Framing Magazine® (ISSN 10529977) Is Published Monthly, Plus One Issue by Hobby Publications, Inc., 83 South Street, Unit 307, Freehold New Jersey 07728

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Table of Contents PFM is a member of: Volume 26, Number 10 PPFA, The Professional Picture Framers Association ACC, Art Copyright Coalition SOG, Society of Gilders

Picture Framing Magazine® (ISSN 10529977) is published monthly, plus one issue by Hobby Publications, Inc., 83 South Street, Unit 307, Freehold New Jersey 07728. phone 732-536-5160; fax 732-536-5761 Subscription On the Cover: Frame design for Office: PFM P.O. Box 5016, black-and-white photography is no Brentwood, TN 37024-5016; longer limited to the white mats and phone 731-434-1106. Subscrip- tion: $20 per year U.S., $40 U.S. black frames that have traditionally Dollars per year in Canada and defined the photographic look. By Mexico, $60 U.S. Dollars per year adding style, color, and texture, for all international. Single copies, $5.95. If a paid subscrip- today’s looks go far beyond the styles tion magazine is returned by the of the past. For more on this trend, U.S. Postal Service as non-deliver- able, Picture Framing Magazine turn to “B/W: Today’s New Looks,” on will maintain the subscription for page 30. one year. If after one year a new address is not provided, Picture Framing Magazine will cancel the order. No refund will be available for that account. Periodicals class postage paid at Freehold, New Jer- sey, and at an additional mailing office. Entire contents © 2015 by Hobby Publications, Inc. Printed in U.S.A. Picture Framing Maga- zine registered in the U.S. Patent and Trademark Office. Postmaster: Send address changes to PFM P.O. Box 5016, Brentwood, TN 37024-5016 FEATURE Agreement Number 1691910 30 B/W: Today’s New Looks Disclaimer The opinions and information in this magazine are not necessarily those of the publisher and are COLUMNS therefore not to be viewed as DEPARTMENTS such. No part of this magazine may be reproduced without the 16 PPFA News 8 Editor’s Note expressed written consent of the publisher. PFM does not know- 18 Frame Design ingly accept false or misleading 10 Industry News advertising or editorial, nor does 24 Sales Strategies the publisher assume any 48 Product Showcase responsibility for the consequences that occur should any 36 Digital Impressions 49 Classified Ads such material appear. PFM and Hobby Publications assume no 38 Mat Doctors 50 Distributor Spotlight responsibility for content, text, or artwork of advertisements 44 Successful Retailing Panel appearing in PFM except those 52 Index of Advertisers promoting PFM. The Publisher reserves the right to review all 54 Design of the Month 53 Calendar of Events advertising materials submitted for publication and to not accept any such material deemed inappropriate for any reason.

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EXECUTIVE PUBLISHER Bruce Gherman • [email protected] EDITOR-IN-CHIEF Patrick Sarver • [email protected] EDITORIAL ASSISTANT Brianna Winters • [email protected]

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

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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] BUSINESS MANAGER Mindy Gruenbaum • [email protected] EXHIBITOR SERVICES Maureen Robertson • [email protected] ASSOCIATE EDITOR Kendall Turchyn • [email protected] ASSOCIATE EDITOR Alexis Orlacchio • [email protected]

SALES NATIONAL SALES MANAGER Ellen S. Blatt • [email protected] • 845-639-9647 WCAF TEAM SALES LEADER Jim Hynes • [email protected] 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] MARKETING COORDINATOR Amy Sudol • [email protected] PRODUCTION ART DIRECTORS Gary Coughlin • [email protected] Alan Pegler • [email protected] ADVERTISING COORDINATOR Jin Dong • [email protected]

HOBBY PUBLICATIONS, INC. PRESIDENT David Gherman • VICE-PRESIDENT Rob Gherman Publishers of Hobby Merchandiser and Design New Jersey PFMseminars PFM WEST COAST ART & FRAME EXPO Excellence in Art and Framing Education PICTURE FRAMING MAGAZINE THE NATIONAL CONFERENCE

6 PFM October 2015

From the Editor’s Desk COMING NEXT s we move into the fall, there are many positive economic signs afoot that could mean more potential sales for cus- ISSUE Atom framers. Overall, the economy is up and people are spending more on themselves than they have in the recent past. Per- Cutting Edge Shadowboxes haps more significantly, the housing market is improving, with peo- James Miller presents creative ple buying more new homes and spending more on home renova- dual shadowboxes that tions. That doesn’t translate immediately into more framing sales, but it does mean your preserve decorative Masonic customers—existing and potential—are showing renewed interest in improving their liv- swords and related memorabilia using several ing spaces. advanced framing techniques. Combine this with the seasonal return to indoor living and the approaching holiday gift-giving season, and there’s an improved atmosphere generating more interest in fram- Enhancing Mats with Decorative Papers ing. That doesn’t mean such interest is automatic. It means that if you make the effort Jodie Prymke shows how to through marketing, you can generate more business. It’s time to crank up the emails, dress up your mats with newsletters, and even direct mail and advertising to capitalize on the favorable business decorative papers, including choosing the right paper, climate. Your market is in a more receptive mood, so take some time and reach out with how to design with papers, your message about the role of custom framing in today’s interior design looks. Strike and combining them while the iron is hot, as the old saying goes. with V-grooves.

The Yupo Challenge Any publication relies on its advertisers for its continuing support, just as the suppli- Chris Paschke offers ers that advertise depend on readers for their ongoing existence. With the constant flow of valuable tips on how to ads in all media these days, it’s easy to ovelook those paid messages. But especially in the mount this increasingly popular and challenging world of custom framing, there’s more to advertisig than meets the eye. The people who art substrate. advertise dedicate much of their lives to bring you, the retailer, the products you need to In Every Issue: keep your business alive and growing. They work hard at being creative in bringing to market new and innovative products that will make your life easier and provide you with Calendar of Events a myriad of options that you can use to excite and interest your clients. Readers can learn about So when you read this issue of PFM—and all issues—take a little extra time to see upcoming industry happenings, such as what our advertisers are presenting to you. Think of the many people at those companies distributor open houses who work hard day in and day out to help make your life better and more successful. and educational events. When you look at all the new products available to custom framing retailers today, Product Showcase remember that it takes a lot of people working to provide you with the range of products Discover what’s new and services you need to thrive in today’s business retail market. In many ways, these peo- and exciting by shopping for ple make your business possible. They’re also invested in your success. So don’t just skip by the newest products the ads; think about how those products can help your business. Remember, we’re all in in each issue. the same business together—providing customers with the latest and best that custom framing has to offer. Also visit the new PFM Pinterest site, www.pinterest.com/pictureframingm. You’ll see lots of design ideas you can pin to your own site to provide customers with new framing ideas. Patrick Sarver Editor-in-Chief 8 PFM October 2015

INDUSTRY NEWS Tru Vue Contest Offers Free Business Consultation

Tru Vue® has launched its second Retail Boot Camp, part of • A monthly follow-up by phone for six months to monitor a series of consultation giveaways that support the custom progress and to help ensure that goals are met. framing industry. A follow-up to last year’s Retail Makeover The first Retail Boot Camp was a wall design and Giveaway, these consultations focus on specific areas of training consultation by Meg Glasgow, Tru Vue consultant business, offering independent custom frame retailers an and owner of The Gallery at Finer Frames in Eagle, ID. The opportunity for one-on-one support from industry experts. winner was David Ping of The Framer’s Gallery in The second Boot Camp is a customized operations prof- Brecksville, OH. Ping has owned the shop for a year and itability consultation with Ken Baur, Tru Vue consultant and looks forward to providing customers with examples of owner of KB Consulting and Framing shadowbox work and upscale designs Concepts gallery in Northwest Indiana. that appeal to his suburban Cleveland From October 5 to 23, 2015, Tru Vue market. will accept submissions for the contest, “There was an excellent response to asking store owners to explain their need for the consulta- the first Tru Vue® Retail Boot Camp in July,” says Jen tion. Entries will be judged on need, feasibility, and growth Gramm, director of marketing for Tru Vue. “This tells us that potential. The winner will be announced on November 13. there are many framers looking for assistance in specific The consultation will include: areas of businesses who do not need the scope of a full • An in-depth analysis by Ken Baur, who will evaluate crit- makeover. By focusing on smaller-scale consultations, we ical areas for operational improvements and set can connect more framers to the resources they need to customized goals to achieve success. grow their businesses in ways that are helpful to them.” • An individualized plan to boost profitability through opera- For full details on the promotion and to enter, go to tional efficiencies. www.tru-vue.com.kkk

Fotiou Opens Philadelphia-area Warehouse able supplies to Fotiou is opening a new warehouse in Bristol, PA. The new help build and facility will be its fourth in North America, including Rancho repair houses, the Cucamonga, CA; Nashville, TN; and Woodbridge, ON. The Habitat for new facility will allow Fotiou to better service East Coast Humanity ReStore customers by is a retail ware- providing house open to the shorter ship- public to shop for ping times as quality building well as supplies at a fraction of the retail cost, with all revenue increasing inventory and product availability to that region. going directly to supporting the community. The nonprofit The nearly 13,000 square foot facility will operate from 8:00 home improvement stores and donation centers are a.m. to 4:30 p.m., Monday to Friday, with offices remaining located across the country. open until 5:30. Philadelphia warehouse manager Barry “Our company was built on a commitment to family, Zimmerman can be reached at 800-668-8420 ext. 309 or at and our donations will help families build homes and better [email protected]. lives,” says Dave Rosner, vice president of procurement at Framerica. “We’re saving materials from ending up in a Framerica Partners with Habitat for Humanity landfill, but we’re also providing communities with a source Framerica is teaming up with Habitat for Humanity by of low-cost building supplies.” donating large quantities of surplus building materials and For more information, call 800-372-6422 or visit moulding inventory to its local ReStore. To provide afford- framerica.com.

10 PFM October 2015

INDUSTRY NEWS

Winter Savings from Decor/Southern Decor and Southern Mouldings have produced a four-page Fall 2015 Extreme Savings brochure with 122 new styles at savings of 60 percent off length price. Styles include Natu- rals white washed maples and Naturals maples, classic and contemporary golds and silvers, and blacks, whites, liners, floaters, and stretcher bars. All styles are stocked at Decor and Southern warehouses for quick delivery. These styles are effective October 1 through December 31. A copy of the latest Extreme Savings styles is available at www.decormoulding.com. Click the Specials tab and then Extreme Savings, or call 800-937-1055.

