center: Push the fabric slightly down into the mat opening and replace the fallout.Press firmly along the edges of the fallout to press the fabric into the adhesive-covered bevel and corners.

Right: Cut out the fabric in the mat opening and cut diagonal slits from the corners to create flaps that will wrap around the bevel to the back of the mat.

8. With a fresh, sharp blade, cut out a window opening

window’s edge, reach under the mat with a plastic putty

in the fabric, leaving a flap of fabric about 1” wide. Make

knife and fold the fabric around to the back of the mat. Use

a diagonal cut from the center towards the corners, stop-

the knife to push the fabric firmly into the adhesive. Work

ping a few threads short of the matboard. This will create

from the center outward to each corner, being careful to

four flaps of fabric that will be turned around and secured

wipe the knife to remove excess adhesive that could trans-

to the back of the mat. When cutting to the corners, take

fer to the front of the mat or the bevel.

great care not to cut too far into the corner. When the fab-

10. Once the fabric is secured to the back, trim off the

ric is wrapped around to the back of the mat, the board will

extra fabric to within 1” of the mat opening to create a

be exposed under the fabric and the fabric will fray. If the

clean edge and prevent fraying.

cut does not go far enough, the corner will be rounded and

11. From the front, check to make sure the corners are

not look clean. It is preferable to cut slightly short and then

all clean and crisp, working the fabric with a burnishing

make very small further cuts, one thread at a time, to clean

bone or similar tool as needed to make sure it follows the

the corners up.

bevel. If the corners are rounded, trim very carefully with

9. Flip the mat face up and apply a small line of adhe-

a fresh blade. If there is any fraying, apply a tiny dot of

sive along the mat window, using the corner of the roller

adhesive with a toothpick and pull the threads to the back.

in the same manner as used when apply adhesive to the

12. Turn the mat face down and trim the corners of the

bevel in Step 2. Starting in the center of the of the mat

fabric to create four flaps, similar to the fabric along the

CONTENTS AD INDEX

Left: Apply a line of adhesive just outside the opening with the corner of the roller, in the same manner as to apply adhesive to the bevel.

Center: If the corners are rounded use a sharp blade, working from inside the mat, to carefully cut the fabric one or two threads at a time toward the corner.

Right: Using a plastic putty knife, reach under the bevel and turn the fabric around to the back of the mat. Apply firm pressure to push the fabric into the adhesive and in the same motion use the knife to remove excess adhesive from the back. Take great care to wipe adhesive from the knife each time.

22 PFM February 2022

Left: Use a burnishing bone, your fingernail or another similar tool to work the fabric into the mat to create a clean, crisp corner.

Center: Turn over the fabric along the outside of the mat and adhere it in the same manner as for the mat opening, then trim excess fabric.

This ensures a neat appearance and prevents fraying which could be an annoyance when fitting.

Right: Cut out the fabric in the mat opening and cut diagonal slits from the corners to create flaps that will wrap around the bevel to the back of the mat. mat window. Apply a line of adhesive, turn the fabric to the

ment, and it allows a framer to get a good feel for how

back and trim in the same manner.

the fabric is going down. Since fabric will also absorb some

With a little practice, these basics steps will allow you

moisture, it will relax somewhat, so wrinkles are rarely a

to produce perfect mats every time, whether using 4- or

concern. However, wet adhesive can seep through some

8- ply mats or a mat with a reverse bevel. To avoid any pos-

very thin or loosely woven fabrics.

sible issues with the fabric or extra adhesive on the back of

A good alternative is to use liquid adhesives meant for

the mat contacting the artwork, line the mat with 1- or 2-

fabric as dry, heat-activated adhesives. Apply the adhesive

ply paper. This will also create a clean, finished appearance

to a mat as usual and allow it to sit until dry to the touch

and will serve to provide a surface that will make fillet at-

but still tacky; this should only take a couple minutes de-

tachment much easier.

pending on humidity and temperature. Then place the fab-

Fabrics are also generally safe for preservation fram-

ric on the mat and replace the fallout into the opening.

ing. Suppliers of fabric to the framing industry offer prod-

Place this in a drymount press, being very careful that the

ucts that are chemically stable and use colorants that are

fallout is positioned correctly in the mat window, and run

lightfast. Silk, for example, has a naturally low pH level,

it through a cycle recommended by the supplier, typically

while wool is high in sulfurous compounds. Instead, more

150 degrees for five minutes. The heat will activate the ad-

stable manmade fabrics such as polyester or natural cot-

hesive while the fallout transfers pressure to the corners

ton are used. The major industry suppliers have collec-

and bevel, resulting in clean, crisp mats every time.

tions of fabrics specifically suited for preservation framing requirements, generally cotton in neutral colors.

