a May Cover_pfm cover specs.qxd 4/24/14 5:24 PM Page 1 When it comes to investing in machinery for your business, Megawood Larson-Juhl has the industry proven reputation for:  Better range & choice of options  Better brands of best selling equipment  Better after sales service and support  Better stock and supply of spare parts Visit our website for detailed info  Better technicians and industry experts and videos on our whole range of machinery! www.megawoodlarsonjuhl.com.au

Machinery Advert 2014 for PFM.indd 1 2/05/2014 10:21:06 AM FRA0041_TESTAMONIAL_PFM0514_PFM Full Page Ad Template 5/2/14 10:26 AM Page 1 LAR0004_FRAMELIGHT_PFM0414.QXD_PFM Full Page Ad Template 4/23/14 7:55 PM Page 1 b TOC 2_TOC.qxd 4/29/14 2:59 PM Page 4

Table of Contents PFM is a member of: Volume 25, Number 5 PPFA, The Professional Picture Framers Association APA, Art Publishers Association SOG, Society of Gilders On the Cover Picture Framing Magazine® Frame: Larson-Juhl #338631 (Musee) (ISSN 10529977) is published monthly, except in October when published semimonthly, by Hobby Glazing: Tru Vue Museum Glass Publications, Inc., 83 South Street, Unit 307, Freehold New Jersey Mat: Bainbridge #4024 07728. Advertising and Editorial (Vermeer black linen) hand-wrapped Office: 83 South Street, Unit 307, Freehold New Jersey 07728; phone 732-536-5160; fax 732- Barrier Mat: Crescent Rag mat #1153 (White) 536-5761 Subscription Office: (between the art and the zipper accent mat) Starr Corp., P.O. Box 1027, Sel- mar, TN 38375; phone 731-434- 1106. Subscription: $20 per year Liner Mat: Bainbridge #4024 U.S., $40 U.S. Dollars per year in (Vermeer black linen) Canada and Mexico, $60 U.S. Dollars per year for all internation- Artwork: “Now can you see?” al. Single copies, $5.95. If a paid subscription magazine is returned by the U.S. Postal Service as non- Artist: Mike Abate deliverable, Picture Framing Mag- azine will maintain the subscrip- Framer: Kosal Eang tion 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. Periodi- cals class postage paid at Free- hold, New Jersey, and at an addi- tional mailing office. Entire con- tents © 2014 by Hobby Publica- tions, Inc. Printed in U.S.A. Pic- ture Framing Magazine registered in the U.S. Patent and Trademark FEATURE Office. Postmaster: Send address 24 Mounting Equipment: Getting Started changes to Picture Framing Magazine, P.O. Box 1027, Selmer, TN 38375-1027 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 COLUMNS DEPARTMENTS such. No part of this magazine may be reproduced without the expressed written consent of the 14 Retailing 8 Editor’s Note publisher. PFM does not know- ingly accept false or misleading 18 Frame Design 10 Industry News advertising or editorial, nor does the publisher assume any responsibility for the conse- 28 Mastering Mounting 46 Product Showcase quences that occur should any such material appear. PFM and 36 Sales Strategies 50 Distributor Spotlight Hobby Publications assume no responsibility for content, text, 42 Preservation Practices 52 Index of Advertisers or artwork of advertisements appearing in PFM except those 54 Identifying Art 53 Classified Ads promoting PFM. The Publisher reserves the right to review all advertising materials submitted 53 Calendar of Events for publication and to not accept any such material deemed inappropriate for any reason. CRE0035_COUTURE_PFM0114_PFM Full Page Ad Template 12/19/13 7:38 PM Page 1 PFM0002_PERKINSMARTY_PFM0314_Secret_Gilding 5/13/14 10:44 AM Page 1

Guidelines for Great Frame Design Greg Perkins

uidelines for Great Frame Design is an impressive new coffee table-style Gbook that will help you select the right frame and matting for any piece of art. Using easy to understand guidelines along with hundreds of examples, it will guide you through the process of picture framing design, helping you turn any piece of art into a striking visual presentation. Featuring hundreds of color photos, this volume provides vivid examples of a wide range of framing options, providing ideas for almost any kind of art.

Guidelines for Great Frame Design provides insights into how to make the right design choices for custom framing and presents the concepts that guide those choices in down-to-earth terms.

128 pages • Item #B026 • $29.95

Available All the gilding basics from from Marty Horowitz PFPUBCOM & Lou Tilmont

he new and expanded third edition of this book from two masters in the Tgilding trade answers all your questions about materials and techniques. It’s full of step-by-step instructions, photos of the techniques, and recipes that really work! This book will lead you through the complete process of water gilding, from the treatment of the raw wood, the preparation and application of gesso, and preparing the clay to laying leaf. There are also chapters on ways to seal and finish the framing using time-honed techniques and creating four different kinds of patinas. Both beginning and advanced gilders will gain much from this book. Available in both soft and hardcover.

Item #B605A (softcover) • $29.95 Item #B605B (hardcover) • $39.95 Table of Contents Order online at www.pictureframingmagazine.com or use the form below

___ Guidelines for Great Frame Design ___ An Introduction to Watergilding Name ______Check ___Visa/MasterCard Company ______Card Number: ______Street ______Index Expiration: ______City and State ______Include $8.00 per book for shipping Zip ______Mail or fax to: PFM PubCo., 83 South Street, Unit 307, Freehold, NJ 07728 FAX: 732-536-5761 Phone ______PFM Digital Issue ad_PFM Digital Issue ad 5/7/14 6:10 PM Page 1

Subscribe to our DIGITAL EDITION

Sales Techniques, Frame Design, Mounting, Shadowboxes, Mat Cutting, Business Trends, and much more

DON’T MISS OUT! CLICK ON THE TABLET TO GET PICTURE FRAMING MAGAZINE NOW c Masthead 6_alt_Masthead.qxd 4/23/14 7:54 PM Page 6

GROUP 83 South St., Unit 307,PFM Freehold, NJ 07728 • Phone 732-536-5160 • Fax 732-536-5761

PICTURE FRAMING MAGAZINE www.pictureframingmagazine.com

EXECUTIVE PUBLISHER Bruce Gherman • [email protected] EDITOR-IN-CHIEF Patrick Sarver • [email protected] EDITORIAL INTERN Jennifer Filannino

CONTRIBUTORS BUSINESS EDITOR Jay Goltz • PRESERVATION EDITOR Hugh Phibbs • MOUNTING EDITOR Chris A. Paschke, CPF, GCF MAT DOCTORS Tim Franer, CPF • John E. Ranes II, CPF, GCF • Brian Wolf, CPF William B. Adair • Ken Baur • Jared Davis, MCPF, GCF • Paul MacFarland, MCPF, GCF James Miller, MCPF, GCF • Greg Perkins, CPF

SALES PUBLISHER/ADVERTISING SALES Rob Gherman • [email protected] NATIONAL/INTERNATIONAL SALES MANAGER Ellen S. Blatt • [email protected] • 845-639-9647

DIRECTORY STAFF DIRECTORY COORDINATOR Cahren Morris • [email protected]

SUBSCRIPTIONS TOLL FREE 888-238-0049 or 731-434-1106 [email protected]

PFM SEMINARS • NATIONAL CONFERENCE www.pfmseminars.com VICE PRESIDENT Deborah Salmon • [email protected] ACCOUNTS COORDINATOR Mindy Gruenbaum • [email protected] HOTEL COORDINATOR Maureen Robertson • [email protected] MARKETING ASSISTANTS Amy Sudol • [email protected] Jim Hynes • [email protected]

WEST COAST ART & FRAME EXPO www.wcafshow.com TRADE SHOW DIRECTOR Deborah Salmon • [email protected] DIRECTOR OF SALES AND PRODUCT DEVELOPMENT Rob Gherman • [email protected] DIRECTOR OF TRADE SHOW MARKETING Bruce Gherman • [email protected] SALES NATIONAL SALES MANAGER Ellen S. Blatt • [email protected] • 845-639-9647 INTERNATIONAL SALES REPRESENTATIVE-CHINA Angela Pang • [email protected] • +86.579.85135955/15057801085

PFM PUBCO • BOOKS DIVISION BOOK SALES COORDINATOR [email protected]

PFM GROUP STAFF EDITORIAL EDITORIAL DIRECTOR Patrick Sarver • [email protected] PRODUCTION ART DIRECTORS Gary Coughlin • [email protected] Alan Pegler • [email protected]

Table of Contents PRODUCTION MANAGER/ADVERTISING COORDINATOR Alan Pegler • [email protected] DIGITAL ADVERTISING COORDINATOR Alan Pegler • [email protected] WEB MASTER Gary Coughlin • [email protected] ART/PRODUCTION INTERN Shannon Fitzgerald

HOBBY PUBLICATIONS, INC. PRESIDENT David Gherman • VICE-PRESIDENT Rob Gherman

Index Publishers of Hobby Merchandiser and Design New Jersey

THE WEST COAST ART & FRAME EXPO PRODUCTIONPFM TRADE SHOW AND NATIONAL CONFERENCE PICTURE FRAMING MAGAZINE PFMseminars PFM Excellence in Art and Framing Education 6 PFM May 2014 MAX0010_ESSENTIALS3_PFM0514.QXD_PFM Full Page Ad Template 4/24/14 10:01 AM Page 1 d Editor 8_Editor.qxd 4/30/14 1:31 PM Page 8

From the Editor’s Desk

ne of the most salient facts about running a cus- tom framing business is that the potential cus- Otomer base is limited. No matter how good a manager you are or how well you market your store or keep prices as low as you can, custom framing is not for every- one—or even a majority of the public. Custom framing occupies a premium niche in the overall marketplace. This doesn’t mean that you’re selling only to the top 1 percent of the econom- ic scale. What it does mean is that it’s important to focus on people who value quality over pure price and respond to sales appeals based on the concept of a pre- mium product. After all, even a $175 price tag for a discretionary item like cus- tom framing can represent a premium product to much of the public. As a store occupying a specialized market niche, that means it’s important to cultivate an audience that values premium products—and everything that goes with it. That typically translates into providing little extras that customers can use to mentally justify the higher cost of a premium product. Extras like provid- ing added services, using quality materials and techniques, and offering value- added features are all part of appealing to this market niche. So are things like loyalty cards with added benefits. In addition, how you present your products and services is important. Pro- viding a rewarding sales experience and promoting a feeling that your clients are special are key elements in appealing to people who value upscale products. In communicating and in selling, emphasizing the lifestyle values that accompany custom framing along with the long-term value of custom-framed art can con- vince clients of the wisdom of their choices. Offering a VIP-style sales environment also adds to the premium feel of your business. Training your sales staff to make your clients feel special is another important way to make customers feel that they’re getting premium treatment along with a quality product. The goal is to make the entire sales process reward- ing for your clients. When your clients discover all these things at your custom-framing establish- ment, it will not only lead them to value your store, it will also help turn them into long-term customers who consistently appreciate your work and your style of doing business. Make your customers feel as special as the framing you do. They will feel more appreciative of the buying process. Remember: people who are most likely to

