art business today april 2013
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The UK trade magazine for the art and framing industryTRANSCRIPT
BUSINESSTODAYART
Using Google AdWords Social media marketing tips QR codes
Appealing to galleries Pricing bespoke framing New products
£6.50
April 2013
www.fineart.co.uk
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The Art & Framing Convention UK is organised bythe Fine Art Trade GuildThe 21st awards weekend takes place onSaturday 11 and Sunday 12 May 2013 at The OldSwan Hotel, HarrogateDownload a booking form at www.fineart.co.uk,email [email protected] or call 020 7381 6616
Tickets cost just £95 + VAT per person for those sharing a room, whichincludes B&B, a three-course dinner and the drinks reception
Join us for an unforgettable weekend where you will ‘meet, learnand celebrate’. The Art & Framing Convention UK includes the GuildArtist exhibition, a full programme of seminars and masterclassesand the black-tie Awards Dinner. It is the perfect combination ofbusiness and pleasure.The historic spa town of Harrogate is a great place for guests andpartners from outside the industry to visit, so why not make aweekend of it?
Meet, learn, celebrate
Sponsored by:
NEWS
ART BUSINESS TODAY
BUSINESS
24 Getting mobileLinda Becklow explores whether QR codes are useful for retailers
28 The fine art of emailAdvice on how to ensure that your emails are not consigned to the bin
32 15 social media marketing tipsHow to use social media effectively to promote your business
38 Right on target?Are Google AdWords money well spent, or is SEO a better bet?
ART42 A consistent approach
Jason Horejs says galleries want artists whose style is consistent
46 Photo finishPhotographer Carl Middleditch meets changing consumer demands
FRAMING50 Labour: what is it costing you?
Mark Wilson looks at the hidden costs behind making frames
54 The trouble with Morsø is . . .Mike Bond GCF explains how to get the most from this iconic machine
REGULARS8 Trade news20 Face to face:
Toni Hargreaves21 Product news49 Business tips for artists59 Trade secrets60 Pete Bingham’s agony62 Branch news63 Letters64 B2B: classifieds66 Last word:
Theresa Bates GCF, Frame of Mind
COVERThe new Valiani Mat Pro® Ultracomputerised mountcutter,www.valiani.com
CONTENTSArt Business Today April 2013, Issue 2 First published June 1905 as the Fine Art Trade Journal www.fineart.co.uk
8
21
April 2013 5
COVER
AN IN-DEPTH FOCUS ON E-MARKETING,SPONSORED BY ARQADIA
46
49
6 April 2013 ART BUSINESS TODAY
Art Business Today
Published by the Fine Art Trade Guild
16-18 Empress Place, London SW6 1TT, UK
T: +44 (0)20 7381 6616 F: +44 (0)20 7381 2596
[email protected] www.fineart.co.uk
PublisherLouise Hay
Managing editorAnnabelle Ruston
Advertising managerKasia Szkolnicka
SubscriptionsMoira Sanders
ContributorsJan Baker Sarah Bayliss
Linda Becklow Pete Bingham GCF
Mike Bond GCF Mick Hodson
Jason Horejs Cindy King
Perry Marshall Carl Middleditch
Riva Richmond Bryan Todd
Mark Wilson
Publication datesArt Business Today is published five times per
year: January, April, June, August and October
Subscriptions 2013UK Europe World
One year £30 £36 £44
Two years £53 £62 £74
To subscribe, call 020 7381 6616 or visit our
website, www.fineart.co.uk, and click on the ‘go
to Art Business Today magazine’ button
Liability©All rights reserved. ABT is intended to inform
but no liability can be accepted for action
taken, or not taken, in reliance on it
Guild CEO
Louise Hay
Master of the Guild
Maxwell Roberts
Don’t jump to conclusions . . .
Ahighly respected picture framer told me that he never turns down
requests to replace broken glass in frames. Many framers won’t
touch this type of work; they worry that the frame may fall apart
upon being opened, eradicating the tiny potential profit. Fair
enough: you need the confidence to turn down work that isn’t
financially viable. However, my framer friend says that new customers often
check out a framer with this type of small job then, if satisfied, they bring in
more substantial work. He also argues that getting people over your threshold
and engaging with them face-to-face very often generates business, even if the
customer wasn’t deliberately checking you out. People may not know how
fantastic memorabilia and sports shirts can look once framed until you get them
into your shop.
Framing educators advise students not to accept work that won’t show a profit;
if the customer won’t pay a fair price, adivse them to go elsewhere. There’s no
point in doing the work in the hope of a better return next time, as the
customer won’t want to pay more next time. You should focus on working for
people who are prepared to pay a fair price. My friend agreed that you
shouldn’t take in work you know to be unprofitable, but he insists that he
makes a good profit on replacing glass.
The difference is subtle. The same principle applies to artists, gallery owners
and fine art printers: selling too cheap isn’t the way to go in a luxury market
where somebody somewhere will always charge less. And you have to make a
profit. But going the extra mile for people, doing little things well and with a
smile, can win you business and cement relationships. The job may be small, or
you may just be selling a greeting card, but so long as the customer is paying a
reasonable price, who knows what may come of it.
The same framer, who also owns a small gallery, also stressed that you must
never jump to conclusions about how much someone can afford to spend.
People have different priorities. Show customers your best examples first; read
their body language and listen to their responses, you can always show them
less expensive options next, and so long as you do so with enthusiasm and a
smile nothing will be lost. In fact, they may be flattered that you didn’t jump to
what is, after all, a rather insulting conclusion.
Annabelle Ruston
BUSINESSTODAYART
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NEWS
Wessex launches pricing app
STEVE HIBLE GCF, framer andinventor of all the Wessex PricingPrograms, has launched what hebelieves to be the first framepricing app for android devices inthe world. ‘We launched the appat the Spring Fair and weren’t atall sure what the reaction fromvisitors would be,’ explains Steve.‘We were amazed how positiveframers were, from those runninghigh-profile framing businesses topeople with part-time marketstalls. The consensus was that fiveyears ago the laptop was cool, andnow it’s the tablet or smartphone.One visitor even said, ‘I want it andI want it now!’ and I had to prisethe demo tablet away from her.’More information about the appcan be found on Steve’s blog,www.stevetheframe.blogspot.comand the full range of WessexPricing Programs is available fromWessex Pictures,www.wessexpictures.com
Contemporary art fair inReadingTHE FOURTH ReadingContemporary Art Fair will takeplace on Saturday 27 and Sunday28 April at the Rivermead LeisureComplex. The show, which is thesister event to the WindsorContemporary Art Fair, includes100 artists, printmakers,photographers, sculptors andceramicists, with prices rangingfrom £40 to £4000. There is aprogramme of free workshops,which there is no need to book inadvance.www.readingcontemporary
artfair.co.uk
Inbrief
8 April 2013 ART BUSINESS TODAY
Spring Fair International round-up
EXHIBITORS AT Spring Fair
International were pleased with business
written and contacts made, though many
would like to see a return to 20 years
ago, when around 300 companies
showed their wares in the art and
framing hall, rather than the 60 who
take part in this section of the show
today. Retailers who stock gifts and
homewares find the show invaluable,
but less framing suppliers exhibit than in
the past, meaning that some framers
don’t visit the event.
The Fine Art Trade Guild organised
a programme of seminars that were
extremely well attended. Subjects ranged
from practical framing demonstrations
to business advice for artists and
retailers. Jenny Isaacson GCF,
Topmount Framing, attended several of
the sessions, ‘Those of us who attended
the show around the time of the
millennium will remember that it was
trade stands that provided
demonstrations to draw in the crowds.
Now, the Guild organises seven
seminars each day for four-and-a-half
days, none of them repeated more than
twice. I attended five excellent sessions:
John Ranes GCF CPF on creating a
better website, and a second session he
presented on face-to-face sales
techniques; Steve Goodall on adding
framing to your business; Martin
Harrold on integrating standards into
your business; and Pete Bingham GCF
demonstrating a range of frame finishing
techniques.’
Framiac’s Mark Wilson reports, ‘It
was a good show; Monday was
particularly busy. Lots of new people
were interested in our frame pricing
software and our prime leads included a
couple of mini-chains. The buyers who
visited were definitely good quality
customers.’ ‘We were rushed off our
feet the whole time,’ says Wessex
Pictures’ Garry White. ‘People were
particularly interested to find out more
about our speciality glass and they like
to actually see and touch mouldings
too.’
The show went well for artists and
publishers too. Giles Halliwell of
Heartbreak Publishing says, ‘It was very
positive. People were ordering limited
editions in larger quantities than they
have at previous shows.’ ‘Sunday and
Monday were good,’ reports artist James
Bartholomew, ‘We took some good
orders at the show. About 70 per cent
were from existing customers and 30
per cent were new buyers.’
Spring Fair International takes place at
the Birmingham NEC from 2 to 6
February next year.
www.springfair.com
Clockwise from top left:Artist James Buttifant creating a painting on blu tulip’s stand;Pete Bingham GCF pulls in the crowds at his demonstrationon frame finishing; visitors examine a computerisedmountcutter on Gunnar’s stand; Guild CEO Louise Hay (left)selects the winner of Art in Bloom’s prize draw with artistKaren Hollis
NEWS
Inbrief
April 2013 9ART BUSINESS TODAY
Making Pictures event this April
EVERYONE IN the art and framing
industry is welcome to attend the Fine
Art Trade Guild’s second Making
Pictures event, which takes place in
Glasgow on the evening of 9 April.
‘Guests are invited to an evening of
demonstrations and networking, with
the opportunity to chat to like-minded
professionals over a drink and a snack,’
says the Guild’s Daniel Radley. ‘We are
expecting a wide range of visitors,
including illustrators, photographers,
publishers, artists, framers, gallery
owners and printers. The idea is that
people can learn from established
experts while making new contacts from
all corners of the industry.’
The evening has been made possible
thanks to the generous sponsorship of
Epson and their re-seller Tetenal.
Product manager Phil Barker will be
available to answer questions about self-
publishing and printing and to
demonstrate Epson equipment.
Attendees are welcome to bring an
image to the event on a memory stick,
which Phil will print out for them.
Other exhibitors include Wessex
Pictures’ Ken Turner and Steven
Goodall, and Ron Warbrick of The
Frame Shop & Gallery, who will talk
about running a gallery and selling
limited edition artwork. Annan Gallery’s
Iain Donaldson will provide hints and
tips on image capture, an aspect of fine
art reproduction the importance of
which is often under-estimated. Jamie
McCallum, CEO of the Art Retail
Network, will offer sales and marketing
advice and the Fine Art Trade Guild’s
Daniel Radley and Kasia Szkolnicka will
be available to advise on industry
standards and best practice.
Making Pictures Glasgow will be held
at The Old Hairdressers Arts Centre.
Doors open at 6pm. Tickets, which
include the buffet, cost £10 (£8 to Guild
members) and bookings can be made
online.
http://www.fineart.co.uk/making-
pictures-glasgow.aspx
Digital Art Commission: apply now
EXETER PHOENIX has launched its
Digital Art Commission 2013, and
invites artists in the south west of
England to apply. Successful applicants
will receive £750 towards costs, technical
and creative support, the use of state-of-
the art facilities and their work will be
included in an exhibition at Exeter
Phoenix. The deadline for applications
is 15 April.
http://www.exeterphoenix.org.uk/art/co
mmissions/
Guests at thefirst MakingPicturesevent inManchesterin 2012
CALM Type Cube byPhilip O’Reilly, whoproduced 3D printedsculptures as part oflast year’s Digital ArtCommission
New trade show in GermanyA NEW trade fair to be held in thecity of Kassel in the Molfseeregion of Germany has beenannounced. The event, entitledArt & Frame Show, will run from 7to 9 September and will includea programme of educationalevents.German trade fair Art Fair Europe,which was held in Nuremberg,was cancelled in 2012. OrganisersNürnbergMesse said that thiswas due to economic reasons,which meant that they could notguarantee a quality event forexhibitors and visitors.‘This new event will showcasemouldings, frames, mountboard,glazing, hanging systems andequpiment for the professionalframer,’ says director HeinrichAckermann. ‘There will also be awide range of art, graphics,photographs and fine art prints.Our education programme willinclude workshops anddiscussions about framing andgilding techniques, as well assessions focusing on marketingand selling, online solutions andthe financial side of running abusiness.’The show organiser is ExpoManagement GmbH from thenorth of Germany, supported byDer Kunsthandel, the German artand framing trade magazine.Expo Management GmbH is wellknown in the German art trade,primarily as the organiser ofKunst-Messe München, theoldest art fair in Germany.The exhibition centre in Kassel iseasy to reach by car, train andplane, as it is close to theinternational airports of Frankfurt,Dortmund and Paderborn. The organisers hope to attractinternational exhibitors andvisitors, particularly fromGermany, the Netherlands,Switzerland and Austria. There is as yet no website for thenew show, so email theorganisers for further information, [email protected]
No matter how good an
artist’s work, it will only
prove its worth if it is
promoted effectively.