A pure adhesive film such as Fusion 4000 can also be used with good results and allows for fast mounting with-

While it may be tempting to visit a local fabric store

out a drying time. Be sure to follow the manufacturer’s

for your needs, it is a much better idea to purchase through

recommendations for temperature and dwell time, as the

suppliers of fabric specifically meant for framing. The fab-

adhesive does flow and can also seep through thin fabrics.

rics created for mats are heavy enough to work with easily

Fabric-wrapped mats are a unique and quite profitable

but light enough to wrap around bevels and conform to

product for any framer. Only fabric gives such deep and

the mat contours. In addition, fabrics in close proximity

rich colors with beautiful textures. PFM

to artwork must be free of starch, sizing, and any coloring agents that may not be chemically stable. Fabrics from fabric stores may not meet these criteria. In addition, the constantly changing stock of materials in fabric stores makes it difficult to duplicate a specific order for a customer in the future.

Heat-Activated Fabric Wrapping Working with wet adhesive requires no special equip-

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 2022 23

DESIGN IDEAS FOR WEDDING FRAMING

By Meg Glasgow

S

omeone cue the music—a beautiful bride is

We know the pandemic has changed people’s expecta-

ready to walk down the aisle! Weddings are

tions about weddings, but a few trends stand out, says Brides

back, and it’s time to get your frame shop pre-

magazine. In a recent article, Anna Price Olson writes, “This

pared to inspire customers with wedding-themed framing.

year, we are seeing that couples are generally making every-

But before you do, there are a few important points to con-

thing more intentional, focusing on the ceremony and creat-

sider.

ing more personalized details.” There is a big opportunity for framers to capitalize on a couple’s desire to create a personal celebration with custom framing.

Showcasing creative ideas that match current wedding trends can catch the eye of brides and wedding professionals and earn your framing business well-deserved attention.

Just imagine all the places brides and wedding planners go to get new ideas. Wouldn’t you want your business to be front and center? The article will explore idea to inspire your customers and share tips on how exactly to do that.

I’ve assembled several framing ideas to get customers thinking beyond basic framing and turn them on to ideas for

CONTENTS

wedding decor, shadowboxes, and more.

Seating Chart This project is an elegant twist to a seating chart for a for-

AD INDEX

mal wedding. Black mats surround printed seating assignments and are mounted to a large framed mirror. When displayed on an easel, it added a beautifully elegant touch to the wedding reception.

These black mini-mats surrounding seating chart cards added an elegant touch to a formal wedding.

24 PFM February 2022

To cut all these mini-mats, I designed the project in Wizard’s Frameshop program. I created a double opening

mat, marking the largest opening as a reverse bevel, then set to cut in an array of maximum number of openings I could get in a 32” by 40” black matboard. Instead of cutting a double mat, I left the mat in place. The first round of cuts were the inside openings at a regular bevel. The second round reversed the bevel leaving a perfect fallout mini-mat at ¾” wide. The second cut produced a perfect edge. Each mat surrounded a nicely printed list of names. Then I simply used double-sided sticky tape to apply the mats to the mirror.

Table Numbers Sentimental tabletops are a clear trend for weddings for 2021, according to theknot.com. This is another opportunity for selling wedding accessories to your clients. Table numbers made from matboard are another project made easy with a CMC (see page 26). Using a similar method as the

The couple can use an engagement photo as a placeholder at the wedding. Later, they can swap it out for a photo from the event.

seating chart project, these table numbers are double-sided oval mats with printed number in between. I designed and printed the table numbers using photos the client provided. The two white mats are attached back-to-back over the wired stand. If a better fit for the table, they could easily be adapted to add to a floral centerpiece.