Zimdar Named Frames Unlimited President Frames Unlimited of Grand Rapids, MI, recently announced that Kyle Zimdar has been promoted to president. He will oversee both retail and wholesale operations of the family business, which includes 15 retail stores in

12 PFM October 2015

INDUSTRY NEWS Michigan and Ohio, a wholesale and manufacturing arm, and a commercial framing division. Zimdar has officially been with Frames Unlimited for 12 years but grew up with the company. “My grandmother founded Frames Unlimited on the belief that great people— our customers, our associates and our business partners— are the cornerstone of our business,” he says. “I’ll work hard to continue the sense of family in our company culture.” For more information, call 616-452-8737 or visit www.framesunlimited.com.

Wark Joins Universal Arquati Mike Wark has joined Universal Arquati as the sales representative for New Jersey, Pennsylvania, and New York City. He has several years of sales experience in the framing industry. He can be reached at [email protected] or by cell at 301-788-7631.

14 PFM October 2015

Serving the art and framing professional PPFA News

A Letter from the Former President

Schedule of Events

ith the recent change of ownership, the PPFA Annual Gulf Coast Chapter Fall Event Convention now has a permanent home at the WCAF Expo. October 10-11, 2015 The best of the PPFA Convention is returning, with event Houston, TX W favorites such as the annual member meeting, the Welcome to Las Contact: Deborah Price Phone: (985) 385-0730 Vegas reception, certification programs, a top line-up of education courses, and a few big surprises yet to be announced. Central Texas Chapter Weekend with Jay Goltz Also returning to the convention are the popular international print Prisma Premier and the Five and open framing competitions, which focus not only on the aesthetics Critical Steps to Success! of custom picture framing but also the preservation of framed objects. In October 17-18, 2015 San Antonio, TX addition, the convention allows custom picture framers the chance to Contact: Deborah Hill network and share their ideas and experiences with other framers. Phone: (281) 825-1070 The PPFA keynote event always features a unique and informative www.centraltexasppfa.org speaker. This year the association is proud to welcome Leslie Klinger, Allegheny Chapter curator of interpretation at the Biltmore Estate in Asheville, NC. Her Fall Framers Event October 18 work involves researching the Vanderbilt family, updating the family Pittsburgh, PA archives, and restoring objects in the different rooms of the renowned Contact: Greg Norris estate. Phone: (304) 523-3682 www.alleghenypictureframers.com As a past president of the association, it was my honor to have been leading the organization when the conversation arose as to whether our NEPPFA Chapter Meeting annual convention would better suit the needs of our membership if it Monday October 26, 2015 Red Hook Brewery were moved from the Photo Marketing Association trade show to the Portmouth, NH West Coast Art and Frame Expo. I believe that the PPFA membership has 10:00 am – 7:30 pm benefitted extensively from this change, allowing members to take CCAHA (Conservation Center for advantage of all that the Annual Convention has to offer along with the Art & Historic Artifacts) many benefits of attending the largest trade show in the industry. Monday November 2, 2015 Today, the Annual PPFA Convention remains the perfect place for 264 S. 23rd Street Philadelphia, PA 19103 framers to expand their knowledge of framing as well as acquire new 12:30 – 3:45 techniques and practices that will enhance their businesses. This is an exciting time for change, so come to the PPFA Annual Convention and celebrate with us the association’s permanent affiliation with the WCAF Expo. I believe it is the best thing to happen to PPFA in the last several years, and it marks a new and exciting chapter in the history of the association.

Ken Link PPFA Education Committee Professional Picture Framers Association and Former President

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Frame Design by Brian Wolf, CPF, GCF Shadowed Ornaments

hotographs allow framers a great degree of latitude to include Pdecoration in a presentation. When you take advantage of this opportunity, you should also take advantage of the devices that make the decoration impressive. Shadowing is a striking device used everywhere and, for picture framers, is one of the easiest to generate. The examples here began with elements that are standard cutouts in every CMC design program—a letter, a musical note, and a bow. Each one was altered in some way to further the atti- In all these examples, the decorative shape was cut as a dropout tude of the presentation. The Q was and glued onto the top of the mat. drawn to be more casual; the musical The Q is from a normal Roman font; then the tail was altered. In note was altered to look more like stan- the Wizard program, there is a but- ton to change any letter or cutout dard musical typography; and more to cut as a drop, but plan on mak- details were added ing a test cut to verify that the thin areas look good. A copy of the Q to the bow. The was worked into the openings as a shadow using the drawing pro- Adding shadows to most important gram. This process can be very alteration was quick and direct—as with the cutouts offers an monogram and the musical that these figures notes—or it can incorporate artistic changes, as with the bow exam- easy yet creative were set to cut as ple. The blue Q was mounted 3 dropouts. They about ⁄16” above and to the right of way to enhance the shadow. Several small drops of are used as white glue are sufficient to mount the design of many appliques rather these appliques. presentations. than as traditional cutouts. shape and using the fallout. The shape must be cut The shadows behind so that the bevels neatly go around the outside. each applique began as a copy of the ornament. In Setting a shape to cut as a dropout may be a drawing the design process, pieces of the copy were worked program function, or it may require special settings into one of the mat layers. The applique was for the machine. Likely, there will be a test cut to mounted slightly offset to complete the shadow make sure the shape looks right and the thin areas are effect. not too delicate. The additional effort of including an applique is Cutting Elements as Dropouts an understandable problem. The pinnacle of efficien- In every CMC program, a dropout is a different cy in decorative matting is to incorporate all the ele- bevel type. It is not simply a matter of cutting a ments as part of the various mat layers. Cut all the

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What is a more natural moulding shape for a brass band than a tubular half-round gold cap? The original eighth note cutout in the program made several design compromises to its small size. The applique of cascading eighth notes in this example is 5” tall. Its narrow vertical strokes are 0.2” wide. The ovals for the notes are 1.2”x0.9”. When a figure is larger it is possible to design with more accurate details, and it looks more realistic. There is a foamboard spacer to create depth for the red field behind the notes. Depth and real shadows add interest to any construction. There is also a 2-ply spacer under the eighth notes to force a few shadows onto the top mat. layers, assemble them, and the mat is finished. But when but the moulding shows royal blue through the bright silver there is an applique, there is always a mounting step necessary flakes. to complete the assembly, a step that usually requires a careful eye, a touch of skill, and patience. Even accounting for all A Marching Band and Musical Notes these factors, the effect of the shadow is still impressive. The customer’s request for this example was to have it look like a family relic or a flea market treasure. It was cut using Children and a Monogram regular matboard so that the bevels would be quieter than The shadowed monogram in the first example is integrated the now-standard bright white. into the array by masquerading as another opening while Do not take this as a recommendation. Conservation is parts of the letter overlap onto the pictures. Unlike traditional important, and the bevels of regular matboard may not age artwork, where the opening for the picture is inviolable, infor- well. However, it is meant to spark thought about all those mal snapshots like these invite some liberties. A degree of white bevels commanding so much attention any time deco- overlapping onto the pictures helps to unify the arrangement, rative cutout elements are part of the presentation. Still, if keeps the overall size smaller, and creates some excitement. the look holds some appeal, this is the kind of project where But still there is the question: How much can the decorative a rule or two of conservation can be set aide. These photos element overlap onto the image? The rule might be: do not can be printed again, after all, and UV-filtering glass will cover anything interesting. help. One way to control the amount of overlap is to introduce The conception and the construction of this example is an extra opening for the monogram. The opening here is identical to the first example. The ornament is between the wide enough so that there is just a bulge of the Q overlapping two photos, the decoration overlaps somewhat onto both the picture on the left, and only the tail of the Q trails off photos, and there is an extra opening behind the eighth into the picture on the right. notes to help construct the shadows. This time the extra This extra opening is also the place where the bulk of the opening is not rectangular. It makes no pretense of being an shadows for the monogram can be constructed. There are left- opening for another picture. It is simply a carrier for the cas- over open spots at the top, middle, and bottom of the Q cading eighth notes and a spot to repeat the bright red. from the shadow construction. Here, bits of another snapshot were mounted behind the top and bottom spots to make it Shadow Construction Hints appear to be another snapshot. The process of constructing the shadow pieces and integrat- But the purple in the middle is there because the cus- ing them into the openings is straightforward. Begin in the tomer asked for a “colorful and casual” presentation. The Q design program. Position the applique element, the copy of was tilted and its tail was redrawn to be exaggerated and it that will be the shadow, and the openings. This is the best flourishing. The green of the inner mat is more electric than place to maneuver the elements into their relative positions the typical garden green. The bright blue of the Q is a favorite and assess the look of the final presentation. Send the design color of the family. It relates little to any color in the pictures, to the drawing program.

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The outline of the bow that was the standard cutout in the program was not convincing enough for this presentation. This bow applique was separated into three parts: the bow with one dangling ribbon attached, the other dangling ribbon, and the middle semi-rectangular piece. The white ribbons at the sides are also separate pieces. The biggest inefficiency with appliques is the assembly. None of the pieces of this applique required exact placement, so despite the many parts, this assembly was easy. Alongside a grouping of two scurrilous-looking dogs, a baby-blue and white ribbon is incongruous. The satin walnut angular frame returns a rough-and-ready canine element to the presentation.

