Picture Framing Magazine - March issue

PRESERVATION FRAMING SHADOWBOX SOLUTIONS CONDITION REPORTS

Contents

PFM is a member of:

Volume 32, Number 3

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

On the Cover James Miller, MCPF, offers a step-by-step guide to direct contact overlay framing.

This method is a cost-effective way to attractively display an entire newspaper using preservation techniques. For the full story, see page 18.

Features 18 A Creative Shadowbox for Newspapers 28 Principals of Preservation Framing 34 Condition Reports for Framers

12

Columns 12 Preservation Practices 24 Retailer Profile 46 Design of the Month

18

Departments 8 10 40 41 42 44 45

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

28

46

Picture Framing Magazine® (ISSN 10529977) is published monthly, plus one issue by PFM Publishing, LLC, 330 Mounts Corner Dr. #313, Freehold, NJ 07728; phone 732-5365160; fax 732-252-2270. Subscription Office: Picture Framing Magazine, PO Box 612, Northbrook, IL 60065-0612; phone 888-238-0049. Subscription: $20 per year U.S., $40 U.S. Dollars per year in Canada and Mexico, $60 U.S. Dollars per year for all international. Single copies, $5.95. If a paid subscription magazine is returned by the U.S. Postal Service as non-deliverable, Picture Framing Magazine will maintain the subscription for one year. If after one year a new address is not provided, Picture Framing Magazine will cancel the order. No refund will be available for that account. Periodicals class postage paid at Freehold, New Jersey, and at an additional mailing office. Entire contents © 2021 by PFM Publishing, LLC. Printed in U.S.A. Picture Framing Magazine registered in the U.S. Patent and Trademark Office.

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

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

PFM Publishing

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

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

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

CONTRIBUTORS

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

B USI N E S S E D I TO R

ADVERTISING SALES

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

Maureen Robertson • maureen@wcafexpo.com PRODUCTION

A D V E RTI S I N G C O O RD I N ATO R

Jin Dong • ads@pfm-group.com

SUBSCRIPTIONS TOLL FREE: 888-238-0049 pictureframing@omeda.com

WEST COAST ART & FRAME EXPO • NATIONAL CONFERENCE A division of Hobby Pubco • www.wcafshow.com

Deborah Salmon • dsalmon@wcafexpo.com Maureen Robertson • maureen@wcafexpo.com TRA D E S HO W C O O RD I N ATO R Gary Coughlin • gary@wcafexpo.com C O N F E RE N C E C O O RD I N ATO R Alan Pegler • alan@wcafexpo.com

TRA D E S HO W D I RE C TO R E X HI BI TO R S E RV I C E S

WCAF EXPO SALES

sales@wcafexpo.com

CONTENTS

PFM PUBCO • BOOK DIVISION BOOK SALES COORDINATOR

pfmpubco@pfm-group.com

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PFM PUBLISHING, LLC PRE S I D E N T

6 PFM March 2021

Bruce Gherman

FROM THE EDITOR’S DESK

L

The beauty of custom framing is the ability to not only attractively display, but safely protect, valuable artwork and one-of-a-kind mementos.

CONTENTS AD INDEX 8 PFM March 2021

ight. Water. Humidity.

Airborne pollutants. Dust.

These are just a few of the environmental risks framers must contend with when designing an enclosure for their customer’s artwork or object.

When someone brings in a precious family heirloom or valuable painting to a custom frame shop, they are looking for someone with not only an eye for great design, but also a deep understanding of preservation best practices. The average customer might not know what rag mat is or the differences between glass and acrylic, but they do know they want the item they are having framed to be well protected and to look beautiful for years to come.

It’s always a good idea to review safety standards, materials, and techniques to continue to provide your customers with the expertise they want and expect. This issue travels down a few different avenues under the preservation umbrella, all with the intention to help further your understanding and broaden your design options.

Ideally, the preservation process begins the moment something is brought through your door. In his latest article, Paul MacFarland, MCPF, guides retailers through the process of creating a condition report when artwork is brought in for framing and provides

easy-to-replicate example reports for works on paper, textiles, and canvas.

Downloadable PDF versions of all three reports can be found for free on PFM’s website—see the article, which starts on page 34, to get the link.

Custom framing that abides by preservation standards offers financial benefits not only to the customer, but also to the retailer. In his latest feature, David Lantrip, MCPF, explores these benefits and offers proven tips and tricks for protecting your customers’ artwork (page 28). And in his latest column, Hugh Phibbs discusses how to make support and enclosure devices from two safe plastics—a useful addition to any framer’s repertoire.

These articles and more await you in our March issue. I hope they serve as handy tools in your framing toolbox going forward. Remember, one of the biggest reasons why custom framing retailers offer an unparalleled experience is their ability to create framing that will last a lifetime. Beautifully designed and safely protected—what more could a customer ask for?

Kimberly Biesiada Editor

INDUSTRY NEWS Crescent Acquires US Operations of Bainbridge

liked that this frame felt simple and

Crescent Cardboard Company recently announced it has acquired

classic yet still modern, which in

the US businesses of Nielsen Bainbridge, a leading producer of

combination with the vintage print

products for framing professionals and conservators.

created a timeless, well-designed

Nielsen Bainbridge has combined advanced scientific re-

piece.

search and inno-

Bella Creations is a quarterly

vative design to

design competition. Entries must

deliver

ground-

show creative use of Bella or Pris-

breaking products

ma products. One winner each

used by custom

quarter will receive free product

framers and museums worldwide. In a recent statement, represen-

and a chance at the grand prize.

tatives from the company say they feel this acquisition will enhance

The call for entries will be in March, May, July and October. For

Crescent’s worldwide leadership in the manufacturing and market-

more information, call 888-248-6545, contact sales@bellamould-

ing of high-quality paper and board products for artists, custom

ing.com, or like and follow @bellamoulding.

framers, and institutions.

Crescent will add the following products to its portfolio: Nielsen aluminum moulding; Bainbridge artboard, matboard, foamboard, and mounting board; and Nurre Caxton wood moulding.

“Crescent has been family-owned and operated for almost 120 years,” says Matt Ozmun, executive vice president. “We felt that Nielsen Bainbridge fit in well with our principles of manufacturing the highest-quality products for the custom picture framing and fine art material industries. The combined organization will allow all the brands to flourish for the next 120 years.”

In a subsequent move, Crescent Cardboard Company will be rebranding as Crescent Brands. Crescent Brands will operate as a portfolio company that will utilize its resources to manufacture, supply, promote, and support brands such as Crescent, Bainbridge, Nielsen, Nurre Caxton, and more. Crescent says it is making this change out of respect and admiration for the Nielsen, Bainbridge, and Nurre Caxton brands. The company plans to operate these brands independently to keep continuity in the products customers have come to know and love.

“We are very excited to see the value Crescent Brands will bring to the custom picture framing, conservation, and fine art supplies markets,” says Jack Dempsey, Crescent’s creative director.

For more information, visit www.crescentcardboard.com.

CONTENTS

Bella Moulding Announces 2020 Creations Contest Winner Bella Moulding wishes to congratulate Taran Parsons of Browns-

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boro Framing in Louisville, KY. Taran’s entry won the Summer Creations round and received the most votes for the $1,000 grand prize awarded in January. Honorable mentions go to Ben Morrison of Relics Framemakers in Holladay, UT, and Alton Baker and Austin Yapp, co-owners of Lionheart Framing in Atlanta, GA. Taran’s customers were seeking a frame with a textural element, and the Bella Quarry collection in turquoise fit the bill. They 10 PFM March 2021

The 2020 Creations winning piece

Tru Vue Launches Conservation and Exhibition Grant Tru Vue recently partnered with the Foundation for Advancement in Conservation and The Institute for Conservation to offer grants that support glazing applications for preservation and exhibition of museum and library collections.