Signature Mat This project (top right) is a classic and popular with customers. The Wizard’s pen tool made this easy to personalize with names of the bride and groom and the date of their wedding. For the center photo, we suggest that the client use an engagement photo, or wedding invitation as a placeholder during the signing, then replace it with the couple’s formal wedding photo later. We’re happy to exchange the picture and refit the frame after the service at no charge.

Faux Bois Inspired V-Grooves

The beauty of this couple’s woodsy photoshoot was emphasized with the use of a wood-grain design on the mat.

The beauty of natural wood is the theme for this engage-

an interesting detail to this shadowbox. The lattice mat was

ment photo frame (bottom right). The happy couple was

cut out of a solid color core white mat, then applied on top of

photographed in the forest, and that inspired me to add a

a natural colored textured linen. Two copies of the wedding

special wood grain design to the project. Using the PathTrace

invitation were used—the front design and the back show-

feature, I imported a black line drawing of a faux bois pat-

ing all the wedding details. The photo was trimmed with a

tern, then traced the lines to create all of the curved V-groove

fillet and elevated above the invitation to give it more visual

cuts. I chose a light beige mat so that when cut, the white

importance in the design. The color combination is inten-

beveled V-grooves would be a gentle contrast. The mats that

tionally light and neutral with the distinct pattern adding

surround the photos are cut from a cordovan colored leather

interest to this project.

board with a black bevel. For fun, I used the debossing tool to carve “Happily Ever After” into the mat.

Wedding Shadowbox

Wedding Dress Another modern trend elevates the wedding dress into a work of art. Framing a gown for a ladies’ dressing room

Perfect for a summer wedding, this lattice design (right) adds PFM February 2022 25

Light, neutral colors were chosen to complement a photo and invitation cards from this couple’s summer wedding. might be on your production schedule soon, like this project from Scott Dawson at Dawson’s Framing in Queensland, Australia (see page 27).

The frame for this dress was built like a cabinet that could recess into the wall. They used fabric to cover the back then added satin ribbons for decoration.

A dress form was

created to give shape to the bodice before stitching the gown and veil to the backing. A truly impressive project and one worthy of sharing.

CONTENTS

Creating

gorgeous

keepsakes

like these are one of privileges of being a framer and as a bonus, it makes for engaging content for marketing your business. Think beyond store

AD INDEX

display windows that depend only on the people that pass by and try a more digital approach to put your ideas in front of buyers. Collect pho-

These sentimental table numbers were made with double-sided oval mats.

26 PFM February 2022

tos of your past projects and turn these into inspiring material for so-

ing projects. Tru Vue, Wizard and

and descriptions. Share the love by

Larson Juhl all have professionally

mentioning the wedding photogra-

photographed projects available for

pher and venue in your posts to im-

your use. Here are a few final ideas.

prove your discoverability.

Create a Pinterest board and

Finally, create blog articles for

share wedding-theme framing ideas.

your website featuring these great

Track how many times it’s saved to

ideas. By frequently adding new blog

other pinner’s boards to get a sense

posts packed with inspirational proj-

of what projects are most popular.

ects, you will be attracting new cus-

Bring back past projects and make new posts for Instagram and

tomers to your fantastic frame shop.

PFM

Facebook. Odds are they will be new ideas for a fresh audience.

Tag hashtags

Scott Dawson of Dawson’s Framing in Queensland, Australia, framed this gown.

photos

with

Meg Glasgow popular

#weddinginspiration,

#weddingplanner, #(yourhometown) wedding. Use a hashtag generator website, like all-hashtag.com, to get

cial posts, a blog article for your web-

a list of the most popular tags relat-

site, or displays for your store walls.

ed to your post.

Also check with industry manufac-

Update your Google My Business

tures for royalty-free images of fram-

page with posts that include photos

Owner of Finer Frames in Eagle, ID, is a nationally recognized consultant in the art and framing field and the winner of Larson-Juhl’s inaugural Design Star competition in 2013. She travels widely around the US presenting sales and marketing seminars for small businesses, and has recently published her second book, “Recharge Your Business.” She is a popular instructor at The National Conference in Las Vegas.