In the drawing program, break the intersections that the five parts of the applique to mount to complete this shadow copy of the decorative element has with the open- design, the process was not time consuming. ings. Then, join the appropriate segments to form the neces- Normally, the most frustrating troubles of designing sary cutouts. and cutting decorative elements are caused by the need to The only necessity for redrawing anything is to make make them as small as possible so that they do not over- narrow pieces of the shadow less delicate. For example, the whelm the entire presentation. The shadowed elements vertical shafts of the eighth notes and the narrow strokes in here are larger than normal. A cutout letter under an open- the Q are quite delicate. They can be widened simply by ing is typically 2” high, but the Q in the first example is 1 moving the lines under the applique about ⁄16”. The mat will 4½” high. If an element is colorful, nicely designed, and be less prone to damage during cutting and assembly if these interesting—and if it is integrated into the presentation so parts are sturdier. Any distortion of the image caused by the that it does not add greatly to the size of the presenta- wider elements will be hidden under the applique. tion—there is less concern about its size. When these elements can be a bit larger, there is also an opportunity to A Ribbon Around Two Dogs include greater detail to make the figure more refined. The The standard cutout bow in the program is a simple outline bow in the third example was transformed from a 1” high 1” high. The bow in the third example is 4½” high so that it cutout into a five-piece applique that has appealing details. is proportional to the photos. This enlarged size afforded the And, as a bonus, cutting problems diminish. PFM opportunity—and the necessity—to add details to give the bow more definition. Brian Wolf, CPF, GCF, has been a picture framer since 1973 The bow was separated into several parts. The straight and has developed several distinct techniques of mat decora- white ribbons are all separate pieces. The white bow is tion over the years. He invented mat carving and adapted traditional French matting into several unique painted treatments. attached to the left dangling notched ribbon at the bottom He has a degree in design from Iowa State University. In 2002 to make a third piece. The dangling notched ribbon at the Brian sold his shop and moved to Seattle to work with Wizard right is the fourth piece. The rectangular center of the bow International as director of standards and training, continuing is the fifth piece. They were all mounted onto the blue layer to develop his designs for the computerized mat cutter. He lectures and leads workshops across the U.S. He has of the mat. The pieces were designed so that absolute preci- authored several books and videos and was awarded the sion during assembly was not necessary. Though there are PPFA’s Award of Distinction for Leadership in 2000.

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Sales by Jared Davis, Strategies MCPF, GCF Are You Selling to the Wrong Customer?

ver since the economic downturn, the behavior of consumers and their Espending has noticeably and perma- nently changed. We’ve said goodbye to legacy companies such as Kodak and Borders and are seeing the rapid loss of market position of market leaders such as McDonald’s and Macy’s. Along with this are confusing media reports that, that neither of these demographics are as influential as on one hand, consumer spending is dramatically down you might expect, nor are they indicators of motiva- while, on the other, consumers are buying record tion for spending. Over the 10-year study period by amounts of iPads, organic produce, and barista-made Norton and Honeywill, not one consumer moved coffee. from one category to the other, not even if their social Don’t market to What’s going on? Who’s position or income changed. What’s critical is that Traditionals when really spending the money each consumer type was very different in the decision- here? And, more importantly, making values they brought to their buying behavior. you should be what does this mean for your business and who should you Consumer Type 1: Traditionals courting NEOs be aiming to sell to? The “Traditional” consumer represents 52 percent of In seeking to understand the consuming population and, when it comes to buy- this question, a book called One Hundred Thirteen Mil- ing, they are typically driven by the “Deal.” Research lion Markets of One, written by Australian social ana- revealed that buying decisions for Traditionals are lysts Chris Norton and Ross Honeywill, is especially largely influenced by three main factors: informative. These two authors conducted extensive • Price – The ultimate goal is to get the best quality at studies from a broad cross-section of consumers over a the lowest price. 10-year period. Some of the findings are the basis of • Status – Will this purchase help enhance social posi- much of what follows, in that it relates to you and your tion? business. • Features – Does the purchase offer more bang for the buck, with extra bells and whistles? Two Types of Consumers Prior to the recession, Traditionals were the domi- Most consumers can be grouped into two categories, nant consumer group. Traditionals are easy to under- both of which possess very different motivators behind stand and identify, as they respond to the factors busi- why they buy and what they buy. Unexpectedly, each ness owners have learned to expect, such as discounts of these two categories includes consumers of all ages, and coupons. To these buyers, the deal is everything. incomes, and social backgrounds. What’s interesting is As the economy became more difficult, Tradition- 24 PFM October 2015 Worth Every Penny

TRADE SHOW: JANUARY 25-27, 2016 • CONFERENCE: JANUARY 24-27, 2016 THE NATIONAL CONFERENCE AT THE WEST COAST ART & FRAME EXPO The Paris Las Vegas Hotel & Casino, Las Vegas, Nevada • www.wcafexpo.com als mirrored this and dramatically reduced typical custom frame is labor (time). The their discretionary spending, but they did- question custom framing business owners n’t change their values. In fact, they just need to ask is how they cut labor without became more intensely focused on these employing cheaper staff, paying themselves values than ever before, only choosing to less, or making frames faster—all of which make a purchase if the deal was so good come with predictably negative consequences. that they couldn’t turn it down. Given that today’s Traditional consumer At times when there were no deals to is more loyal to price than people or product, be made, Traditionals would simply wait even if you win their business today, unless until either the deal came back or would they can get the same deal the next time look elsewhere for another deal. Thus, the around, there’s no guarantee you’ll retain their dramatic growth of group discount mar- business. keting such as Groupon was favorable to the Traditional type of consumer. Consumer Type 2: NEOs But for any business considering deep Based on more than 10 years of research, Norton “NEO” is an acronym for “New Economic and Honeywill’s book redefines the rules of con- discount marketing strategies, it generally sumer demographics in the new economic age. Order.” The NEO consumer is driven by the means reducing margins so much that you search for something different, something need to find ways to significantly reduce costs and overhead extraordinary. NEOs seek products and experiences that are to avoid taking a loss. This can be especially difficult if you unique, and they’re happy to pay for it. In this regard, custom don’t have significantly high or inflated margins to begin framing is ideally suited to meet these demands. with. NEOs make their buying decisions in very different ways What makes this strategy exceptionally hard for a typical than Traditionals. Although price is important to all con- custom framing business is that a majority of the cost of a sumers, NEOs don’t place as much priority on it as Tradition-

26 PFM October 2015 als. What’s more important is that they need to feel connect- the NEO consumer. Likewise, consider that custom framed with a product. A custom frame can provide not just a ing is a product made by a craftsman, potentially from functional benefit but also an emotional benefit, which is a high-quality materials. Sadly, authenticity and quality are value sought after by NEOs. not always obvious with custom framing, so consideration needs to be placed on how you educate NEO consumers NEO Consumer Values that your products and service specifically live up to these NEOs prefer products that help them express their own indi- values. This requires carefully considered branding, mar- viduality and make their buying decisions on a much wider keting, and merchandising. range of personal values that wouldn’t typically register for a • Who they buy from – In looking to express their own val- Traditional buyer. These include: ues in what they buy, NEOs place high value on who they • Design – Not only does a product need to look and feel buy from. Apple vs. Microsoft is a good example. great, but it also needs to contribute to its function in an Microsoft’s market response to rolling out a series of con- elegant way. A perfect example of this is an iPhone. cept retail stores to compete with iconic Apple stores failed • Provenance – NEOs place high value on products and dismally. Microsoft’s imitative action in this regard was services that are individual and have a desire for something perceived by NEOs to be plagiaristic. Also, consider genuinely special. Microsoft’s short-lived venture of the “Zune,” a reflective • Authenticity – NEOs want the real deal and have little tol- knockoff of Apple’s iPod. Due to poor choices like these, erance for copies or substitutes. Think about the growing Microsoft has lost credibility and is becoming another demand for hand-made barista coffee or the popularity of dominant company losing market share. sourcing organic produce or artisan cheese from a local • Discovery – NEOs avoid aggressively marketed main- farmer’s market. These emerging markets barely existed 10 stream products and prefer the process of searching and years ago, but they are now flourishing, permanent sectors making their own discoveries, especially if they can proud- of the economy, uniquely designed to meet the demands of ly share their little “discoveries” with their friends.

PFM October 2015 27 Economic Importance of NEOs for business. However, the key to harnessing the powerful The economic significance of NEOs has grown rapidly. potential of NEOs is understanding their unmet demands and While all consumers cut back on things that may not have aligning your product and business with their quest for indi- mattered to them, spending by NEOs on products they con- vidualism. nected to actually went up. In fact, NEO spending is far more consistent through economic highs and lows. Once What This Means again, Apple is an ideal example. Thanks to its anti-corporate The combination of improving technology and tough eco- legacy and cutting-edge products, Apple’s sales boomed at nomic conditions has led to changes in society, causing both full, undiscounted prices, even through the worst of the Traditionals and NEOs to focus on their own values more than recession. Other examples of products that grew significantly ever. This has dramatically widened the gap, increasing the dif- during the tough economic climate were Mini motor vehi- ferences in marketing strategies that work for each type. It also cles, Zappos footwear, and Ben & Jerry’s ice cream. means success is no longer achieved by trying to be everything Research revealed that not only do NEOs represent 46 to everyone. All consumers spend money on what they value. percent of the population, but they are also responsible for Once you decide which consumer type you are trying to sell 77 percent of consumer spending. In fact, 93 percent of con- to, NEO or Traditional, you need to choose an appropriate sumers who can be classified as big spenders are NEOs. strategy and stick to it. PFM These studies also verified that NEOs are not just younger consumers but are represented in virtually every demograph- Jared Davis, MCPF, GCF, is an educator at industry tradeshows and conventions who specializes in sales and marketing. Based in ic, regardless of age, social position, occupation, and wealth. Brisbane, Australia, Jared has had 24 years’ experience in the NEOs prefer to connect with people and smaller bou- framing industry, and has authored numerous articles for major tique products and businesses rather than generic corpora- industry publications. He works full-time as a product manager for Megawood Larson-Juhl in Australia and as an international edu- tions. These values potentially suit the typical business model cator and consultant for Gunnar International. He can be reached for a custom framer and could represent new opportunities at [email protected].

28 PFM October 2015 The NewPPFA

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PFM October 2015 29 TODAY’S BWNEW LOOKS

By Chris A. Paschke, CPF, GCF By adding style, texture, and color, today’s black-and- white photography frame designs go far beyond the white mats and black frames of the past

ver the past century, frame design for black-and-white photos has Otraditionally meant using a white mat and a simple black stem frame based on the idea that stark non-design will never get in the way of the beauty of the photographic image. It is also supported by the This square format Hasselblad photo of a flower was shot and darkroom-developed on traditional fiber base paper by Jim Tucker, fine art photographer, Tehachapi, CA. early limitations of rag board, mat colors, and moulding profiles. Frame design also The square format clings to traditions, such as the practice of mounting 8”x10” Hasselblad image was double mat- and 11”x14” hand-developed images to white or black ted with Antique White top mat, 16”x20” boards for display, critique, or competition. Ostrich Gray bot- This look largely arose from Bauhaus design. The tom mat, and 4- ply rag spacer Bauhaus was an art school in Germany from 1919 to 1933 between, leaving a 1/2” perimeter that combined craftsmanship, architecture, and fine arts. The mount board and Bauhaus style promoted the concept of all arts coming allowing for LE#, title, signature, LJ together, and it became one of the most influential move- Petite II Ebony frame, and UV ments of the Modernist era. The innovations commonly glazing. associated with the Bauhaus are radically simplified forms, rationality and functionality, and the idea that mass production can maintain individual artistic spirit.