Table of Contents respond to this treatment are also those who are most likely to understand the real value they are receiving when they patronize your business. There’s little doubt that premium customers are the lifeblood of custom-framing businesses. If you can capture their loyalty, you’ll go a long way in securing your future. Index

Patrick Sarver Editor-in-Chief 8 PFM May 2014 OME0003_NEWGALLERY_PFM0514_PFM Full Page Ad Template 4/23/14 7:56 PM Page 1 e News 10-12_News.qxd 4/29/14 3:10 PM Page 10

INDUSTRY NEWS Tru Vue Provides Framer Resources

Tru Vue’s spring promotion, Frameworks for Success, is receive two professionally designed, customized designed to support framers with tools to help them grow eNewsletter templates; and 10 raffle winners will receive their own businesses. The heart of the promotion is a $99 Museum Glass® gift certificates. Frameworks for Success Portfolio, which is offered free to • An Optium Museum Acrylic® demo kit that highlights custom framers. The portfolio product features and new sizes. provides a variety of business tools Custom framers can order the free including: Tru Vue® Frameworks for Success • A new Museum Glass® counter Portfolio and Golden Ticket at display. Framers can choose one of two displays selected www.tru-vue.com/GetMore. The raffle will be conducted by by a nationwide vote of framers online registration only, and all winners will be announced via • A comprehensive business guide with advice from industry the Tru Vue Facebook page. Twice-a-week drawings will experts, business management, marketing tactics, and begin May 7, 2014, and end on May 30, 2014. Everyone who information regarding new custom framing demographics. It enters will receive a $5 Starbucks Card. also offers ideas on how to use new retail business tools “As business owners, independent custom framers have offered on the company’s website, including articles, e-blast so much to do on any given day,” says Jen Gramm, templates, visuals, videos, and other sales and marketing marketing manager at Tru Vue. “Our spring promotion was resources. developed to provide the marketing, sales, and other tools • A Golden Ticket raffle for business-focused prizes, such as they need to help them be successful.” a customized consultation from Ken Baur, PFM columnist For more information, visit the company website at and president of KB Consulting. In addition, one winner will www.tru-vue.com.

Wizard Creates ‘Knowledge Base’ Website relations with Wizard. “We are constantly adding new content Wizard™ International, Inc. has launched a customer service to assist our customers every day and at all hours.” tool as a new Knowledge Base website, The site includes a library of useful documentation indexed http://info.wizardint.com/KB. It includes product specifica- by product model and content type. In addition to customer tions and documentation along with educational materials support, Wizard customers can now turn to the Knowledge such as how-to videos. It offers online information for all Base site for assistance. All it requires is a valid Wizard models of customer ID. Wizard CMCs, Wizard’s Inte- Guild Publishes Frame Design grated Framer® Anabelle Ruston, editor of Art Business software, and Today, has published a new book, Frame Wizard Wink™ Design, through the UK’s Fine Art Trade camera. The Guild. The 110-page volume is attrac-

Table of Contents website is tively illustrated with dozens of color designed to assist new and longtime Wizard customers with photos and offers a thorough yet concise easy-to-find hardware and software documentation. New synopsis of major framing and design users will appreciate the information for initial product set concepts. It also discusses related up, while longtime users will find new ways to increase their issues, including customer satisfaction knowledge with helpful articles and videos. and pricing. Ruston covers such topics as the emotional “The Knowledge Base site is a helpful customer support response of colors and even such basics as how to select the Index tool that is easy to search and find specific documentation right moulding material—wood, metal, or plastic. and articles,” says Rob Bridges, senior manager of customer Frame Design touches on the most important things a

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INDUSTRY NEWS framer needs to know in a pinch with down-to-earth language, KoolTack Creates First Conservation Drymount Board making it easily digestible. The spiral bound is also designed The makers of to allow the book to be used as an everyday reference. Kool Tack, the Ruston covers framing design basics in seven well- low tempera- rounded chapters. The book begins with Design Theory, an ture drymount introductory chapter written by Mark Wilson of Framiac. board, has Chapter two focuses on talking to customers and the busi- introduced the first conservation drymount board, called ness aspects of design. Chapter three, titled Aperture Size and Preserve Ultra. This new type of drymount board allows Mount Width, is brief, but it is followed by the far longer Mount prints or photographs to be drymounted and removed later Design chapter. Chapter five is all about selecting the right without any damage to the print. The board is completely frame according to style and design choices. Chapter six is acid free and uses a pH neutral adhesive. It has been tested titled Special Cases and dives into alternative choices and the by an industry-accredited test facility, where it passed all types of objects that framers are presented for framing. The tests associated with photographs and prints. It has also final chapter, Other Considerations, wraps matters up by been evaluated by conservators, who found prints to be in addressing loose ends that might not have been covered in perfect condition after removal. Preserve Ultra board is previous chapters. made for drymounting and is more rigid than most regular Overall, Frame Design is filled with easy-to-follow instruc- foamboards. A free test kit and video are available for tional design tools and lots of practical ideas that can be valu- framers to try out this new type of board for themselves. To able in creating designs that will please many customers. The order, call 888-610-5663. price is $20, and it will be available through the PFM book- store beginning in May at www.pictureframingmagazine.com. People Profile Young Joins Matthews & Kent Chuck Young has joined the Mathews & Kent sales team. He has been a manufac- turer’s representative in the picture framing industry since 1982, representing a variety of manufacturers to retailers, distributors and OEMs. His experience includes working with the product lines of domestic and interna- Chuck Young tional manufacturers offering length, chop, joined frames, and accessory products. Young will be repre- senting MK in OH, KY, WV, and TN. For more information, visit www.MathewsKent.com or call 608-764-1454. ■ Table of Contents Index

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Retailing by Ken Baur How to Find New Customers

here’s a trend taking place among many and many added services, such as on-site con- galleries and frame shops today—dimin- sulting and installation. If all you do is to dis- Tishing sales opportunities offset by higher count your residential framing program to average ticket prices. The better average ticket attract businesses, it will hurt your profitability. allows for increased productivity and profits. Long Instead, create frame designs and programs that term, however, framers need to attract more cus- appeal to different types of clients by using tomers and more frequent purchases from existing materials that result in competitive prices with- clients; otherwise, it will be very difficult to grow out lowering your margins. revenue. • Get out of your gallery! Every day framers say So how does a framer find more sales opportu- they are too busy to network or look for addi- nities? Here are some suggestions: tional opportunities by building professional • Find new clients where current ones exist. If you relationships—but it can and must be done. have a strong sales history in certain neighbor- Waiting for business to come to you is a danger- hoods, it’s highly likely that ous, obsolete strategy. Devote four hours a week Finding new others in those same areas to finding new opportunities; it will open your are potential clients. Find a eyes to many new potential clients and framing clients is as way to let them know you possibilities. exist. Offer referral discounts • Support and brand yourself with a popular non- attainable now as to current clients in those profit organization. Teaming up with a cause it was 10 years neighborhoods. Try neigh- that is embraced by your community can go a borhood association advertis- long way in improving your appeal and helping ago—you just ing or sponsor local events. you find additional clients. You don't have to have to do it in Use the post office program donate huge amounts of money to make this called Every Door Direct happen. Be creative in finding ways to help the new ways Mail to reach these homes organization. In return, ask that they promote with a series of postcards. you to their membership as a partner. Doing Try one card every month for six months. this with the right organization can really help • Create programs to appeal to framing markets your business while offering your team an

Table of Contents you’re not currently reaching. A typical frame opportunity to make a difference. shop serves residential clients. The custom prod- • Ask for referrals. If your clients are happy, ucts offered in shops are designed and priced to they’re also likely to be willing to share their appeal to clients who want one or two pieces experiences with their friends. Every time you and where price is not the overriding issue. This provide them with your products and services, is not the case for business clients who need art ask them if they could lend a hand in helping

Index and framing. You will find it difficult to make your business grow. Many of your clients would sales to businesses using a residential framing love to assist people they value—both you and business model. Businesses expect lower prices their friends. They just don't realize how much

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it would help. Ask and they will respond. most small-business industries. It is experiencing difficul- • Be sure your Internet marketing is in tune with the ty changing from an outdated business model to one that times. The days of just having a website to talk about is effective and in tune with today’s world. Finding peo- your business are well past. If you don't treat your site as ple who want what you offer is still very possible, just as though it was the front window of your shop, you are it was 10 years ago. The main difference is how you go underestimating its impact. You must constantly update about finding them. Today, you must go out and get and change your site and talk about your clients—not them. You must create programs that appeal to the about your business. This is essential in today’s world; it groups you are seeking, and you must develop your is not an option. Next, you must have an e-newsletter understanding of how people find goods and services in that your clients and their friends can subscribe to. This 2014. is the key way to communicate and keep your business The good news is that everyone in the art and fram- relevant. Your website and e-newsletters should be the ing industry who understands these things can continue major focus of your marketing. Social media can also to build sales and generate profits. The challenge framers bring you good exposure, but an active website and reg- have is making sure enough retailers make these changes ular e-newsletters have far more impact. to keep the industry healthy. Jump on board, and you’ll • Track and study how new clients find you. It’s amazing find more business. It’s not as hard as it seems. Once you how many framers don't do this. Almost every type of try a new approach, you’ll love the results. ■ POS system has this capability. Use it and look at it each month to see how new clients find you and how much Ken Baur is president of KB Consulting, which helps framing they spend. There’s no more valuable tool for under- businesses adapt to the challenges of a changing market. Ken also owns Framing Concepts, a full-service, national standing what is working and not working in growing award-winning framing company with three locations in north- your sales. western Indiana. He can be contacted at The custom framing industry is no different than [email protected]. Table of Contents Index

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Frame Design by David Lantrip, MCPF, GCF Framing Stained Glass

skilled framer needs to be prepared to han- dle just about any form of artwork a cus- Atomer presents. Artwork that is seen less often can test a framer’s nerves since the particular needs and framing methods of that type of art might not come readily to mind. This is precisely why framers need to be prepared beforehand. After all, the design counter is not the place to learn about framing new type of artwork if the customer is to have confidence that the job will be done right. One such type of art is stained glass. Despite the fact that stained glass as an art has existed for 1,000 years, it’s not every day that someone brings a piece in to be framed. Displaying stained glass Traditional stained glass work, such as may seem intimidating, that found in but it can be framed churches and important build- and handled routinely ings, is worked in Stained glass worked in the Tiffany method midway through the lead came the soldering process. Once the soldering is complete, a small by following a few metal frame is applied, the solder has a patina applied, and the method. Relatively entire piece is cleaned and polished. basic design principles large pieces of glass, cut to shape, are held within H-shaped channels of lead known as foil strip, usually about ¼” wide, to the edge of the “came.” The ends of the came are soldered to adja- individual pieces of glass, burnishing and folding it cent pieces, and the glass is held tight with mastic to either side of the glass. With the pieces assem- that is worked into the small spaces between the bled like a jigsaw puzzle, a bead of tin/lead solder channel and the glass. In modern work, especially is applied along the copper foil lines, with the sol- Table of Contents those using large, heavy pieces of glass, the came may der flowing into the gaps. When a bead of solder is be zinc. For a short period in the early twentieth cen- applied to the second side, it forms a structure sim- tury, copper or brass was occasionally used in win- ilar to the H-shaped came. dows, but its use is quite rare today. With both methods, the lead is usually artifi- In the late nineteenth century, the copper foil, or cially aged with patina solutions, and a U-shaped Tiffany, method was developed in response to the frame of sturdy metal is applied to the perimeter.

