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
CONTENTS
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
AD INDEX
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
CONTENTS AD INDEX 16 PFM March 2021
Product Showcase
Decor Moulding
Framerica
Introducing Soho, a new line featuring six large, black-and-white gloss mouldings in very contemporary profiles. Widths range from 1 1/2'' up to 3'', and rabbet heights from 7/8'' up to 1 3/4''. Soho: classic beauty combined with contemporary profiles and glistening finishes. Order corner kit #CS-SOHO to get these high-demand styles on your walls today.
Framerica’s Saddle Leather—a rich, brown, textured finish meant to evoke a timeworn saddle—has been updated and re-released by the company. VP Josh Eichner notes, “We have seen an uptick in demand for Saddle coinciding with the reimagining of the home office. It’s always been a beautiful finish.” Saddle Leather is available in profiles ranging to 4''.
Call: 800-937-1055 www.decormoulding.com
Hoffmann Machine Company MS40SF-NC is a programmable double miter saw for the production of picture frames in a high-production yet still custom environment. Moulding up to 4'' wide and 3.5'' tall can be miter cut and joined with up to three dovetail keys. Automated length positioning and QR code scanning is available.
Call: 800-372-6422 www.framerica.com
Michelangelo Moulding When something is good, keep it going. Michelangelo’s 297 angular-shaped wood series has added seven new finishes. All woodgrains, the new assortment includes walnut, off-white, gray, black, dark walnut, natural, and charcoal. Specifications can be found online. Samples are available. Call: 877-422-8812 www.michelangelomoulding.com
Call: 866-248-0100 www.hoffmann-usa.com
Omega Moulding
Sepp Leaf
Prism is a collection of six petite profiles featuring colorful, hand-glazed finishes. These mouldings are ideal for framing smaller works as well as adding color and impact within larger multiple/stacked frame compositions. See the full collection online.
Liming is a beautiful, sophisticated finish. Ideal for oak, but beautiful on many woods. Use Liberon’s Liming Wax for a superior finish; but first, this Bronze Brush is key! Made from strong, bronze bristles. Designed to open up the grain of hard woods so the Liming Wax can penetrate. Also good for deep carvings. Imported from England by Sepp Leaf Products.
Call: 800-289-6634 (US) 877-452-3799 (Canada) www.omegamoulding.com
Call: 212-683-2840 www.talasonline.com
Studio Moulding
Superior Moulding
The new Willow collection expands the natural beauty and lines of real wood. The timeless feel of Willow lends use to current market trends in home decor. Add the traditional beauty of Willow by contacting your regional sales manager for samples to display.
Introducing Celeste; six sparkling new finishes on a single profile. Celeste is designed to add pizazz and depth to inspire your customers, whether used solo or as a liner. 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
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Tru Vue
Universal Arquati
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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