30 PFM October 2015 Three of the concepts started at the Bauhaus were: 1) form follows function; 2) be imaginative but never let it detract from your message; and 3) reduce your design to its most essential elements. These ideas are essentially where the established concepts for framing black- and-white photography were born. They translate into photo design as: 1) select a frame strong enough to support the package but small enough to blend in; 2) be creative but always keep the photo dominant; and 3) select a mat, glass, and frame to do the job. Today, a white or black mat with a black frame is no longer gospel for framing black-and-white photos. Stick- ing to early design trends has also become a matter of individual choice, not a concrete rule. Even purist collectors Twelve pieces were reframed in an updated contemporary style for Tucker's local exhibition. The signa- have begun to see the value in a frame ture and title are now visible and the image more saleable in the market. with a little more style, texture, or color variation.

Photo Framing Basics All photos require a mat or spacer to separate them from glazing and to give the eye a space to pause while being drawn into the photo. Museum board is 100 percent cotton—the best for long term A bright white mat and a black stem display—and is the matboard of choice frame were replaced with a double mat, for the preservation of photos both in Tucker previously mounted the photos to 11"x14" 4- spacer, and a textured frame with a ply boards, so they needed to be sink-mounted to be pewter lip. The moulding pattern reintro- storage and on display. Bainbridge, Cres- enlarged for the new 12-1/2"x15-1/2" frames. duces the cloud striations and waves. cent, Peterboro, and Rising all have photo-quality, solid-core boards for extended-term display. Adams Gallery in Yosemite National Park offers Adams litho- Selecting only a single 4-ply, bright white mat and a nar- graphic black-and-white prints matted in white with narrow row black frame limits photo frame design. Consider a dou- Nielsen metal frames in gray, champagne, and matte black. ble 4-ply, single 8-ply, a combination of 4-ply and 8-ply, or The key is to keep the visual focus on the photo. spacers instead. Multiple mats allow for design variations on black-and-white photos. Tie the bottom mat color to the Museum Preferences frame color. If it is more neutral than black, use neutrals for The metal frame was developed in the 1950s and has since the middle and top mats to pick up the whites and grays in been used in museums and galleries because of its simple, aes- the photo. This creates a more contemporary feel. Also, a thetically pleasing design and archival nature. It does not wider 4” to 6” border in white or off-white looks sleek and require rabbet sealing to protect photo emulsions from the contemporary in a gallery grouping. acids in wood mouldings and may easily be reused. The Frames today may be narrow or wide; wood or metal; Museum of Modern Art in New York City, the Art Institute and black, white, or another neutral color. Even the Ansel of Chicago, and the San Francisco Museum of Modern Art

PFM October 2015 31 (warm white), mat thick- ness (8-ply), mat width (6”), frame (narrow black metal Arthaus)—helps present the photo in a consistent way, even if the white seems stark and impersonal. Proper design proportions (moulding width, mat border, and image) are Two darkroom-developed, fiber base photos are on opposite ends of Redding, CA. Strahan Gallery, Strahan, Walker Courtesy Gwen Walker not cast in stone. A 1/2” the color scale: one cool blue-gray with bright white highlights (L), A wider 3"to 4" white rag mat expands the other, warm brown-gray with cream highlights (R). the image but also tends to darken it. smooth black stem or 1/4” The mat matches the highlights in the metal frame may be perfect photo but is still overpowering. for an 11”x14” photo, while a 1-1/4” lightly textured pewter Ferrosa requires a much larger image to maintain proper proportion. At a photo show in Georgia, an interested photo collector commented on the beauty of the texture and soft tones of a Larson-Juhl Foundry frame on a large black-and-white photo. Then again, a photo gallery in California will not display any black-and-white photo that isn’t framed with a white mat and narrow black frame. Contemporary frame design integrates the photo with the framing. Rather than multiple mats of the same color, A 2" neutral blue-gray black core A triple mat of cool gray, pearl mat matches the gray tones in the white, and cool gray, all with two or three are based on image colors. The bottom line is to shadows, which naturally draws black cores, not only matches the the eye into the image darks. The colors but also replicates the lin- know your gallery and its anticipated clientele. Using high- black bevel draws into the darkest ear highlights along the edges of end contemporary frame designs in a country town will shadows. the driftwood. never sell. Likewise, contemporary textural frames and triple regularly display photos in aluminum; acrylic; brass; and mats with spacers in colors other than white may not appeal painted, varnished, stained, or lacquered wood, often in the to many collectors. same exhibit. This practice is not new; it has been common since the 1960s. Framing a Photo Series Just as the frames vary, mats may be seen with even bor- Jim Tucker is a fine art photographer in Tehachapi, CA, who ders, weighted bottoms, Asian proportions, narrow to wide, shoots textural abstractions and landscapes using rolls of film and white and color, all in the same exhibition. Museums with a Hasselblad and then develops them in his darkroom. showcase collections and, quite often, the unifying element This allows Tucker to modify his black-and-white tones is frame width. when creating his finished prints. He then mounts them prior to bringing them to his framer. Tucker came to me Framing for Galleries after seeing samples of my frame designs at a recent lecture Galleries are not museums; their goal is to make sales. Gal- and exhibition. He was preparing for his show at a local leries that require wide white mat(s) and thin black frames gallery and previously had six of his pieces framed in the tra- are striving to set the artwork off from the wall and high- ditional white-mat, black-frame style. He brought me those light it without detracting from the photo. By providing a originals to reframe as well as six more for the show, looking colorless background for the photo, high-end galleries are for less “collector” and more “consumer friendly” frame bringing a uniform, clean consistency to an exhibition, designs. His objective was to appeal to the home decor mar- which allows a collector to focus on the inner image. Select- ket and ultimately sell pieces at the show. ing the same design element for each piece—mat color Since six were reframed and six were new, materials 32 PFM October 2015 could be purchased in bulk to minimize board and glass in, wash out, or discolor an image, so a more neutral warm waste. That allowed him to receive package pricing. Tucker or cool gray might be a better choice. A 2-1/2" neutral, cool mounts all of his own photos to 11"x14" using 4-ply boards gray, black core mat matches the gray tones in the shadows, and a small mechanical press. The original framing was which naturally draws the eye into the dark areas of the 11”x14”, so when the frame size was enlarged to allow for a image. The black bevel also integrates with the darkest shad- signature and title space around the photos, the mount ows. A black-core triple mat of cool blue-gray, pearl white, boards were too small for the new 12-1/2"x15-1/2" frames. and blue-gray not only matches the photo colors but also A simple sink mount was required to properly hold a replicates the linear highlights along the edges of the drift- pre-mounted photo in place. Since the rabbet was shallow, a wood. 4-ply backing was sized and prepared, with 4-ply strips adhered to the surrounding edges to fill the void. The new Design Unity backing was flange-hinged on the long side of the window Unity in frame design takes place when the frame, mats, and mat unit. The completed mount was simple and reversible. mat decoration all work together to enhance and protect the Tucker’s photo of a flower, for example, is one in a series image. The photo must always remain the dominant ele- of fine art photos that are darkroom-developed in the tradi- ment, and perfect frame designs should be noticed but not tional manner, but the final framing showcases a contempo- overpowering. They should gently guide the eye from frame rary twist on an old-school design. The new design has a to image yet allow it to wander to see how well the selected more saleable appearance for his market, and the softer, lines, colors, and textures all showcase the photo. more neutral mat colors allow it to fit better in a greater Black-and-white frame design may have been done in range of homes. The Larson-Juhl Petite II Ebony frame has the past but, with all the subtle variations of board colors a texture and soft, warm-black finish that replicates the and moulding available now, a softer approach is more con- cloud striations and wave patterns in Tucker’s photos and temporary and inviting. Use of white or off-white mats can works well on a wide variety of images. also help unify a gallery or museum exhibition of assorted framed pieces. Selecting the same mat color, same mat Color design, same frame, or same exterior size will all unify a dis- Mat color—tint (c+white), shade (c+black), or tone play while allowing for variety in the singular images. (c+gray)—should be based on the color base of the tones of black and white in the actual photo, as very few photos are Final Frame truly black or white. Color families should always be Every moulding company has basic black, white, gray, and matched within neutrals. Blue-based cool white should wood grain stem profiles suited to photos, making frame match blue-gray and the cool shadows in the photo. Like- selection easier than in decades past. Embracing the design wise, warm brown-gray and yellow-base cream will demand elements of texture, color, and repetition, and then selecting the same color, thus matching mats to photo. Bright white a profile that reflects the gray tones or pattern within the mats can create glare around an image, which can detract image helps bring photo framing into the twenty-first centu- from the eye's ability to discern detail; off-white and warm ry. Textured metal mouldings like Bauhaus-inspired Nielsen and antique white may allow greater integration. Arthaus; Designer Moulding Brushed Gray Pewter; Larson- A wider white rag mat with 3" to 4" borders that Juhl Petite II Ebony, Ferrosa, and Foundry lines; and Studio matches the photo highlights will visually expand the image Plata adapt very well to photos and are all suggestions for but can also make it appear darker. A black mat will close thinking outside the black frame. PFM

Resources Items http://larsonjuhl.com Ansley, Petite II, Ferrosa, Foundry, Nielsen Chris A. Paschke, CPF, GCF, CMG, mounting editor, owns http://studiomoulding.com Plata, Studio Black, Matt Gray, Matt White, Natural Wood Designs Ink in Tehachapi, CA, featuring custom framing, fine http://nbframing.com Nielsen 15, 22, 33, 34, 117… http://omegamoulding.com Moderne, Accord, Eastman, Midnight art/graphic design, and consulting. Specializing in mounting, http://designermoulding.com Assorted metal mouldings matting, design, and fine art, she teaches at The National Con- http://nielsenbainbridgegroup.com Alpharag, Alphamat, Essentials, Foamboard ference. She has written four books on mounting including The http://crescentcardboard.com RagMat, Museum Solids, Crescent Select, foamboard Mounting and Laminating Handbook (third edition) and Creative http://peterboromatboards.com Peterboro Museum Core, Conservation Mounting, Wrapping, and Laminating, available from PFM http://risingmuseumboard.com Rising Museum Board, Conservation Board PubCo. She can be contacted via www.designsinkart.com.