The goals for this program include increasing knowledge of glazing applications, supporting the preservation and display of collections so objects can be presented to visitors in a safe way, and encouraging the involvement of conservators in museum and library collection projects.

“We are excited to continue our support of institutions and conservators in their endeavors to preserve art and heritage for future generations, and to create an enhanced and safe viewing experience for museum visitors,” said Jennifer Booth, Tru Vue’s business manager for fine art and museums. “This is a critical time to support museums and conservation professionals who have been impacted by the pandemic. We are looking forward to supporting future conservation initiatives with our Tru Vue Conservation and Exhibition Grant program.”

Included in the program are cash awards up to $3,000 for materials, supplies, and/or support needed to deliver the project, and an in-kind donation of Optium Museum Acrylic or UltraVue Laminated Glass for use directly related to the conservation and display project (estimated value up to $4,000). PFM

Classified

Established frame shop in Texas for sale; owners retiring after 40 years. Located in a growing city with 3 universities and a large hospital district. 5,500 sq. ft. building, land, inventory, fixtures, and equipment all for sale. Plenty of opportunities, affordable living, and no state income tax!

Average $360K per year. Call 806-794-4477

PRESERVATION PRACTICES

by Hugh Phibbs

DIY Devices: Spacers and Support Tabs How to make support and enclosure devices from two safe plastics.

P

reparing materials for a class can be quite instructive. Recently, working with class materials has taught me

two things: how to make long, straight folds in polyethylene terephthalate glycol, or PETG (an adaptable plastic that is sold in clear sheet form under brand names like Vivak) and how

just such a tool—a glass cutter. An old one

to make tight folds in BoPET (a polyester film

should be fine, since one is not looking for a

commonly sold under the brand name My-

sharp wheel. A straight edge can be laid onto

lar). These techniques enable the creation

a sheet of .04” PETG and the straight edge can

of useful devices; spacing elements made of

be clamped down to stabilize it. Strong pres-

PETG and support tabs made of Mylar, both of

sure should be applied to the cutter as it is

which can significantly expand the range of

pressed down onto the sheet as it is run along

safe support devices that framers can offer.

the straight edge.

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Previously, the length of bends in PETG

Once a visible dent has been pressed into

was limited to the width of the bending break

the plastic, the PETG can be hand-folded up

available. Since these bending tools were

and into position. If a simple L-shaped spacer

designed for use with metal, width was not

is being made, the folded part of the plastic

a primary design imperative. I sought a tool

can be cut away from the body of the sheet

that could be pressed down in to the plas-

with a razor knife and straight edge at a point

tic without scratching it, since a scratch will

that will create the proper width for the sec-

cause the PETG to break as it is being fold-

ond side. If two folds are required, they can be

ed. I was looking for something with a metal

pressed in and folded before being cut away

wheel when I realized that every framer has

from the main sheet. L-shaped strips of bent

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Hugh Phibbs is the former coordinator of preservation services at the National Gallery of Art,

Washington, D.C. He is an author and educator in the framing industry as well as a frequent contributor and advisor on the PPFA Framers Corner Forum. He served on the PPFA Education Committee, has contributed to the PPFA Guidelines series of books, and is a regular contributor to PFM and instructor at The National Conference.

12 PFM March 2021

The simplest method for creating extensions with PETG sheets involves mitering the corners of the strips to match the miters of the frame. If the strips are made so the ends run past the miter in a pinwheel fashion, the overlapping portion can be screwed to the adjacent part of the frame.

the frame. Simply cutting out the material at the corners will enable the construction of this device, but more elaborate cuts will give greater strength as they will allow the plastic to cross the corners so it can be screwed to adjacent members of the frame simultaneously.

Making tight folds in Mylar is another modification of plastic that can be used to make useful preservation materials. Edge support strips and tabs could be fashioned from Mylar if it could be given tight folds, which would hold the edges of a paper sheet without opening. While one can bend Mylar onto itself and keep pressing until a PETG sheets such as Vivak can be used to create extensions that enlarge the safe space within the frame.

fold develops, press and burnish as one might, these folds

PETG can be covered with handmade Asian papers (such

the Mylar to flatten the fold is likely to cause the Mylar to

as washi or hanji) bonded to itself with glue or to the spac-

warp, rendering it aesthetically and physically useless. If

er with hot melt glue. This will make spacers that can re-

the heat can be applied only to the folding portion, that

strain items like pastel and other media on stiff supports

could tighten it without deforming the surrounding ma-

without pressing down on the item’s pigment-rich sur-

terial.

tend to not want to go completely flat. Applying heat to

face. This is done by the spacer’s triangular shape, which

One way to do this is with friction. If the bone or plas-

has the shorter leg upper most (next to the glazing sheet)

tic-folding implement is not simply pressed down hard

and its hypotenuse overhanging the edges of the pastel.

onto the fold but instead is run as rapidly as possible

PETG sheets can be also used to protect canvases

along the fold with pressure, enough heat can be gener-

from punctures and vibration when screwed to the back

ated to flatten it. If the first attempt is not sufficient, the

side of their stretcher bars, since PETG can have screws

tool can be run rapidly back and forth to create the heat

run through it without cracking. It will be completely

needed.

clear, making monitoring of the back of the canvas pos-

With tight folds in hand, new support possibilities

sible—something that polyflute boards cannot provide.

are enabled. The British Museum has published the idea

Since it is so thin, it will not extend back from the canvas

of edge support strips made of Mylar, but their design

as Coroplast does, and it should perform better in fires,

has a critical problem; their strips, which are otherwise

since it has no flutes to serve as chimneys.

PETG can also be used to create extensions that enlarge the safe space within the frame. Here, lines are pressed into the sheet on opposite sides so it can be given 90-degree folds, creating an S shape that can be screwed to the back of the frame once the art package is safely installed. The simplest method entails mitering the corners

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of the strips to match the miters of the frame, but if the strips are made so the ends of alternating strips run past the miter in a pinwheel fashion, the overlapping portion can be screwed to the adjacent part of the frame and each

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corner will be reinforced.

For the ultimate in reinforcement, as one might need with a historic frame, an entire sheet of PETG can be sized so it exceeds the dimensions of the frame rabbet by enough material to bend and form a hollow equal in size to the rabbet dimensions and out to fit onto the back of 14 PFM March 2021

PETG can be covered with handmade Asian papers bonded to itself with glue or to the spacer with hot melt glue.

identical to paper strips currently in wide use, were to

warm water to ensure that their dextrin adhesive is ful-

be bonded to the back mat with pressure-sensitive tape.

ly hydrated. Such strips will always have more reflective

Such tape may stick to the Mylar initially, but it will fail

surfaces than might be desired, but having tightly folded

eventually, especially if any tension is put on the strips.

Mylar will increase their hold on the art on paper.

If, however, a diagonal slit is made on each end of the

Conservation comprises finite treatments, while

Mylar strip, the Mylar can be folded to the side, creating

preservation entails continuous vigilance and adapta-

a support tab.

tion. Learning from history and our materials can be an

This tab can be adhered along with the end of the

essential part of that undertaking. Being able to make

strip using linen or paper tape if care is taken to press

support and enclosure devices from safe and stable plas-

the tape down around the strip end and it is given time to

tic is an addition to the preservation framer’s repertoire

dry completely. Both types of tape must be activated with

that should prove profitable and quite useful. PFM

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A CREATIVE SHADOWBOX FOR NEWSPAPERS

By James Miller, MCPF, GCF

Direct contact overlay framing, using acrylic glazing, is a cost-effective method of attractively displaying an entire newspaper using preservation techniques.