Producing your work as
prints, or branching out into
merchandise, generates significant costs,
all of which need to be covered before
you can even consider drawing a salary.
Given that I mainly paint farm
animals and British wildlife, the most
effective form of promotion for me has
been exhibiting at agricultural, county
and country shows. Exhibiting at these
events enabled me to develop a
customer base and plough my profits
back into the business. Several years
later this customer base has expanded,
so now I can afford to market my
artwork in several other ways as well.
It is important to remember that the
success of a show cannot be measured
solely by what is sold on the day. You
also need to count the sales that come
in after the event, but as a direct result
of your having taken part. It is essential
to have brochures available for people
to take away with them, because many
customers like to go home and ponder
what may be a significant purchase.
They need time to ensure that they
are making the right choice.
Despite the costs involved in
having brochures printed, mine
have always proved their worth
throughout the year, with
people making a special effort
to find their copy and get in
touch at Christmas.
Nowadays a website is a
necessity. The cost of having one
professionally created can be covered in
a relatively short time. I ensure that my
site is updated regularly; I add new
images, news and events to make it
interesting to my ever-increasing
number of visitors. Many customers like
to pay via PayPal, which is easy to set
up. Facebook and other social media
outlets are an every-expanding way of
establishing links with customers.
I have diversified into merchandise,
so I stock something for every pocket,
with greeting cards starting at £1.50
each. Aprons and cotton canvas
shopping bags with my images on have
proved very popular, and the amount of
money that I take as a result of these
low-cost items is often surprising. We
also offer bone china mugs though, as
anyone who has had their artwork
printed onto ceramics will know, this is
far from being an easy road to follow.
Many complications can arise during the
production process and a satisfactory
end result can take time to achieve.
I have made two major investments
in marketing: a van in which to transport
my work and a marquee in which to
exhibit it. Both have my images printed
on them. The enormous cows and the
hare on the sides and back of the van
certainly attract a lot of attention as we
drive around the country. I am sure that
these images encourage people to visit
us at shows or visit our website.
However you choose to do it, marketing
is a key factor in the success of any
business, and art is no exception. �www.sarahbaylissfineart.co.uk
NEWS
10 April 2013 ART BUSINESS TODAY
ARTIST’S SKETCH‘Despite the cost ofhaving brochuresprinted, mine havealways provedworthwhile’
INNOVA ART, which specialises in
producing high quality substrates for
digital printing, has unveiled a new type
of photo panel. JetMaster photo panels
are a simple way of displaying images.
The lightweight panels, which can be
fully re-cycled, are edged in either matte
black or white. To prepare a print for
display all you need to do is lift the
release liner, align the image, apply
pressure with a roller, then trim the
edges as necessary. This stylish frame-
free format is initially available in 5x7”
and 8x10” sizes for wall or desktop
display. This fashionable take-home
solution can be ready in minutes.
www.innovaart.co.uk
Innova Art launches lightweight JetMaster photo panels
Sarah Bayliss
NEWS
April 2013 11ART BUSINESS TODAY
Alan Reed wins The Artist’sPrize
ALAN REED is the winner of thecoveted Artist’s Prize in the RoyalWatercolour Society’s annualcompetition with his painting ofJebel Akhdar (Green Mountain),Oman. ‘The locals growpomegranates on the terraceswhich are watered by an ancientyet efficient irrigation systemcalled falaj,’ he explains.Alan has visited Oman a coupleof times and made a number ofsketchbook studies which areincluded in a luxurious hardbackleather-bound volume priced at£325.www.alanreed.com
Working together: Valianiand CrescentAT THIS year’s West Coast Art &Frame show in Las Vegas it wasconfirmed that US mountboardmanufacturer Cresent will be theexclusive US distributors forValiani computerisedmountcutters. Valiani’s technicaland support team in the US willremain unchanged. ‘This alliancewill be good for bothcompanies,’ says Valiani MD NicoValiani. ‘We are looking forward toworking together.’www.valiani.comwww.crescentcardboard.com
Inbrief
FOCUS ON Imaging, Europe’s biggest
annual imaging show, took place in
March at the NEC. The event occupied
two halls and over 200 exhibitors took
part, showing image capture devices,
printing and processing equipment and
display options. Visitors include
retailers, professional photographers and
hobbyists.
Framing exhibitors included Arqadia,
Kenro, DIY Framing, LION Picture
Framing Supplies, Framers Corner,
Gunnar, Hot Press, HHJ Trading and
D&J Simons. ‘Sunday wasn’t as
frantically busy as usual,’ reports
Gunnar’s Sarah Osborne GCF Adv.
‘That was good for us, as we are looking
for professional buyers, but maybe
business was down for people selling
low-cost items to hobbyists. After that,
the show went as expected; we met lots
of good contacts and will certainly
exhibit again next year.’ DIY Framing
were rushed off their feet says MD
Duncan McDonald, ‘We are always
very busy at Focus. We sell loads of
table-top mountcutters to photographers
who want to cut half a dozen mounts
every now and again. They take away
leaflets about framing courses too and
there’s always a surge of bookings after
the show; we got 20 bookings in the four
days following Focus this year. But the
down side is that it’s become extremely
expensive to exhibit, and we need five
staff on the stand. A lot of people come
to the stand asking for time-consuming
advice and don’t actually buy anything,
which is frustrating.’
On the fine art print side, exhibitors
included Epson, Canon, Innova Art,
PermaJet, Fotospeed, Hahnemühle and
Fujifilm. ‘The show was extremely
successful for us,’ says Innova Art’s
Kirsty Anne Ward. ‘Our new photo
panels were really popular; we had a
great reaction from both retailers and
event photographers. There was a steady
stream of people throughout the show
and we took lots of orders for paper
too.’
www.focus-on-imaging.co.uk
Good times at Focus on Imaging
FRAMIAC SOFTWARE, which has
been operating in Australia and New
Zealand since 1996, is so encouraged by
the reception received from UK framers
that it has become a UK registered
company.
‘The UK market is important to us
and this move ensures that we can
provide the same high level of faultless
service and backup here, as we have
always offered back in Australia and
New Zealand,’ says Mark Wilson, who
manages Framiac UK and is based in
Bristol. ‘We are a UK focused company
and are here for the long term.’
He adds, ‘I’m really pleased that the
many framers who have taken up our
FramR software are now reaping the
many benefits it brings.’
www.framiac.com
Framiac: in the UK for the long haul
NEWS
Craft Inc comes to the UKUS FRAMING equipmentmanufacturer Craft Inc, bestknown for its self-fasteninghardware and applicationequipment for frames, hasannounced that it is opening awarehouse in the UK and hasformed a company called CraftEurope Ltd. ‘From our days of revolutionisingthe costume jewellery industrywith our continuous rhinestonechain, to our badge clips whichare used on lunar expeditions,Craft Inc is a company ofcontinuous evolution,’ says Craft’sAdam Ruthowski. ‘That vision hasled to the opening of CraftEurope Ltd. The Europeanwarehouse will reduce lead timesand costs as goods will beshipped directly from stockedinventory of our most popularhardware. We look forward tobetter servicing your hardwareand equipment needs.’The warehouse address is: Unit H,Midland Road Industrial Estate,Swadlincote DE11 0AN, tel 01283 227772.www.craft-inc.com
Parrish launchesmonochrome collectionVERSATILE ARTIST Kevin Parrishhas unveiled a new collection ofnostalgic monochrome imagesfeaturing steam trains and scenesfrom Birmingham and London inthe 20th century. Kevin turns his hand to subjectsas wide ranging as Britishcomedians, canals and rockmusic icons.www.kevinparrish.co.uk
Inbrief
12 April 2013 ART BUSINESS TODAY
Guild website: new and improved
SWISS COMPUTERISED
mountcutter manufacturer Gunnar is
pleased to announce the launch of
Gunnar Mat Creator GMC 2.0. This
new operating software includes many
innovative, creative and productive
features and will be available to
download from 1 May.
New features include ArtView, which
provides high quality 3D previews of
how customers’ artwork will look once
mounted and framed. There is also a
POS interface which is fully integrated
with SpecialtySoft™ point of sale
software, with more POS interfaces to
come.
Graphic tablet assistance means that
vectorised hand writing and hand
drawing can be created with any USB
connected graphic tablet or graphic
mouse, enabling users to enhance
mounts with unique hand drawn
designs. This feature is particularly
impressive when used in conjunction
with the GUNNAR T2 pen tool.
The simplified view feature enables
streamlined and simplified GMC
software operation, which is perfect for
shop floor usage. Remote control unit
CMC manipulation makes positioning
the arm and other set-up functions
straightforward.
GMC2.0 is completely free of charge
– including all product updates to come
– and helps customers save money.
Gunnar has over 20 years’ experience in
technical development and has
manufactured thousands of cutting
machines placed globally.
www.gunnar-int.com
Gunnar launches innovative software
THE NEW-look Fine Art Trade Guild
website enables the public to search for
members by distance from their
postcode from the home page, making
it even easier for people to find
members that supply the products and
services they need. ‘Our overriding
concern when designing the new site
was to help members win more
business,’ explains Guild CEO Louise
Hay. ‘People are impatient and want to
go no further than the home page to
conduct a search and they need the
search function to be straightforward.’
The searchable artist portfolio
function is another exciting new feature
that is designed to help artists win
business. Visitors to the site can select a
subject, from abstracts to transport
images, then find out which Guild artists
specialise in this field and go straight to
their website. This search option is
clearly visible on the new creative-
looking home page.
People can now enrol for
membership and pay subscriptions
online, as well as purchasing books and
GCF merchandise that way.
Members and registered trade users
need to reset their passwords to activate
the new system. There is much more
functionality and valuable information in
the member area, so the Guild is
expecting members to log in even more
frequently than before.
www.fineart.co.uk
Gunnar’s ArtView webcam (above)captures your chosen mount andframe chevrons and turns these into a3D preview of how the framedartwork will look. Right: How the customer’s artworkappears onscreen
So . . . we open the doors and
wait for the customers to come,
make ourselves a cup of tea
and place the chipped mug on
the over-crowded counter.
When a customer comes in we hardly
notice as we are too busy chatting. Ring
any bells? I hope not, but it is so easy to
slip into bad ways without noticing.
With great customer service we can do
more for our business than any amount
we spend on advertising and word of
mouth is worth its weight in gold (well –
more than that, it’s beyond value).
Why not take ten minutes out of
your day to look at your shop as a
customer would? Go outside, stand on
the pavement and look at your shop
front, and I mean really look. Notice
the paintwork, could the pavement do
with a sweep? Do the windows need
cleaning? Walk back through the door
and take another long critical look, and
you will be surprised how many things
you can tidy up to create a professional
appearance. Remove old curled up
A4 posters, empty the waste paper
bin, replace bent scruffy
mountboard samples and old
faded price labels and take
anything unnecessary off the
counter. Have a goal in
mind, think of a business
whose appearance you really
admire; for me it’s the clean lines
of the Apple Store. I know I will never
ever achieve their look but it does make
me tidy up and find a home out of sight
for as much of the clutter as I can.
Spring cleaning could add cash to your
bottom line so ‘strip down and get
dirty’, give the place a good clean and
maybe a lick of paint. Re-dress the shop
and don’t over crowd; allow customers
to see what you have for sale. If
something has not sold, don’t keep it,
give it to charity and use it to get good
publicity so the space can be used for
more profitable, faster moving stock.
Look at your window display,
vacuum up dead flies regularly. I change
my window every week and during the
week I may change the pictures. I now
have local customers who choose their
dog-walking route each day so they
come past and see what has changed.
The gallery is known for the ever-
changing flags and bunting that catch
customers’ eyes and say ‘come on in’. I
am always surprised how I can have
something for sale for a while and as
soon as I move it to the window it sells.
Don’t ignore this valuable space.
Always say hello, make eye contact
and smile. If it is a regular customer try
and remember their name or something
from a conversation you have had. I am
hopeless at remembering names but I
can usually recall a picture we framed
for them or their last purchase, and this
makes them feel special and costs
nothing, but keeps customers coming
back.