34 PFM October 2015

Digital Impressionsby Hal Schmitt Selected Media ost of the previous discussions in this col- strong results and offers good starting points as you umn served to build a foundation in the begin to experiment with different media types. Mtheory and practice of printing before There are literally thousands of different media moving on to how to select a specific media type to choices available for today’s inkjet printers. Start with optimize the pop, impact, and wow factor of a print. some of these examples and make prints. As you build There are a myriad number of characteristics of dif- experience working with different media types, you will ferent inkjet media types, and many factors to con- learn how each type performs, find your preferences, sider when choosing the right medium for printing. and ultimately be able to recommend media to your So far this has all been theory. Now it’s time to move clients based on your knowledge and experience. into the practical realm, translating the theoretical It is often said that printing is an art. One of the knowledge into a simple-to-use chart showing which biggest artistic contributions you as a printmaker can media type or types are best suited to particular offer your clients is media selection. So have fun, make images or image categories. some prints, and create a final image presentation that Ultimately, it is up to you as the printmaker, generates an emotional response from the client. PFM along with the image creator/artist, to choose a media type that works best. There are very few hard-and- Hal Schmitt is the director and lead instructor of LIGHT fast rules, and media selection is absolutely not a right Photographic Workshops in Los Osos, California. Hal instructs workshops and photo tours on all levels of pho- or wrong decision. This chart serves as a basic rec- tography, Lightroom, Photoshop, and printing with a sim- ommendation about what media should deliver ple, easy to understand approach.

IMAGE TYPE MEDIA RECOMMENDATIONS COMMENTS EXAMPLES OR CATEGORY General, all-purpose Satin/Luster/Pearl photo paper Excellent all-around media. Very good Epson Ultra Premium Photo Paper Luster color and tone. Cost efficient. Canon Premium RC Photo Luster Black and white Glossy photo paper High reflectivity. Deep blacks. Epson Ultra Premium Glossy Photo Paper Excellent dynamic range and detail. Metallic glossy photo paper High reflectivity. Deepest blacks. Canon Metallic Photo Gloss Good dynamic range. Fine art photo rag 100% cotton. Deep blacks. Classic/gallery look. Hahnemuhle Photo Rag Portrait / wedding Satin photo paper Very good color and tone. Hahnemuhle Fine Art Baryta Satin Excellent light diffusing finish. Cost efficient. Fine art paper 100% cotton. Good for skin tones. Epson UltraSmooth Fine Art Paper Luxury look and feel. Canvas Connotes fine art. Very good color and tone. Premier Art Generations Canvas Many finishing/framing options. Landscape Luster photo paper Excellent all-around performance. Cost efficient. PremierPhoto Premium Luster Metallic photo paper Deep blacks with rich saturated colors. Moab Slickrock Metallic Pearl Canvas Very good color and tone. Fine art look and feel. Hahnemuhle Leonardo Canvas Fine art reproduction Fine art paper Museum quality and look. Hahnemuhle Photo Rag Canvas Connotes fine art. Epson Exhibition Canvas Uniquely textured images Specialty fiber or Texture and substrate enhance Hahnemuhle Torchon (texture) heavy texture media image characteristics Hahnemuhle Rice Paper

36 PFM October 2015

The Mat Doctors by John Ranes II, CPF, GCF Cutting the Perfect Oval

lot of topics have been Awritten about mat cutting over the years in Mat Doctors, covering the mechanics of mat cutting, equipment maintenance, and mat design as well as mat decoration, dimen- sion, and texture. But almost all have been This multiple-opening mat was cut with four oval open- about straight line cuts, regardless of using manual ings as a double mat. Note that all the openings are reverse bevels. The stark contrast of the pure white bevel cutters or CMCs. One subject that may have been of the conservation grade matboard would have been overlooked is the oval opening. (Circle openings too much against the vintage photograph portraits of the children. are just special case oval openings.) So are oval openings used anymore in frame meet that same point on completion of an oval design? Is there a need for them today, and what cut. Therein lies one of the key issues with does a framer need to know about them? Framers producing a perfect oval opening: how to conceal must also consider what equipment is needed to where that point is without an obvious mark, cut oval or circle openings, and the issues related bump, or glitch. The second issue for manual oval to these as opposed to cutting rectangular open- mat cutters is a “leaning” or “lazy” oval, which Tim Franer, ings. occurs when the blade creates an opening that tilts CPF, CMG The truth is that cutting oval openings still slightly. This problem is more common when needs to be a part of the skill set of any framer cutting smaller apertures. who serves consumers. It has design applications Manual Oval Cutters with needle art, watercolors, shadowbox openings, and photography. Portrait photography also lends Even in this era of CMCs, some framers still have a manual oval cutter in their arsenal, although John Ranes II, itself to the harmony and warmth that an oval CPF, GCF opening creates. Framers don’t use oval openings Fletcher-Terry’s 1000/1100, C&H’s Oval Master, as frequently as rectangular openings, but that and Keencut’s Oval 6 cutter are no longer manu- opening should still be perfect in every aspect, factured. Valiani still produces its Oval Ellissomatec with a seamless edge or perimeter to show no trace in limited quantities. Low demand, combined with of a starting point. CMCs, has put most of these oval machines out of production. However, if you have one of these Brian Wolf, Starting Point (Transitional Glitch) professional manual oval cutters, you still have a CPF, GCF The entry of any blade into the matboard has to key advantage over your competition. You can cut

38 PFM October 2015 Your Favorite Suppliers... gp gg A.D. Lines Flech Paper Products Larson-Juhl Contract Roma Moulding Active Sales Company Fletcher Business Group LifeSaver Software Rustic Creations Alfaautomation USA Foster Planing Mill Lin He Sagebrush Fine Art American Choice FOTIOU Lineco, a Division of Secure Hang AMS/Art Materials Service Frame Art Store University Products Shinil Frame Co. Art Emporium Frame Miga Lion from Tech Mark Specialty Matboard Art Expressions International FrameReady Main Line Art & Design SpecialtySoft ArtTeck Software Frame USA Max Moulding Studio Moulding ASAP Moulding & Tapes Framerica Corp. McGaw Graphics SunDance Graphics Atlas Saw & Tool / Tem Tech Frametastic! Method Lights Suri Profiles, India Atomic Frames FrameTek Michelangelo Moulding Ten Plus Company Attach-EZ Frameware, Inc. My Moulding Corp. Third & Wall Art Group Beale Ash Distribution Framing Fabrics/Easy Leaf Products NEPCO Top Art Bella Moulding Frank's Fabrics Next Art Tru Vue Boram Art Fredrix Print Canvas Nickell Moulding Company TS Frame Co. Boram Co. Galaxy of Graphics NielsenBainbridge Ultramitre Borden Manufacturing Gemini Moulding Omega Moulding Universal Arquati CAP & Winn Devon General Glass International Ook Industrial Urban Ashes Canon USA Global Art Penny Lane Fine Art & Licensing Valiani Canvas Stretching Machine Gluefast Company Peterboro Matboards Valley Moulding & Frame CAPAX - Frame It Grand Image PI Creative Art Vermeeren Fine Art Chelsea Framing Products/Hiwood Groglass/GGI Picture Framing Magazine Vermont Hardwoods ClearBags Gryphon Moulding POD Exchange Wall Moulding Colorplak Gunnar USA Posterservice Wenfeier Arts & Crafts Co. Concept Picture Lights Hahnemühle USA Posters Wholesale Wexel Art Displays Craft, Inc. Hangman Products Presto Frame & Moulding Wild Apple Crescent Hoffmann Machine Company Professional Marketing Services Wizard International D&K House of Mercier PTM Images World Art Group Decor Moulding & Supply Image Conscious Quality Saw & Miter Master Delta Picture Frame Imex Italy Rhonda Feinman Custom Frames Designer Moulding Intco Industries Co. Rising Museum Board Digital Technology Group IT Supplies Direct Moulding Jack Richeson & Co. Dortdivan Plastic and Jadei Graphics ...are in Wooden Picture Frame Profiles Join Rite/Machines Etc. Editions Limited / Studio EL Kool Tack Empire Antique Frames Laila's Las Vegas! EnCore Products Engelsen Frame & Moulding at es from Enormous Art $104 Epsilon Art Frames Special Room Rates Epson Evonik Cyro at The Paris Hotel & Casino FAST - An STM Company Visit www.wcafexpo.com and use discount code SPWCA6 Felix Rosenstiel's Widow & Son or call 877-603-4389. *Expires December 15, 2015.