W

hen a customer orders framing for a newspaper, it probably has significant personal value, if not

monetary value. If it were also considered collectible, then keeping the entire newspaper intact would help retain its value for the future.

Keep in mind that newspapers are printed on highly acidic paper that discolors and weakens quickly, especially when exposed to light, so dark storage in a sealed, chemically stable

Acrylic DCO framing provides a cost-effective, visually pleasing presentation for an entire newspaper, including protective features.

container would provide the best preserva-

too. Construction is simple and easy, using readily available

tion of a newspaper. Displaying a newspaper in any way can

framing materials. The framing is completely reversible, rel-

hasten its deterioration, and it is important to inform your

atively non-invasive, and provides protective features.

customers of this fact. If a newspaper is to be framed, it is

DCO construction involves stacking certain materials

important to use preservation methods and materials. This

in a certain order. In this preservation-framing package, the

provides a degree of protection from light, slows the deterio-

stack of materials includes, from the bottom up:

ration, and fully supports it to minimize mechanical stresses

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on the fragile paper.

DIRECT CONTACT OVERLAY FRAMING For customers who want an attractive presentation as well

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as protective features but also need to keep the cost to a minimum, direct contact overlay (DCO) shadowbox with acrylic glazing can offer a good design choice. Acrylic DCO is a float mounting technique that can display the entire face and all four sides of a newspaper. Elevating the paper off the background provides a three-dimensional visual presentation, 18 PFM March 2021

1. Rigid reinforcement using aluminum composite material (ACM), such as ePanel, DiBond, or AlucoBond. This composite of PVC with aluminum covering is thin, lightweight, chemically stable, and suitable for preservation framing.

Other reinforcement materials may be used as well. Acrylic sheeting is a suitable alternative, but ACM is more durable, rigid, and preservation-worthy than hardboard, Gatorfoam, and most other rigid board materials of similar thickness.

2. A frame-sized background board of buffered alphacellulose, conservation-grade matboard. In this example, Peterboro Designer Fabrics, Weave DF901 Graphite, was used. This

Reverse-bevel the edges of the fluted polypropylene board, trimmed to the size of the newspaper, and then cover it with 4-ply conservationgrade matboard. Sand the edges.

The DCO stack of materials includes (from bottom to top): aluminum composite material reinforcement, frame-sized background of matboard, needle-punched polyester batting, Coroplast mounting board, newspaper, decorative linen mat, acrylic, 1 1/4'' deep frame.

board layer, cut to the size of the frame, does not contact the newspaper directly. But like all the other framing materials, it is acid-free, lignin-free, and chemically stable to resist the destructive chemistry inside a frame’s closed environment.

3. Traditional needle-punched polyester batting in several layers to provide spring tension in the final assembly.

This essential element of the DCO assures that the acrylic will press against the newspaper with controlled force, com-

The back of the mounted newspaper assembly is ready to attach to a frame-sized background board.

pensating for the slight movement caused by normal expansion and contraction cycles.

4. Direct-support mounting substrate of archival, 4mm fluted polypropylene, a.k.a. Coroplast, lined with 4-ply conservation-grade matboard. This layer is in direct contact with the bottom of the newspaper, so it should include buffered, lignin-free, conservation-grade materials.

5. The newspaper, attached to the direct-support mounting substrate by an internal sling and a horizontal wrap of clear polyester film. These provide the primary support. To keep a newspaper as close to its original condition as possible, no adhesive of any kind should touch the newspaper, and it must be fully supported. The non-invasive, chemically

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stable clear film provides support for all but the front page, which is supported by the acrylic DCO. 6. A decorative perimeter mat. Peterboro Designer Fabrics, Weave DF901 Slate, with custom-designed corners cut

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on the computerized mat cutter was used for this example.

Aside from its decorative value, this conservation-grade mat also hides the spacers trimmed to precise depth, which support the overlay of acrylic.

7. Acrylic glazing, in direct contact with the newspaper, to support the front page and keep it flat. For this project, 20 PFM March 2021

The newspaper is supported by a clear film sling under its front page plus a horizontal clear film sheet through the middle.

Museum Optium Acrylic was used. It is 99 percent UV filtering to slow the damage from light exposure. It is also abrasion-resistant, not only to avoid scratches from routine cleaning and handling but also to avoid abrasions on the inside from the newspaper. Its anti-reflection optical coatings make it nearly invisible in a properly lighted display.

Glass is not acceptable for DCO framing. Due to its poor thermal insulation properties, glass condenses moisture readily, which can soak directly into the paper. Acrylic has much better insulation properties and would not condense moisture except in extreme environmental conditions.

CONSTRUCTION After trimming all of the board materials to size and cutting the decorative perimeter mat, prepare the newspaper’s directsupport mounting board. Reverse-bevel cut the Coroplast to fit the dimensions of the newspaper, then cover it with 4-ply conservation-grade matboard to avoid imparting the board’s surface texture to the back of the newspaper. Sand the edges.

Use polyester batting between the mounted newspaper and the framesized background board to provide spring tension to the DCO framing assembly.

Fully open the newspaper’s front page to insert a sheet of clear polyester film, a.k.a. Mylar-D or Melinex 516. This film is trimmed slightly narrower than the width of the newspaper and about 6'' to 8'' longer than its unfolded height. Place it snugly under the front page, then refold the entire newspaper so that the ends of this clear-film internal sling protrude out the top of the fully folded newspaper. Neatly fold the ends of the clear film sling to the back of the newspaper.

Next, trim another sheet of clear film to the height of the folded newspaper and 6'' to 8'' wider, and run it through the middle of the folded newspaper horizontally.

Add the acrylic to the stack, apply significant pressure or weights to compress the batting, and then carefully measure for the spacers that will separate the glazing from the frame-sized background board.

Attach this horizontal clear-film sheet and the ends of the sling to the back of the direct-support mounting substrate using double-sided polyester tape (not ATG), securely holding the newspaper’s pages together.

Position the layers of polyester batting in the center of the frame-sized background board (no adhesive needed) and place the mounted newspaper on top of the batting.

Attach the mounted newspaper to the background board by running 1 1/2'' wide clear film straps through the folded newspaper horizontally. Push them through slots in the background board, pull them tight to slightly compress the batting, and attach the straps to the back of the board us-

Attach the spacers to the back of the decorative perimeter mat.

ing double-sided polyester tape.

Lay the acrylic glazing on top of the mounted newspaper, but do not remove the masking yet. Place weights on the assembled stack, and measure the depth from the acrylic to the frame-sized mounting board. In this exam-

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ple, the depth is 5/8''. Trim spacers out of sturdy board, such as acid-free foamboard, acrylic, or fluted polypropylene, and attach them to the back of the decorative perimeter mat. These spacers must withstand the pressure of the fit-

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ting and prevent the assembly from collapsing. They must also be visually presentable, since they can be seen under the mat.

Position the perimeter mat, with spacers attached, on the frame-sized backing board and make sure all surfacAdd the decorative perimeter mat to the stack, which also hides the precisely measured spacers.

22 PFM March 2021

es are free of dust and debris in preparation for final fit-

ting. Remove the masking from the acrylic glazing, clean it thoroughly, and position it on the stack. Add the frame to the stack of materials, and then turn the entire assembly over on a clean, flat, sturdy fitting table.