Index need for intricate, organic shapes and the small Lead lines at the outside edges are continued pieces of glass needed in the Art Nouveau style. In slightly onto the frame to tie the stained glass to this method, an artisan applies a narrow, self-adhesive the frame, adding structural integrity.

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In contemporary stained glass, the method used depends in large part on the design. The copper foil method is well-suited to designs with small pieces of glass and organic shapes. Lead came is usually preferable in works with larger pieces of glass and straight or geometric designs. The two methods may also be This small panel’s design combined, with areas of fine detail using the copper foil is reminiscent of an early twentieth-century bunga- method incorporated into a larger design worked in lead low, so a dark, hardwood frame with simple lines came. was a natural choice. Designing framing for stained glass is similar to Three frames stacked together give it the pres- designing for works on canvas, with the added challenge ence it deserves, and an LED panel (lower left) that customers will most often want to display a piece in allows it to be enjoyed as a window so that the art will be illuminated by sunlight it should be, even with- out a window. streaming through from the other side. That is, after all, the distinctive characteristic of these “jewels of light.” Take design cues from the style of the art: • For religious or very traditional designs, consider frames with dark metal or stone-like or distressed dark wood finishes with simple profiles. These emulate the materials that would surround a stained glass window in a cathedral or old manor house. • Art Nouveau designs are well-served by frames with curving, vine-like patterns and sinuous designs. Dark Take a little extra time at the design counter to avoid bronze finishes reflect the patina found in metalwork troublesome and expensive problems: common to the period, like those found in Tiffany • As a hand-crafted product, stained glass may not lamps. always be square. Be sure to measure the diagonals • Arts and Crafts, Mission, and Prairie School motifs to check for square. Discrepancies can be accom- (think Frank Lloyd Wright) look good in clean, modated by routing out the moulding to make a unadorned profiles in dark finishes such as oak and wider rabbet or cutting the frame slightly oversized walnut. For a very authentic appearance, look at and adding a fillet to the lip. frames in quarter-sawn oak joined with visible joinery • Hold the stained glass up to the light (but not such as pegged tenons. overhead) to check for broken glass, which will be • Stained glass in the style of windows from Bungalow- much more obvious when framed and hanging in style houses of the 1930s look great in “shabby chic” a window. Point out any problems, document distressed and whitewashed mouldings or reclaimed them, and refer your customer to a local stained wood. glass artisan for repairs. • Abstract and geometric designs, just like other media, • The metal frame used for stained glass is joined at often look great in simple, unadorned profiles with its corners with solder. If this is not applied neatly, clean finishes. Rules are made to be broken, of course, there will be lumps that will not allow the stained and an abstract design sometimes benefits from the glass to sit flat in a frame. Self-adhesive felt or contrast of a more traditional frame. Volara foam tape will allow it to sink in slightly It’s always a good idea to not place a frame with a and sit correctly in the frame. lot of detail and ornamentation too close to the artwork

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Specialized hang- ing hardware attaches to the side of the frame, allowing it to hang in a window by a chain. If hanging hardware were attached to the top of the frame, it would impose too much stress on the moulding.

since the patterns can fight for attention. Well-propor- tioned mats provide adequate visual space that might Detail of stained glass worked in the older lead came method. The larger size of the came and its strength makes large panels possible. avoid this problem, but mats are not suitable in framing stained glass. The best solution is to use stacked mould- ing, with a wide, simple frame inside a more ornate some practical matters to keep in mind when selecting one. This takes the visual place of matting. A practical frames. The glass used in creating stained glass is much benefit is that the inner frame can be more substantial thicker than glass for framing, up to ¼” thick. When to carry the weight of the stained glass while the nar- the additional weight of the lead is factored in, it adds rower outer frame provides decoration. up to a rather weighty piece, so this is not the time to In addition to aesthetic considerations, there are use skimpy frames. Steer your customer to more sub- stantial frames of sturdy wood, and use more secure joining methods if necessary. Reinforced corners, cross nailing, spline joints, or hardwood dovetail inserts may be needed to ensure that the frame is sturdy enough to carry the weight. The profile of the moulding must also be consid- ered. If the framed stained glass is to be displayed in a window, your customer will probably want to hang it by Wooden spacers can be used with any standard moulding of suffi- cient depth. Painting the spacers and the rabbet black will reduce short lengths of chain. In this case, use specialized hang- their visibility, especially important if the stained glass panel contains large amounts of clear glass. ing hardware that attach to the sides of the frame. Since the weight will be carried by the outer edge of the frame, it is important to avoid reverse scoop or similar profiles that are narrow at the outer edge. Resist the temptation to use screw eyes attached to the top of the frame; this puts too much stress on the top rail of the Specialized mouldings for stained glass have a dado rather than a frame and the corners. rabbet. Their appearance is the same on both sides, important if it is to hang in a prominent window where the outer side is easily seen. Fitting stained glass into a frame is complicated by the fact that the back is open and light will come

Table of Contents through the art. The fitting method needs to be unob- trusive. Canvas offset clips might seem an obvious solu- tion, but they may show from the front of the frame if the metal frame on the stained glass is narrow. A more elegant solution is to use narrow strips of wood fit into the rabbet as a stop to hold the artwork in place, similar

Index to the way the sides of a shadowbox are lined to hold A standard moulding can be modified with a second rabbet to accommodate a strainer frame to hold the stained glass in place. This the glass. Painting the rabbet, wooden strips, and the method allows for much more variety in design. back of the frame black adds a somewhat finished

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The only modification needed for the LED panel was a small notch cut into the frame for the power cord, and this was accomplished in less than a minute with a Dremel rotary tool.

Advances in LED technology make it possible to illuminate artwork in a frame without the need for cumbersome and expensive framing provisions. This panel is thin enough to fit easily in most average frames.

appearance, although more elaborate finishing can be done according to a customer’s wishes and budget. As an alternative, mouldings made specifically for framing stained glass are milled with a dado rather than a rabbet. Similar to a metal frame, three sides are assem- bled into a U shape, the stained glass is inserted, and the fourth side is joined. These are usually available unfinished in simple profiles from suppliers specializing in hardwood frames, although they may also be ordered finished. Standard mouldings can be modified to hold it much easier to use a moulding of average depth and stained glass in a manner similar to those made with a opens up many design possibilities. Since the heat out- dado. A second rabbet is milled to accept a strainer put is virtually nonexistent, there is no need for compli- frame, which is screwed into place to hold the artwork. cated and possibly unsightly ventilation provisions. It This method allows a wider variety of decorative simply fits behind the stained glass just like a backing mouldings to be used, providing more design versatility, and without the need for unusual construction. The finished appearance, and easy reversibility. If a finished only special consideration is that the power cord needs hardwood is used, the frame can be just as attractive to be accommodated with a small groove in the back of from the back as from the front. the frame or a small slit in the dust cover. Sometimes customers request lighting inside a There is not much in framing that is incredibly dif- frame to illuminate stained glass if it is displayed in an ficult, but there are many small details to remember. area without a window. The usual solutions have includ- Although stained glass may seem intimidating, it can be ed adding lights of some sort in a frame deep enough to framed and handled routinely once you learn more accommodate the lighting and a diffusing panel. Add about it. ■ the need for wiring and avoiding heat buildup, and the

Table of Contents result can be a lot of work, often with little profit, and a David Lantrip, MCPF, GCF is the director of education less than completely satisfactory product. at Franchise Concepts, Inc., the franchisor for The Great Recent advances in LED technology and correspon- Frame Up, Deck The Walls, and Framing & Art Centre. As a ding lower prices offer an excellent solution. The cus- member of the PPFA, he serves as chapter president of the Texas Gulf Coast Chapter and has helped write or revise tom-sized light panel used in the example shown in this PPFA guidelines for framing works of art on paper, canvas, article is from Light Beam Industries (www.lightbeam- and textiles and needlework. He is also a current member inc.com). It contains LED lights integrated into a dif- of the PPFA Certification Board and the Chapter Relations Index Committee as well as member of the PPFA Board of fuser and comes with a low-voltage power supply with Directors. David earned his CPF designation in 1996, the an optional dimmer control. Only 5/16” thick, it makes MCPF in 2004 and GCF in 2008.

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Mounting Equipment

Getting Started By Wendy Harris

n all aspects of custom framing, it’s important to use the proper equipment, and this is especially true for Imounting. Before making an investment, take time to consider exactly what you need, as there are several vari- ables to consider. Here are some points that can help you choose the mounting equipment that’s right for you.