Trade Show: January 25-27, 2016 • Conference: January 24-27, 2016 THE WEST COAST ART & FRAME EXPO TRADE SHOW & THE NATIONAL CONFERENCE The Paris Las Vegas Hotel & Casino, Las Vegas, Nevada • www.wcafexpo.com Despite this, CMCs still have the issue of the starting point, especially in eliminating the “transition glitch” and producing quality cuts. Fellow Mat Doctor Brian Wolf, CPF, says, “This transitional glitch is no accident; it is ugly and distracting.” Wizard’s approach is to apply a rotational bias to the cutting head, he says. This rotational bias is different for every oval size and shape, with the software applying the correct bias. He cautions that before making any changes to the software adjustments (via a phone call to customer service), a framer should first look at outside influences, such as blade Small ovals often show the “transition glitch” more prominently. One creative solution is to use reverse bevels, which are also often a better depth, belts, and wheel tension. He says that these surprise design element. adjustments often cure other cutting problems, too. Wolf adds that the plunge point on ovals is usually less visible oval-shaped glass when the need arises, whereas your when ovals are cut from the front and that a checkbox on competitor will either have to do this task by hand or send it the cutting screen gives you this option. to an outside source. John Cooper, a UK trainer for Valiani, says that using You can also still purchase a DIY oval cutter like the worn blades or a different blade can also influence the cali- Logan 201 or Fletcher’s Circle & Oval Glass Cutter. Both of bration for an oval cut. For example, if a Valiani user prefers these machines do an adequate job at their respective func- a L100B blade for detailed scroll work and forgets to switch tions but put more burdens on the framer’s skill; they also back to the standard LL100 blade, it will show in the results. have some size limitations. Hobbyist machines typically offer He adds that increasing air pressure is also recommended for up to a maximum 3” offset, meaning they can cut an 8”x10” CMCs when cutting denser, thicker matboards, as this has a or a 9”x12” opening but not a 16”x20”. You need a profes- bearing on the results. Similar to Wizard’s rotational bias sional tabletop machine or a CMC to accomplish this larger settings, Valiani has a Z-axis adjustment. A user can make differential. Here are some tips for using a manual oval these changes by adjusting the tables to correct the offset in cutter. the transition. Again, walking through the process with tech support is always a good idea before doing fine-tuning. Manual Oval Cutting Jared Davis, MCPF, GCF, has worked extensively with • A used Fletcher 1100 still has value compared to other Gunnar CMCs and says that it is important not to allow manual machines, as it is the only professional manual loose tension on X-axis drive belts or loose roller bearings on cutter produced with a cutting head that tracks similar to a the Y-arm gantry. He also emphasizes the importance of CMC. using fresh, sharp blades. Davis says that oval openings can • If you have a C&H Oval Master, it is important that the be demanding for all CMCs to cut and that some CMCs blade within the two-piece blade holder measures 2-5/8” cut better from the back, while others cut better from the from tip to tip. Many users switch to the stock C&H front. He also provides some general points that can be blade, which was designed to be sharpened as needed to a applied to most or all CMCs, regardless of brand: Dexter No. 3 (disposable) blade. This produced very satis- • Depending on where your CMC chooses to begin the factory results, especially when cutting larger oval open- insertion point of an oval, sometimes it may provide a ings. better cut when cutting a long, narrow oval in landscape • Regardless of the brand, cutting with a soft mat underlay- orientation rather than portrait. Some CMCs allow you to ment beneath the mat increases the life and the sharpness alter the insertion point for the circle, which is always of the blade. better on the longer, straighter edge of the ellipse rather than the tighter part of the curve. CMCs and Oval Openings • Cut at a slow speed rather than fast. One of the real advantages of a CMC, besides production • A slightly deeper blade depth can definitely help in cutting framing, is its ability to tackle complex matting jobs like ovals because the tips of the blades can flex when multiple-opening mats, especially those with oval openings. compared to cutting a straight line, which reduces the 40 PFM October 2015

penetration depth of the blade. • When it comes to air pressure, thicker matboards typi- Discover the cally require more blade depth and more pressure for the blade to cut well. WCAF Expo Many of these tips are common sense but can easily be forgotten in the hurry of cutting a mat. Because framers rely on CMCs so much and the machines typically perform so effortlessly, it’s easy to forget that they are precision pieces of equipment and require periodic cleaning and calibration. When adjustments are required in software settings, do not be afraid to call customer service. Each CMC has its own little nuances, and manu- facturers truly want your mat cutting experience to be successful. PFM The Industry’s Largest Trade Show Featuring Leading John Ranes, CPF, GCF, is an instructor of framing work- Suppliers and Publishers shops and seminars worldwide. John teaches for the National Conference and the PPFA and consults for The Fletcher-Terry Company and Tru Vue. John was awarded the PPFA Lifetime Achievement Award in January 2015. John, with his wife, Sarah, own The Frame Workshop of Appleton, a frame shop and gallery in Appleton, WI, which has won more than 90 framing awards, including two successive awards from the Fine Art Trade Guild in the UK as well as a National Australian Framing Competition award. His shop expanded in 2009 and was featured in PFM in 2010. y yffp, New Framing Products, and the Latest Equipment

f, the Industry’s Foremost Educational Event

Trade Show: January 25-27, 2016 Conference: January 24-27, 2016

WEST COAST ART & FRAME EXPO & THE NATIONAL CONFERENCE The Paris Las Vegas Hotel & Casino, Las Vegas, Nevada www.wcafexpo.com

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Quantities are limited. Subscribe today! www.pfmsub.com/freemug or call 888-238-0049 Discount Code: pfm mug SUCCESSFUL RETAILING: POSITIONING YOUR SHOP FOR SUCCESS Part 3: Framing Business Changes, MODERATOR Jay Goltz, Australian-style President Jay G: Glenn, what changes have you seen Down Under? and founder, Goltz Group, Inc. Glenn: The biggest change in my framing business since I started in 1973 is that Jay we’ve become retailers and are no longer just carpenters putting four bits of wood Goltz together. It’s a shift that allows us to charge the right sort of money. It’s also about store presentation, having the right prices, and other things that can make a differ- PANELISTS ence to your business and move you away from the old-style, grubby frame store. Jay Jay Kogan, CEO, The next big thing is that we carry a significant range of ready-made frames. Kogan Hall of Frames, Some framers might ask why we would do that when we could sell a custom Phoenix, AZ frame for $150. My answer is that not everybody has something suited to a $150 frame. Once, we had the largest range of ready-made frames in Australia. Now they’re only 27 percent of our business. Because we look like retailers and not an exclusive gallery, when people come into our store they have the perception that our prices are affordable. Our whole retail presentation is based on looking clean, Jen Gramm, affordable, and consistent. It’s important to give people the perception that what Director of they see is what they’ll get. Our custom framing prices are at the “pointy” end, but Marketing, people’s expectations are lower because we’re consistent, clean, and affordable. The Tru Vue price doesn’t seem as significant compared to a store with an upper-end look. Jen The third thing is that we have embraced technology at every level. We have Gramm the latest saws, underpinners, and mat cutters. Plus, the most critical thing to embrace: computerized pricing and software. Before 1995, there were few com- Glenn Vardy, puters with hard drives. We kept our data on floppy disks and programmed the Glenn Vardy Managing computer with second floppies. In 1996, we got our first hard drive computer, Director, which had 20 megabytes. If you look at the impact computers have had on the Frames NOW business and how it allows us to consistently price the same for all stores, you can Australia have all the data for, say, fillets or mats at hand. That is very significant. One of the most important parts of any business is repeat customers. If you can see that the average customer returns to your store in three years, you can see that you need to stay in contact because, in those three years, it’s highly likely they aren’t feeling that compelled to return. If you can reduce that time to 33 months, you’ve essentially increased your turnover by 10 percent. This is the third article in a series transcribed from The National Conference Annual Business Jay G: Hold it. “Turnover” is Australian for sales revenue. Breakfast Panel at the 2015 West Coast Art & Frame Expo in Las Vegas. Glenn: Yes. You can bring customers in more frequently and do it easily if you have software that lets you track them and a process for capturing their information. The three retailers on this panel all have long-established framing businesses. If there’s another consistent factor with our businesses, it’s that we don’t have traditional-format sales counters. That is where the picture framer stands behind the

44 PFM October 2015 counter, the corner samples hang behind that, and the cus- in the design business. Your website isn’t like an infomercial tomer is in front of the counter. None of us use that model. where you set it and forget it. Your website is who you are; I suggest moving to a position of trusted advisor to your it’s your image. It’s the main tool you have to reach people customers by getting out from behind the counter. Even if and stay in contact with your clients. Sometimes, people you have no extra space, if you do nothing else, move to the don’t want to give you their addresses, phone numbers, or end of the counter or to the other side. You have to bring emails. Just remind them that you have their personal pos- customers over to your side. You need that personal relation- sessions and need a good way to let them know when their ship so people return at the three-year mark—if not sooner. orders are ready or if you need to talk with them. Email Another factor that’s changed is that, 25 years ago, we addresses are golden because most people don’t change did a lot of framing of things like tapestry, needlework, and them. Emailing is also an inexpensive way to connect with textiles. My mother has all those skills. My wife, maybe she people. did them earlier in her life. My daughter would have no idea. In the past, that could have been 50 percent of our Jay G: That’s a good idea. I think having sales or giving business. Now it’s all gone. We occasionally do a tapestry, coupons is tricky. I was on my computer last night and but that’s not where the business is today. That’s why you noticed that a company I had just bought from was having need to shift your model with the times. In addition, there’s a sale. Great! Now I feel like I paid too much. I don’t want the big box impact, the fact that people are buying framed to buy something and find out the next day that there’s a art online, and how the craft component has certainly disap- coupon for it. I’m not doing it. peared out of the business. As far the Internet goes, 56 percent of the traffic to our Jay K: But the thank-you card you send out after a sale website comes from mobile devices, either a smartphone or probably says $5 or $10 off your next purchase. I can’t tell a tablet. You need a responsive web design so your site can you how well it’s worked. It’s almost amazing. They’re com- be read easily on multiple platforms. Your website says what ing in to get $5 off on a $500 sale. you’re about. When people are making a decision between your frame store and another one, they’re often making a Jay G: This is a matter of opinion since neither of us can decision not based on how good your frames are but on prove our point. I absolutely would not do it. I don’t think how good your website looks on their smartphones. You couponing like that is consistent with running a profession- need to spend money on your website. We are currently al business. undergoing a redesign of ours and probably adding an e- commerce component. I’m probably not going to make a Jay K: No, it’s about whatever you’ve got to do to get fortune on it, but I do need to understand it. people back. Send them a thank-you card. That’s really important. In picture framing, when you show a design in a Jay G: At my Jayson Home store, I am seriously into the store, it looks better than what customers have at home. Internet, and I have to be. You used a word I’m very familiar They’re very happy with their purchases. I reframed a piece with: “responsive.” Most people don’t understand what you of art for an attorney that she’d had for 15 years. She helped mean by a responsive website. It means that whatever a cus- me out with the design. I reframed it and charged her tomer is using, whether it’s a handheld device, computer, or $1,500. When she came in to pick it up, she became indig- other device, your site will adjust and work with it. The big nant and asked where her picture was. I told her, “This is phrase on the Internet now is “responsive website.” I’m not your picture.” She never saw it like that before. I might sure a nephew in high school is going to be able to do that. have overdone it a little bit, but that’s what we’re supposed Just like you might be getting prepared to buy a $2,000 to do. Luckily, we still had her original mat. I brought it out machine, you’re not doing this for $600. It’s going to take and laid it on top of her picture. She said, “Oh, my God, five grand. this is amazing. It’s the most beautiful thing I’ve ever seen.”