Add the rigid reinforcement and, while pressing down on the back, install the fitting points. It is important to fit most frames loosely enough that all of the materials in the frame can expand and contract freely. Note that in a DCO using acrylic, this general rule does not apply. Instead, this DCO assembly must be fitted tightly enough to maintain pressure by the acrylic on the face of the newspaper. Finish

Remove the masking from the acrylic glazing just before final assembly.

as usual with filler boards if needed, dustcover, and hanging hardware.

This DCO using acrylic provides a protective, visually pleasing presentation for the whole newspaper at reasonable cost, even when using premium glazing. If standard acrylic were used instead, this construction technique might actually be the lowest-cost way to frame an entire newspaper using preservation features. PFM This project is further described in Jim’s new book, “The Complete Guide to Direct Contact Overlays - DCO.” In addition to acrylic DCO mounting, the book also includes instructions for

Place the frame on the stack, and then turn over the entire assembly for final fitting.

mounting newspapers and many other items using direct contact overlays of clear polyester film and fine-mesh fabrics.

James Miller, MCPF, GCF James founded retail framing business ARTFRAME, Inc. in 1988 and sold it in 2015. His business specialized in protective framing, with emphasis on creative framing of three-dimensional objects. He continues in the industry as an author, educator, and consultant. He has co-authored several PPFA publications, is a longtime PFM contributor, and has authored two other instructional books for picture framers; “Mounting Objects with Clear Film” and “The Complete Guide to Direct Contact Overlays.”

Unlike typical framing, the acrylic DCO framing must be tightly fitted. Use weights to compress the batting and provide spring tension to hold the newspaper against the acrylic glazing.

PFM March 2021 23

RETAILER PROFILE: HOLTON STUDIO FRAME-MAKERS

By Kimberly Biesiada

“A picture can only be well framed if it’s in a well-made frame.”

T

frames, floaters, Adirondack and Oxford (lap-joined) frames, and mortise-and-tenon frames made from walnut, mahogany, cherry, maple, and their most popular wood,

hat core belief is the guiding principle at Holton Studio

quartersawn white oak.

Frame-Makers, on which their entire design approach

In an interview with PFM, Holton discusses his de-

is based. The full-service frame shop, which doubles as

sign influences, the evolution of his 28-year-old business,

an art gallery as well as a complete woodworking shop, was

and the importance of hiring and training people who are

created by Berkeley, CA native Timothy Holton in 1993. The

well-suited for the job.

hardwood frames sold there are designed and custom-made in-house by a small team of artisans.

Your mission statement says you aim to “revive the art

For Holton, a professional framer since 1975 who also

and craft of frame-making by restoring its bases in the

spent several years working in theater, the business is the

art of the joiner, the cabinetmaker, the woodwright; in

realization of his dream to run a designer-maker studio

the inspiration of nature and its materials; and in the

in the tradition of the Arts and Crafts Movement. Among

instincts, imagination, and intelligence of the crafts-

the offerings at Holton Studio Frame-Makers are mitered

man.” What first sparked your passion for this kind of traditional craftsmanship?

I worked at Storey Framing in Berkeley for 17 years. It started as an afterschool job in 1975, and I ended up working there through high school, college, and during my years in professional theater. The owner, Jim Storey, was really

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conscientious about craftsmanship. Everything about the work was careful.

I also grew up in Berkeley, one of the great centers of the American Arts and Crafts Movement, so I always had

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that ethos. I was surrounded by the architecture of people like Bernard Maybeck. My family had a house in Inverness, CA, that was built in 1908, and it was just an exemplary Craftsman home—all redwood. Berkeley is also a big center for the environmental movement. John Muir lived here.

From a part-time gig in high school to a full-time career, Holton has been creating custom frames for over 45 years.

24 PFM March 2021

It’s where the Sierra Club was founded. So that sort of rev-

erence for nature was a big part of it, too.

That might all sound a bit farfetched—like, what does this have to do with picture framing? But it has everything to do with how I think about materials. I believe everything about a frame should honor its material, because nothing we can make is as beautiful as what’s found in nature. And I appreciate the inherent beauty of things that are well made, no matter how simple, no matter how utilitarian.

The care embodied in anything that’s well made is visible. It becomes part of what you enjoy about looking at a beautifully framed picture. I think there is a real underestimation of that.

You were a framer for nearly 20 years before opening

Holton hard at work carving one of the business’s handmade hardwood frames.

your shop. What made you decide to take the plunge?

You also ship framed pieces across the country, right?

Very early on, I actually had this concept for a wholesale

Yes—we have a lot of mail-order customers, and that’s

framing business selling mortise-and-tenon picture frames.

very important to our business. Typically, they’ll send me

I was just one guy—I didn’t have any vision for being a man-

an image of something they want to have framed; very of-

ufacturer with 500 employees or anything like that—so it

ten, they’ll send me the actual piece, even if it’s a large

wasn’t that unreasonable. It’s just that as I got into it, I felt

painting. A lot of times I’ll lay the piece on the design table

more and more constrained by every frame I was making

and take pictures with corner samples against it. I’ve also

needing to have mortise-and-tenon joints. It wasn’t always

gotten pretty good at Photoshop, so I’ll Photoshop an im-

the most beautiful choice for every picture.

age of their piece into an image of one of our frames.

When I decided to focus on making frames, Jim Storey

I talk on the phone, of course, and there’s a lot of email-

let me set up a bench in his shop to explore my own designs

ing. It can be time-consuming, but sometimes it expedites

and sell them there. Someone from the Oakland Museum

the process because there comes a point where they rely

saw them, and my work was displayed in the museum store

on me to choose a few designs for them to consider. They

during an exhibition in 1993. That gave me the confidence to

don’t have hundreds of samples in front of them to look at.

set up my own shop. I leased a space in Emeryville and was

Sometimes it’s too hard for someone to make up their

there for 23 years until moving the business to Berkeley in

mind based on what they’re looking at on their screen.

2016.

If they’ve never worked with me before, they may not be ready to just say, ‘I’m going to leave that decision to you.’

Does most of your business today come from retail?

But as time goes on, it gets a little more carte blanche with

Yes. We do a tiny bit of wholesale to different shops, includ-

people who’ve worked with me in the past. They’ll usually

ing Storey Framing and Aarnun Gallery down in Pasadena.

want to see what I’ve got in mind, and they want to know

The vast majority of our business is retail, which I consider

how much it’s going to cost. But they become increasingly

crucial to the vitality and creativity of frame design.

confident in what they’re spending on our work, and are happy to pay.

Are there certain kinds of artwork or objects that you frame more frequently than others?

That’s always nice. Particularly during the challenges of

We frame everything: photographs, children’s art, diplo-

this past year.

mas, watercolors, tiles. But we have made a specialty of

It’s been very gratifying during the pandemic, actually, that

Northern California landscape paintings. California has a

people just wanted me to keep going. There’s a lot to be

wonderful, old tradition of landscape painting. The gallery

said for longevity at a time like this. If you’ve been around

that we run here is dedicated to contemporary Northern

for a long time, then you’ve got loyal customers who want

California landscapes.

to help you out.

PFM March 2021 25

How many frames do you produce per year?

Probably about 1,000.

Can you give me an overview of that process, from sourcing the wood to designing and building the frame?

There are a couple of local lumberyards that I frequent. I try to get there when the wood has just come in so I can pick through a whole unit of lumber. We start with rough lumber—mostly quartersawn oak and walnut, but other woods, too. Then in the shop, pretty much every frame is made from scratch. We start with those boards, and the basic unit of tools we use for milling is a jointer, planer, and table saw.

Frame maker Trevor Davis stands with a finished piece. Artwork: “La Punt near St. Moritz, Engadin Valley” by Peder Monsted.