PFM February 2022 27

THE MAT DOCTORS

By Brian Wolf, CPF, GCF

Just Two Openings These arrangements appeal to customers & can be done quickly.

T

here was once an executive at Crescent Cardboard who was always looking for new business. Switching

a customer from another matboard company to his company was nice, but where was the business with matboard that was not being done yet by anyone anywhere?

One of his observations was that every household in the civilized world had drawers full of photos. Even before CMCs, he had faith that framers could inspire customers with ideas for framing these photos. It would be a great path toward new business and bring new customers into frame shops.

Many framers had the same idea and did just that. They told impressive picture stories with 15 or 20 openings that filled walls and dis-

Two Openings Side by Side This is the obvious beginning design. Every framer cuts this design, no matter what kind of mat cutter the shop uses. So rather than instruction, this example illustrates two ground rules to consider for almost every multiple-opening design.

First, the openings should be close together so that they read as one item. These, and nearly all the other openings in these examples, are between 0.5 and 0.6 inches apart.

played their skills to elated customers. Then

Second, use double mats. Does any fram-

one framer said, “Look around the room you are

er need to be told how a narrow inner mat

in. I bet there are no places left where a large

improves a presentation? However, there is

showpiece would fit, but there are probably five

an unsung function of narrow inner mats in a

places where a grouping of two or three photos

multiple opening arrangement. These images

in a frame would be perfect. Let’s scale down

were chosen to be related, but not ideal to be

this storytelling idea to just a few pictures in-

side by side. One is darker, the other is lighter,

stead.”

the people are different sizes—but this is typi-

CONTENTS

The questions for today then are: What

cal of the pairs of pictures customers bring. The

can be done with just two openings? What

outlines of contrasting color around each open-

ideas might fit into the shop’s workflow? What

ing inject one element of unity that helps the

arrangements appeal to customers?

images belong side by side. And note the ex-

AD INDEX

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

28 PFM February 2022

This is the typical side-by-side arrangement for two openings.

Both images are the same size, and slightly horizontal.

Two important things are carried through all the other examples here. The openings are fairly close (0.6” apart) so that the two appear to be one item in the mat. And all the openings for pictures have narrow contrasting inner mats 0.125” wide.

aggerated horizontal shape that will help the picture fit into one of those odd leftover spaces on a wall.

The Next Idea Analyze it any possible way, but when

Inset Openings Overlapping is another device for arranging two pictures. It makes the presentation more compact, and it does a little impromptu—and usually beneficial—cropping.

there are two openings, there are only

When overlapping the actual

arrangements where one opening is

photos, there are always mechanical

next to the other—most commonly in

questions like mounting and physical

a row or a column. But variations will

spacing to be engineered. However, to

take many forms—rotating openings,

keep the project in the mat cutting

for example.

realm, there are template shapes that

The popular acceptance of angled

make inset corners. The corner of the

images comes and goes, but if the ro-

other picture can be nestled into this

tation is slight, the attitude is casual,

inset. There will be a separation be-

not radical. The pictures in this exam-

tween the openings, visually suggest-

ple are rotated 3° on the left and 2° on

ing that the actual photographs are

the right. It is always surprising to see

overlapped.

the effect of such a small rotation. To further the casual attitude, the images are neither centered nor equal sizes.

It is as if they were held, reminisced over, and then dropped on a table.

Details in the Mat Cutting Perhaps it is because picture framers are professionally drawn to them, but

The illusion of overlapping is another variation of arrangement. There are template shapes in every CMC program to generate inset corners like the opening at the bottom left. The inset can be set to any height and width, made on any corner, or on multiple corners. In this example, the inset corner is 1” wide and 1.5” high. The separation between the pictures is 0.5” measured on the top layer. cutting details make a presentation more inviting to explore for any viewer. The previous example had angled openings. This example has an opening with an inset corner. All the following examples have their own details that make the mat itself more

PFM February 2022 29

way to add attractive cutting detail to the mat itself.