None of this is new, we all know
what to do, but taking time to stand
back and have a look - a really long
look - can make a huge difference to
what goes into the till without you
having to spend a penny. �www.theframe-gallery.co.uk
NEWS
14 April 2013 ART BUSINESS TODAY
SHOP TALK‘Take ten minutesout of your day tolook at your shop asa customer would’
Jan Baker
ACHIEVING NEAT, tight joins on
dense hard wood mouldings and deep
rebates can be a challenge, so LION are
pleased to introduce the framing trade
to the Hoffmann corner routing and
joining system, which uses the traditional
principle of the dovetail joint to solve
this problem. The router accurately
locates the mitred moulding and then
machines a precision dovetail slot in the
face. When both sides of the join have
been routed, the two pieces are held
together and a double dovetail key is
tapped into the slot. The obliquely
converging ribbed inner surfaces of the
key draw the mouldings together for a
tight and perfectly aligned join.
Precision engineered in Germany for
professional users, the Hoffmann X-
Line 20 can rout slots for two
thicknesses of dovetail keys, which are
available in a range of heights from
9.5mm to 38mm.
www.lionpic.co.uk/Hoffmann, or see the
system in action at LION Birmingham
and LION South.
New corner router and joiner from LION
NEWS
Inbrief
April 2013 15ART BUSINESS TODAY
VALIANI, THE Italian computerised
mountcutter manufacturer, has launched
the MatPro Ultra. ‘The machine
employs tomorrow’s state of the art
technology to provide innovative
solutions for the present day,’ says MD
Nico Valiani. ‘The developments that
we make to our range of CMCs revolves
around customers’ comments and
requirements. The Ultra, which evolves
from our best-selling MatPro iX, reflects
this policy.’ The new machine boasts
extensive engineering upgrades and its
sleek, graceful design is a considerable
improvement on the original MatPro.
There is a mountboard storage unit
beneath the cutting board, which is a
tremendous idea for those with
workshops where space is at a premium.
The Ultra has upgraded motors,
which guarantee excellent reliability. In
addition, its newly designed stainless
steel tracking rails and improved
bearings ensure longevity and provide
continued cutting accuracy. These
features, combined with the Ultra’s
robust build, provide an outstanding
cutting option.
The Ultra, available in both standard
and vacuum models, employs Valiani’s
award-winning interchangeable head
system. Any newly designed heads will
automatically fit the machine, ensuring a
long working life.
www.valiani.com
The next generation of CMCs
Vibrant show and fully booked training sessions in Las Vegas
THE WEST Coast Art & Frame Show,
which took place in Las Vegas, was well-
attended and the atmosphere was up-
beat. Fine Art Trade Guild CEO Louise
Hay was there, ‘There was a good buzz
throughout the show. There were more
than 100 educational sessions and
attendance was amazingly high. There
were lots of opportunities to network,
including after-show social events.’
Lawrence Walmsley, MD of
International Graphics, reports, ‘The
show was good and it was great to see so
many old colleagues. Exhibiting felt like
a home coming, as we’ve been absent
from the show for ten years. The market
is vibrant in the US; I wish we were
seeing the same in Europe.’ Valiani MD
Nico Valiani also exhibited, ‘It was a
very good show. We sold a lot of
machines during all three days. It’s not a
big event, but it’s well attended because
framers come to learn new techniques
and business skills at the classes.’
The show was good for visitors too. ‘I
left Vegas with several ideas on how to
encourage customers to understand
framing options and the benefits
associated with them,’ says Jessica
Wildeman of Art & Soul Framing and
Gallery. ‘We found everything we were
looking for at the WCAF Expo and
more. Scouring the internet can be quite
daunting, so it was great to see all the
products at one venue. The industry
representatives at the show provided us
with a multitude of new ideas. We came
away with a renewed sense of purpose
and enthusiasm,’ reports Jan Bertwell of
Finishing Touches.
The 2014 show will run from 20 to
22 January, with the national conference
beginning on 19 January.
www.wcafshow.com
NEWS
Visit the Guild Artists’ExhibitionGALLERYOWNERS,publishersandanyoneinterestedin buyingoriginalartwork isremindedto put theGuild Artists’ Exhibition in their diary.The show takes place on Saturday11 and Sunday 12 May at thepicturesque Old Swan Hotel,Harrogate, and is part of the Art &Framing Industry Awards event. Allwork in the show is from establishedFine Art Trade Guild members.Subject matter ranges from wildlifeto abstract works, and includeslandscapes and still lifes.www.fineart.co.uk
NEWS
16 April 2013 ART BUSINESS TODAY
There are exciting times ahead
for the Fine Art Trade Guild.
We have finally launched our
new website with enhanced
opportunities for members to
raise their profiles and drive business
through their doors. Now is the time to
get to work on your online directory
profile and, if you are an artist, gallery
or publisher, add art to your searchable
portfolio. Our busiest pages are the
‘find a member’ searches, followed
closely by guidance on buying art, prints
and framing, which demonstrates that
consumers are using the site when
searching for these products and
services.
Unfortunately, with a development
this ambitious we do seem to have more
bugs than we would like, but our new
forum, shop and member searches are
all designed to make things easier and
provide more support. We’re working
hard with the developers to iron out the
problems; if you do find any bugs,
broken links or issues with layout and
design, please send me the url of the
offending page. Our next phase is to
work on navigation for the site, and we
are planning a complete redesign of the
menu structure.
I’ll be meeting developers soon to
start on the next stage of our new inkjet
print quality assurance programme,
designed to give consumers confidence
in Guild members’ giclée prints. The
IPQA programme will complement
the existing Guild print standards,
but bring them into the digital age.
Guild member artists, publishers
and printers will be able to register
images online, providing a record of the
combinations of ink, paper and printer
used to produce their prints.
Manufacturers and trade suppliers will
be able to use the new logo to show that
their products meet our technical
standards.
We’ll be working in tandem on an
original image register for artists,
photographers and publishers to assist
in the fight to protect intellectual
property by establishing provenance for
original images. The system will make it
easy to upload thumbnails which will be
searchable on our site, with a minimal
cost per image.
Daniel Radley and Kasia Szkolnicka
from the Guild office will be visiting
Glasgow on Tuesday 9 April for our
second Making Pictures event, which
will be rolling out nationally across
2013. They hope to meet as many
members and ABT readers as possible
at these events, so do come along for an
enjoyable and interesting evening.
And finally, don’t miss the Art &
Framing Convention UK in the lovely
spa town of Harrogate. Apart from our
fabulous dinner dance, Guild Artists’
Exhibition, display of breath-takingly
clever shortlisted frames, seminars and
masterclasses, there’s also loads to do
around the town and in the surrounding
countryside. Please come along with
family and friends and make a long
weekend of it. I really hope to see you
all there. �Louise Hay is the Chief Executive of the
Fine Art Trade Guild
IN BUSINESS‘The inkjet printquality assuranceprogramme bringsGuild printstandards into thedigital age’
EARLIER THIS year well-known
independent sales representative Robert
Osborn sadly died aged 58, having lost
his battle with cancer. Robert’s death
was a shock for many of his customers,
as he was working and looking well until
just before Christmas. Over the years
Robert represented many leading
publishers, though for the last seven
years he worked almost exclusively for
Aquarelle Publishing.
‘Robert’s success was due to his
natural ability to get on with everybody,’
remembers Aquarelle Publishing MD
Paul Taylor. ‘Customers looked
forward to him visiting and he
developed trust through genuine, honest
advice and a personal interest in their
business. His knowledge was exceptional
as he worked in the art publishing trade
from a very young age; there are many
who have known him since the 1970s.
His experience was gained through
working with several significant
companies. His advice was always calm,
fair and considered. With his hands
firmly buried in his pockets, Robert’s
easy smile and boyish chuckle, often
developing into peels of laughter,
brightened even the gloomiest of offices
or most boring trade fair. He really was
‘one in a million’, an all round good
bloke and a true friend.’ Robert leaves a
widow, Liz, and two daughters.
The publishing trade loses Robert Osborn
Louise Hay
NEWS
April 2013 17ART BUSINESS TODAY
WESSEX PICTURES have doubled
the size of the showroom area of their
Oldham depot, following increases in
their trade counter business. Northern
area manager Steve Goodall comments,
‘I joined the Wessex Group in
September last year and one of my
prime aims has been to create good
reasons for people to visit our depots.
The 2013 catalogue is huge and
comprehensive, but offers a totally
different experience to touching sample
mouldings in the flesh, or looking at the
true colour of specific mountboard.’
Customers can see the full range of
over 1300 mouldings and choose
samples to take away. ‘Mouldings are
arranged in groups, so if you have a
vague idea of what you want, it is easy to
weigh up the options and choose the
right products. New mouldings are
together, so you can see what’s new at a
glance. A handy ‘top 150’ section is
invaluable for newer framers who may
need help in setting up and establishing
a fast moving selection of samples,’
enthuses Steve.
Wessex Oldham carries mountboard
from manufacturers such as Daler
Rowney, Arqadia, Nielsen Bainbridge
and Crescent, as well as their own
competitively priced value range. All
boards are available in single sheets,
which is handy if you are looking for
something a little different and do not
want a whole pack. A full range of
sundries is another reason for customers
to call in: from picture cord to glass
cleaner, from wedges to packing
materials.
‘The jewel in the crown of Wessex
Oldham is probably our stock and
product knowledge of specialist glass,’
explains glass specialist Jean Roberts.
‘We carry a huge range of specialist
glass which can be a bit bewildering to
newcomers, so we spend time helping
framers choose the right product for
each job. We have wall displays of all
the different types and free sample
frames for customers to display in their
own shops. These samples are a real
selling aid; they show just how good
artwork could look with the right type of
glass.’
Wessex Oldham offers a fast and
efficient glass cutting service, for plain
and speciality glass as well as plastics.
The cutting team have years of
experience and can handle the most
challenging jobs. Customers can usually
phone ahead and pop in to collect their
cut glass order the same day, though a
fleet of five delivery vans cover the
Greater Manchester area up to three
times a week, and most other areas in
their region on a twice weekly basis.
The showroom and trade counter is
open from 8am to 5pm, Monday to
Friday, and is located at Units 5 & 6,
Under Lane, Chadderton, Oldham
OL9 7PP, 0161 681 2859,
www.wessexpictures.com
Wessex unveils Oldham showroom
The newOldhamshowroom(right) and theteam thatmanages thedepot, fromleft, Jean,Lauren andKen
LifeSaver Software unveilsUK websiteLIFESAVER SOFTWARE Inc, amaker of picture framingsoftware newly arrived from theUnited States, announces theunveiling of their brand-newLifeSaver UK website. The site features trial downloads,a growing list of trainingmaterials (including ‘how-to’training videos), productdescriptions, and local contactinformation for support. ‘LifeSaver aims to continue theirtradition of support begun in theUSA, and the new website is animportant piece of the completesupport package. It is part of thecompany philosophy,’ saysdirector Eric Crowe. ‘We hearfrequently from our customersthat bespoke framers are betteroff with software, customers trustit and it’s good for their bottomline, but we understand that notevery framer is tech savvy to startwith. So, we combine powerfulsoftware tools and features withuser-friendly design andindustry-leading support toensure bespoke framers can getup and running and enjoy thebenefits of their software quickly,whether they considerthemselves a techie or a newbie.’ LifeSaver Software would like toencourage everyone to visit thenew site, download a 30-day freetrial, watch training videos, andtell them about the experience atwww.lifesaversoftware.co.uk
Eric Crowe, director ofLifeSaver Software
NEWS
18 April 2013 ART BUSINESS TODAY
IN PRINT‘Now the Holy Grail:unsharp maskingand imagesharpness’
Rubbish in, rubbish out. This is
the most important thing you
need to know about giclée
printing. The best quality
prints are the ones that have
been prepared properly. There are
three elements to this: size, colour and
sharpness. Your file needs to be a good
size to start with. If you are printing
yourself through Photoshop, you need a
file that will stretch to the end output
size without degrading. The good thing
is, unlike litho printing where you need
a proper 300 dpi (dots per inch) file at
the finished size, technology can now
cheat the system.
Experiment, that’s all you need to
do. I know that I can print a good
300dpi file at 400 per cent (making it
72dpi) without any visible loss of quality.
Before you tear your hair out, try it, or
send the file to your printer, who may,
like me, have a program that enlarges
small files.
Always keep the original file without
changing it at all. Make any changes
from that and do a ‘save as’. I go back
to the beginning many times and every
change you make and re-save degrades
the image slightly in jpg format.
Colour rendition is either very easy,
very lucky, or a nightmare – easy when
you have control over the scanner or
camera, lucky when you are happy with
what you get, or a nightmare when you
are not set up properly.