Most frames have to be sanded. If it’s flat, we’ll join it and then sand it afterwards. But if it’s a slope or a cove or

You have five employees, three of whom help make the

cushion shape, then we do a lot of the sanding first, because

frames. Was it difficult to find the right people?

if you cut the 45-degree miters and then try to sand it, you’re

Yes. It took me a really, really long time. My first solid em-

likely to round over the miter. The mitered frames are all

ployee was Trevor Davis, who’s been with me for 22 years.

splined. For the mortise-and-tenon frames, we use a hollow

The second frame maker, Eric Johnson, has been with me

chisel mortiser, which is like a drill press but to cut square

for 12 years. The problem I have is that it’s just a strange

holes. Then I have a Japanese tenoner machine, the most ex-

combination; people who have picture framing experience

pensive machine in the shop. It has two big heads that cut

don’t necessarily have the skills to make my frames be-

both sides of a tenon simultaneously.

cause it’s real woodworking, and people with the skills to

Then a lot of the frames have to be molded. We’ve got

make my frames don’t necessarily have an interest in pic-

something like five table saws, and one is dedicated to mold-

torial art. Most woodworkers want to make chairs and ta-

ing heads. We have special knives for those, most of which

bles, stuff like that. Here, you’re making things out of wood

I’ve had custom made. There’s a whole art to cutting profiles.

that really depend on another art form for their success.

We’ve had a lot of fun over the years exploring, combining different elements.

As you know, the right frame on the right picture is just wonderful. To make something that’s sort of simple,

There’s a way to make money doing this, but it’s a tough

but you made it out of good material and you made it right,

business model. It’s on the opposite end of the spectrum

and then to put it around a picture—suddenly, it becomes

from a turnkey business.

something much, much greater. To me, that’s extremely gratifying. But it’s hard to find people who are that tuned in to pictures that that’s satisfying enough for them.

Both Trevor and Eric came with some skills, but basically, I made a huge investment in them learning to do it.

You cannot overvalue your employees. The value of good employees is immeasurable.

CONTENTS

To me, that comes down more than anything to good work. I turned down a job because it was going to be like 200 super-simple frames, and I said, this is just going to drive us crazy. It’s going to make us miserable. It’s the work itself that we’re finding value in here. I mean, we’re trying

AD INDEX

to make a living, that goes without saying. But there are other ways to make a lot more money, and the real reward of doing this work is the work itself. It’s inherently valuable if you do it right. You don’t want to forget what makes At Holton Studio Frame-Makers, Sam Edie focuses on frame finishing, shipping, fitting, and more.

26 PFM March 2021

it meaningful. PFM

PRINCIPALS OF PRESERVATION FRAMING

By David Lantrip, MCPF, GCF

M

ethods, materials, and generally accepted framing practices have certainly changed in a relatively short amount of time. When I first learned

framing, we used powder-packed float glass on almost everything, cotton or alpha cellulose mats were the rare exception, and nearly every piece of paper art was dry mounted to a pulp board. We went through rolls of what we called “framer’s tape,” which was just glorified masking tape.

Today, an everyday frame has UV-filtering glazing, cotton or alpha cellulose mats, and the artwork is mounted to acid-free foamboard with corner or edge mounts. If the art is permanently mounted, it is often done using a low-temperature adhesive—maybe even a reversible product. These materials are pretty much standard now, and an average frame like this goes a long way to meeting recommended preservation standards. The rest is a matter of small details.

Most framers recognize the benefits of preserving artwork in as close to its original condition using easily-reversible methods and products while avoiding the introduction of harmful materials. The applies not only to items of value (real value, historic, sentimental, or potential) but also to everyday items. After all, a customer pays good money for framing and should be able to enjoy it for a long time. As Jack Dempsey, creative director for Crescent, points out; “There is long-term cost savings from not having to replace matting that has faded.” There are also financial benefits to the framer, as upgraded framing materials contribute to a healthier

CONTENTS

bottom line. Let’s look at a couple other ways preservation framing can benefit a framer.

A guiding principle of preservation framing is the idea of reversibility; that anything we do to the artwork should

AD INDEX

be easily undone with a minimum of effort or risk. That is certainly good for the artwork, but let’s extend that to include the framing itself. Consider the times you have been asked to replace the glass in a shadowbox. First it is necesMylar is a versatile material that can be used to mount a variety of artwork. Its versatility and low cost make it a preservation workhorse.

28 PFM March 2021

sary to remove the side walls lining the inside of the frame and holding the glass in place. Usually the framer destroys

both the foamboard and matboard strips while removing them because they were held in with multiple strips of ATG and maybe glue along with it.

Did you charge for new linings? Is the matboard even still available?

Had the previous framer instead attached the shadowbox liner with just a few small strips of ATG and dots of glue, the story would be different. Removing them would be a quick matter of popping them off with a putty knife, intact and ready to

Reversibility benefits the framer, but it can also have practical benefits to the customer. Turnbuttons and a platform mount in this multiple-opening frame make it easy for the customer to switch out new family and travel photos.

be placed back in with the new glass.

• Unscrewing offsets to remove a

This is a significant savings in time,

canvas is much less risky than

materials, and frustration.

trying to remove a canvas that

As another example, think about

has been toenailed into the

mounting objects with adhesives.

frame.

No matter how benign the chemical

This applies to stacked frames as

composition, the fact remains that

well; consider the need to replace

reversing it will involve some ma-

an old and soiled linen liner.

nipulation, cutting, pulling, or pry-

• Booking mats keeps them and

ing. It might even involve a solvent,

the mounting board aligned and

introducing unknown and complex

makes it a breeze to remove the

chemistry into the mix. Contrast that

artwork. The alternative of ad-

with the ease of, for example, simply

hering them to the mounting

cutting a Mylar strip or cotton thread

board with ATG or glue makes fu-

from the back.

ture removal a much riskier task.

This idea of reversibility in all as-

CONTENTS

pects of framing can be summed up

As mentioned previously, preser-

simply as thinking of the next guy.

vation framing is good for business.

At some point, anything you do may

We usually look at the sales end of

have to be undone by a framer in the

it; upgraded materials are simply

future. Ask yourself how that will be

better for profits, and consumers ex-

done with a minimum of fuss, mate-

pect them routinely. This expectation

rials, and risk. This is not just an ab-

is consistently proven in consumer

stract, ivory-tower concept; that next

surveys and research. As Jane Boyce,

framer could easily be you!

president of Tru Vue, puts it; “All the

Here are some other practical

custom framing research that Tru Vue

cases where easy reversibility makes

has conducted shows the number-one

life easier for a framer:

reason consumers frame treasures,

AD INDEX

art, and keepsakes is for preservation

30 PFM March 2021

• Pinning or lacing needlework.

and protection. We believe that when

Consider how easy it is to pull out

most consumers custom frame, there

pins or snip a few threads, com-

is an expectation that we are working

pared with trying to undo aggres-

to assist in protecting their art and

sive tapes or adhesives.

memories.” Embracing preservation

is also good on the back end, since a simple approach can help reduce the cost of goods and simplify purchasing.

Let’s look at mounting works of art on paper. There are plenty of products available to make reversible mounting easier, including corner pockets of various sizes, premade edge strips, and many varieties of tape, some of which are “acid-free.”

They are convenient, but also limited. A specific size corner pocket is only good for a limited range of paper sizes, and some may cover too much of the paper. A specialized tape may be used only rarely. These limitations force the framer to research and stock a wide variety of products, some of which may get little use.

To make an analogy, think about baking. The grocery store carries plenty of cake mixes that can be thrown together in a couple of minutes and are pretty convenient. For what they are, though, they are expensive. And they only make one thing. The alternative is to stock the pantry with flour, cocoa powder, baking soda, and other staples. These are all relatively inexpensive and can be combined in myriad ways to create hundreds of different desserts.