Openings with Objects The small openings in these next two examples are inspired by a framer in Missouri who reveled in making miniature collages alongside photos with coins, stamps, handwriting scraps, torn maps, children’s scribbles, matchbooks, hairpins, keys, and anything else that would help tell the story. Her favorite project was a 5” x 7” photo and a

This two-in-one variation is effective for unifying pictures, plus it adds cutting detail and another color. The two openings are 0.5” apart, and there is 0.5” of the middle layer showing around the top and sides of the top photo. The photos’ openings are cut in the bottom 2 layers, and the top layer is a single opening that surrounds both photos.

1” or 2” opening with three or four

thoughtfully crafted than just a hole

vious examples, the openings are

cut in cardboard. Glance through all

nominally equal sizes. In these two

the examples here and note that all

examples with objects, the openings

the cutting details are constructed

for the collages are far smaller than

with straight lines. A computerized

the opening for the photos. Think of

mat cutter is not required to cut any

them as nameplates: important, but

of these ideas.

only an accessory to the picture.

things in it.

In the context of this article, these examples point out a few more things that can be done with just two openings. In all the pre-

Now look at the layers of each

A Vertical Arrangement

CONTENTS

Here is another pair of images that

tos have inner layers, but the open-

do not belong together visually. They

ings for the objects are a single layer.

are mismatched in value, scale, and

Artistically, it could be argued that

mood. Observe how it helps to ar-

with an object’s physical attributes,

range them in a vertical column to

there is no need for additional em-

short-circuit the uncomfortable im-

phasis. But the important aspect is

balance that would result if the pic-

size. To remain an accessory, the

tures were in a horizontal row. And

openings for the objects should be

it would fit nicely into one of those

small. Adding an inner mat would

tall, thin spaces left over on nearly

make it larger than necessary.

every wall.

But another device to unify

AD INDEX 30 PFM February 2022

opening in both examples. The pho-

An Angled Inset Object

such pictures is to cut them in a

This project has further examples

middle layer, then corral them in-

of cutting detail thanks to a few

side a top mat with one rectangular

steps in the drawing program—but

opening. The three-layer mat brings

realize that all the cuts are straight

possibilities for another color and

lines, and this project could be laid

a touch of physical depth—another

out and cut as easily using a manual

mat cutter.

segments, and setting the cutting

The collage of stamps is in a

instructions are the only steps that

“frame” that overlaps the opening

must be done in the drawing pro-

for the photograph. The frame’s out-

gram.

er border is divided between the top

Our friend with the notion to

mat and the middle layer. This is a

scale photo arrangements down to

common drawing program project

just a few openings also observed

often seen with decorative items

that

like hearts and stars, but it may

through the door asking for this

prove to be even more useful for in-

or that sort of arrangement. Plen-

set openings like this.

ty, though, were heard visiting as

no

customer

ever

walked

There are several options in

they were looking over the exam-

the design of these overlapping

ples on the wall. They spoke about

“framed”

Placement,

the pictures they have, and they

horizontally

commented how nice it would be

can be varied. In this project, there

to have something like this or that

is no inner layer for the small inset

on their wall. And our friend at

stamp opening, but it could easily

Crescent would smile to see how

be added. Rotation, as seen in this

framers

project, is optional. These steps can

their customers with ideas for new

all be done in the design program

business. PFM

both

openings.

vertically

and

where changes and visualization are far easier. The finishing steps of

were

indeed

inspiring

Cutting detail can be thought of as the craftsmanship of the mat. It needn’t always be this involved, but this angled inset “frame” for the stamp is a great use for an old drawing program process. In the design program, this 0.4” wide “frame” begins as a two-layer opening with a 0.4” reveal. There are several artistic options with this project. Here it is rotated 4° for a more casual look. The overlapping onto the three-layer opening for the photo is a design choice. In the drawing program, break the outside of the frame and join its inner part with the middle layer of the photo’s opening. Join its outer part with the top layer.

breaking intersections, joining the

Another variation is to make the second opening much smaller and include objects rather than another image. Objects always attract attention and add something tangible to the significance of the photo.