Jay K: At least. We change our website front page every Jay G: Jay, you’re making my point for me. She’s going to month. Big retailers have a Labor Day sale, a Memorial Day come back because you did a beautiful job, not because you sale. It may be the same holidays year after year, but your sent her a coupon. Okay, back to Glenn. Sorry, we talk a lot site still needs to be changed monthly. Custom framers are in America.

46 PFM October 2015 Glenn: Thank you. I’d say the biggest challenge in the spin. For example, I was looking for a restaurant not long framing business has nothing to do with frames. Framing is ago and Googled the phone number. What came up was a actually the simplest part of our business. The real challenge negative review. I read the review and decided not to book is how to keep your business together, bring customers in, the restaurant. That’s really damaging because you can’t get it and recruit and retain the right staff. The next challenge is off. You need to pay attention to avoid negative reviews. getting customers. That’s where your focus needs to be, not That’s another reason to do whatever it takes to make cus- on making frames. Anyone who has been in business for a tomers happy. Today, if a customer pushes me too far or I year can make frames as well as I can. It’s really all about run- feel they are exploiting me, I’ve actually changed how I han- ning a business. dle that because I don’t want anything negative on social In Australia, framing businesses haven’t all gone broke, media. I actually created an “exploitation” budget. I set aside but we’ve seen a decline of 30 percent since the global finan- money to use for bad customers. If a customer wants to cial crisis in 2008. People are in business, but they’re not exploit me, I just take it out of that fund. If a customer asks making money. When that happens with framers, they don’t for a new piece of art because something went wrong, we do go broke but they do burn out. As the business is traveling whatever it takes to make the complaint go away. We along, they take a little bit of cash, and they don’t run it as a absolutely don’t want or get any negative feedback. business. In a couple of years, they get a lease renewal and have to sign for another three or five years. If they’re my age, Jay G: Glenn, I think Yelp has made taking great care of they’re grumpy old men. They don’t want to sign anymore, customers even more important, not that it should have so they just take the guillotine [chopper], they go home, and taken Yelp for that to happen. It’s always been critical to be they make frames there. Those are the challenges. I believe in sure every customer leaves happy. The harsh reality is that it’s custom framers when they actually make their stores real not possible to get all five star reviews. If you’re charging businesses. Jen spoke about the impact of social media. We enough to make a living, someone’s always going to com- fluff around on social media and do a couple of posts a week. plain about your prices. Okay, thank you, Jen, Glenn, and If you want to do that, by all means do. If you want to “like” Jay. PFM us, do that as well.

Jay G: I like you, Glenn. You bring up some good points. The Show Everyone

Glenn: One of the things to think abou is social media and its impact on your Is Talking About business. It’s really all about keeping customers happy. When they’re not happy “Nothing compares to face-to-face, hands-on learning. I was blown away by the vast amount of knowledge with their items, we fix them. I’m quite and practical skills I gained in only four days at happy to square people up or remake the The National Conference. I was inspired by all the frame or whatever. But every now and framing exhibitors and the great contacts I made again, if someone pushes me too far, I for equipment and supplies. I recommend this actually make a sport about what to do. event to everyone who works in the framing industry.” But social media has changed that. It is really important today because it makes Gillian McConnell Pegasus Gallery Framing your customers more educated. You may British Columbia actually have a customer who can tell you the difference between the pH levels of one brand of matboard versus another. THE NATIONAL CONFERENCE AT THE They can tell you about Tru Vue glazing, whether it’s 99 or 97 percent UV filtering. WEST COAST ART & FRAME EXPO They’re also educated about reviews, Trade Show: January 25-27, 2016 • Conference: January 24-27, 2016 which can give you a positive or a negative THE PARIS LAS VEGAS HOTEL & CASINO VISIT WWW.WCAFEXPO.COM

PFM October 2015 47 Product Showcase

Universal Arquati Call: 800-668-3627 www.universalarquati.com The Perla Collection by Arquati is an elegant, mother-of-pearl inlay design with silver or gold leaf. The collection is Omega Moulding Michelangelo Moulding available in three sizes: 1-5/8”, 3”, and Call: 800-289-6634 Call: 877-422-8812 a 1-7/16” floater. www.omegamoulding.com www.michelangelomoulding.com The new Carver Collection contains Six new finishes in two poly sizes nine transverse, fine-grain veneer (1½”x1-3/8” and 1-5/8”x2-3/8”) are mouldings with clean, classic profiles. available. The new finishes expand the Three profiles and three stain varia- floater moulding count to over 40. The tions include rich amber walnut, deep newest finishes are all wood-grain and cherry, and warm ebony-charcoal. The available in White, Beige, Oak, Walnut, furniture finish allows framing applica- Grey, and Black. tions from classical to contemporary.

Nielsen Bainbridge Group Call: 888-846-6847 www.nielsenbainbridgegroup.com The new Timberline Collection combines the look of wood with the benefits of aluminum. The aluminum structure allows sleek profiles that are secure and stable. The collection features four profiles of 1¼”, 1-3/8”, 1-3/16”, and 1-5/16” in three wood-look wraps.

Decor Moulding and Southern Moulding Framerica Call: 800-937-1055 Call: 800-372-6422 www.decormoulding.com www.framerica.com The new SienaTM Moulding by Decor Presto Frame & Moulding The American Renaissance Collection combines high-end, elegant moulding Call: 800-431-1622 now offers six profiles with Lawrence with deep rabbets. The rabbet heights www.prestoframe.com Gold. The combination brings together of 1-1/4” and 1-5/8” allow versatile Inspired by natural wood, the new Bun- traditional gilding elements with a warm framing and display applications. Six galow Mouldings capture the patina of shade of gold. Subtle distressing effects shadowboxes with shiny 22K Gold with reclaimed wood. Two widths of 1-1/8” along the contours of the moulding add Black, 22K Silver with White, or 22K Sil- and 2-3/8”, and four finishes of White, a realistic quality to the finish. ver with Black styles are available. Gray, Walnut, and Charcoal are available.

48 PFM October 2015 House of Troy Call: 800-428-5367 www.houseoftroy.com A new solid-state LED array, the Z-LED, is an upgrade for LED picture lights. These lights are line-voltage, dimmable with a standard dimmer to 5 percent, dif- fused for even light spread, 2700K, 90+CRI, and emit no UV. The Z-LED is available in all picture light styles, from Classic Traditional to the new Ultra Slim-Line.

Max Moulding Call: 800-282-9966 www.maxmoulding.com The Menton Collection features Country French colors in two profiles that can be stacked to cre- Wall Moulding ate versatile designs. Six hand-distressed colors Call: 800-880-9315 blend European elegance and Old World charm: www.wallmoulding.com Antique Green, Antique Yellow, Antique Orange, The Perline Collection features two Antique French Blue, and Antique Brown. unique wood profiles to fit every decor. The textured finish and beaded Delta Picture Framing Co. accents work well when stacked with Call: 800-327-5482 other mouldings but also stand on www.deltapictureframe.com their own. Both profiles are 1" wide The new collection of petite profiles features dimen- and are available in Gold, Silver, Black, sions that are designed to enhance small photo Brown, and Cream. frames. It can also be used as a liner on larger pieces. The narrow ¾”x11/16” profile is available in three finishes: Antique Silver, Espresso, and Black. CLASSIFIEDS

ART CONSERVATION MATERIALS & FRAME Sales Reps Wanted: Chelsea Framing Products, a leading polystyrene moulding manufacturing and distribution company, is seeking an experi- RESTORATION SUPPLIES enced and aggressive Sales Manager who can provide direct leadership B.L. Haymond Supply offers a complete line of materials, recently made and will be responsible for sales goals and revenue. Interested applicants available to the public, for the restoration of oil paintings, paper-borne art, should email [email protected]. and antique picture frames. Two-day oil painting restoration workshops with hands-on instruction available. Information/catalog, visit www.blhaymond- Sales Reps Wanted: Studio Moulding, a designer and distributor of supply.com, call 707-462-4221, or write POB 1165, Ukiah, CA 95482. quality mouldings and frames, is looking for two energetic and experienced sales representatives, one for the state of Texas and surround- HELP WANTED ing vicinities and the other for New York, New Jersey, and adjacent states. Salary, commission plus benefits. Please e-mail your resume, Skilled Sales Professionals Wanted throughout the U.S. Are you a sea- attention of Jim Samoska at [email protected] or call 800-756- soned professional who goes the extra mile for your customers to ensure 2184 x219 and leave a message. satisfaction and loyalty? Do you focus on growing customer relationships by providing real value and unexpected solutions? Do you relentlessly over- come obstacles to becoming your customers’ supplier of choice? Omega FOR SALE Moulding is a framing industry leader seeking highly motivated, organized For Sale: Fine art and conservation framing business in rapidly sales professionals in many uncovered territories in the U.S. and Canada. If growing, historic seaside town on East Coast. Well established, at you’re looking to join our growing, dynamic company, inquire confidentially same location for 19 years. 2015 Editors’ Choice Award as best art to [email protected]. gallery in the area. Conservation framing with access to restoration services; Wizard mat cutter. Largest commercial exhibition space in the Sales Reps Wanted: Chelsea Framing Products, a leading polystyrene region. Owner retiring, will help in transition. Reasonable sales price moulding manufacturing and distribution company, is seeking experienced includes equipment and inventory; a turnkey operation. Email bjcii- sales reps. Available territories are: Northeast; Northwest; and Southeast. [email protected]. Interested applicants should contact Sam Kang at 847-550-5556 or email [email protected].