Applications First, consider your application. What do you hope to accomplish? Whether standard mounting and laminating of poster art, preparing artwork for framing, or doing sig- nage and graphics, the possibilities are almost limitless. The first step is to determine if your mounting equip- ment will fit into your workspace. Whether you produce Mechanical presses come in a variety of sizes and are great for many dif- small or large items, the area surrounding your mounting ferent types of mounting applications. equipment needs to be large enough so you can move freely around it. This means you need to create a back- Types of Equipment room layout that incorporates your equipment, workta- It is important to choose mounting equipment that fits bles, and storage. Remember that the larger the framed art well in your work area and provides you with the kind of you create, the more space you’ll need. If you frame small- mounting you need. There are a number of different types er artwork, that means you can create a more compact of mounting equipment, and each one offers specific workstation with smaller, more versatile equipment. The advantages and matches up best with certain applications. size of the artwork is the governing factor. For efficient operation, you need also need to have all Mechanical Presses – Mechanical presses come in a vari- your materials close at hand and easily recognizable. All ety of sizes and are great for a variety of applications— items should be labeled, as some adhesives and laminates general mounting and laminating of artwork, puzzles, can- can resemble one another. Be especially careful not to mis- vas transfers, dried flower applications, board products, take an adhesive paper with a release paper. That can tiles, and plaque art to name a few. Depending on the size result in disaster. There’s nothing worse than having art- of your machine and the work you want to run through work permanently affixed to a machine platen or stuck to it, you may be able to process one piece or several at a Table of Contents the rollers of a roller laminator. It could also be expensive time. You can also mount pieces that are larger than the if you have to replace a customer’s work. press by processing them in “bites” or sections. Most Some mounting equipment may allow under- mechanical presses allow up to a total of 1” thickness. You machine storage. You can also have cabinets under your can gauge the size of a piece you are doing, if larger, by worktables. Another option is to have everything readily multiplying the depth times two by any length. As long as accessible using pegboards on a wall. Roll holders can then you can place it in the press, flip it, and successfully com-

Index be mounted to the pegboard, allowing you to roll out the plete the other side, you can mount it lengthwise to any right amount of product you need. Labeling all supplies size you want. also improves identification and minimizes errors. Place the machine on a stable table, allowing room on 24 PFM May 2014 h MountingEquip 24-26_Nrew Print 4/23/14 7:53 PM Page 25

Mechanical presses, vacuum presses, and roller laminators are great tools that can fill many mounting needs for custom framers

either side for working on oversized pieces. If you have a small work area, you can also place it on a rolling cart that can be moved out of the way when not in use, free- ing up work surfaces for other jobs.

Vacuum Presses – Vacuum presses come in many sizes and varieties and work very well for general mounting and laminating applications and canvas transfers as well as non-traditional applications. These machines provide a wealth of opportunities. There are hot and cold presses and combination machines that do both. These machines allow up to 1” total thickness. However, you’re limited on size to the internal working area of the

machine. On the plus side, you can do one or a number Vacuum presses accommodate easy mounting and laminating for one or several of pieces at the same time with these machines, and pieces of art at a time. pieces can be of different thicknesses as the diaphragm conforms to each one individually for equal pressure. As two-sided lamination for encapsulation or use pouch air is pulled out of the machine to create pressure, it also boards to laminate and give artwork a sturdy backing, usu- enables a heated press to draw off excess moisture. ally foamboard. These rollers usually accommodate up to a Some vacuum presses come with legs or you can get ½” thickness, limited in size only by the width of the optional stand assemblies. They can also be placed on stur- machine by any length. You can place one on a rolling cart. dy tables. Just make sure a table is large enough to fit all When it is backed to a table of equal height, the mounted four feet of the press firmly on top. Vacuum presses need art or other material comes out the rear and onto a support to be level to make a good seal and create pressure within. surface, minimizing bowing. A rolling cart can also be Position a vacuum press so that you have easy access on moved out of the way when not in use. Roller laminators both sides and the rear of the machine if you need to work are especially good for mounting and laminating multiple on it or make adjustments. pieces of poster art. Vacuum presses work well in limited spaces. If they Larger roller laminators come in varying widths and are on stands or cabinets, you will have the space below to are used for hot or cold applications depending on the store films, adhesives, and boards. When not in use, they piece being mounted. You can use them for traditional also make great work surfaces. Placing a self-healing cut- mounting and laminating, pouch boards, and heat-activat- ting mat on top will allow you to get your material ready ed foamboards. Cold mounting allows you to do pressure- and protect the surface from cuts or scratches. (This may sensitive applications; mounting to pressure adhesive not be a good idea for glass top equipment.) boards; face mounting to glass or acrylic; or creating wall, glass, or floor graphics. Roller Laminators – There are many types of roller lami- These machines range in application thickness from nators. There are different sizes and varieties of pouch lam- flat to ½”, and some have as much as 1” at the nip open- inators, for example, that let you insert art into a pouch ing. Most of them are on rolling stands, allowing you to and process it through the machine. You can either do move them out of the way when not in use. You’ll need PFM May 2014 25 h MountingEquip 24-26_Nrew Print 4/23/14 7:53 PM Page 26

tant to use the proper release materials to help keep a unit clean. You can use the same products you would for mechanical press cleaning. If there’s any heavy buildup, use a utility blade in a scraping motion so as not to gouge the platen, removing as much as possible. Then follow up with one of the cleaning agents mentioned above to clean off the residue. Diaphragms in these machines generally last three to five years under heavy use; those that see moderate use can last more than 10. When you find your machine is no longer producing the proper pressure, check the diaphragm for any cuts or separation as these could cause leaks. If you find any small cuts, they can usually be repaired with a bicy- cle tire repair kit. Over time, the heat and pressure also starts to compress the foam beneath the rubber. As this happens, the foam is Roller laminators come in different sizes and offer effective mounting no longer sitting as high as it once did, which can cause a and laminating of multiple pieces of poster art or large wall graphics for framing. machine to lose its seal. You can generally make a lid adjust- ment, allowing you to adjust and reseat the lid so that it plenty of room to feed large items through the front and again creates a vacuum. to successfully exit the rear. It’s also good to have a table In addition, do not cut artwork or use any sharp instru- close to the exit point for large applications to slide out ments within the machine as that may cut or puncture the onto for support. diaphragm. Nor is using weighted bags, like beanbags, rec- These large roller laminators are extremely useful for ommended. If they break, the pellets can be sucked into the producing multiple graphics or signage as well as mount- pump and damage it. ing traditional prints for framing. You also have the ability to decal your work for mounting at later dates. This will Roller Laminators – When heating a roller laminator, turn allow you to have several pre-coated boards ready to go for the rollers on forward so that they turn slowly. This will final mounting applications or pre-coated artwork for use help distribute the heat evenly and help you avoid flat spots. in window, sign, or floor graphics. The only drawback is Also, avoid using sharp items or attempt to cut the film at that items must be flat. These machines can’t adjust to pro- the rollers, as you might accidentally damage them. If you vide equal pressure on items of different thicknesses. get adhesive buildup, the best idea is to use a large gummy eraser to rub off most of the adhesive. After the rollers cool, Care and Maintenance use a cleaning agents like those described above. To have your new machines give you years of service, it is important to maintain them properly. Here are some prac- The botom line is that mechanical presses, vacuum tical tips to get the most out of your mounting equipment. presses, and roller laminators are great tools for mounting. When chosen correctly, they can fill many mounting needs Mechanical Presses – So long as you use the proper release for production framing. When properly maintained, they materials, your platen and sponge pad should stay clean. can provide years of useful service. ■ Table of Contents However, if you get excess adhesive on the platen, you can use a variety of cleaning agents such as rubbing alcohol, Wendy Harris senior technical service special- fingernail polish remover with acetone, Goof Off, Goo ist for D&K Group, has 15 years of technical experience with D&K Mechanical and Vacuum Gone, and UnStik. Over the course of time, it may also be presses. She leads the D&K Distributor Training necessary to replace the sponge pad, as it may develop hard Seminars, where distributors receive hands-on spots and loose its resiliency, no longer providing proper training with D&K presses, adhesives, and lami- nates. She also leads the D&K Technical Index support for your artwork. Service Hotline, where framers call in for assistance, and uses her expertise to successfully talk customers through the trou- Vacuum Presses – As with mechanical press, it is impor- ble-shooting process and actual machine repair 26 PFM May 2014 INT0155_ITALIAN_PFM0514.QXP_PFM Full Page Ad Template 4/24/14 10:25 AM Page 1 i Mounting 28-35_Layout 1 4/30/14 5:55 PM Page 28

Mastering Mounting by Chris A. Paschke, CPF, GCF Adhesive-Coated Substrate Boards

dhesive-coated boards have become quite commonplace in today's framing market. AHeat-activated and self-adhesive pressure- sensitive products seem to dominate over the tradi- tional use of tissues and the board of your choice. Original drymount tissues and films made pre-1945 were shellac-based and often bonded at temperatures over 200°F. Reformulations and the use of synthetic adhesives since the 1970s brought average tissue tem- peratures down to 185°F to 190°F. Then came heat- Adhesive (L) has a definite pattern while the coating (R) is smoother. Thin images can allow orange peel to show through after mounting if the adhesive activated boards. In 1992 Hunt Manufacturing does not flatten when melted. launched SingleStepTM using Seal Products adhesive and Bienfang® foamboard as the first heat-activated HA boards bond in the press as all layers reach required substrate. bonding temperature, and the bond may only be broken with a chemical solvent. Permanent boards—including Heat-Activated Boards EnCore SingleStep®, Alcan Fome-Cor®, HartAct™ HA foamboards have an extruded polystyrene core (formerly HartMount)—have adhesives that bond substrate with clay-coated or neutral pH facing between 180°F to 190°F, with an average vacuum press papers that have adhesive applied to one side. Many dwell time of four minutes. SpeedMount is lower at come with slip 150°F to 160°F as a medium temperature, with a short Substrate boards with sheets, which may be dwell time of 15 to 30 seconds. used as a single-use Gilman MountCor® is a new very low-temperature, adhesive coatings are cover sheet to keep permanent HA board that bonds at 130°F in 30 seconds becoming increasingly exposed adhesive in a mechanical press. It bonds at such a low temperature from transferring to that it is unique in the market and readily mounts all common. Here’s a look a laminator or press heat-sensitive items including thermographics—laser and to protect sur- prints (dry toner color copies), dye sublimation, dye Table of Contents at what’s available in face-sensitive boards transfer, thermal transfer—as well as thermal, piezo, sol- today’s marketplace. during storage. The vent, latex, and UV-curing inkjet prints with no damage. adhesive coating The 130°F temperature makes it safe for mounting all applications vary on products. Generally, the adhesive digitals. smooths out during bonding, but occasional orange Removable HA boards—including Bainbridge HAF, peel may occur. NuCor, and Kool Tack—activate as all layers reach tem-

Index Current HA boards are available as permanent, perature in the press, but they bond outside the press as removable, and reversible, with temperatures running they cool under a weight. They have a moderate activa- from a low of 130°F to a high of 190°F. Permanent tion temperature of 150°F to 160°F, with a shorter dwell

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This polyester encapsulated map tears the top layer (Fanned L-R) P-S foamboards: Gilman (LT and HT), Paper core boards: Bainbridge, Savage FilmTax, of adhesive and paper from the board after mounting Alcan (KLT and HT), HarTac, EnCore, United PerfectMount X and XX, Coda single and double giving the HA board great tear strength. Industries (black and white), Coda (Foam and 1/4" weight. Plastic coated Coda-Foam), Bainbridge.