Never forget that ordinary objects make as big an impact as heirlooms, too. This is a normal centered two opening arrangement. The only variation is that the coin opening is only one layer to keep it as small as possible. The opening for the coin is 0.9” wide. The photo is 2.5 inches wide.

PFM February 2022 31

Product Showcase

CONTENTS AD INDEX

Bainbridge

Decor Moulding

Design your next framed piece with these unique Metallic Rice Paper mats from Bainbridge. The elegant look of these 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!

Announcing the Essence line of 100% cotton rag matboards. Available in the most popular colors and ranging from 2- to 8-ply. Essence museum boards passed the Image Permanence Institute’s Photographic Activity Test (P.A.T.) and exceeds the Library of Congress Standards for image permanence. Made of the highest archival-quality materials, these boards are fade-, scuff-, and bleed-resistant. Order corner kit #CS-ES to get these matboard corners on your display table today.

Call: 888-293-3956 www.crescentbrands.com/bainbridge

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

Framerica

Michelangelo Moulding

Terracotta, a worldwide exclusive, features a visually textured “baked earth” finish in traditional pottery, now available in white. “We continue to expand Terracotta based on its success,” notes VP Josh Eichner.

“The white should prove very design friendly, especially for coastal trends.” Terracotta is available in profiles ranging to 3”.

New for 2022, Michelangelo has created an appealing 754 series, 1 ¼” wide, available in three distressed finishes. Finish choices are black with antiqued silver bead (754-293), white with antiqued gold bead (754-220), and silver with antiqued silver bead (754-23). These versatile mouldings are in stock now and can be seen online.

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

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

Nurre Caxton

Omega Moulding

15 new references that combine clean Scandinavian design with mid-century modern aesthetics; a timely assortment that mirrors and complements the comfort and warmth of today’s lifestyle trends. Featuring three versatile profiles with generous rabbet depths, five sophisticated and satiny wood finishes, and European craftsmanship, Hygge is the perfect choice for traditional, transitional, and contemporary decor styles. Contact your Nurre Caxton distributor for samples.

The Daniela Collection consists of five furniture finish profiles in rich, warm walnut veneer.

The surface is finished with a wax polish to give it a burnished luster that enhances the worn, rippled texture of the wood. The overall look of this collection is one of antiquity and heritage, paired with elegant, simple profiles that bring these items into relevance with today’s interior design trends, led by a revival of traditional and provincial design. This provides framing solutions for classical fine art, folk art, oil paintings, watercolors, photography, lithographs, and decorative art.

Call: 888-293-3956 www.crescentbrands.com/nurre-caxton

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

Penny Lane Publishing

Picture Woods

New artwork from Kelley Talent! Contact a sales representative by phone or emailing info@pennylanefineart. com for more information. All the artwork you see online is also available on canvas and wood products. Select images are also available as large format giclée prints. Stock code: KEL294 – “Love, Faith, Family.” Size: 12” x 12”. Retail price: $12.

Even when it feels like the world is coming apart, these corners come together just right. Joined frames from Picture Woods are expertly crafted and assembled using exceptionally fine hardwood moulding. Picture Woods packages with care and precision so that your frame arrives in pristine condition.

Call: 800-273-5263 www.pennylanefineart.com

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

32 PFM February 2022

Rhonda Feinman Custom Frames Honoring 20 years of handcrafting fine-quality, custom-made, genuine gold leaf picture frames, Rhonda Feinman Custom Frames is launching a new and expanded website. Let the team know what you think; they would love to hear from you as they continue their commitment to quality and customer service excellence.

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

Studio Moulding Studio’s Armour collection features four mottled metallic finishes on two gently curved, contemporary profiles. Gunmetal, silver, bronze, and copper give the appearance of subtle hammered distressing, although the two profiles have perfectly smooth surfaces. Please contact your regional sales manager to order samples of this collection.

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

Superior Moulding

Ten Plus

Superior Moulding has made a big splash with one of its newest moulding lines, Splash! Available in one profile and seven bright colors.

These brightly colored mouldings are inspired by the painted finish of European beach houses. They work well not only with rustic decor and children’s artwork, but also with today’s modern graphics. Request a color catalog online.