A simplified approach means fewer decisions, fewer products to stock, better use of the products, and a lower cost of goods. For mounting paper items, a limited but flexible toolbox will handle the vast majority of preservation mounting, including: • Hinging paper • Rice starch • Gummed linen tape • Polyester film (commonly known as Mylar) • Double- and single-sided acrylic-based tape

Have a question or comment? Tell PFM what you think.

Mail letters to PFM 330 Mounts Corner Drive # 313, Freehold NJ 07728-2558 Call 732-536-5160 or E-mail to info@pfm-group.com PFM March 2021 31

• Cotton embroidery floss in assorted colors • Tulle or other fine mesh fabric • Steel or brass rods in various diameters • Heat shrink tubing • Hot glue gun

Embroidery floss should have a place in every framer’s object mounting toolbox.

Available in over 600 colors to blend into nearly any object, it is chemically stable and durable over time. It can be stranded to use more or fewer strands to suit the weight of the object being mounted. It is usually available for about 50 cents per skein.

Mylar can be used in narrow strips or other configurations to mount objects ranging from medals, coins, and golf clubs to books, magazines, and tools. Embroidery floss is useful for sewing down jewelry and many small objects, while tulle is

Naturally there will be some ancillary items, but these are the basics.

Rice starch paste and hinging papers are used to create a wide variety of hinges in different configurations to mount everything from oversized watercolors with their edges exposed to small, delicate sketches. The paper, secured with linen tape, can be used to create edge mounts that are easily reversible, completely non-invasive, and are arguably even safer than hinging. Mylar can also be used with the proper double-sided tape to create edge mounts. They can be made in long strips in advance, ready to be cut to length and used quickly and easily for routine mounting.

Object mounting can be handled with the same approach. Rather than a wide variety of specialized mounts

great for mounting balls and hockey pucks. Steel or brass rods are used to create formed rod mounts to hold many oddly shaped objects. There is really no need for chemically suspect, specialized adhesives, which are often expensive with short shelf lives.

Preservation framing is required when working with fine art and other valuable materials, but there is no reason to reserve it only for the work that “needs” or “deserves” it. After all, who are we to make that judgment?

Aside from the protection it provides artwork, its principles of simplicity and reversibility are qualities that benefit a framer’s bottom line, not to mention his sanity. In short, always think of the next guy, and take to heart the words of Thoreau: “Simplify, simplify, simplify!” PFM

that might only be useful for one type

CONTENTS

of object (a coin of a specific size, for instance), a variety of basic, inexpensive supplies can handle almost all the objects a framer is likely to see on a regular basis. Some of those

AD INDEX

supplies include: • Mylar • Double- and single-sided acrylic-based tape

32 PFM March 2021

David Lantrip David is the director of education for Franchise Concepts, and the franchisor for Deck The Walls, The Great Frame Up, and Framing and Art Centre stores. He has served in a number of roles in the PPFA including as a member of the International Board of Directors 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.

CONDITION REPORTS FOR FRAMERS AND GALLERISTS

By Paul MacFarland, MCPF

A

condition report provides an accurate overview of

it from the frame. Picture frames enclose the object, and

an object’s general condition at the time of trans-

keeping the world out means keeping everything inside

fer from the client to the framer or gallerist. There

the art package in. A wide variety of mold spores, insect

may be specific issues with the object that influence the

frass, fine glass slivers, and the aging residue of fram-

visual experience or material conditions that require spe-

ing materials are found in older frames. The object itself

cific procedures to remediate. Often, there is no such prob-

may contribute to the potential for contamination. When

lem; however, the work must be closely examined to reach

opening suspect frames for inspection, consider wearing a

that conclusion.

mask and gloves.

With many objects, we are creating provenance. Art-

• If the art can be inverted without harming it, then do

work will often not have any formal paperwork, and the

so; if not, clamp the frame upright in a painting easel

condition report—a copy of which stays with the object—

to disassemble it.

becomes that documentation. Condition reports have ar-

• Save stickers and other information found on backing

eas for additional comments that often become somewhat

paper and boards. They should be noted on the report.

anecdotal, in turn contributing to the story of the work.

• Remove retention hardware, framing points, or nails.

There is a distinctly different set of interests and

• Carefully turn the assembly over and lift the frame

outcomes between museum and institutional inspection

away, then the glazing. Sometimes the two must come

reporting than that of the custom picture framer and

off together.

CONTENTS AD INDEX

modern gallerist. This is also true of design concepts and

• Matted paper works can be problematic; the artwork

assembly techniques. The general institutional condition

may be mounted to the back of the mat or to the

report will often focus on the object’s provenance, manu-

mounting board. Pressure-sensitive tapes of all types

facture techniques, and suggested method of remediation.

can be found on paper works on the top, bottom, or

The information the framer and gallerist require is often

all four sides. The work may have been permanently

only related to existing irregularities and their impact on

mounted with paste, spray, heat, or pressure-sensitive

the practical mechanics of long-term display. Knowing

adhesives. Even relatively recent substrates are often

when to call a consultant is important; framers present,

brittle, and there may be mat burns on the art—the

conservators repair.

result of an acidic mat core. Fading becomes obvious if

ART IN FRAMES If a work is already framed, it will be necessary to remove 34 PFM March 2021

any of the art was partially covered by the mat.

• Paintings have special needs; this applies to stretched canvas and panel. Before removing a frame, inspect

the image edge to determine if it will freely release

lodge everything, use a blunt-nosed spatula or twee-

from the lip of the frame. A canvas can become at-

zers. Note anything you find on the condition report.

tached to the rabbet. This happens for a couple of rea-

Rolled art always has a high potential for damage. All

sons; an uncured, wet canvas was put into the frame

works paper or textile should be rolled face-down on as

without isolation strips, or the painting was varnished

wide a core as possible; the tighter the roll, the higher the

while in the frame, the varnish penetrating under the

incidence of damage.

rabbet and gluing the canvas in place.

• Stretcher bars were often nailed into the frame and

THE INSPECTION PROCESSES

need to be pulled or cut— whatever causes less stress

It’s important to complete the condition report in the cli-

to the frame. A rotary tool with a fiberglass-reinforced

ent’s presence. The inspection will define the processes

circular cutoff wheel is recommended.

required to meet the object’s preservation needs. All pres-

• There is a wide range of hardware—including screws,

ervation projects should have an accompanying condition

offsets, mending plates, and spring clips—that may

report, and it is suggested that all incoming work be in-

need to be completely removed prior to safely releas-

spected before going into the system.

ing the canvas.

The condition report form guides an accurate inspec-

• Stretched canvases, especially those without a pro-

tion. Damage is charted on an outline drawing of the ob-

tective backer, often have a variety of objects between

ject that accompanies the report. A number on the report

the back of the canvas and the stretcher bars. This can

form corresponds with one on the diagram.

include stretcher keys, hanging hooks, nails and other

When inspecting prior to designing a frame package,

hardware, insect carcasses, dust, and occasionally pa-

it is important to note what will show and what will not.

per documents. If the canvas is in good shape, position

For example, perimeter damage is common, but overmat-

it image-up, tilt the frame back at a 45-degree angle,

ting will physically cover it, so it is listed on the condition

and gently tap the outside edge. If this does not dis-

report but does not disrupt the presentation project.