time of one to three minutes. Using hold lightly at best, and none tackle digi- two to three minutes—a slightly higher these HA products in hot vacuum tal canvases well at all. Kool Tack is very temp and longer dwell time. Kool Tack presses will require the draw time to be aggressive with tear strength for light, offers Competition Plate as both HA added to manufacturer-suggested dwell heavy, and coated papers as well as RC and P-S. times. traditional and digital photos, but not Reversible HA boards—Restore, for fabrics or canvas. Paper Core HA Boards Preserve, and Preserve Ultra—have the For correct bonding to occur in any same activation temperatures as remov- High Density HA Substrates press, all items in the mounting pack- able boards but with a shorter dwell High density (HD) board is becoming age must reach full bonding tempera- time of 150°F for 15 seconds to one more popular with the demand of larger ture (160°F) for the designated time minute in a mechanical press. substrates, wide format printing, and (30 seconds). Since foamboard is an Reversible boards have a much lighter roller laminators. Because of their densi- insulator rather than a conductor of bond, and art may be removed from ty, these boards have longer dwell times heat and only the release material, art the substrate and returned to its original than the HA foamboards mentioned image, adhesive, and top surface paper state with no adhesive absorption or above, at 35 to 45 seconds and moderate need to reach bonding temperature, residue left behind. There are only two temperatures of 150°F to 160°F and foamboards bond at slightly lower tem- truly reversible HA boards, Bainbridge neutral pH neutral adhesive. Kool Tack peratures with shorter dwell times than Artcare Restore and Kool Tack Preserve Mighty Tough compares to Gator™ paper core boards. There are .048" to Ultra (which has been reformulated board for its rigidity, smoothness, and .050" thin HA “archival” alpha cellu- from Preserve and Acid Free Foam warp-resistance and is available up to lose, and rag boards along with non- Boards). 1/2" thick, 48"x96". Kool Tack preservation grade substrates that are For any HA board to bond proper- GATOR™ board is available 3/16" economical and cost effective for pro- ly, it should have tear strength once thick to 48"x96". duction operations and when prints fused. That means the top layer of Kool Tack Competition Plate HA, and photos are to be fitting into a max- adhesive and paper should rip from the comparable to Dibond or Alucobond imum 3/8" rabbet. board if dry-peeled after mounting. aluminum composite material (ACM) Though porous paper is expected to plus adhesive, is a 3mm thin ACM that Pressure-Sensitive

Table of Contents bond well to all boards, Bainbridge is half the weight of aluminum and easily Adhesives HAF, Alcan HA Fome-Cor, and cuts with Fletcher-Terry 3000 multi wall Self-adhesive (also known as self-stick, Gilman InSite all excellently hold poly- cutter. It activates at 160°F to 170°F for peel-and-stick, and sticky) boards are ester encapsulated maps as well. Add MountCor, KT Drymount, Resources Items www.artgrafix.com SA Sintra, SA Komatex, SA Gator, Gilman, Elmer's SpeedMount, and HartAct to that list www.artsupply.com Alcan, Elmer's, Gilman, United Industries for RC photograph bonding. When it www.foamboardsource.com SA Gator, SA Sintra, SA Ryno, HA boards Index www.foamcoreheaven.com SpeedMount, HAF; comes to lightweight fabrics, only HAF, www.kooltack.com HA and SA boards EnCore SingleStep, and HA Fome-Cor www.codamount.com SA Foam, Board, Gator, Hardboard and Styrene

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but even repositionable P-S boards will grab more aggressively to a smooth or coated material. Low tack is most often found as a temporary positioning tack used in preparation for other bonding as laminates with liners or Post-it notes. It is not suitable for the longevi- ty required for mounting.

Coda hardboard, counter-mounted Gator 1/2" and New Insta Mount PS boards series from KoolTack, 1/4", Gator, Coda Styrene in assorted thicknesses including Competition Plate. Self-Adhesive Boards and colors. Application and end use temperature affects P-S bond permanence. Moisture cold-mount, pressure-activated mount- able with pressure-sensitive adhesive: is also a physical barrier to adhesion ing substrates with thermoplastic adhe- high, medium, and low. High tack is and long-term bonding. A permanent, sives known as P-S and PSA. They are aggressive and the most difficult to high-tack, P-S bond applied at room dry, synthetic adhesives that are clean, manually apply since it has no reposi- temperature may fail at freezing tem- easy to use, odorless, use no solvents, tioning potential and immediately peratures if placed outside or in an and are neutral pH and chemically grabs to smooth nonporous or coated excessively humid bathroom. Coldness inert. P-S boards are available as high stock with no forgiveness. Medium to the touch is an indicator of moisture tack and repositionable low tack ver- tack—considered low-tack in the content in boards, making dry storage sions, which cure to maximum bond framing industry—is the one most imperative for P-S materials. If boards under weight after roller application or frequently used in picture framing. It are damp, permanence is threatened. burnishing. may be somewhat repositionable dur- Just as removable pressure-sensitive There are three levels of tack avail- ing mounting with porous papers, adhesives may not always remove, per-

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manent pressure-sensitives may not always be permanent. Most P-S boards have inert, stable, neutral pH adhesives applied to a select- ed substrate and require weighting 12 to 24 hours after being burnished or rolled for a fully cured bond. Bainbridge Self

Adhesive Foam and Mount Boards are KoolTack offers Composition Plate as either HA or P-S. initially repositionable, curing to perma- nent after weighting. Crescent Perfect As mentioned above, high tack Paper Core SA Boards Mount® Boards are repositionable and boards have more immediate grab. Cardboard mounts are made of natu- available on standard cream, solid black, EnCore SA Foam Board is a permanent ral paper fibers that are hygroscopic, and white-core foamboards with adhe- pressure-sensitive adhesive with double allowing them to absorb and give off sive on buffered surfaces. EnCore clay coating in 3/16" as white and Black- moisture in response to environmen- Premium Tac repositionable board may On-Black® Foam Board. Gilman HT tal humidity. This change in mois- be adjusted, removed, and reapplied for Self Adhesive Foam Board is faced with ture content causes cardboard to accurate placement, then set through clay-coated paper and high tack pressure- expand and contract, so once a print rollers or firmly burnished to activate sensitive adhesive that becomes perma- has been mounted on one side of a and cure. Alcan Fome-Cor® Self nent after curing. Hartman HarTac™ is cardboard mount it can result in a Adhesive Foam Board is available in a permanent P-S adhesive mounted to bow or warp in the board. This effect repositionable Low Tack (LT) or imme- foamboard that cuts easily with a utility becomes more pronounced as the diate bonding Hi Tack (HT), both hav- knife, has a memory, and will maintain size of the board is increased. Styrene ing a smooth surface. its thickness when pressure is applied. sheets are an excellent alternative to Table of Contents Index

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traditional cardboard mounts. Gatorboard® is a multi-layer Pressure-Sensitive PVC Orange peel occurs with some composite of extremely dense and Styrene mounts have no natural fibers paper core P-S products such as durable polystyrene foam that resists in them; are not affected by variations PerfectMount XX and Savage crushing, denting, bending, or warp- in moisture content in the environ- FilmTax. As with most thin mount ing, though it can puncture or frac- ment; and remain stable, flat, and boards, Cold-Mount® Single Weight ture if receiving a direct hit. The warp-free even when they are subjected (a 40-point 1/16" thick cardboard exceptionally rigid, smooth surface is to large changes in humidity. They are mount) and Double Weight (an 80- uniform and may be lightly sanded also less prone to edge and corner point 1/8" thick cardboard mount) for a blemish-free finish. It has a damage. Still, selected styrene sub- are only suitable for mounting small- light, durable core of polystyrene strates must be thick enough to sup- er prints because the fiber core is foam, bonded on both sides to wood port large, oversized images. The Coda affected by changes in moisture con- fiber veneers impregnated with a Cold-Mount® Styrene is available as tent and may warp or bow. resin for durability and moisture- .040" (about 3/64", 1mm) and .080" resistance. It may be cut with basic (about 3/32", 2mm) thick, white, plas- High Density SA Boards woodworking tools and won’t tear, tic sheets coated on one side with per- Gilman Self-Adhesive Ryno Heavy- chip, or shred. Coda Cold-Mount® manent Cold-Mount® P-S adhesive. Duty (HD) foamboard is dense, Gatorfoam 1/2" and Cold-Mount® Sintra and Komatex are solid, all- moisture-resistant, high density Hardboard—a 1/8" thick wood plastic PVC boards available in assort- foamboard with double-thick liners product with two smooth, tempered ed thicknesses, sizes, and colors for available in white and black, 4"x8", surfaces—are two other HD alterna- roller-mounting prints, photos, and 1/4" thick, and larger. The pH neu- tives. Also, KoolTack is launching a digitals. Komatex® compares to tral surface contains UV inhibitors to new P-S InstaMount line that Sintra® as both are closed-cell, reduce yellowing and resists moisture includes Composition Plate, Gator, expanded plastic, high-density absorption for extra warp resistance. Mighty Tough, and foamboard.p polyvinyl chloride (PVC) sheets, which Table of Contents Index

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are neutral pH, with minimal out- gassing for long-term preservation use. Sintra is a homogeneous material that allows ease of cutting without regard for grain. It is available in nine thicknesses from 1mm to 13mm in white, black, and colors. CodaFoam® is a foamboard coated on both sides white PVC plastic shell. Cold-Mount® Precoated CodaFoam is stiffer than standard foamboard, PVC sealed, and cannot absorb moisture, making it less likely to warp. It is avail- able 1/8" and 1/4" thick. United Industries Ultra Core Peel N' Stick boards are rigid, warp- and dent-resist- ant, lightweight digital-imaging panels with poly-coated white and black papers over extruded polystyrene core.

Final Mount Whether HA or SA board is selected, you should never choose by price. Though cost is definitely a considera- tion, it remains only one factor in the decision-making equation. Consider roller vs. press, size requirements, weighting and curing time, long-term bond permanence, thicknesses, and rigidity. ■

Note: Many of the boards covered in this article have been tested and are included in an HA-PS comparison chart that accompanies the website version of this article.

Chris A. Paschke, CPF, GCF, CMG, mounting editor, owns Designs Ink in Tehachapi, CA, featuring custom fram- ing, fine art/graphic design, and con- sulting. Specializing in mounting, mat- ting, design, and fine art, she teaches at The National Conference. She has written four books on mounting includ- ing The Mounting and Laminating Handbook (third edition) and Creative Mounting, Wrapping, and Laminating, available from PFM PubCo. She can be contacted via www.designsinkart.com.