The main thing is to include
a piece of black and a piece of
white card in the scan or
photograph. If you are taking
a photo then the light must be even. I
have clients who want to supply me with
their own files, so I ask them to
photograph their artwork with these
cards. Providing the black and white
patches are lit in the same way and are
not in shadow, this gives surprisingly
good results and saves money. I open
the file in Photoshop, and the droppers
in ‘curve adjustment’ straighten out most
pictures.
Nothing is as good as a professional
scan or photograph, though it amazes
me how good digital 35mm is now.
With the right lighting and lens I have
seen files as good as you get on a £20K
camera. The lens is important; it’s no
good having a flash camera providing
huge files if they are out of focus.
Now the Holy Grail: unsharp
masking and image sharpness. A lot of
people could improve their prints if
they had the ability to sharpen. I
sharpen virtually every image I handle,
from my own studio and from clients.
Try it, print tests with or without and
see which you prefer. Old versions of
Photoshop had an unsharp mask
facility, which was a bit crude but good
enough at the time. It also gave great
contrast on suspect files. Now you use
‘smart sharpening’, which is a lot more
subtle. Always leave the sharpening until
you have finished all other adjustments
and cleaning up.
Never be afraid to try these things,
and don’t stop if it goes wrong at the
first attempt. �www.mickhodson.co.uk
www.gicleelondon.co.uk
UK FRAMER Steve McKee GCF Adv
travelled to Moscow to teach inaugural
sessions at the new Russian Framing
School, launched by the Association of
Participants in the Art Industry.
Chairman of the Russian Framer’s
Guild Nadir Sitdikov GCF says, ‘We
started the framing school to raise
standards and move our industry
forward. We chose to use GCF and the
Fine Art Trade Guild’s accredited
training system as a solid foundation for
our programmes.’
Eight students enrolled for Steve’s
first class in frame design His second
class was a two day GCF refresher
course, after which students went on to
take their GCF exam.
In St Petersburg, Lion Art Service
launched the first school in the cultural
capital. LAS Moscow has been offering
Guild accredited training and GCF
exams since 2006 and is now extending
the programme throughout Russia via
their distribution centres. Instructor
Stephen Finney GCF led a three day
course for experienced framers,
combining theoretical knowledge with
practical hints and tips.
Guild CEO Louise Hay says,
‘Following my visit to Moscow in 2012 I
am delighted to receive continued
support for Guild programmes from the
Russian Framing School and Lion Art
Service. Having seen first hand the thirst
for knowledge in Russia we will be
working together to provide education
and information for the industry’.
www.frame.ru, [email protected]
Framing training in demand in Russia
Mick Hodson
A framing training course in progress at Lion Art Service
NEWS
April 2013 19ART BUSINESS TODAY
US MOUNTBOARD manufacturer
Crescent has launched an awareness
campaign to promote the environmental
benefits of their RagMat board, which is
made from cotton. The ‘Best Choice for
the Environment’ pack, which is free to
framers, consists of a corner set fan, a
point of sale counter display and a
window sticker. ‘Our goal is to help
consumers understand the difference
they can make not only to the protection
of their artwork but also to the
environment,’ explains MD Peter Royle.
‘We have found that easy point of sale
tools also help the frame shop sell up’.
Crescent firmly believe that Crescent
RagMat board is the best choice for
framers, as cotton is ‘born’ pH neutral,
it is not artificially rendered that way,
and it has a proven record of stability.
There are cotton documents and
artwork which remain in good condition
after a century or more due to their
inherent neutral pH.
‘Crescent RagMat is manufactured
from cotton fibre, an annually renewable
resource that reduces the amount of
trees used to make mountboard and is
therefore the best choice not only for
the artwork but also the environment,’
says Peter Royle. ‘In addition, cotton
fibre is processed without harsh
chemicals or additives, making it
superior to the bleached, chemically
processed woodpulp that is used to
produce some conservation boards.’
Cotton RagMat board was designed
specifically for the Metropolitan
Museum of Art in New York in the late
1920s. It is 100 per cent cotton, so is
acid and lignin-free, and is made with
solid colour throughout. The board is
extra rigid and includes special surface
sizing designed to make mount
decorating easy.
RagMat is available in 35 colour
choices in 32x40”, 13 colours in 40x60”
and come in sizes up to 48x96” with
thick board options in assorted sizes. A
range of unbuffered board is available
for photography.
The promotion and full range of
Crescent boards is available from either
Wessex Pictures or Britannia Mounts,
the UK subsidiary of Crescent
Cardboard.
www.wessexpictures.com
www.britmounts.com
Promotion launched on Crescent RagMat
Making pictures: save thedateFOLLOWING THE first MakingPictures event of 2013 inGlasgow (see page 9), the FineArt Trade Guild is pleased toconfirm dates for later in the year.Tuesday 11 June will see MakingPictures Bristol, which issponsored by Epson and their re-seller Tetenal. Making PicturesBedford takes place on Thursday1 August and is sponsored byArqadia. Tuesday 3 Septemberwill see the Making Picturesroadshow appear in Dublin, thenon Thursday 19 September therewill be an event in the north ofEngland.If you would like to take part inany of these events email DanielRadley at [email protected]
New departure for SelectiveSELECTIVE PRINTS, publishers anddistributors of limited editionsprints, have announced that theywill be working with Anne FarrallDoyle, publishing limited editiongiclées of her figurative works,which fall into the category of‘boudoir art’.‘Boudoir art is a new departurefor us, but we are delighted to beassociated with such a talentedand internationally publishedartist as Anne Farrall Doyle,’ saidAndrew Whyte, proprietor ofSelective Prints. ‘Anne’s work isethereal, sensual and romantic,whilst always maintaining a levelof modesty and tastefulness thatallows it to hang in any gallerysetting.’ www.selectiveprints.co.uk
Inbrief
How did you get started?I trained as a technical illustrator at
Blackpool & Fylde College of Art. My
training has been incredibly valuable; in
those pre-computer days we really
studied the mechanics of drawing and
perspective. My first job was as a
medical illustrator, then I went freelance
and did quite a bit of advertising work.
Friends encouraged me to paint
wildlife. Because of my training I could
paint every hair of an animal accurately,
but the effects that could be achieved
with light and movement were a
revelation to me. I knew that my wildlife
work had improved when my paintings
were accepted by Christie’s in 1999.
With the confidence of youth,
introducing myself to galleries didn’t
worry me; I approached quite a few and
my work started to be exhibited quite
widely.
When did you start painting cows?In 2004 I was out walking my dog one
day when some cows approached us and
I thought how like a team of rugby
players they looked. I photographed
them, then created a painting - which I
loved doing – and the painting sold
immediately. My enthusiasm was
infectious; I stopped worrying about
every hair being in place and started to
create paintings I loved.
Are you with a publisher?I approached Washington Green with
my cow images and they published my
work for a while. I am now with
DeMontfort Fine Art, but they sell my
originals, they don’t publish prints. I
produce a few editions of up to 50
images that I sell direct rather than
through galleries.
I don’t want to be a print artist, I am
interested in developing the market for
my originals. The problem with prints
sold via a gallery for me is that the end
product becomes too expensive. My
originals sell for between £700 and
£4000.
Do you sell from your website?I don’t have a secure shopping option
online. People email me requesting an
e-catalogue of prints and originals and I
am meticulous about sending them by
return, often from my phone if I’m out
and about. Customers pay via PayPal,
cheque or bank transfer. Because my
work is very niche, people find me
through Google searches.
Do you do your own printing?No. I use an excellent printer; I’m more
interested in quality than hunting down
the cheapest. As an independent artist,
customer service and quality are the
most important things I offer, so I don’t
want to compromise my reputation by
having a go at producing prints myself.
Printing, framing and image capture are
best left to professionals who have
invested in the best equipment and I’m
happy to pay for their experience. You
can’t achieve the best results if you
photograph your work yourself. It only
costs about £50 per image to go to a
photographer.
How do you market your work?My focus on customer service and
adding value are key, because that
ensures repeat business and word of
mouth recommendation. Customer
service means going the extra mile. For
example, when I am working on a
commission I email regular
photographs, which I then put on a CD
for the customer. I also include videos
of me at work, which I create using
Animoto software. When framing
commissions for customers, I take the
painting to my framer and photograph it
surrounded by a choice of chevrons,
then I ask the customer to choose. If
customers are buying for a specific
occasion such as an anniversary, I make
a note of the date and send a card.
Of course, one of the benefits of
being represented by a well-known
company such as DeMontfort is that
they are experts at marketing.
I write a blog and I have a
professional Facebook page. I prefer to
keep my personal and business profiles
separate. I don’t find Twitter useful, as
it’s not a visual platform, but a LinkedIn
profile helps validate your business. I’m
going to hold an open studio event for
previous clients for the first time this
year. I produce a Christmas card and
also very limited edition calendars which
I send free as a thank you.
Do you license your artwork?About 15 years ago I sold licences for
four wildlife images to a manufacturer of
cross-stitch kits and I still receive
royalties. I have been approached by
greeting card companies and I used to
sell my images, but licensing isn’t the
direction I’m most interested in
developing. I’m concerned that allowing
licensing for some products might have
a detrimental affect on sales of my
original work. I would advise any artist
thinking of signing a licensing contract to
study it very hard first; check that there
are no restrictive clauses preventing you
selling your work elsewhere. �www.tonihargreaves.co.uk
See Toni’s work on page 21, opposite
The art of adding value
Animal artist TONI HARGREAVES explains how she manages topaint every day, as well as selling online, marketing her work andprioritising customer service
FACE TO FACE
20 April 2013 ART BUSINESS TODAY
April 2013 21ART BUSINESS TODAY
PRODUCT NEWSTo advertise here, call 020 7381 6616 or email: [email protected]
Entries are £80 for Guild members, £150 for non-members (+ VAT)
01772 620682 www.tonihargreaves.co.uk
Toni Hargreaves
Devoted by Toni Hargreaves.
Mainline Mouldings
01949 861000 www.mainlinemouldings.com
Mainline’s development ofPolcore continues with the latestrealistic wood grain texture. Thisis initially available in 11 colourson a 30x16mm profile and ispriced from £1 per [email protected]
www.jamesbuttifant.com www.blutulip.com
James Buttifant / blu tulip
Seen here is one of the three new pieces by James Buttifant, published byblu tulip. The collection charms us with the amorous journey of theseenchanting animals, from meeting in a crowded ‘room’, to revealing theirfeelings for one another, and ending with the creation of new life.One in a Million is an edition of 195.
01673 860249 www.jesterdesigns.co.uk
Jester Designs
Jester Designs is a new bespoke mount design service from framing expertMal Reynolds GCF Adv.The service is dedicated to cutting patterns both ancient and modern, withinspiration taken from Arabic, Islamic and Gothic designs. The mounts are cut using a Valiani computerised mountcutter with aninterchangeable head system, and borders are created using Valiani’sMatStylus pen head attachment.
01484 668990 www.britmounts.com
Britannia MountsBritannia Mounts is launching its e-commerce site to feature sheet productssuch as mountboard, glass, back board, acrylic and foam board as well as amount design tool that lets users create a mount online, upload images andcheck prices prior to ordering via the secure server.Britannia’s brand product range includes Crescent mountboard in singlesheets, Britannia mountboard, TruVue glass, Corri-Cor and Crescent tapes inaddition to abevel cut mountservice, acrylicsheets, clear re-sealable bags,back board andother accessories.All products arenow deliveredcarriage free onorders over £50nett. TheCrescent whitecore range isillustrated.
01663 766568 www.paultavernor.co.uk
Paul TavernorShe is a leader, a pack member, ahunter and survivor. She treadsgently upon the earth and takesonly what she needs. She is awolf, first seen in the eveningshadows.
Title: Evening ShadowsEdition size: 125Mounted size: 28x20cmTrade price: £28
This is presented in a bespoke V-mount with artist biography,wrapped in a protectivecellophane sleeve, ready forimmediate resale. Unmountedprints available. Please contactSamantha [email protected]
22 April 2013 ART BUSINESS TODAY
PRODUCT NEWS
www.valiani.com
Valiani
01789 773526 07971 106628 www.clintonbanbury.com
www.selectiveprints.co.uk
Selective Prints
Clinton Banbury Illustration
Title: Bull-dozer’Format: signedlimited editiongiclée printEdition: 195Image size:14x14cm plusmountPrice: £8.50; RRP -£20
The new ValianiMat Pro® Ultracomputerisedmountcutter.