CONTENTS AD INDEX 36 PFM March 2021

Condition Report 1: Paper, Including Photographs, Prints, Documents, and Ephemera Item number _______ Location ____________ Date _________ Client information: Name _______________________________________________ Address _____________________________________________ E-Mail ______________________________________________ Telephone ___________________________________________ Measurement Height _____ Width ______ Thickness _________ In square? _______ In plane? _______ Description of object ____________________________________ Substrate ____________________________________________ Accompanying documentation ____________________________ Identifying marks / labels, stickers _________________________ Photo documentation, describe ___________________________ New work ____ previously mounted ____ previously framed ____ Abrasion ___ Accretion/incrustation ____ Air burn ___ Adhesive residue___ Brittle paper object__ Brittle mounting substrate__ Bulge__ Crease/fold__ Cockling vertical__ Cockling horizontal__ Curling__ Embedded soil__ “Dog eared” corners __ Fingerprint__ Fading/color shift__ Mirroring/silvering___ Indentation__ Ink smear__ Light stain __ Moisture damage__ Mold / mildew__ Odorous____ Perimeter damage__ Image loss__ Puncture __ Tear__ Foxing__ Window mat burn__ Staining__ Silvering__ Vermin damage__ Notation, on front or back__

The condition inspection looks for both mechanical and chemical damage. Mechanical damage is caused by physical interactions such as mishandling; for example, a bulge on a stretched canvas, the result of a blow from behind. Chemical damage is caused by material interactions, including incompatible products or inherent damage. An example of this is acidic mat opening edge stains from the paper core of a less-than-adequate matboard.

TOO FRAGILE TO FRAME? There are times when a condition report reveals that a work should not be framed/reframed. This does not mean that the image itself cannot be framed and displayed; it means the original should be photographically reformmated into an exact archival duplicate. The original is then properly prepared for long-term storage. Manual reformatting (copying) has been with us for a long time; ancient libraries continuously restored and replaced worn and damaged scrolls and manuscripts for millennia. Photo documentation is always recommended; a cell phone camera is usually sufficient. Images may be attached to the permanent file. To assist in identification, three simple examinations are performed: one with a UV light, and the

PFM March 2021 37

Condition Report 2: Textile, Including Needle Art, Garments, and Quilts Item number _______ Location ____________ Date _________ Client information: Name _______________________________________________ Address _____________________________________________ E-Mail ______________________________________________ Telephone ___________________________________________ Measurement Height _____ Width ______ Thickness _________ In square? _______ In plane? _______ Description of object ____________________________________ Substrate ____________________________________________ Accompanying documentation ____________________________ Identifying marks / labels, stickers _________________________ Photo documentation, describe ___________________________ New work ____ previously mounted ____ previously framed ____ (Identify textile origin and manufacturing technique. A large portion of textiles were never met to lie perfectly flat, yet this is what many framed presentations require. Lightly stretch the object; broken or snipped threads show up under tension.)

Soiled area__ Smudges__ Tendering __ Crocking __ Hoop marks__ Creases__ Excess Fabric__ Missed stitches__ Frayed edges__ Traveling stitches__ Mold/mildew____ Odorous______ Out of square sections__ Thread knots on the back__ Puckers__ Holes in fabric__ Foreign fiber in stitches__ Crooked patterns___ Repairs___ Previous alterations___

CONTENTS AD INDEX 38 PFM March 2021

Condition Report 3: Canvas, Stretched and Panel Item number _______ Location ____________ Date _________ Client information: Name _______________________________________________ Address _____________________________________________ E-Mail ______________________________________________ Telephone ___________________________________________ Measurement Height _____ Width ______ Thickness _________ In square? _______ In plane? _______ Description of object ____________________________________ Substrate ____________________________________________ Accompanying documentation ____________________________ Identifying marks / labels, stickers _________________________ Photo documentation, describe ___________________________ New work ____ previously mounted ____ previously framed ____ (Identify substrate and medium; for example, acrylic paint on primed Masonite panel) Flexible____Fabric origin____ Unstretched flat ___Rolled___ Stretched___ Expandable bars___ Strainer___ Staples__ Tacks___ Backed__ Unbacked___ Panel____Wooden___ Cradle___ Masonite____ Canvas board___ Wire bead edge___ Other___Out of square __Soiled area__ Stains__ Mold/mildew__ Indentation__ Bulge__ Chalking__ Abrasion__ Puncture__ Crease__ Wrinkle__ Pucker__ Sag__ Canvas deterioration___ Damage on bead edge__ Damage to stretcher bar__ Irregular corner folds___ Inward bowed bars/lack of bracing___ Discoloration__ Loss__ Blistering__ Blooming___ Buckling___ Cracking___ Cupping___ Crazing___ Flaking___ Odorous____ Notation on back__ Previous conservation treatment____

other two with a bright light source that can be safely handled around the art.

• The transmitted light inspection procedure is used primarily for textile substrates including stretched

• A portable ultraviolet inspection light should be used to

paintings, tapestry, needle art, and clothing. However,

check for mold, as it is fluorescent under UV radiation.

it is also important to check old documents, water-

Mold spore lies in wait for the right conditions to bloom,

colors, and prints; acidic inks often eat through paper

and the dark, warm world behind the art is ideal petri

over time, and pin holes are common. Hold the work

dish. Many diverse molds may appear at different times

in front of the light, passing top to bottom and left to

in a work’s lifetime; each has a specific level of humidi-

right while looking for weak spots, abrasions, holes,

ty, temperature, and pH that enable their growth. Some

tears, insect damage, staining, water marks, and pre-

feed on the cellulose, others on the gelatin or starch siz-

vious repairs. PFM

ing, and others go for inks. The secretions left by paper molds or their mycelium can be colored, and their tint-

The condition reports shown here can be downloaded for free on

ed staining, often seen front and back, is permanent.

PFM’s website at pictureframingmagazine.net/Downloads/

• The raking light inspection procedure is used to identify any potential problems with the artwork’s surface.

Position the light along the outside edge of the art at an approximate angle of 20 degrees or less. At this low angle, the light will rake across the surface, revealing the raised edge of problem areas and creating shadows in the depressions to illuminate conditions not otherwise visible. Run the lamp slowly from top to bottom, then repeat from left to right, intersecting the path of the first inspection at a right angle.

Condition_Report.pdf

Paul MacFarland Paul is an internationally recognized master framer and industry historian with more than 30 years of hands-on experience. His work is found in public and private collections in the Americas, Europe, and East Asia. Paul is the founder of Art Preservation Resources, a consulting and training organization working with fine art preparation professionals, businesses, and institutions worldwide. He is the author of numerous industry articles, procedural manuals and essays, and he lectures on fine art and framing at The National Conference in Las Vegas. He is also the author of “Framing Works of Art on Canvas,” published by PFM Books.

PFM March 2021 39

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Celeste is perfect for the modern millennial framing customer. Sleek, glittery, and galactic in its six stunning colors, designed to uniquely accent contemporary graphic images, whether in a dorm room or a professional office. Request a color catalog online or call to get samples and pricing.

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

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

CONTENTS

Tru Vue

Universal Arquati

AD INDEX

Ensure all your custom framing projects stand the test of time by using Tru Vue conservation grade glass and acrylic products. Tru Vue’s ultra-protective glazing is a staple, safeguarding the personal mementoes and works of art on consumers’ walls every day for years to come.

NoFlex is an aluminum extruded product sold in length or chopped to size. This product lends support to the back of prints on rigid surfaces such as aluminum or plexiglass without the risk of warping. NoFlex is easy to cut and install with heavy-duty mounting tape.

Standard aluminum moulding hardware can be used for joining and hanging for excellent results. Please contact your local sales rep for additional information!