PFM May 2014 35 j Sales 36-41_sales 4/29/14 3:41 PM Page 36

Sales by Jared Davis, Strategies MCPF, GCF The Seven Deadly Sins at the Counter

hen it comes to selling, everyone makes mistakes. No one is perfect, Wbut are you possibly making mis- takes without even realizing it? Sometimes it may be only the smallest of mistakes, but it could also be the reason a sale is lost. Such lit- tle errors may seem trivial or even normal, but to a customer, they could be quite an issue. What makes a little error worse is that when- ever customers encounter a negative, they immediately wonder, “What else could be

wrong?” For this reason, it can be helpful to Are you guilty of any of the seven deadly sins at the front counter? If you can step out- understand and define some critical “don’ts” side of yourself and look at your sales habits from your customers’ point of view, you may be surprised at what you’ll find. when consulting at the front counter. Here’s a look at what could be called the seven deadly sins at appearance and grooming. Take pride in your shop the design counter. presentation and displays as well. Don’t allow the presentation of your samples and consulting props, 1. Poor Presentation such as cracked corner samples or fingerprints on The catch-cry for the art and framing industry mat corners, mar your sales presentation. Don’t should be, “A picture allow silent judgments get in the way of doing busi- is worth 1,000 ness. Small errors at the words.” This applies front counter may not to you as much as it 2. Indifferent Attitude does to your product Business motivation guru Keith Harrell says, “Your seem so trivial to your and service. You only attitude determines whether you are on the way or customers. Here are get one chance to in the way.” Everyone has bad moments, but it’s make a good first important to make sure that your attitude is always Table of Contents some common errors impression, and some- aligned with that of your customers. One negative that lead to lost sales– times it is the only attitude that customers sometimes encounter is apa- impression you get to thy. This occurs when the sales consultant treats the and lost customers. make. Your personal process as “just another picture to frame” and lacks presentation and that interest in what the customer may want to share of your store may seem minor, but a customer can about a treasured memory. Good consultants

Index easily make a judgment as to where to make a pur- should always show interest and empathy and be chase based on a minor factor such as your appear- genuine in their sales approach. It is always vital to ance. Be vigilant and take pride in your personal treat your customers and their projects with respect, 36 PFM May 2014 YIW0001_2014_PFM0514_PFM Full Page Ad Template 5/2/14 11:19 AM Page 1 j Sales 36-41_sales 4/29/14 3:41 PM Page 38

even if it might seem simple or Modern sales principles advocate your customers doesn’t mean they uninteresting. You never know what that verbally telling a customer “No” will like you or spend their money it actually means to a client. can be perceived as a strong negative, with you. Customers typically Remember, every client represents regardless of context, even if there is a spend money with people they like. potential future business. “sorry” attached to it. When a cus- Be sensitive in your approach when Often, when things are busy, tomer’s request seems impossible, communicating and educating your customers might feel ignored, espe- rather than just saying “no,” think client, and try to avoid positioning cially if they have to wait. Cus- about how you could provide alterna- yourself as your customers’ superior. tomers should never feel like they tive options and solutions. For exam- Keep in mind that being perceived are interruptions. They should ple, if a customer asks, “Do you offer as arrogant is just as bad as actually always feel special and appreciated. a hanging service,” rather than just being arrogant. Even if your attitude Think about ways you and your saying “Sorry, no,” why not find a and intention are correct, your team can manage these busy situa- positive solution and say, “Although communication style may still need tions. It may be as simple as making we are unable to handle this our- work. No one is perfect, and eye contact and letting them know selves, I can provide you the contact everyone can always do better, so that you are aware of them and that details of someone who specializes in get someone you trust to observe you will be with them shortly. Also this service.” your interaction with customers keep in mind that any distraction and get some honest feedback on during a consultation, such as the 3. Arrogance how you can improve your phone, can be perceived as rude. A No one likes being spoken down to communication style. Remember, customer expects (and deserves) by a so-called “expert,” especially your it’s the customers’ show, not yours, your full attention during a consul- customers. Just because you may be so listen to them, take interest, and tation. smarter or more knowledgeable than be humble. Table of Contents Index

38 PFM May 2014 j Sales 36-41_sales 5/2/14 11:08 AM Page 39

4. False Assumptions just a customer’s way of saying, “I’m on your consulting table. Visual How many times have you incorrectly uninformed about framing and may clutter can lead to confusion. Like- judged a customer, assuming he or she need you to explain things to me.” wise, overwhelming someone with can’t afford a certain level of framing If money is a genuine issue, it will too many choices can lead to indeci- when they’ve ended up spending over resolve itself towards the end of the siveness. Try not to present too $1,000? Avoid making assumptions or process without you needing to many options at once. Limit any judgments about customers because make any premature judgments. design options on the table to no of the way they look or speak. Keep more than a few, and immediately in mind, many people look and dress 5. Confusion put away any discarded options as differently on their days off from There’s often so much that goes into you go. work, so it can be hard to know how designing and making a frame that much someone can afford when they it’s not hard for a customer to 6. The Hard Sell are dressed down for comfort. become confused. Keep your expla- No one likes being put under pres- Sometimes you might think, “My nations simple, break the process sure, and these days customers are customers won’t pay for that!” But down, and go through things slow- all too aware of pushy sales tactics how do you truly know? At the end of er. Remember, you’re used to deal- and old-school closing strategies. the day, it’s always safer to assume that ing with this process every day, but Even if you successfully employ this everyone can afford the best. Just let for a customer it can be all new. technique, you may win customers design and desire drive the process Make sure there’s a comfortable for one sale—but will you win them rather than price. Even if a customer space for customers to appreciate for the next? Be honest, genuine, tells you, “I just want something and consider all options. The con- and accepting of the fact that cus- cheap,” don’t allow that statement to cept of “space” applies to everything, tomers may need time to consider dictate the entire direction of your from the space between the corner and compare before committing. consultation. This statement is often samples on your wall to the space Avoid revealing any impatience with WE’VE GOT YOUR BACK Crafters of the Finest Picture Frame Hardware The Highest Quality Nickel & Zinc Plating The Thickest Steel in the Industry

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a client when it comes to finalizing look bad even if you’re in the right. When it comes to fear, don’t be the decision for a sale. Some cus- Likewise, never argue with cus- afraid to lead the design process, tomers need more time for the con- tomers, even if they’re wrong. Good and always put your best foot for- sultation process, and as much as business owners and consultants ward. Customers can read body lan- framers would all like to be more choose to view negative situations as guage and can tell when you’re fear- productive, if this is an issue for potentially positive opportunities by ful. If you’re not confident, then you, then you should consider making sure customers feel heard your customer will see it and the incorporating any excess design time and that you are on their side. process will likely lead to doubt and into your overhead costs so it is Rather than confrontation, present indecision. When a customer says amortized into your pricing. alternatives and solutions to convert “Wow, that’s expensive,” think to any negative into a positive. yourself, “I know this is going to be 7. Negative Emotions When it comes to worrying a beautiful design crafted from qual- There are two negative emotions about the cost of what it may take ity products that can provide this that can be detrimental to any to rectify a situation, consider this: customer with daily enjoyment for sale—anger and fear. The moment how much will it cost you to find a years to come.” If you know your you show any anger or frustration in new customer? Even more, how product, know your margins, and front of a customer, you’ve not only much will it cost you when unhap- know your market, you should lost one customer but also potential- py customers tell all their friends rarely be rocked by a comment like, ly the 10 others they’ll tell about about their negative experience with “That’s expensive!” There will their negative experience. Never you and your business? Just consider always be a customer who thinks argue with your staff, team, or any costs borne on your behalf as an you’re too expensive. But think of all spouse in front of a customer. It’s investment in potential “goodwill your other customers who are very unprofessional, and you’ll always marketing” and move on. happy to pay you for what your work is worth without question.

Conclusion Selling isn’t easy, but there is certain- ly no need to make it harder by falling prey to these deadly sins. Ultimately, the goal should be to offer your customer a completely positive experience every step of the way. Aiming for this will encourage your customers to come back for more, and when your customer feels good, you’ll feel good, too. ■

Jared Davis, MCPF, GCF, is an edu-

Table of Contents cator at industry tradeshows and con- ventions who specializes in sales and marketing. Based in Brisbane, Aus- tralia, Jared has had 23 years’ experi- ence in the framing industry, and has authored numerous articles for major industry publications. He works full- time as a product manager for Mega- wood Larson-Juhl in Australia and as Index an international educator and consult- ant for Gunnar International. He can be reached at [email protected].

40 PFM May 2014 j Sales 36-41_sales 4/23/14 7:52 PM Page 41

NEWCOMB-MACKLIN Enhance your frame business with the addition of the historically significant Newcomb-Macklin name.

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PFM May 2014 41 k Pres Prac 42-44_Pres prac 4/23/14 7:52 PM Page 42

Preservation Practices by Hugh Phibbs Risk Factors

ow can framers assess the risks that face the on Prince Heiberg Island in the Canadian Arctic have items they’re asked to preserve? It’s easy to survived for 5 million years. These logs are not petri- Henvision threats from physical, chemical, fied. Rather, this is wood that has been trapped in and biological agents, but how can you hope to sediments with a high barrier potential and has not understand which ones pose the most imminent degraded in all that time. So it appears that the danger? There has been little research done in this destructive potential of lignin is not activated in the area, which is not surprising, since science establishes absence of oxidizing gases. That would indicate that certainty by eliminating variables. And that is all but oxidation is a major risk to paper, since paper begins impossible to do in paper preservation. Experience, to oxidize as soon as it is dry at the mill. The chemi- carefully observed, is an alternative source of evi- cal reactants of oxidation accumulate in the paper and dence, but that observation must be dispassionate are moved by water when it is wet, forming tidelines. and weigh all possibilities. Oxidation is enabled by moisture as well as by Sealed, sterile, pH So what are the issues light. The type of fading that most concerns framers neutral conditions will that relate to preserving is photo oxidation, a reaction that begins when pho- paper art and documents? tons displace electrons. This process is made perma- minimize dangers and Start with the chemistry nent by oxidation. Minerals, especially metals, are of cellulose, which is the quite vulnerable to oxidation, which is why purely help preserve items basis of paper. This glu- metallic items in museum storage are given the driest well into the future cose-based polymer can storage conditions possible. survive geological epochs Protein can last for millions of years if it is kept under the right conditions, as can be seen from the from oxidation. While scientists dispute the condition strands of blue green algae that have survived in salt of dinosaur material tens of millions of years old, it is deposits in New Mexico for 250 million years. What safe to say that tissue that is protected by rocky enclo- can we infer from this example? First, it means that sure is the best example of very long-term survival. cellulose in the algal form is not self-destructive. Ultimately, if you think of chemical reactions Since it was buried, it was not exposed to the air. that pose risks for paper preservation, oxidation Since it was in salt deposits, it was not exposed to should be given greater attention than acid/base reac-