Artist: Anne FarrallDoyleTitle: Back in LamplightFormat: signed limitededition giclée printsEdition: 95Image size:297x420mm
07770 553787 www.marialuisamarino.com
Marialuisa MarinoMarialuisa Marino is aportrait artist and poet. Thework illustrated is a self-portrait. Email the artist [email protected]
Larson Juhl’s newLancaster mouldingsoffer a distinctlyAmericana touch in acomplementarypalette of light,medium and darkwire-brusheddistressed finishes.The covered bridgegrey finish is a mid-tone colourhighlighted with warm brown undertones that works well on colourfulartworks. Split rail tan provides a traditional light barnwood tone enhancedby silvery greys, while Amish black provides a slight glimpse of wood grainthrough an aged charcoal black colouring. Each finish is available in fourtransitional sized profiles, with matching mountslips.Available to order from £1.74 per metre length and via the chop service, theLancaster collection is manufactured from Swedish pine, and is accreditedby the Programme for the Endorsement of Forest Certification (PEFC).
Arqadia
01234 852777 www.arqadia.co.uk
Art that makes yousmile. Following thesuccess of Clint’sprints at Crufts, therange of dog printshas beenexpanded to over100 images.
01438 726955 www.expressive-art.co.uk
Expressive ArtExpressive Art offers affordable picture framingto the public and trade:
� Canvas stretching service� Mirros made to any size� Gold leaf gilding� Turn your photo into a canvas� Reglazing, remounting and repairs� Tapestries and cross stitch carefully stretched� Giclée printing� Computerised mountcutting� Football shirts, medalsand certificates.
All work is carried out atExpressive Art’spremises in Stevenage,Hertfordshire.
April 2013 23ART BUSINESS TODAY
PRODUCT NEWS
Alpha 1 Marketing
01279 659001 www.alpha1marketing.co.uk
To advertise here, contact Debra Doherty on 020 7381 6616 or email: [email protected]
Entries are £80 for Guild members, £150 for non-members (+ VAT)
Alex Borissov
Karen Hollis at Art in Bloom
01491 671476 www.artinbloom.co.uk
Continuing with the topic ofsustainability and recycling AlexBorissov has created a series ofXXI century mummies made ofdecommissioned electronicdevices, including a mummifiedkeyboard, loudspeakers,telephones and a whole PC. In theproduction of Alex’s mummies noanimal has suffered.
Art in Bloom publishes high quality giclée prints of the strikingly beautifulfloral art of Berkshire based artist Karen Hollis. Illustrated is Winter Berry.
Alpha 1 Marketing has a reputation for producing unusual artwork ataffordable prices. Illustrated is Moonlit Playground by Sue Howells.
00 41 79 843 7881 www.abfile.com [email protected]
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James Buttifant / blu tulipSeen here is one of thethree new pieces byJames Buttifant,published by blu tulip.The collection charmsus with the amorousjourney of theseenchanting animals,from meeting in acrowded ‘room’, torevealing their feelingsfor one another, andending with thecreation of new life.Our Hopes and Dreamsis an edition of 195.
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Getting mobile
QR codes make it quick and easyfor smartphone users to captureinformation about you, and to betaken to a specific webpage oradded to a mailing list. And theyare cheap and easy to generate.Business journalist LINDABECKLOW assesses whether QRcodes are likely to remain afixture of the mobile landscape
24 April 2013 ART BUSINESS TODAY
This extended business section, which focuses ononline marketing, is brought to you by Arqadia
April 2013 25ART BUSINESS TODAY
BUSINESS
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You don’t need to key in anydetails, remember a webaddress or navigate your wayfrom a home page to theinformation you require
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QR codes, while offering a great tool for data capture, aren’tsomething that will suit the needs of every business. Forstarters, you are relying on your customers not only owningsmartphones, but having access to the right apps, and knowinghow to use them properly. Some people, for example, may notquite be as comfortable with this particular technologicaladvancement as those who use their phones as handheldcomputers on a day-to-day basis. An accurate assessment ofthe people you are trying to sell to is important, so that you can
be sure the technology will be used accurately and have real impact.The type of business you run should also influence your choice to utilise QR codes.Remember, the whole point of this technology is to offer the user more robust andin-depth information about a particular product. For somewhere like a large artgallery, that has a high footfall of customers, QR codes on paintings can disseminate agreater breadth of informative facts and figures, such as artist profiles and pricing,without the business having to invest in extra staffing to deal with customer queries.Whereas, for small businesses that have limited stock portfolios, direct face-to-facediscussions about products between yourselves and customers will reap far morebusiness benefits, and not incur hefty design and implementation costs.
A WORD FROM OUR SPONSORSteve BurkeSales Director, Arqadia
Artist PaulCrabtree uses QRcodes on hiswebsite andthroughout hismarketingmaterial
BUSINESS
26 April 2013 ART BUSINESS TODAY
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Top: A QR code cut from mountboard and displayed onGunnar’s stand at Spring Fair International
Below: The lefthand QR code takes smartphone users straightto the booking information for the Art & Framing IndustryAwards event, while the righthand code takes them toinformation about the Guild Artists’ Exhibition
This extended business section, which focuses ononline marketing, is brought to you by Arqadia
BUSINESS
28 April 2013 ART BUSINESS TODAY
The fine art of emailMost art and framing retailers communicate with customers viaemail, so it’s vital to ensure that your messages aren’t consigned tothe recipient’s spam folder. Technology journalist RIVA RICHMONDoffers expert advice on how to ensure that your messages make it tocustomers’ inboxes
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April 2013 29ART BUSINESS TODAY
BUSINESS
‘We send a monthly e-newsletter toseveral hundred people, which isdefinitely worthwhile. People makepurchases as a direct result of thecommunication; sometimes they buyonline, or they call us to discuss theirrequirements further, or they come in tolook at the piece before committing. Wearen’t going to become millionaires on
the back of this initiative alone, but it’s a valuable part of themarketing mix.We distribute the newsletter via an email service suggested byour web designer. The big advantage of the service is thatthey offer full campaign reports, including who has openedthe email, who has marked it as spam, who has clicked onwhich links and who has unsubscribed.When we take an order we ask the customer if they would liketo receive our e-newsletter and most people are happy togive us their address.
We use the newsletter to inform people about special offers,new artwork, art fairs we will be taking part in and initiativessuch as charitable donations on certain prints.The newsletter is in the body of the email, it’s not anattachment. We keep the layout simple and limit the amountof text; if someone’s interested to find out more they click on alink to our website. It’s important to include images though.Our contact details are immediately visible and Facebook andTwitter buttons are at the top of the page. The content isclearly divided up with rules and headings and we use colourto make each weblink stand out. The design of the newslettermirrors that of our website, with the same lightly patternedblue background.About half of the recipients opened our last newsletter. We’veexperimented with just sending it to the people who openedthe previous one, and then nearly all recipients open it. 22 percent clicked on one of the links in the last newsletter. Werecently offered buyers a free frame if they bought a SueHowells print, and lots of people clicked on that link.It’s important to consider the timing of your email. Peopletend to open emails the day they arrive or not at all, and themost popular time for opening them is the beginning of theworking day. We don’t send a newsletter if we’ve nothing tosay, so there may be gaps of longer than four weeks betweencommunications. It’s better not to communicate at all than toannoy people with an ‘empty’ email.’
CASE STUDYLIZ HIBBERDINEAngles of Art
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e . T Tel +44 20 7749 8250 - [email protected] & J Simons & Sons Ltd (London)
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BUSINESS
30 April 2013 ART BUSINESS TODAY
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We’ve been collecting emailaddresses for 15 years so wehave well over 2000 now. Thekey to our system is keepingdetailed records of customers’interests
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‘We contact customers by email on aregular basis, but we try to keep thecontact more personal than a generic e-newsletter.We’ve been collecting email addresses for15 years so we have well over 2000 now.We’ve never bought a list; we just askcustomers for their details and assure themthat we will contact them a maximum of
twice a month, though most of the time they only hear from usonce a month. The key to our system is keeping very detailed records ofcustomers’ interests, past purchases and events such as housemoves. We can then search by subject, such as wildlife, or anartist’s name, and just email people who are interested inparticular artwork. We only email our entire list when we have amajor exhibition, the rest of our communications are moretargeted.If we’ve just acquired some original oil paintings, there might bejust 50 people on the database who we want to email aboutthem, whereas we’d communicate with many more people aboutprints. We refer to our notes when emailing these key clients andask about their house move, new baby, business venture orwhatever, so the email would be highly personal. We say things
like, ‘You’ve been tempted by x’s work in the past.’ Customersappreciate being more than a name on a list. We hand-write andpost 500 invitations for exhibitions and the personal approach isjust as important when emailing customers.When emailing our entire database about an exhibition, we senda more targeted email to the top 100 or so collectors of that typeof artwork. If it was a wildlife show we might send more big catimages to some collectors and a personal note to others.We don’t use an email service, we communicate direct withcustomers. That means we have to handle all the ‘unable todeliver’ emails and manage the list ourselves. People changeemail provider quite often, so their emails bounce back, and theymay forget to tell us. If an email from a good customer bouncesback then we will telephone and ask if they’ve changed emailaddress, which generally explains it.We communicate less and less with customers by telephonebecause people are so inundated with marketing calls that theytend not to answer their phones. We used to request email andphone details, but people don’t like being asked for too muchinformation, so we tend to just ask for email details now.We use AOL’s address book for emailing clients, though we’vecustomised it slightly to meet our requirements. We’ve adapted itso that we can search by artist and subject matter.We’ve only received a handful of requests to unsubscribe in 15years. People who enjoy art generally like to receive emails aboutart.We keep our emails short and to the point and always includeimages and a weblink. People don’t want to receive entire artistbiographies in an email; if they are interested they click on thelink.’
CASE STUDYFIONA HADDONHaddon Galleries
This extended business section, which focuses ononline marketing, is brought to you by Arqadia
BUSINESS
April 2013 31ART BUSINESS TODAY
#(��&�'!� ��"��&�'$#"'�� ��'�"��&'��-'��&�"��'�&*�&'���"�� (�&"�(�*���'�(#�)'���&��#�"�'����!�� �"��'�&*����')����'�#"'(�"(��#"(��(����#"(��(�� �� ���!$#&���&(��� ��'$#"'����'�"��!�&��(�"�(## '���"��##'(�-#)&�'�"��&�'�#&���"���&!'�')����'�(��'����"��� $�-#)�!�"���-#)&� �'('��"��#(��&+�'��'(�-�#"�(��'(&����(��"��"�&&#+���������!#&���"'$�&�(�#"� �!�&��(�"��(�$'�&#!���*������!#"���"�"(&�$&�"�)& ���.�"��#&��(�+++��"(&�$&�"�)&��#!
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CASE STUDYIAN MORRIS GCFChalfont Art & Framing
‘We send a monthly e-newsletter to around 3000 recipients,which is a successful initiative. We’ve been doing it for a fewyears now. Each recipient has either visited the website andrequested to join the list, or has been to the gallery. We receivevery few ‘returned to sender’ emails or requests to unsubscribebecause we don’t buy in lists; all our recipients know us. Ofcourse people change their email address, but they very often letus know in advance. It’s a legal requirement to have anunsubscribe option though.
We don’t use an email service, we just send the newsletter out from our PC. Managingthis isn’t a problem.It’s important that your e-shot is visible in the recipient’s browser; far less people wouldlook at it if they had to click on a JPG or PDF file. Once a month is about right; if youemail people too often they would get annoyed.People definitely buy from us as a result of the newsletter, sometimes several weeksafter receiving it. The newsletter prompts them to get in touch; it’s easy to just click the‘reply’ button.The design our newsletter reflects our corporate identity and colours. There’s apersonal note from me at the top, I always say that I look forward to seeing therecipient in the gallery and our contact details are clearly visible. This re-assures peoplethat the email isn’t spam and adds a personal dimension. We also clearly invite therecipient to forward the newsletter to anyone who might be interested in our art andexhibitions.E-newsletters should be informative and to-the-point, with lots of images. The formatincludes a few prominent, yet brief, ‘lead stories’ plus thumbnails down the righthandside showing other art that is currently available. If you click on any of the images youare taken to the relevant part of our website.’