PFM Octoberr 2015 49 Distributor Spotlight

50 PFM October 2015

INDEX

Advertiser Phone Website Page Advertiser Phone Website Page

Active Sales 800-937-2255 www.activesalesco.com 50 Jack Richeson & Co., Inc. 800-233-2404 www.richesonart.com 50

Alpina Mfg. LLC 800-915-2828 www.fastchangeframes.com 50, 51 Join Rite 508-454-7477 www.joinrite.com 50

Arlo Inc. 800-332-2756 www.arloinc.com) 37 Larson-Juhl 800-438-5031 www.larsonjuhl.com 3

AS Hanging Systems 866-935-6949 www.ASHanging.com 37 Lineco Inc. 800-322-7775 www.lineco.com 12

ASF- A Street Frames 800-805-7655 www.astreetframes.com 12 Linen Liners, Inc. 800-742-2876 www.linenliners.com 26

Beale Ash Distribution 877-465-4538 www.bealash.com 37 Lion Picture Framing Supplies Ltd. 800-814-9026 www.lionusa.co.uk 51

Capax Frame It 800-942-2729 www.capax.com 14 Max Moulding 800-282-9966 www.maxmoulding.com 7

CMI Moulding 301-476-7440 www.cmimoulding.com 50 Michelangelo Moulding 877-422-8812 www.michelangelomoulding.com 23

Crescent Cardboard Co. 800-323-1055 www.crescentcardboard.com 5, 21 National Conference 732-536-5160 www.pfmseminars.com 15, 25, 47

Decor Moulding & Supply 800-937-1055 www.decormoulding.com 27, 35 Nickell Moulding Co. Inc. 800-838-2151 www.nickellmoulding.com 51

Encore Products 704-818-5306 www.encoreproducts.com 41 Omega Moulding Co. Ltd. 800-289-6634 www.omegamoulding.com 9, 26, 28, 42, 51 Engelsen Frame & Moulding 800-422-6731 www.engelsenframe.com 51 Picture Framing Magazine 800-969-7176 www.pictureframingmagazine.com 17, 43 Evonik Cyro LLC 973-929-8492 www.acrylite.net 50 PPFA 732-536-5160 ext 270 www.ppfa.com 29, 43 Foster Planing Mill 323-759-9156 www.fosterplaningmill.com 50 Quality Saw & Knife Co. 800-446-6622 www.qualitysaw.com 50 Frame Specialties 800-777-3165 www.kooltack.com 29 Rhonda Feinman Custom Frames 800-297-1566 www.rhondafeinman.com 6 Framerica Company 800-372-6422 www.framerica.com) 2, 4, 26, 28, 42, 56 SoftTouch Solutions, Inc. 888-281-3303 www.frameready.com 51

FrameTek LLC 800-227-9934 www.frametek.com 51 Tem-Tech 815-675-9790 www.tem-tech.net 28

FramingApps.com 505-913-9666 www.framingapps.com 51 The Fletcher Business Group 800-843-3826 www.fletcher-terry.com 45

Frank’s Fabrics for Framers 888-332-2749 www.franksfabrics.com 50 Tru Vue, Inc. 800-621-8339 www.tru-vue.com 13

Gemini Moulding, Inc. 800-323-3575 www.geminimoulding.com 14 Universal Arquati 800-668-3627 www.universalframing.com 11

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

Hangman 818-610-0487 www.hangmanproducts.com 51 West Coast Art & Frame Expo 800-969-7176 www.wcafshow.com 39, 42

Hoffmann Machine Company 866-248-0100 www.hoffman-usa.com 50, 51 Wizard International, Inc. 888-855-3335 www.wizardint.com 19

House Of Troy 800-428-5367 www.houseoftroy.com 12 Z Hardware Company 800-369-5970 www.zhardware.com 50

International Moulding 205-324-5783 www.internationalmoulding.com 33 Ziabicki Import Co. 262-633-7918 www.ziabicki.com 51 52 PFM October 2015 (Continued from page 54) moulding (Purple Haze) was used to frame the invitation. The profile has a ¾” rabbet, which accommodated the many layers of matting and foamboard. The iridescent purple frame also matched the ribbon on the invitation perfectly. When working with a customer to frame an invitation like this, it is helpful to start with the entire mailed piece in front of you. Sometimes there are other items that can be added to a design to enhance its unique qualities, such as photos and save-the-date cards. Framed design samples of wedding, Bar and Bat Mitz- vah, and anniversary invitations in your shop can give cus-

Using spacers between the mats and raising and floating the invita- tomers ideas for future projects. Although your clients tion serves several purposes, adding flair to the design and creating might not have something to be framed immediately, they space for the three-dimensional ribbon. will be back at the appropriate time. Showcasing previous visible in this project since the mat borders were wide. projects—with customer approval—on your web and However, if narrower mat borders were chosen, it would social media sites also lets customers know that you have be important to make sure that all spacer mats were the the skills to make unique presentations. Even though the same color and that the bevels were all running in the trend is for consumers to be printing fewer photographs same direction. these days, lovely printed invitations for special occasions Many invitations have decorative elements on their are still the norm and give framers a chance to create edges that should be shown. By floating this invitation, mementos that can be appreciated for generations. PFM the entire design could be displayed. To add prominence to the invitation, it was mounted to matboard and then Susan Gittlen, MCPF, is the director of Whispering Woods Gallery in Holland, PA, a family business established given an extra lift with an additional piece of foamboard. in 1986. She has won numerous awards in PPFA Chapter Since this project was for a teenager, a simple, fun, Competitions, and has won three Larson-Juhl Design Star awards. In 2014 she was awarded the PPFA Service Award. and contemporary frame was chosen. The matting had a She is currently the president of the Metro Atlantic PPFA lot of pattern and texture, so a simple Nielsen metal Chapter. CALENDAR OF EVENTS ABC SCHOOL OF PICTURE FRAMING (West Islip, NY) offers a hands-on, 4-day MURILLO SCHOOL OF RESTORATION (AB) offers Basic, Advanced, and Specialty course. One-on-one and advanced classes offered. Visit www.abcschoolofpicture- classes. Call 780-457-0538. framing.com or call 800-810-8849. PRESTIGE FRAMING ACADEMY offers classes. Call 617-285-0855 or visit the web- AMERICAN PICTURE FRAMING ACADEMY 2- and 4-day Basic and Advanced classes site, www.framingacademy.com. feature technical, business and design training. Call 888-840-9605 or visit JAYENESS MOUDLING www.pictureframingschool.com. offers hourly tutoring (3 hour minimum). Call: 206-292- 9664 or visit www.jayeness.com. ART TO BE FRAMED (Mt. Shasta, CA) is an instructional and educational custom REED’S GOLD LEAF picture framing retreat. One-on-one instruction, beginners through advanced. Visit (Nashville, TN) offers 2-3 days Gold Leafing/ Gilding classes www.artrobeframed.com or call 530-926-3609. by appointment only. One-on-one or max. 2 students. Call Micki Cavanah at 615- 294-6113 or send e-mail to [email protected]. B.L. HAYMOND SUPPLY(Ukiah, CA) offers hands-on, one-on-one, 2-day (week- SHUPTRINES GOLD LEAF DESIGNS days or weekends) Oil Painting Restoration Workshops with an experienced senior offers 1-day seminars for artists, conservator. E-mail: [email protected] or visit www.blhaymondsup- professionals/designers and 2-day gilding and restoration classes. Call: 423-266- ply.com or call 707-462-4221. 4453 or visit www.shuptrines.com. VALLEY MOULDING & FRAME COMPLETE FRAMER’S SUPPLY, INC.(Fort Lauderdale, FL). Call 800-330-3263 or (N. Hollywood, San Diego, Anaheim, CA) offers 5- 954-581-2444 to register and for class schedule or visit www.completeframers.com. day Basic classes and 1-day advanced class. Visit www.valleymoulding.com or call 818-769-5656. FRAME TUTOR SCHOOL (Alberta, Canada) offers a 3-week course (90 hours) WEST COAST ART & FRAME EXPO hands-on professional training. Weeks 1 & 2 Basic; Week 3: Advanced (Design & sponosored by Picture Framing Magazine, Jan. Specialties) Call 800-268-0897, e-mail: [email protected] or visit 25-28, 2016, at Paris Hotel & Casino, Las Vegas, NV. Held in conjunction with THE NATIONAL CONFERENCE www.frametutorschool.com. seminars and workshops Jan. 24-28, 2016. Call 800- 969-7176 or visit www.wcafexpo.com.

PFM October 2015 53 Design of the Month By Susan Gittlen, MCPF

raming special event announcements is a common type of customer project for most Fcustom frame shops. But just because this type of request is common doesn’t mean the result- ing frame design has to be ordinary. In such cases, framers have an opportunity to turn invitations like this one to a Bat Mitzvah into something special. At first glance this design looks challenging, but it is actually very simple and one that any professional framer can duplicate. Using a simple computerized mat cutter template, floating the invitation, and using matboard and foamboard to create added depth resulted in an over-the-top presentation. The finished project is a gift the 13-year-old girl will keep in her possession for years to come as a reminder of the day that marked her passage into adulthood. The stunning invitation used a handmade paper panel on its face. The accompanying envelope also used the same handmade paper as a lining, providing the perfect material to incorporate into the matting that would echo part of the invitation’s design. The addition of handmade liner paper from the Bat Mitzvah invitation envelope along with the use of a standard Wizard Using the handmade paper from the envelope, in template resulted in a simple yet elegant frame design. fact, provided the perfect design element. The top white mat was designed and cut from a Nouveau 2 open V-groove (No. 412) design in the and adhered to the mat behind the open V-groove. Wizard template library. The default parameters in Great care was taken to pick mats with colors and the template were tweaked to make the open V- textures that matched those of the invitation exactly. groove appear slimmer and more graceful, matching This created a seamless look that precisely blended the elegance of the invitation. A standard open V- the matting with the invitation. groove cut by CMC (No. 801) or by hand could To further add subtle interest, and to accommo- have been used in conjunction with mitered hand- date the three-dimensional ribbon in the upper left made paper strips. Since the handmade paper was corner, spacer mats were added to create depth. only the size of the invitation, using the Nouveau 2 Although mat or foamboard strips could have been template simplified the design. The paper did not cut and pieced together for this purpose, this project have to be spliced to make longer strips. To subtly used white matboards cut on a CMC. This made it enhance the vertical format of the design, the bot- easier to precisely control the size of the spacer open- tom mat border was elongated by ½” to a total ings so they were ½” smaller than the adjacent mat 1 width of 4 ⁄8”. openings. This is a precise, neat, and easy way to add The handmade paper from the envelope was cut depth between mat layers. The spacer mats were not

54 PFM October 2015 (Continued on page 53)