Table of Contents water, given the fact that the salt had not dissolved. tions, since oxidizing gases are everywhere and strong A salt can also be expected to be relatively pH neu- acids and strongly alkaline materials are rare. You can tral. This means that pure cellulose can last indefi- also get some sense of the difference between these nitely in a clean, dry environment. two types of reactions when you realize that acid/base The question then turns to more complicated reactions involve the exchange of a proton while oxi- plant materials, such as wood, which contains differ- dation reactions involve only electron exchanges. The

Index ent forms of cellulose and lignin. Lignin is not stable only materials that can benefit from exposure to oxi- in many environments, and that seems to doom all dizing gases are oil-based media that cure through wood eventually. However, mummified logs found oxidation. This process can be slowed if exposure to

42 PFM May 2014 k Pres Prac 42-44_Pres prac 4/23/14 7:52 PM Page 43

air is inhibited, but slower curing may produce a more uniform film. Acidic environments can also pro- duce surprising examples of preserva- tion, since their low pH keeps microbes away, as in the case of pickled foods. Human remains have been found across Northern Europe of ancient people who have been sacrificed in bogs where tan- nic acid has preserved them. This illus- trates the fact that protein is acid toler- ant, while humans interred in alkaline soil can degrade into soapy state. Ship- wrecks buried in mud usually experi- ence very acidic conditions, where cellu- lose and protein can survive the cen- turies safe from invasive organisms because of the mud’s chemistry. When such wrecks are raised, they can deterio- rate rapidly in museum environments.

Biological Hazards There are some ideas imbedded in lan- guage that create misconceptions. For example, when people are asked how something should be preserved, they may say it should be allowed to “breathe,” not realizing that nothing could be further from the truth. Works of art and artifacts do not have lungs or any other breathing organ. Circulating air through them is, in fact, using art- work and other preserved items as air filters. Exposing preserved items to circu- lating air is also a way of increasing their chances of biological destruction. It is often said that moving air inhibits the growth of mold and mildew. Getting enough air to move past a framed item to inhibit mold growth, however, is sim- ply not achievable with normal preser- vation practices. A much safer and sim- pler means of keeping mold away is to keep things dry, below 60 percent humidity at 70oF (20oC). Dry conditions are also helpful in warding off another type of biological PFM May 2014 43 k Pres Prac 42-44_Pres prac 4/29/14 4:17 PM Page 44

pest, insects. Some beetles eat cellulose different problems, as they bring in and some eat protein, but they all can damp clothes on rainy days and salt pose problems. The same holds true from icy sidewalks. One of the pub- for silverfish and other segmented lic’s most potent hazards to art is the pests. When compared with oxidation spray that is produced by speech in and fungal infestation, insect damage is front of framed work. The extent of not as common or as great of a risk, this problem is evident to museum but keeping preserved items clean staff, with anti-reflective glazing gain- (insects often attack food stains), dry, ing popularity. In Japan, tradition has and well-sealed is preservation prac- dictated another solution. Visitors to ticed wisely. some print collections are given a The greatest biological hazard— clean piece of cloth to put to their human beings—mishandles, overex- mouths while viewing art. Framers poses, and creates contamination risks can also benefit from covering their to art. Keeping delicate, preserved mouths when handling art with items out of the wrong hands is not clients. In a related manner, poor always easy, but some simple steps can paper handling by framers can also help. If something is framed in an form a danger to art, and such manip- elaborate housing, putting instructions ulation should be limited to the most as to how that housing can be safely highly trained staff. disassembled on the back of the frame Ultimately, preserving paper, tex- may mitigate accidents later. Convinc- tiles, paintings, photos, and metals ing owners to put proper glazing mate- begins with limiting their oxidation. rials on their frames to protect vulnera- Preservation is further enhanced by ble surfaces may be easier if these own- keeping them away from humans, ers understand how aerosols from fungi, and insects. So does keeping a cooking and home maintenance can few basic facts in mind. Darkness settle on those surfaces—not to men- eliminates photo oxidation. Drier con- tion dust, spores, and other biota. ditions inhibit oxidation, acid hydrol- In public collections, visitors pose ysis, and fungal and insect contamina- tion. Cool conditions slow chemical change. To limit risk, framers need to seek well-sealed, sterile, pH neutral conditions that are as dark and cool as possible. Framing that incorporates these ideas will help preserve items into the future. ■

Table of Contents Hugh Phibbs, preservation editor, is the coordinator of preservation services in the Department of Exhibitions and Loans, Conservation Division, National Gallery of Art, Washington, D.C. He has taught workshops for The National Conference, the AIC, PPFA, conserva- tion programs at Winterthur/ University

Index of Delaware, and the Smithsonian Resi- dent Associates Program. He also com- piled the matting and framing section of “The Book and Paper Group Outline.”

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Framing Fabrics Delta Picture Frame Co. Call: 800-832-2742 Call: 800-327-5482 www.FramingFabrics.com www.DeltaPictureFrame.com FrameBond Fabrimount from Framing Fabrics is a Delta’s four wood tone mouldings are Call: 732-551-0119 water-based formula that allows you recent additions to its large poly- www.framersproducts.com 3 to adhere fabric onto mat board, styrene product line. The 1 /4" mould- FrameBond is a fast-setting, high-vis- wood, and other substrates. It can ings are available in Walnut, cosity corner joint adhesive designed also be used for mounting posters Mahogany, Espresso, and Pecan. for materials that require uniform and transferring prints to canvas. stress distribution and high strength. It rapidly bonds wood, metal, ceramics, plastics, leather, paper, composites, and many other substrates. Its ulti- mate strength develops within eight hours, and handling strength is achieved in as little as one to five min- utes, depending on substrate. Frame- Bond improves productivity, minimizes clamping times, and dramatically reduces squeeze-out. It needs no acti- vator and features consistent humidity tolerant cures and higher impact Max Moulding Larson-Juhl resistance. Call: 800-282-9966 Call: 800-221-4123 www.maxmoulding.com www.larson-juhl.com Max Moulding has added Simply Clas- Larson-Juhl’s elegantly modern Mura- sic to its Ready-Made Frame collec- no collection blends simplistic profiles tion. The Simply Classic Gallery Wall with a layered complex finish, combin- Frame collection offers frames from ing warm silver, rich burnt umber, and some of the company’s most popular charcoal tones. Murano is reminiscent Table of Contents moulding collections: Havana, St. of time-worn mirrored glass with rich Tropez, Lucca, Verona, and Hampton metallic accents. Classics. Sawtooth picture hangers are included for easy hanging, either Universal Arquati vertically or horizontally. Simply Classic Call: 661-362-6262 is available in various sizes: 11" x 14", www.universalarquati.com 12" x 12", 16" x 20" 18" x 24", and The new Kings Collection from Uni- versal Arquati is available in four differ-

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Active Sales Company Call: 800-937-2255 www.ActiveSalesCo.com The CS2 pnuematic series of under- Tru Vue pinners from Cass- Call: 507-332-4167 ese are available www.tru-vue.com from Active Sales. Tru Vue has added three new sizes of The Smart 3.0mm Optium Museum Acrylic to its Wedge Drive Sys- line of premium glazing options. The tem eliminates product is now available in 24" x 36", the need to adjust 32" x 40", and 36" x 48" sizes. The Omega Moudling the top clamp new sizes were developed to improve Call: 800-289-6634 (US) placement or framer yield, and make it more effi- 877-452-3799 (Canada) change air pres- cient to use Optium Museum Acrylic www.omegamoulding.com sure between soft on the frequent smaller sized projects. Omega has introduced Allure, its col- and hard wood. It lection of 12 mouldings with innovative features a 6" nail- finishes refined on four classic modern ing stroke and the quick profiles. The color palette is derived adjusting top clamp accepts 1 from oil rubbed, burnished machined moulding up to 3 /2" tall. It is available metals. The collection features shad- in the Cart version, which accepts 3 owbox profiles in 1 /4" and 2" depths, nails in cartridges, or the Uni version, and profiles can be stacked to create which accepts nails in strips. a variety of framing solutions. Table of Contents Index

48 PFM May 2014 l ProdShow 46-49_Product Show 4/23/14 7:52 PM Page 49

Nickell Moulding Call: 800-838-2151 www.nickellmoulding.com Nickell has added two new shadow box mouldings and a floater moulding to its popular House Stock program. These versatile profiles are produced from premium FAS Ash. Most of the nearly 200 mouldings in the program are in stock for quick shipment. With each House Stock order, Nickell donates 2% of proceeds to America’s Vet- Dogs.

ASAP Call: 888-355-8214 www.asapmoulding.com The new Saratoga Collection from ASAP Moulding features an assort- ment of contemporary American hardwood. The collection is available in black, chocolate brown, olive gray, and honey walnut with width sizes in 1 1", 2", and 3 /4".