It’s a legal requirement thatrecipients have the option tounsubscribe, but most art andframing retailers find that veryfew customers do so
BUSINESS
32 April 2013 ART BUSINESS TODAY
1. Use social media to engage withyour email subscribers�.�*1'&��!+�-+!&��+'�!�$�%��!��,'���,&�/�$���+��/ !� �1'-����!&!,�$1���&��'��-,�&',��&'-� ��-+!&�++�'/&�*+��*�-+!&��+'�!�$�%��!��,'��-!$��$�+,!&���&�(*'�!,��$��*�$�,!'&+ !(+�/!, �, �!*��-**�&,+-�+�*!��*+�
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15 social mediamarketing tips
Social media marketing expertCINDY KING helps you makethe most of your social mediamarketing activity
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illustration from internetmarketingtipsx.com
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11. Interact: don’t lecture��"!���%+*�/%+()�"��*�$�&�(���$*�%��*��*�#����$�����-�*��%*��()���%+*�-��*#�**�()�*%�*��#���&�(���$*�%��*���*�#��$��"�)*�$�����&�(���$*�%��*���*�#��
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BUSINESS
36 April 2013 ART BUSINESS TODAY
#����$(��������&��#"�#��#����#������$"���+"����(���#�!�"#������#����������$#���"��������#�������&����!�&"����!�&�����$"��(�$��!����#�!�"#����������##��#�%��#���#��!"������!������$�!�"�$!��"�����������#���"�� ��%��!�����"�
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There are a few golden rules to using social media as a marketing tool; usethem wisely, and platforms such as Facebook, Twitter and Google+ will be ableto strengthen your brand and grow your customer loyalty.Firstly, remember that social media is a two way street. If you are talking, youcan expect people to talk back. If you are saying something relevant andinteresting, people will start to engage with you even more. This kind of on-going conversation is a fantastic way to prove that your business is human,warm, open, and importantly, always listening. But remember, there is no pointjust dipping in and dipping out of social media, you need to be ever presentand engaging with your audience on a constant basis, or you might just findthey lose their interest and their loyalty very quickly indeed.Secondly, maintain a good structure for your posts; regular, varied, and alwayson message. Your social media campaign should be like a shop window foryour business, and it must show you in the best light. Think about how youwant your customers to perceive you and build a plan around it, so that youknow there is frequent, relevant information being sent to them in a timelyway. This need not always be standard text posts. Social media users react wellto a mix of rich content also, so remain visual and think about planning lots ofphotosets or videos to stimulate reaction. Finally, and perhaps most significantly, don’t forget that the whole point ofsocial media is to communicate. Be aware of not only what you are doing, butwhat your customers are doing also. Support them and their businesses by re-posting their collateral, and talking about joint ventures. If your followers arereacting to a news story relevant to the industry, join in the conversation andshare your knowledge or opinion, only that way can you show that you haveempathy and understanding of the issues that really matter to them.
A WORD FROM OUR SPONSORPauline HutchinsonMarketing Manager, Arqadia
BUSINESS
April 2013 37ART BUSINESS TODAY
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14. Share content that resonates withyour audience�+"�#�+'�0',)�(�**"'&*���!�)��%�**� �*�&���'&+�&+�+!�+�)�*'&�+��."+!�0',)�,�"�&���� )��+!�0� '"& �+'����$�*+)'& $0�1��� )���."+!�+!�+�2�')��1��*+)'& $0��"*� )��."+!�+!�+�2�.!�&�0',�*!�)��0',)%�**� ����!'*���)��+!��+0(�*�'�%�**� �*�0',�*!',$�����*!�)"& ����**"'&*!',$���%�&�+���)'%��-�)0�(�)+�'��0',)*'�"�$�%��"����%(�" &���)'%�+!��&�%�'��0',)������''#�(� ���+'�0',)��-�)+"*"& ��+'�+!���'&+�&+�0',�*!�)���-�)0+!"& �*!',$��)�*'&�+���&��*+)"#����!')���"&�'&��.�0�')��&'+!�)��,*,�$$0�"&��('*"+"-��.�0���."+!�0',)��,�"�&���
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BUSINESS
38 April 2013 ART BUSINESS TODAY
This extended business section, which focuses ononline marketing, is brought to you by Arqadia
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1. Define your perfect customer�����������������#� �������������"��� ���� �����������������������"������"��������������������������������#� � ������������#�����������������#���� #���#����� �������
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Right on target?More than a billion Google searches are conducted every day, whichpresents amazing opportunities for businesses, including thoseoperating at regional level. Internet marketing professionals PERRYMARSHALL and BRYAN TODD explain how you can build asuccessful Google AdWords campaign from scratch
BUSINESS
April 2013 39ART BUSINESS TODAY
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2. Identify the keywords thatpotential customers are using����%!�!!���.$���*(!#��%!!��� �� %�#�$!���"�#�$�$�%��%�*!&�%�� ��#�����%�&$%!��#$�(�!��#��� �%��%��� ��$�%�
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��$���! �%��%�$��#����!!������'�$������ %�$�+�����$%�!����*(!#�$������� !(��!�%�#!&���%�����$%����*(!#���*��*(!#���� ���!�"�#�������%!�!&#(#�%%� ��&$%!��#���$�#�"%�! ����!!$��%����*(!#�$�(��������#������%�� ���� !#��%��! �$�%��%��#� .%���!&���*�� ��&"�(�%� !��!#��%�� �! ��%!�%(!��!+� ��*(!#�$�����%.$�"�#���%�*��� ��
3. Determine the number of peoplesearching with those keywords�!#�*!&#�! ��%!�%(!��!+� ���*(!#�$�*!&��� ��!�(�%��(��%�!!���.$���*(!#�%!!����$���#���*�%!���*!&���#�*!&��� %���������! ��� ���!����&#%��#���*(!#�%!!��$��#���! ��%�� ������� �%!%��$��#!�!%��#�'�#��%�! $�%��%�*!&������'��(!&���&��*���%���*!&#�(#�%%� ��&$%!��#��$�#�"%�! ���! $���#�$��#���'!�&��(�� ���!!$� ��*!&#�%!"���*(!#��!#��*(!#�$�
4. Determine how much moneyadvertisers are making from akeyword�!&��� ��&����%��$��*��!(��&���%����*(!#���!$%$���!&.#���!!�� ���!#�%����*(!#�$�(��#��%����! �*��$����� �
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BUSINESS
40 April 2013 ART BUSINESS TODAY
This extended business section, which focuses ononline marketing, is brought to you by Arqadia
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What businesses like about AdWords:����,���&����"&�0(�&+".���'%(�*���,'',!�*�,1(�+�'����.�*,"+"& ����'-���&��'&,*'$�!'/�%-�!�1'-+(�&��"��1'-�$��*&�!'/�,'�+�,�,!���-� �,�&����%(�" &��'&,*'$+�����,�+�.�*1�%��+-*��$���&��1'-���&�" -*��'-,������*�,-*&�'&�"&.�+,%�&,��
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“AdWords is a highly competitive system. We used it for artmaterials, but as more and more people started selling theseonline, the price we had to pay per click increased dramatically. Inthe end, we were hardly making anything on sales that came tous through AdWords, so we stopped using it, even though it didgenerate business for us.We tried AdWords for mirrors but this field is so competitive thatwe were paying about 50p per click, and when people are buyingbig-ticket items such as mirrors they tend to click on about tensites before buying, so the cost outweighed the benefits. AdWords would work brilliantly for really niche items where therewas no competition to drive up the price per click.”Ed Taylor GCF, Framecraft Bath
“We haven’t used AdWords because we feel it’s open to abuse.You pay for all these clicks, but they are unverifiable. A friend whois a caricaturist invested quite heavily in AdWords; he paid forloads of clicks but none converted into business.”Anne Braithwaite, The Braithwaite Gallery
“We tried AdWords but eventually decided that we would bebetter off investing in SEO (search engine optimisation). However,a problem with SEO is that your name will no longer appear atthe top of a Google search, as paid ads go there now, rather than
just down the righthand side. It used to say ‘sponsored ad’ veryclearly above the paid-for entries, but this is much more discreetnow, though I still think SEO is a more cost-effective way offinding new business. AdWords can get very expensive.”Marisa Hammond, Framed
“AdWords is expensive but we still use it. We spend a lot of timerefining the search terms that we pay for and analysing ourresults; AdWords would be a waste of time if you didn’t. We don’tlimit the amount we pay each month, so our bills can be hefty,but business is tough and you can’t shy away from investing inmarketing.”Clive Woolhouse, City Art & Framing
“We are happy with the amount of business that is generated byour presence on AdWords, and it also helps develop our profile.We appear right at the top of the page if you Google ‘framingEdinburgh’ and other key search terms. AdWords is definitely agood way to promote your business.”Jackie Connolly, Poppy Factory Framing
“I spent about £200 on AdWords and got lots of clicks, but nonew customers. My web designer set it up for me. I think we mayhave made the geographical area too small; another time, I’d payfor my details to appear in front of people searching a wider area.I wouldn’t dismiss the idea of using AdWords again, but I’d domuch more thorough research and choose my key words verycarefully.”Cath Friend GCF, Emerald Frames
WHAT THE TRADE THINKS
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42 April 2013 ART BUSINESS TODAY
JASON HOREJS, owner of Xanadu Gallery in Arizona, USA, says thatdeveloping a strong style and laser-like focus is one of the mostimportant things that artists can do for their careers
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The Xanadu Gallery,below, and an interiorshot
A consistent approach
There was simply too muchwork in the portfolio; I felt as ifI was taking a survey of theentire history of art. The workencompassed every style, fromthe Renaissance to pop art
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My concern is that I will makean investment, begin to build afollowing for an artist’s work,only for the artist to make asudden and drastic change ofstyle and direction
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44 April 2013 ART BUSINESS TODAY
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Clockwise from top left:Conversation with Myself by LorriAcott; Colours of October by JohnHorejs; An Evening Out byGuilloume; Mutual Thinking byGuilloume; Art Guitars by DaveNewman; Taking the Scenic Routeby Dave Newman; Cross Cut byJeanie Thorn; Mandala by JeanieThorn; Salt River Vistas by JohnHorejs; Deja Vu by Lorri Acott
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��#�*��$%*��(��(*�)*�)�,�(�"�/��()���%-�%�����#�������%##�*#�$*�*%�%$)�)*�$�/��������������*%��%�+)�%$%$��)+� ��*��%(���/��(���$)*����%����%#�$���%(���-�*��*���)+� ��*��)��(�&%(*���*��*�*���#%(��*�#��)���)&�$*-�*���*��*���#%(��)�������$�*%�)���*��**��(���)��$��$�*��,�(��*/��$�*���$+�$��)�%��$/�)+� ��*�
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ART
April 2013 45ART BUSINESS TODAY
modern and contemporary art from the UK, Europe and Asia
Royal College of Art Kensington Gore, London SW7 2EU
9 – 12 May 2013Thurs: 11am-9pm Fri: 11am-8pm Sat: 11am-7pm Sun: 11am-6pm
Tel: 020 8742 1611 Email: [email protected]
ART
46 April 2013 ART BUSINESS TODAY
S��������������������������#�������������������!�������������������������������"��!����������������������!��������������������������������
�����������������������#���������������������������������������������������������������������������������������� ���!��������!���������������� ��������#����������#���������������#�
�#�!������ �������������������������#����!�����������������#��� ���������������������������������#������������������!�������������#���"
Photo finishDiversification, personalisationand strict quality control are thekeys to success for portraitphotographer CARLMIDDLEDITCH. Customers maywalk into the shop to have theirpassport photographs printedand are unable to resist an offeron pet portraits, or decide tohave some sporting memorabiliaframed, he explains
Carl with his Epson Stylus Pro7890, which has helped him
cut costs, drive forward qualitycontrol and offer enhanced
customer service
ART
April 2013 47ART BUSINESS TODAY
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The business��20"�����+,+���������/(���
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�%"���&+ %��-0,+��15)20��/,�����&03"/5�$,,!�3�)2"��1��/,2+!�7������+!����*�$&+$�4"/"�,##"/&+$��+��--"�)&+$-� (�$"�4%& %�&+ )2!"!���0"1�,#�&+(0�*"!&�������-/,#&)"0��&+01�))�1&,+��+!