New wood mouldings in ¾” x ¾” in seven different finishes: natural, black, white, espresso, green, blue, and cherry.

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

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

Tru Vue

Universal Arquati

Help consumers make their glazing decision by demonstrating the features and benefits of Tru Vue Conservation Clear, Museum Glass, and Optium Museum Acrylic. This new specifier tool is designed to help keep Tru Vue choices within your reach and is available now at tru-vue.com/ custom-framing/demos-displays.

Introducing a new collection within Arquati Signature II: Baltica. This collection of upscale and quality design mouldings consists of one profile and five bright finishes, all made in Italy! Be sure to visit the web for the full Arquati Signature II brand. Stock and samples of the new Arquati Signature II collection, and the collections within this brand, are available now! Please contact your local sales representative or UA by phone or fax (661-362-6263).

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

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

PFM February 2022 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 2022

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

FRAMERS’ QUIZ 1. Which of the following are most matboards laminated with? a. Starch b. Polyvinyl acetate c. Hide glue 2. Rhythm, or repetition, is the use of marks, colors, lines, or shapes in a framing design that echo the colors and patterns found within the artwork. Which elements of a frame package can be used to achieve rhythm? a. Fillets b. Moulding patterns c. Mat carvings d. All of the above

3. Choosing the right hanging hardware is an important part of the framing process. The break strength of a picture wire should be triple (3X) the weight of the framed art. What should the weight limit of a wall hanger be? a. Double (2X) the weight of the art b. Triple (3X) the weight of the art c. Quadruple (4X) the weight of the art d. The same weight as the art 4. Which of the following does NOT cause paper to cockle? a. Exposure to light b. Exposure to high humidity c. Becoming damp, then drying d. One side becoming damper than the other 5. True or false: sink mounts are a safe, protective way to handle dimensional art and collectibles. a. True b. False

SEE PAGE 37 FOR THE ANSWERS PFM February 2022 35

Index

Advertiser

Page

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

www.fastchangeframes.com / www.bannergrip.com

Arlo Spacemaker Products, LLC ...........................................31 800-332-2756

www.reevesextruded.com

Artist Supplies & Products ...................................................34 info@gilderspaste.com

www.attach-ez.com

Bella Moulding ...................................................................17 888-248-6545

www.bellamoulding.com

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

www.cmimoulding.com

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

Page

Gluefast Company ..............................................................34 800-242-7318

www.gluefast.com

Hoffmann Machine Company ..............................................34 866-248-0100

www.hoffmann-usa.com

www.gilderspaste.com

Attach-EZ .......................................................................... 35 800-527-1521

Advertiser

www.ctsaw.com

Koalapac ............................................................................34 800-825-6252

www.koalapac.com

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

www.richesonart.com

Peterboro Matboards ..........................................................27 866-292-3031

www.peterboromatboards.com

Crescent Cardboard Co. ...................................................5, 19

Picture Framing Magazine ........................................... 15, 39

800-323-1055

800-969-7176

www.crescentcardboard.com

Decor Moulding & Supply .......................... 11, 29, 33, 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, 25, 27, 33, 35, 40 CONTENTS

800-372-6422

www.framerica.com

www.pictureframingmagazine.com

Rhonda Feinman Custom Frames ......................................... 6 800-297-1566

www.rhondafeinman.com

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

www.supermoulding.com

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

www.tru-vue.com

FrameTek .................................................................... 26, 34 800-227-9934

www.frametek.com

AD INDEX

Framing Fabrics..................................................................21 800-832-2742

36 PFM February 2022

800-668-3627

www.universalarquati.com

www.nnigroup.com

Frank’s Fabrics for Framers ......................................... 30, 34 888-332-2749

Universal Arquati................................................................. 9

www.franksfabrics.com

Wizard International...........................................................13 888-855-3335

www.wizardint.com

(Continued from page 38) the glazing from touching the surface. In keeping with

made with Winsor Newton Cotman watercolors.

conservation measures, I chose to sink mount the art,

The frame consists of two joined frames; the out-

allowing it to be completely removable without any glue

er one is Elan from Studio Moulding. If you look closely

attached. The linen used on the sink mount is Framing

at the scrimshaw, you will see the pattern of a zig-zag,

Fabrics Empress White wrapped over a rag mat, which

which is why I chose to line the moulding with this in-

was hand-carved to follow the perimeter of the art. I

ner accent frame. I chose a sleek, simple outer frame so

used acrylic inks with a ruling pen to create the French

that the focus would not be taken away from the art and

mat lines and dots on the mat. The watercolor wash is

the detail of the inner frame would be better noticed.