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PFM May 2014 51 m index 52_INTL_index.qxd 5/12/14 11:10 AM Page 52

INDEX

Advertiser Phone Website Page Advertiser Phone Website Page

Active Sales 800-937-2255 www.activesalesco.com 33,50 Join Rite 508-454-7477 www.joinrite.com 12, 50

Alpina Mfg. LLC 800-915-2828 www.fastchangeframes.com 50,51 Larson-Juhl 800-438-5031 www.larsonjuhl.com 3 www.bannergrip.com Mathews & Kent, Inc. 574-339-4622 www.MathewsKent.com 51 Arlo Inc. 800-332-2756 www.arloinc.com 44 Max Moulding 800-282-9966 www.maxmoulding.com 7 AS Hanging Systems 866-935-6949 www.ASHanging.com 43 Megawood Larson-Juhl www.megawoodlarsonjuhl.com.au 1 ASAP, Inc. 818-718-1022 www.asapmoulding.com 19 Michelangelo Moulding 877-422-8812 www.michelangelomoulding.com 17 Beale Ash Distribution 877-465-4538 www.bealash.com 43 Nickell Moulding Co. Inc. 800-838-2151 www.nickellmoulding.com 50 Bevelsmith.com 858-876-8293 www.bevelsmith.com 50 Nielsen Bainbridge 512-506-3929 www.nbframing.com 15 Capax Frame It 800-942-2729 www.capax.com 21 Omega Moulding Co. Ltd. 800-289-6634 www.omegamoulding.com 9, 35, 36, 48 Chester Frame Company, The 860-227-9942 www.thechesterframecompany.com 51 Picture Framing Equipment, Inc. 404-932-7291 35 CMI Moulding 301-476-7440 www.cmimoulding.com 50 PFM PubCo 800-969-7176 www.pictureframingmagazine.com 5b Craft Inc. 800-827-2388 www.craft-inc.com 21 Picture Framing Magazine 800-969-7176 www.pictureframingmagazine.com 5c Crescent Cardboard Co. 800-323-1055 www.crescentcardboard.com 5, 25 PTM Images 818-909-5937 www.ptmimages.com 47 Decor Moulding & Supply 800-937-1055 www.decormoulding.com 21, 37 Quality Saw & Knife Co. 800-446-6622 www.qualitysaw.com 35, 50 Digital Technology Group Inc 800-681-0024 www.dtgweb.com 44 Rhonda Feinman Custom Frames 800-297-1566 www.rhondafeinman.com 6 Evonik Cyro LLC 973-929-8492 www.acrylite.net 51 SoftTouch Solutions, Inc. 888-281-3303 www.frameready.com 51 Foster Planing Mill 323-759-9156 www.fosterplaningmill.com 51 Tem-Tech 815-675-9790 www.tem-tech.net 36 Frame Tek 800-227-9934 www.frametek.com 51 Ten Plus, Inc. 888-944-8899 www.tenplusframes.com 45 Framerica Company 800-372-6422 www.framerica.com 2, 4, 36, 48, 56 The CMC Doctor LLC 801-380-7935 www.thecmcdoctor.com 8, 50

Frank's Fabrics for Framers 888-332-2749 www.franksfabrics.com 50 The Fletcher Business Group 800-843-3826 www.fletcher-terry.com 31

FrameBond 732-551-0119 www.framebond,com 12 Tru Vue, Inc. 800-621-8339 www.tru-vue.com 13

Gemini Moulding, Inc. 800-323-3575 www.geminimoulding.com 41 Universal Arquati 800-668-3627 www.universalframing.com 11 Table of Contents Gilman Brothers Company, The 860-889-8444 www.gilmanbrothers.com 14 Vermont Hardwoods 888-442-7396 www.vfh.us 41

Gluefast Company, Inc., The 800-242-7318 www.gluefast.com 50 Wall Moulding & Associates 800-880-9315 www.wallmoulding.com 55

Gunnar International 360-657-5291 www.gunnar-int.com 23 Wizard International, Inc. 888-855-3335 www.wizardint.com 27

Hoffmann Machine Company 866-248-0100 www.hoffman-usa.com 51 Yiwu Zhongshang Exhibition Co. Ltd.+86.579.85030326 www.cafexpo.com 49 Index International Moulding 205-324-5783 www.internationalmoulding.com 39 Z Hardware Company 800-368-5970 www.zhardware.com 50

Jack Richeson & Co., Inc. 800-233-2404 www.richesonart.com 50 Ziabicki Import Co. 262-633-7918 www.ziabicki.com 51 52 PFM April 2014 o Art ID 54-53_Art ID 4/29/14 4:27 PM Page 53

(Continued from page 54) Framing Albumen Prints media, unbuffered cotton rag mat A condition report is always the and mount boards are recom- Paul MacFarland, MCPF, GCF, is an internationally recognized master framer first step in handling an albumen mended for all direct contact with and industry historian with more than 30 print. Chemical foxing and mold the image. Buffered preservation years of hands-on experience. His work matboard may be used for addi- is found in public and private collections are common and should be in the Americas, Europe, and East Asia. addressed prior to sealing the tional mats if they do not touch MacFarland has been actively training print in a frame. Because of the the photograph. custom framers, collection preparators, Ultraviolet and infrared radia- and art handlers since 1984 and is the stock thickness of the print, a founder of Art Preservation Resources, a sink mount is required. Enough tion will cause serious, irreparable consulting and training organization room should be allowed for the damage to most photographs, and working with fine art preparation profes- sionals, businesses, and institutions print to expand and contract with that includes albumens. UV-filter- worldwide. He is the author of numerous changes in humidity and temper- ing glazing products, whether industry articles, procedural manuals and ature, usually an extra 1/8”. glass or acrylic, are absolutely essays, and he lectures on fine art and framing at the National Conference in As with all protein-based art essential. ■ Las Vegas. CLASSIFIEDS

Skilled Sales Professionals Wanted Throughout the U.S. Are you a sea- For Sale: Regional Wholesale Distributorship of picture framing materials to soned sales professional who goes the extra mile for your customers to frame shops, art galleries, photographers, and professional artists. Stock items ensure both their satisfaction and loyalty? Do you focus on growing cus- include Studio, Designer, Burnich, Clark, and Colonial moulding; Tru Vue tomer relationships by providing real value and unexpected solutions? Do glass; Peterboro matboard; acrylic, foamboard, and smaller framing accessories. you relentlessly overcome obstacles to becoming your customers’ supplier Located in Spokane, WA. MFA delivers locally twice a week and regionally to of choice? Omega Moulding is a leader in the framing industry seeking Western Montana, N. Idaho, and Eastern Washington at least once a month. highly motivated and organized sales professionals in many uncovered Inventory of $150,000, plus shop and office equipment of $75,000. Yearly sales territories in the U.S. and Canada. If you are looking to join our growing of $330,000, with a gross profit margin greater than 50%. MFA has operated and dynamic company, inquire confidentially to salesjobs@omegamould- 30 years. Asking price of $205,000. Operating facility may be leased or pur- ing.com. chased separately. Website: mfachops.com. Contact Terry at 509-951-8012. CALENDAR OF EVENTS ABC SCHOOL OF PICTURE FRAMING(West Islip, NY) offers a hands-on, INTERNATIONAL PICTURE FRAMERS SCHOOL(ON) offers 5-day cours- 4-day course. One-on-one and advanced classes offered. Visit www.abc- es. Visit www.framingschool.com or call 800-294-0098. schoolofpictureframing.com or call 800-810-8849. MURILLO SCHOOL OF RESTORATION(AB) offers Basic, Advanced, and AMERICAN PICTURE FRAMING ACADEMY2- and 4-day Basic and Specialty classes. Call 780-457-0538. Advanced classes feature technical, business and design training. Call PRESTIGE FRAMING ACADEMYoffers classes. Call 617-285-0855 or visit 888-840-9605 or visit www.pictureframingschool.com. the website, www.framingacademy.com. ART TO BE FRAMED(Mt. Shasta, CA) is an instructional and education- REED’S GOLD LEAF(Nashville, TN) offers 2-3 days Gold Leafing/ al custom picture framing retreat. One-on-one instruction, beginners Gilding classes by appointment only. One-on-one or max. 2 students. through advanced. Visit www.artrobeframed.com or call 530-926-3609. Call Micki Cavanah at 615-294-6113 or send e-mail to rglstudios@bell- B.L. HAYMOND SUPPLY(Ukiah, CA) offers hands-on, one-on-one, two- south.net. day (weekdays or weekends). Oil Painting Restoration Workshops with SARASOTA GOLDLEAF(Sarasota, FL) offers 5-day classes for 4 weeks. experienced senior conservator. E-mail: [email protected] or One-on-one only. Call 941-504-5165 or send e-mail to: jodie@beauti- visit www.blhaymondsupply.com or call 707-462-4221. fulpictureframes.com. COLORADO MOULDING CO.(Englewood, CO) offers basic classes. TC MOULDING(Roseville, MN) offers a 5-day hands-on B.A.S.I.C. Advanced classes held on Mondays. Visit www.cmcmoulding.com or call Framing Class. Class size limited to 5. Additional 1-day specialty work- 800-332-9013. shops offered. Call Susan at 800-735-3025 or visit COMPLETE FRAMER’S SUPPLY, INC.(Fort Lauderdale, FL). Call 800- www.tcmoulding.com. 330-3263 or 954-581-2444 to register and for class schedule or visit VALLEY MOULDING & FRAME(N. Hollywood, San Diego, Anaheim, www.completeframers.com. CA) offers 5-day Basic classes and One-day advanced class. Visit FRAME TUTOR SCHOOL(Alberta, Canada) offers a 3-week course (90 www.valleymoulding.com or call 818-769-5656. hours) hands-on professional training. Weeks 1 & 2 Basic; Week 3: WEST ART FRAMING(Sagle, ID) 5-Day Basic and Advanced classes and Advanced (Design & Specialties) Call 800-268-0897, e-mail: beginners one-on-one instruction. By appointment. Visit www.westart- [email protected] or visit www.frametutorschool.com. framing.com or call 208-263-8307. ■

PFM May 2014 53 o Art ID 54-53_Art ID 4/29/14 4:27 PM Page 54

Identifying Art by Paul MacFarland, MCPF, GCF Albumen Photographic Prints A look at different kinds of artwork along with tips on how to identify them. he albumen photographic print was a very popular and widely distributed process for Tthe last half of the eighteenth century. Invented around 1850 by French photographer and merchant Louis Desire Blannquart-Evard, the process was an international success. Creating an albumen print was time consum- ing and required a skilled technician. To produce albumen images, a very thin sheet of cotton paper was coated with salted egg white, which seals and smooths the surface. The coated paper was then made UV and light sensitive by coating it with a solution of silver nitrate. The paper was placed under the negative and exposed; then it was placed in a stop bath to fix the image. Because albumen images were created by direct exposure and required no chemical developer, they were consid- ered printed, not developed, photographs. The print was burnished by hand to produce a shiny surface. It was then mounted on cardstock that was routinely embossed with the photograph- er’s logo as well as decorative period designs. This image of a boy and his dog from the 1860s is a typically Albumens were also popular for stereo cards, book high-contrast, sepia-toned and yellow albumen photograph. illustrations, and a wide range of advertising prod- ucts. Other factors that can be used to distinguish an Identifying Albumen Prints albumen print include fading, especially around the Under 30 to 50 power magnification, albumens are outer edges, along with silvering in the darker areas identified by the following two characteristics: of the print. The original prints were generally gray Table of Contents • Albumen is a protein and tends to shrink. in tone, although beginning in the 1880s they could Because of this, the prints generally, but not be tinted with watercolors and aniline dyes to pro- always, develop a fine surface crazing, appearing duce primarily rose, violet, and blue hues. The his- as a web-like pattern of cracks. toric images commonly seen are usually sepia-toned • The paper fibers are seen through the albumen and yellowed depending on the original quality of binder across the image, although these are the work and how it was handled and stored during

Index somewhat more difficult to see if the paper was the past century. The cardboard mount is usually double coated. This easily distinguishes albumen excessively acidic and is often warped so that the from the gelatin prints of the same era. print will not lay flat.

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