�
Our passport and ID photoprinter develops footfall;people come in for ID photosand are amazed at the rangewe offer, so leave havingbought something else as well
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One of Carl’s studioportraits. The bulk of hiswork is photographingfamiles and children
ART
48 April 2013 ART BUSINESS TODAY
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-!��&(,-������-"/���(+&�(����/�+-","' ��(+�'2��.,"'�,,���.-�)�+-"�.%�+%2��(+�('�0!(,���.,-(&�+,��+����,���%(��%%2��,(2(.4/�� (-�-(�&�$��,.+��-!�-�2(.+�.,-(&�+,�-�%%�-!�"+��+"�'�,���(.-�2(.��'��)�()%��0"%%�$��)��(&"' ����$�"�-!�2��+��!�))2�0"-!�-!��)+(�.�-,��'�,�+/"��,�2(.�(���+���000�,-.�"(�.,!�"+���(�.$
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Independent businesses such asours must offer a good choiceof quality products andservices. Our reputation hingeson personal service, reliabilityand expert knowledge
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We only offer one type ofpaper, which helps streamlineproduction and means that ourpresentation is consistent. Weonly need to set up our printerwith one ICC profile too
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Clockwise fromtop left:
a studio portrait;Carl printing
portraitphotographs for acustomer; Carl at
work as a weddingphotographer
ART
April 2013 49ART BUSINESS TODAY
BUSINESS TIPSFOR ARTISTS
JAMES BUTTIFANTWWW.JAMESBUTTIFANT.COM
.��%&� �&!��$&�"$!��%%�! ��%�%'����%������$+�!) �$%�� �"'���%��$%���%�&��+���(���*"�$&�� %���&�� &!�&$� �%�� ��&����$&��$��&������������$+�!) �$�%�+%��0�&1%� ������'&� !&�)��&�)���$��!!�� ���!$��&�&����!�� &�1��&1%�)!$&���%�� ��&����&��+���� � ��&$+� ��&!�$������&)�� �&����� �%��$�� �%�� �������+�)���
��)�+%�%�+�+!'$�)!$���%�$��&��%!�+!'� ����&!��"&'$��&���!"� �! %�!�&���"'�����&!!���1�� !&%'���%&� ��&��&�+!'%)�&����$!��)���������$&&!� '��%����%!��! �%'���%&%��&���'&����&��%�����!��� &��!��%'"����� �� ������ �&�� &��$����+����%!��&�� �� ��&��� �*"��&��"��&'$�%��� �%&$�������!$��)�&��"�!"����%!���!"� ��� ����� ����%'$��&!���%&� �&!�'%&!��$%1����������/
GILLIAN MCDONALDWWW.GILLIAN-MCDONALD.CO.UK
.���!$���!� ��� &!�"$� &��$�%��$���+!'$���!����!��"$� &�$��$��'��+���!!$�#'���&+�"$� &%�)�����������+!'$�$�"'&�&�! �)����������#'���&+�����-��"$� &%��� ������ &�%&�����1�� !&� &�$�%&���� ��'&&� ���!$ �$%�� ��"$� &� ���+�!) �)!$����%�&���� ���$&��$����'����� �������%'$��&��&�&���"$� &�$�+!'�$���! %���$� ���%�%�������� ��� ���$&�)!$�����!$���!���&&� ��� ���� ��!'&�)�!���%��&��+�"$!�'���)!$���!$���%���"$!��%%�! ���"�!&!�$�"��$�&!!���%� !�! ���� ���������$��&�������$!��������!�$������&��������/
KAREN HOLLISWWW.ARTINBLOOM.CO.UK
.����(���*����&����&��"$� ����$�� &�$ �&�! ����!$�&�$���+��$%������� �)�&����%�����%&� ��� �&����$&�%&%1��'�$&�$��&�� �&!!�! ���!'����&���%�,��&����!��!)� ��+��$�� ��� ��(� ������$! ��&��%�+��$���!'���(��&!���$��&�+!'$%����� ��&��%�+��$1%%�!)��� �$�&���!(�$������*����� &�����%��!$��������������$+!'$�%&� ��� ��&�����&&�$�&����!��&�! ��&����!$��"�!"���)��� !&����+!'$�)!$��� ��(��)�+!'��%���"$!��%%�! �������+���+ ����&!�%���+!'�%�(�$���+��$%�$' � �����!$��&��+������! ���� &�&!�"������ �!$��$�/
TONI HARGREAVESWWW.TONIHARGREAVES.CO.UK
.����&��!�'�%��$�� ����!$������)�+!��"$!�'�� �%!��&�� ��&��&�!!�%�"$!��%%�! ��)�&�!'&�&���*"� %��!��"$� &�� ��&��+��� �����&�$���������&��+��������%'$��&��$��%���"�!&!�!����� ��&��%���$���%!��)��$��&��&%���%�� �$��%�������'%&!��$��� �0%��1�&��+��$������� ��)�&����0$���1�"�$%! ���&�� ��&��$���$��$'��%���!'&���(� ��'"�&!���&���! &��&���&���%! �)��%�&�%����+!'��$��%���� ���$!��&������'&����! 1&�)� &��+"�$%! �����&���%�! �&���)���%!���� ��'���&����� ��+��&��!�'��� %&������&��%��$��&���'%� ����&��"��&���(���������$!��""����!$� ���'%�$%��&�� ����! (�$&��&�� &!���"���)������� ���$�����+������!�"'&�$%�/
FRAMING
50 April 2013
Labour: what is itcosting you?
Framiac’s MARK WILSON arguesthat framers will make moreprofit by focusing less on thecost of materials and more onunderstanding the real costs ofrunning a framing business. Here,he explains how to establish arealistic and consistent hourlyrate
W�������������������������������������������� ������������������ ���������������!���#�����������������
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������������$���������"������ ��������������� �������$������$����� �������������������������������$�� �����$���������������� $��������������� �������!������������������������!�������������������$������������ ������������������������$����������
��� ���� ����������������� � ��������!�����"�!�����������$������������������� � ���������!��� �������������������������������������� �������� ������ ��� ��!�� � ���������������!����������������������� �����������������!����������������� ����������� ������������������!����������������������� �������� � ����� ������ �����������!��$��� ���� � ����� $��������� ����������������� ���� ������������������������$� $����� �����������������$� � �� ��������$� %������������������ �$��
������������������"�����#������������������� � ��������"��������� �$����� ����������������������������
How do I work out what my labourcharge should be?
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ART BUSINESS TODAY
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How do I work out my running costs? ����� ������������ ��� ��� �����
���� ������������ ����������������������� ��� ������ ������� $���������� ������������� ����������"���������$���&���������������������������!�������$���&��������� ������������� ��� �� ������� ��������������������#���������������������������$��������$� ���������" �������$� �"��������������������$� �
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Personal drawings�������%�#��������� ����#�����
�����&����������"�������������������"�����������������������#��������#� ������������������$����������������������������"�������� ������#���� ��� �� ��������#������� ������������ ��������"���������������!���������$����������������� �������"���������������������"��������������������"��������������$� ���� ������� �����"����!��������������"�����$� ������������ ���"���������������������������������������
How do I factor the labour charge intothe price of the frame?
������ ����������� � ������������������������������������&����������$������� ���������� ��$��������������������"����� ������������������������������$���������������� ��������������������������������������� ���������� ��$�������$� �����������"�$� ����� ���� ���������������"���������"����$��� ���$� �������� ����� ���$�����������"�����$� �����������"���"����$��� ���$� �� ��������� ���$����������� ���� ����������������$����
How many hours do I spendmanufacturing frames?
��&�����$���������������������������"����"�������� ����������������������������$������������� ������������ ��$������ �������������� ������$&��������� ����&����������� �������������� ����������� ������ ��$���������������$$� �� ���������������������������� �������$�����������������������������������������
��� ���������������"�������� ������� ������������ ���� ���������������������� �������$� ��������� ���������"����"���������$� ����� �������"����$��� ��&"����������"���������"�������&��"����������������� ����������������������
Making frames is labourintensive, but all the otheraspects of running a businesssuck up valuable time, soframers have limited time inwhich to recover their costs
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April 2013 51
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Drawings / wages £1,500 12 £18,000
Rent & council tax £1,100 12 £13,200
Electricity £250 4 £1,000
Tel & communications £80 12 £960
Insurance £950 1 £950
Depreciation £290 1 £290
Bank / merchant fees £70 12 £840
Accountant fees £570 1 £570
Interest on loans £110 12 £1,320
Marketing / advertising £100 12 £1,200
Motor vehicle £40 12 £480
Office supplies £15 12 £180
Licences / subscriptions £30 12 £360
Repairs / maintenance £20 12 £240
Waste / refuse £20 12 £240
Total annual fixed costs: £39,830
Expense item Cost £ Times Total costperyear
Your hourly rate is your fixed running costs divided by yourframing hours
Annualrunningcosts
Annualframinghours
Hourlyrate=_..
FRAMING
52 April 2013 ART BUSINESS TODAY
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� ���)�*�&'*�. +���/+)��*+����. ##���-�$&)��$�%,���+,) %���&,)*���&.�-�)��-�%���'�)*&%��%������') $�) #0��*���)�$�)�.&%�+�*'�%���##�&��+�� )�+ $�$�%,���+,) %���)�$�*���-�%����)�$�).�&� *��$'#&0���&%#0�+&��)�$����%�� *%&+�+�*"���. +���%*.�) %��+��+�#�'�&%���+�" %����# -�) �*�&)�*.��' %�,'��$�0�&%#0�*'�%�����'�)���%+�&��+�� )+ $����+,�##0��)�$ %���
����&%*�)-�+ -��.��%�.&)" %��&,++���%,$��)�&���&,)*���+,�##0�*'�%+$�%,���+,) %���)�$�*���*�&-�)��*+ $�+ %��. ##����)��*��0&,)')&� +�� # +0���&,�*�&,#���#*&���$ %��,#�&��.��+�0&,)�'&+�%+ �#��)�$ %��&,)*��)��� ��0&,���-��+����� # +0�+&�)�$���&)����&,)*�'�)�.��"��,+���&&*�+&��)�$���&)�&%#0�+�%��0&,)��&,)#0�)�+�� *�& %��+&� %�)��*���&%* ��)��#0��%��+��)� *���) *"�0&,�$�0�') ���0&,)*�#��&,+�&�+���$�)"�+���,* %�**�*�%����+&���-�+,)%&-�)�+&�����&$'�+ + -��
�%���+� *� %�&)$�+ &%���*����%��+��)��� +� *�'&** �#��+&���#�,#�+��0&,)�&,)#0�)�+����&,�%����+&�+�"��0&,)�+&+�#%,$��)�&��.��"#0��)�$ %���&,)*��%�$,#+ '#0�+� *�� �,)���0�+���%,$��)�&�.��"*�+��+�0&,)��,* %�**� *�&'�%�����0��)���� *�. ##�� -��0&,�0&,)�+&+�#�)�$ %���&,)*�'�)�0��)���+2*�+��%��* $'#����*��&��� - � %��+���+&+�#��%%,�#),%% %���&*+*��0�+���%,$��)�&���)�$ %��&,)*������0��)�+&���#�,#�+���%��&,)#0)�+��+��+�. ##��&-�)�0&,)�),%% %���&*+*�
How do I factor my hourly rate intothe price of the frame?
���%&.�"%&.�.��+��&,)#0�)�+��+&���)�����%��+� *�)�+����%�%&.���')&'&)+ &%�##0����+&)��� %+&�+���+ $�� ++�"�*�+&�$�%,���+,)��-�) &,*��)�$�*��
�%�+����)�'��*�&.%���)������)�$�)�*+ $�+�*�+��+���'�)+ �,#�)��)�$ %��!&�. ##�+�"�����$ %,+�*�+&��&$'#�+������.�� - ���+����&,)#0�)�+��&��1� �� ��0���
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TOTAL FRAMING HOURS PER YEAR
My business spendsthis many hours aweek framing
My business isopen this manyweeks per year
16 50 800=X
MY HOURLY RATE FOR LABOUR IS £49.79
My total annualframing hours
My hourlyrate
My total annualfixed costs
£39,830 800 £49.79=_..
Material and labour cost for a 500x400mm frame
£35
£30
£25
£20
£15
£10
£5
Frame
£7.29
£12.62
£1.59
£5.74
£1.32
£4.80
£2.35
£5.56
£1.00
£2.40
£0.82
£3.73
£14.37
£34.85
Hingingartwork
BackingMountboard
Glass Taping /hangers
TOTAL:
materials
labour
FRAMING
April 2013 53ART BUSINESS TODAY
New from LION Mouldings
Aalborg
24
44
3025
18
30
New from LION Mouldings
AalAaal
LION Mouldings
borglborg
LION Mouldings
Aalborg teams three contemporary wood finishes with a soft silver line on the outer edge which wraps round to the side for a cool, modern aesthetic. P
. portrait photography y.
vailable in oak, walnut and wenge in two AAvailable in oak, walnut and wenge in two profiles, in lengths and on chop service. Made in Spain. .lionpic.co.uk/aalborg.www
Aalborg teams three contemporary wood finishes with a soft silver line on the outer edge which wraps round to the side for
erfect for a cool, modern aesthetic. P
vailable in oak, walnut and wenge in two profiles, in lengths and on chop service. Made in
.lionpic.co.uk/aalborg.
profiles, in lengths and on chop service. Made in
Spain. .lionpic.co.uk/aalborg.www
.lionpic.co.uk/aalborg.