This frame did not have enough depth to house all of the components, so I added a frame extender to the back.

This is something that I often do to create a deeper rabbet, which also gives it a very finished look on the back side. I use various sizes of Bass wood and either stain or paint it to work with the frame color. The glazing is Acrylite UV-filtering acrylic.

It is an honor to be able to share something that can perhaps be inspiring to others, just as I remembered feeling when reading about techniques and ideas.

Kim McClelland’s work may be found on his website at

Inner frame: Studio Moulding’s Elan joined with sleek, simple outer frame. Mat: Crescent 1100. Glazing: Acrylite.

FRAMERS’ QUIZ ANSWERS 1. B 2. D 3. C 4. A 5. A

treeoflifeartworks.com. PFM

Have a question or comment?

Tell PFM what you think.

Mail letters to PFM 330 Mounts Corner Drive # 313 Freehold NJ 07728 Call 732-536-5160 or E-mail to editor@pfm-group.com PFM February 2022 37

DESIGN OF THE MONTH

By Ria Richey, CPF

Framing Scrimshaw

S

crimshaw is an old form of art that was done over a hundred years ago by sailors creating delicate engrav-

ings on ivory and bone. Artist Kim McClelland used his fine art training and engraving experience to create this limited-edition scrimshaw. His resin casting combined the use of modern-day materials with this ancient tech-

A combination of two joined frames, fabric on the sink mount, and a natural-toned matboard complemented the drawing without distracting from it.

nique of scrimshaw. Kim hand-etches each original piece without the use of lasers or etching equipment.

When his scrimshaw piece was chosen for a framing competition held by the Professional Picture Framers Association (PPFA), I knew right away that this was one I wanted to enter. I love to frame small pieces, and I quickly had an idea of how I wanted to treat this project. To keep in line with the history and time period of scrimshaw, I felt it would be fitting to create a delicate French mat as an embellishment for this piece, as French matting is a form of ancient, delicate art in and of itself. If you look closely at the scrimshaw, you will see that the dots clearly are irregular as they are hand-done. Likewise, the

CONTENTS

irregularity of the small dots on the mat also shows a hand-done effect that complements

because I wanted to keep it a light, natural color. Adding a spacer, using Bainbridge Artcare acid-free foamboard between the mat

the art.

The mat used, Crescent 1100, was chosen

layers, allows the art to have depth and keeps

AD INDEX

Ria Richey opened her shop, Creative Framing, in the charming town of Sierra Madre, nestled in the foothills of the San Gabriel Mountains in Southern California. She had been a member of PPFA for many years where she earned her CPF, and has had multiple years of recertification. She was an active member of the GLAC chapter, and enjoyed being on the board with many positions, as well as president in the final years. She also had the pleasure of being one of the certified judges for the PPFA chapter competitions.

38 PFM February 2022

(Continued on page 37)

COUNT DOWN

TO A BETTER BUSINESS

10 MOUNTING METHODS FROM CHRIS PASCHKE

7 PRESERVATION FRAMING FROM HUGH PHIBBS

4 FRAMESHOP CREATIVITY FROM JOHN RANES II

1

9 A LOOK AT FRAME HISTORY FROM WILLIAM ADAIR

8 PROVEN SALES STRATEGIES FROM JARED DAVIS

6 MAT DESIGN FROM BRIAN WOLF

5 MARKETING TOOLS AND TECHNIQUES FROM GINGER HARTFORD

3 RETAILING TIPS FROM KEN BAUER

2 STRAIGHT TALK ON BUSINESS FROM JAY GOLTZ

PICTURE FRAMING MAGAZINE The Number One Source For Everything Framing!

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