Call: 800-621-8339 www.tru-vue.com

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

40 PFM March 2021

CROSSWORD CHALLENGE Across

Down

1 They preserve works of art

1 Attention to detail

8 Stiff and unbending, like good backing boards

2 Dark period 3 Complete

9 ____ paper: it’s laid between an adhesive and a hard surface to protect the hard

4 Protective coat used as a preservative 5 Ability

surface from the adhesive 10 Condition of being stretched 12 Calligrapher’s fluid 14 Label

6 Straighten 7 Color fan ____ 11 Bismarck’s state 13 ____ sheet: very thin translucent

15 Type of paint with less oil content 17 “Eureka!”

material used to separate artworks to keep them from transferring inks or

19 ___ glare glass 22 ___ offset: measurement subtracted

sticking to one another 16 Try

from artwork size 25 Material used sometimes in framing to

18 Morning, for short 20 “Neither” complement

fill and disguise gaps 27 The most common solvent used in

21 Colored, as fabric 23 Astonish

restoring paintings 29 Historical period

24 Teacher’s Assistant, for short 26 Not glossy, as a photo

31 Wetness in the atmosphere which can affect a painting’s longevity 32 Clip, as a photo 35 Erodes, with into 36 Type of backing board

28 30 31 33 34

____ cotta. color Smallest st., abbr.

Color or shade Before, before a word Circle ratio

SEE PAGE 45 FOR THE SOLUTION

PFM March 2021 41

Distributor Spotlight

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

800-404-1220

CONTENTS AD INDEX 42 PFM March 2021

DISTRIBUTOR SPOTLIGHT A complete innovative marketing section designed especially for distributors.

For more information, sales@pfm-group.com

PFM March 2021 43

Index Advertiser

Page

Advertiser

Page

3A Composites Encore Products..........................................................27

House of Troy ....................................................................................41

800-873-4868

800-428-5367

www.encoreproducts.com

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

www.activesalesco.com

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

www.fastchangeframes.com/www.bannergrip.com

Arlo Spacemaker Products, LLC...........................................................45 800-332-2756

www.reevesextruded.com

ArtGlass ............................................................................................15 +371 67502910

www.groglass.com

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

www.gilderspaste.com

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

www.astreetframes.com

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

www.cmimoulding.com

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

www.ctsaw.com

www.houseoftroy.com

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

www.richesonart.com

Join Rite ............................................................................................42 508-454-7477

www.joinrite.com

Lineco, a Division of University Products .............................................33 800-322-7775

www.lineco.com

Michelangelo Moulding ......................................................................17 877-422-8812

www.michelangelomoulding.com

Omega Moulding Company ....................................................11, 41, 45 800-289-6634

www.omegamoulding.com

Peterboro Matboards .........................................................................39 866-292-3031

www.peterboromatboards.com

Picture Framing Magazine..................................................................43 800-969-7176

www.pictureframingmagazine.com

Picture Woods Ltd. .............................................................................31

Craft Inc. ...........................................................................................31

800-321-6522

800-827-2388

Pro Tapes & Specialties.......................................................................16

www.craft-inc.com

www.picturewoods.com

Crescent Cardboard Co. ................................................................13, 23

800-345-0234

800-323-1055

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

www.crescentcardboard.com

Decor Moulding & Supply ...........................................16, 19, 38, 43, 45 800-937-1055

www.decormoulding.com

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

www.fixons.com

Foster Planing Mill .............................................................................36 323-759-9156

www.fosterplaningmill.com

Frame Specialties ...............................................................................37 800-777-3165

www.kooltack.com

CONTENTS

Framerica......................................................2, 3, 4, 16, 41, 43, 45, 48 800-372-6422

www.framerica.com

FrameTek ..........................................................................................32 800-227-9934

www.frametek.com

AD INDEX

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

www.franksfabrics.com

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

www.gluefast.com

800-297-1566

www.protapes.com www.rhondafeinman.com

Roehm America LLC ...........................................................................21 973-929-8492

www.acrylite.com

Studio Moulding, Inc. .........................................................................29 800-262-4174

www.studiomoulding.com

Superior Moulding Corp. ....................................................................42 800-922-7914

www.supermoulding.com/www.zelanto.com

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

www.tru-vue.com

Universal Arquati ...........................................................................5, 35 800-668-3627

www.universalarquati.com

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

www.wallmoulding.com

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

www.wizardint.com

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

Z Hardware .......................................................................................43

866-248-0100

800-880-9315

44 PFM March 2021

www.hoffmann-usa.com

www.zhardware.com

(Continued from page 46)

their counterparts.

I truly enjoy putting together a framed piece for graduates who have spent several years of their lives attaining a degree, whether it is for a high school, trade school, college, or university graduation. I have even done mascot frames for elementary school graduates.

My shop specializes in truly custom pieces for wedding invitations, clothing, jerseys, memorabilia, and of course, the mascot emblems. As an artist, I love to be creative with every piece. I will often also paint on the mats, giving the art an almost three-dimensional feel.

Visit my Instagram page at Tsdesigns _Tom to check out more of my creative design projects! PFM

Crossword Challenge Puzzle Solution

PFM March 2021 45

DESIGN OF THE MONTH

By Tom Segura

Frame Shop Earns ‘A’ Grade for Graduation Designs

S

eventeen years ago, I entered the world of custom framing when I opened my business in the basement of my home.

As an artist, I was driven by the desire to be able to frame my own artwork. As I got comfortable with processes like cutting mats, my confidence grew and I began to think this was something I

programs. I have shipped my work all over the United States. Each mascot frame is truly custom-made and hand-cut. I create the pieces to be used with diplomas, photos, tassels, and various memorabilia.

could turn into a career.

I rented a small shop space one year later, in 2005, and TS Designs - Eaton Framing and Art

The framed diploma featured here was designed for a graduate of Colorado Mesa University. For the project, I used moulding from Stu-

Gallery was truly off the ground. As my shop

dio Moulding’s Array collection (Ebony Brown,

slowly grew, I began to try new ways to frame

1

and mat pieces. I am a Colorado Institute of Art

mats to be added to the design. For the matting,

graduate and do all my own graphics for the

I used Crescent 5503 Suede Berry and 9518 Sum-

shop. I wanted to incorporate other ways to en-

mer. For the emblem, I used a combination of

hance mats, so I began cutting lettering from

Suede Berry, Summer, and Black Belt matboards.

a local high school and incorporating it in the

When I am tasked with a mascot frame, I

matting for seniors’ diplomas. This lead me to

will typically sketch out the emblem and hand-

hand-cutting mascots, emblems, and logos with

cut the background that will hold the layers of

multiple layers and adding them to various

them emblem. I’ll then cut the individual pieces.

framing and matting projects.

5/16''). The depth allowed for multiple layers of

This work can be tedious and time-con-

CONTENTS

Since then, I have been able to create frame

suming! I will go through several X-Acto blades

designs for graduates from Notre Dame, Georgia

during the process; small, rounded corners of-

Tech, Ohio State, Florida Gators football, Kansas

ten break the blades. Rag mats tend to work bet-

State, and many other big-name schools and

ter for this kind of work, as they are softer than

AD INDEX

Tom Segura is the owner of TS Designs - Eaton Framing and Art Gallery in Eaton, CO. Tom

Specializes in custom hand-cut mats and frames, often using the mats as a medium to enhance and personalize the item. Tom has a degree in advertising design and graphics from the Colorado Institute of Art and a bachelor’s degree in business management and human resources from Colorado Christian University.

46 PFM March 2021

(Continued on page 45)

This triple-mat design, including a suede top mat in the client’s school colors, is a notch above the basic diploma framing.

The hand-cut university mascot and logo at the bottom also add to the design’s custom appeal.