302530
2430
24
Birmingham 0121 773 [email protected]
LION South 020 8848 [email protected]
18
.lionpic.co.ukwww
0121 773 [email protected]
020 8848 [email protected]
44
.lionpic.co.uk
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Bespoke framing businessesrarely have the volume ofturnover to afford to losemoney in any area of framing,so the correct time must becalculated into every job
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FRAMING
54 April 2013 ART BUSINESS TODAY
The trouble withMorsø is . . .... their machines are just too well made, according to freelance Morsøengineer Mike Bond GCF, who has re-written and edited the Morsøinstruction manual for manufacturer Dan-List
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An electrician at theMorsø factory inDenmark installs theelectrical componentsin a Morsø EH
FRAMING
April 2013 55ART BUSINESS TODAY
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Because they don’t actuallystop working, many of us don’ttake the time to check that ourMorsøs are ‘happy’ and not inneed of maintenance orroutine servicing
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If the blaes are not ground as apair, then one blade could belonger than the other, causingone of them to touch themoulding before its partner,resulting in problems
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There is a lot of talk about ‘hills’on blades, which refers to aslight buckling in the blade.This problem can be caused bywood resin on the blade, whichrequires WD40 and Mr Sheen
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The first Morsøfactory on theisland of Mors,top, and thecompany’spresent HQ
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Mike Bond GCF owns Manchester Picture &Sports Framing in Oldham, Manchester,which specialises in framing pictures andsports memorabilia and excels in medal andwar medal framing,www.manchesterpictureandsportsframing.co.ukPlease contact him [email protected]
Left: Morsømachines beingassembled in theDanish factoryBelow: the firstMorsø mitringmachine, left, andthe fullyautomated MorsøEHXL productionmachine (belowright)
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AgonySend your framing problems to: [email protected]
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BRANCH NEWS
62 April 2013 ART BUSINESS TODAY
COTSWOLDS
REGIONAL ORGANISER
Cath Friend GCF, Emerald Frames07507 77401718 April, 27 June, 10 Sept, 12 Nov
EAST MIDLANDS
BRANCH MASTER
Andy Rossiter GCF, Artisand Framing and Art01778 39466417 July, 9 October
NEW ZEALAND
REGIONAL ORGANISER
Keith Stewart GCF CPF; +64 6 358 9014; TBA
LONDON, INC MIDDX & SURREY
BRANCH MASTER
Paul Webb GCF, Artwork Creations020 8390 020515 May, 17 July, 18 Sept, 27 Nov
NORTH WEST
BRANCH MASTER
Anne Corless01253 78073413 April, 12 June, 11 Sept, 11 Dec
NORTH EAST
REGIONAL ORGANISER
Position currently vacant25 June, 15 Oct
NORTHERN IRELAND
BRANCH MASTER
John McDermott, Still Photography02893 368682
WEST MIDLANDS
REGIONAL ORGANISER
Louise Hill, Permajet01789 7392001 May, 8 Oct
WESSEX
REGIONAL ORGANISERS (EASTERN)
Johanna Cruickshank, Framing Star,01962 850430 and Suzanne Parker GCF,Appleshaw Frames, 01264 77225122 May, 2 Oct, 20 Nov
Membership AssistantNii Tackie looks at two of thisspring’s most productive branchevents
Sharing ideas works for Guild members
What’s on in 2013? Details of upcoming branch events, reports on past events and detailsof officers and regions can be seen in full at www.fineart.co.uk
A wide range of art andframing professionalsattended the Cotswoldsevent, where the focuswas on networking andlearning from each other
April 2013 63ART BUSINESS TODAY
NEWSLETTERSLETTERS
A cautionary tale
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Preventing credit card fraud
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Letters and emails Write to: The Editor, Art Business Today,16-18 Empress Place, London SW6 1TT, [email protected]
The framed Subuteo pitch,left, and the Corex boardafter it has reacted with thesilicone sealant
B2B
64 April 2013 ART BUSINESS TODAY
BUSINESSES FOR SALE
Northamptonshire. Successful. framingand gallery/gift shop in large village nearNorthampton. Ideal lifestyle business.Excellent reputation. Loyal customer base.Lots of potential. Low rent and no rates.Owners retiring. Tel: 07702 313880
AGENTS & JOBS
Experienced picture framer. BusyCrowborough gallery. One/two days perweek. Flexible hours. Would suit retiredperson or parent returning to work. Toapply, call 01892 610770
PRINTS AND ORIGINALS
Fine art photography of London availablein limited editions from Mr Smith WorldPhotography. We supply homes and officesinternationally. Call now to discuss bespokecollections. [email protected] sale – a range of GCF mounted andframed stock, original oils and limitededition prints, including Mary Ann Rogers,Allan Morgan, Thuline de Cock, EricBottomley. Available due to closure ofbusiness. Email for details:[email protected]
SERVICES
Affordable giclée printing for galleries,framers and artists. Easy upload, tradediscounts and great prices. Specialists inaffordable canvas prints. Visit point101.comfor more information and full price lists orcall +44 (0)20 7241 1113Digital artwork suppliers. High volumephotographic restoration and enhancementservices. Range of photo-to-art productsavailable includes Caricatures, Pop Art, andFantasy templates. Free to register. 0208 1442472 or [email protected] pricing software available for bothMacs and PC's and in imperial or metricmeasurements. Powerful yet simple to useand easily adapted to suit all businesses. Anindispensable tool for the modern framingbusiness. Visit www.royallframing.co.uk orcall Mike Royall GCF on +44 (0)1454 617022
Giclée printing for artists, photographersand framers. Top quality prints on fine artpapers and canvas print specialists all attrade rates. Visit www.lucyart.co.uk or call+44 (0)1924 360226National Acrylic Painters’ Association(1985) promotes through exhibitions theexcellence and innovation of acrylic paint.Contact NAPA for membership details:0151 639 2980, www.napauk.org,[email protected] C O Lovesey Fine Art & DesktopPublishing. Personalised stationery, businesscards, all in full colour. Products for artists:greeting cards, keyrings, notelets. Gicléeprinting. Mountcutting service. +44 (0)1507600836 www.loveseyfineart.comThe Association of Animal Artists invitesartists to join for exhibition opportunities,workshops, field trips, AAA Art RendezvousDays and the opportunity to work from lifewith the AAA En Plein Air Group. Please visitwww.associationofanimalartists.com
MATERIALS & EQUIPMENT
Brevetti Prisma CE electric double mitresaw for sale. Used, in good working order.Includes 3 spare sets of blades and Blundelldust extractor. £2,250. Also, MORSO wanted.07971 218749 (Northamptonshire)Mounts4You. Online web based mountcutting service. www.mounts4you.co.ukHardwood wedges for stretched canvases.Over 50% of 19th and 20th centurystretched canavases have broken or missingwedges. We manufacture eight differentsize/thickness combinations of replacementhardwood wedges, £5.50 per set of ten plus£3.50 p & p per order. Try the StudioSelection:10 each, 4 useful sizes, £23.50 postpaid and save £2. Tel 01603 743374 withcredit/debit card details. Leveton Studio,Orman House, 17a Grove Avenue, NewCostessey, Norwich, NR5 0JD
REPLYING TO A BOX AD? Email yourcontact details to [email protected] or fax 020 7381 2596. We will forwardyour details to the advertiser
Play and display art vinyl album flip frames.White and black. Single item £12+VAT, tripleset £25+VAT, limited stock. Carriages cost.Contact [email protected] or 01204 397707Stretcher bars and canvases made tomeasure in the UK. Fast turnaround.Softwood and hardwood bars. Any size from200mm to 3000mm. Print stretching service.Made by the UK’s leading manufacturer.For a catalogue call us now on +44 (0)1212480030. www.harrismoorecanvases.co.ukWanted - gessoing machine. Anythingconsidered. Please phone 01722 336179
TRAINING
Applegarth Framing, Derbyshire.Individual framing training, beginners toadvanced, courses tailored to suit students’requirements. Contact Mary Evans GCF Advon 01283 703403 [email protected] of Framing Training School.www.fringearts.co.uk or call Lyn Hall GCFAdv to request prospectus. Flexible trainingto suit your needs. Accommodationavailable. Based outside Guildford/Farnham. Call (01483) 810555 Atkin Framers Ltd – Individual/joint tuitionon all aspects of picture framing offered tonew and experienced framers. Fine Art TradeGuild and ILA Scotland accredited. Call Richard 07821 918 476www.atkinframers.co.ukDown School of Picture Framing. ALLcourses accredited by the Fine Art TradeGuild. Call Steven McKee GCF Adv 028 92693807 / 07834 787487downschoolofpictureframing.co.uk
Daler Rowneyinspiring creativity since 1783
For all mountboard requirements,please contact:Tom HopperKey Account Manager - [email protected]
Harlequin Frames. Framing tuition tailoredto individual needs. Courses fully accreditedby the Fine Art Trade Guild. Contact MalReynolds GCF Adv. on 01673 860 249 [email protected] Art & Framing is a Fine Art TradeGuild accredited trainer. Basics to advanced,worldwide training on your premises. Over500 students to date. Roy Rowlands GCF01527 876293, [email protected] a Frame - Individual framing training by aqualified GCF (Hertfordshire/Essex borders).Courses fully accredited by the Fine ArtTrade Guild. Call Richard Williams GCF on01279 260069, www.inaframe.co.ukNorthern Framing School, Sheffield. Run bytrainer and author Pete Bingham GCF. Allaspects of framing, including GCF refreshercourses and 4-day beginner course. 0114245 1547 or [email protected] Framing (Bristol). Individual or jointtuition is offered by Mike Royall who's beena GCF since 1994 and is the only framingtrainer in the UK who’s also a qualified adulteducation teacher. All courses are fullyaccredited by the Fine Art Trade Guild.For more information visitwww.royallframing.co.uk or call Mike on+44 (0)1454 617022Sophie Brown Conservation Framing.Registered GCF tester in Australia. Individualtuition from basic to advanced framing. Theemphasis is on conservation.www.conservationframing.com.au+61 2 9518 0624Sports Framing offer training from basicsup to GCF standard. I day engineeringcourses on the Morsø. Oldham, Lancs.www.sportsframing.co.uk
UK School of Framing. A range of coursesavailable at a pace to suit each level to allowstudents to enjoy and absorb what is taught.Courses take place at venues all over the UKand are accredited by the Fine Art TradeGuild. www.ukschoolofframing.com,01494 459545Wessex Pictures Framing School (est 1987)offers training to novices and experiencedframers. It is recognised by the Fine Art TradeGuild. The 5-day course in Leatherhead is£395 + VAT. Phone Garry White GCF, 0845 456 9970
April 2013 65ART BUSINESS TODAY
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Harlequin Frames, Lincolnshire. Individually
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Guild Commended FramerStudy Guide
Published by the Fine Art Trade Guild
Researched, edited and compiled byAnnabelle Ruston and Fiona Ryan GCF
The GCF Study Guide The indispensable part of
every framer’s trainingCall Moira on 020 7381 6616 to order
GILDING COURSESA practical introduction to water andoil gilding in an intensive 3-daycourse with an optional 4th daycovering antique frame restoration.Courses held in London, Oxford,Salisbury, Newark, Hastings andScotland.
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ConservationFraming
Annabelle Ruston
A Fine Art Trade Guildpublication
Supported byConservation by Design
Conservation Framing by Annabelle Ruston ispublished by the Fine Art Trade Guild with thesupport of Conservation by Design. 128pp;paperback; colour photographs; £12.99 (£11 tomembers), plus £2 p+p.Contact Moira Sanders on 020 7381 6616 [email protected] to order
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LAST WORD
66 April 2013 ART BUSINESS TODAY
The power of framing
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Frame of Mind is a multi-award winning community interest companythat enables adults with learning difficulties, mental health issues anddementia to develop confidence and a sense of purpose throughlearning how to frame. Co-founder THERESA BATES GCF explains howpicture framing can change vulnerable people’s lives for the better
Theresa Bates GCFwith a Frame ofMind trainee
We are unveiling our Oldham Showroom for the
warmest welcome in the North...
We are easy to get to... 500 yards from the M60 ring road
Only 6 miles from the city centre
Plenty of free customer parking
We carry over 1,300 mouldings
We stock the widest range of mountboards in the north
From tapes, wedges, cords and tabs to backing boards & glass cleaner we have it all - ready to take away!
we also deliver the largest range of float and speciality glass and plastics in the UK
0161 681 2959 www.wessexpictures.com
Open Monday to Friday from 8am to 5pmUnits 5 & 6 Under Lane, Oldham, OL9 [email protected]
NEW 300 PAGE
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681 2959 www
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