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BUSINESS TODAY ART 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 UK trade magazine for the art and framing industry

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Page 1: Art Business Today April 2013

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

Page 2: Art Business Today April 2013

Order online using the new www.britmounts.com web site...

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Page 3: Art Business Today April 2013
Page 4: Art Business Today April 2013

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:

Page 5: Art Business Today April 2013

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

Page 6: Art Business Today April 2013

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

[email protected]

Managing editorAnnabelle Ruston

[email protected]

Advertising managerKasia Szkolnicka

[email protected]

SubscriptionsMoira Sanders

[email protected]

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

Follow us on Twitter

twitter.com/abtmag

Like us on Facebook

facebook.com/artbusinesstoday

1719

21

Page 7: Art Business Today April 2013

washingtongreen.co.uk0121 633 0645

Page 8: Art Business Today April 2013

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

Page 9: Art Business Today April 2013

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]

Page 10: Art Business Today April 2013

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

Page 11: Art Business Today April 2013

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

Page 12: Art Business Today April 2013

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

Page 13: Art Business Today April 2013
Page 14: Art Business Today April 2013

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

Page 15: Art Business Today April 2013

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

Page 16: Art Business Today April 2013

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

Page 17: Art Business Today April 2013

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,

[email protected]

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

Page 18: Art Business Today April 2013

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

Page 19: Art Business Today April 2013

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

Page 20: Art Business Today April 2013

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

Page 21: Art Business Today April 2013

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]

Page 22: Art Business Today April 2013

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.

Page 23: Art Business Today April 2013

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]

ArqadiaAndover is a collection ofclassically minimalistprofiles available in sixsubtle colours.Offered in muted shadesof black/orange,white/natural, silver/black,champagne/black,gold/black andbronze/black, the elegantshaping of the Andoverrange allows the artworkto remain the focus.This FSC certified pineprofile comes in 42mm,69mm and 110mmwidths, with pricesstarting from £3.47 permetre. Andover is alsoavailable through thechop service.

01234 852777 www.arqadia.co.uk

0121 773 1230 www.lionpic.co.uk

LION Picture Framing Supplies

LION Trade Catalogue No 49 and LION Fine Print Edition 15 are nowavailable.

www.jamesbuttifant.com www.blutulip.com

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.

Page 24: Art Business Today April 2013

BUSINESS

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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

Page 25: Art Business Today April 2013

April 2013 25ART BUSINESS TODAY

BUSINESS

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Who uses QR codes?��)����$!' ��&����$&�� ���$��� ������

�&��"$� �����$�� &�$ �&�! ���%�!)���&��&#'�&������)��!�"� ��%�! �&���%'""�+%����!��&���� �'%&$+���(����!"&��� ��!��%���$&�%&%�� ��!&��$��*����&!$%� ��'���� ���!��%�! �&���$�%�� �����!$(�%�&!$%�&!�%�� �� �!$��$�&!��� ��!'&�!$���

���$��)�%��� ���!���! �&���%&� ��!������ ���!�"� +��'�������)�����&!!�(�%�&!$%�%&$����&�&!�&�����$����!$��&"$� &� ��%��&�! �!��&���)��%�&����� ���'��������%�����$���� &�$ �&�! ����!�"� +)�&����)����$� ���!��"$!�'�&%�� ��'�� �����$�%�� ��"�!&!�!!�%��&��� ���!��� %'$���&��&�(�%�&!$%���� .&���(��&!%"� ��&���� �(���&� ��&�$!'���!&��$"�$&%�!��&���%�&�������%�����!���)�%'%���! ��'������.%���(�$&�%��� &%�� �!&��$�"$��%�!)�"$!�!&�! �����&�$����

�$&�%&�� &! �!��'%%!���%"��+��� ��!��%�! ���%�%&� ���)�����&!!��(�%�&!$%&!�&����""$!"$��&��"����! ���%�)��%�&��-�.��%'$��&��&� ���!��%�)�����$!)�� ��"!$&� ���.��!��� &%�&����$&�%&��-�.(� !&�����&��&�!���$�"�!"���&� �� !&�&!%�� �&������'&�+!' ��"�!"���%����&!������$��� ��&���&��� !�!�+�����+

You don’t need to key in anydetails, remember a webaddress or navigate your wayfrom a home page to theinformation you require

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

Page 26: Art Business Today April 2013

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

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Page 27: Art Business Today April 2013
Page 28: Art Business Today April 2013

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

E%�!$�!*�+ ��*!&�$��%'*+������+!-�%�)#�+!&��+''$��')�%�&0�,*!&�**�*���&����!&���$'�#���*��&��%�!$�*(�%%�)���&���+ �!)��!���*+� ����� ����+2*

��++!&��%')���!��!�,$+�+'���+�!&+'�!&�'/�*��*�+ ����++$����+.��&�*(�%%�)*��&�!&+�)&�+�*�)-!���()'-!��)*�)���*�'&����)$0�'&��!&��',)��'%%�)�!�$��%�!$*�'&2+�%�#��!+�+'�+ ��!&��'/���!+ �)���!&�* ,&+���+'�*(�%��'$��)*�')��$'�#���$+'��+ �)���!/�%'&+ *���'��+ �+��!�,)�.�*�'&��!&��!-��

�%�$$��'%(�&!�*�'�+�&�),&���',$�'�*(�%��!$+�)*���-�&�!��+ �0� �-��'(+�!&�%�!$�$!*+*�'��*,(('*��$0�.!$$!&�)��!(!�&+*����&0�. '��)��&�.�+'��%�!$%�)#�+!&��*+�)+�'���'&�+ ��.)'&���''++ �0��*()�0��&��()�0���&�� '(��+ �+*'%�'&��.!$$��$!�#��&���,0���,+��)�� !+.!+ ��&�)0��'%($�!&+*��&���!&��+ �!)�%�!$*��$'�#����*�*(�%���)'&!��$$0�

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1. Polish your reputation�(�%��!$+�)*�,*���+'�$''#��$'*�$0��+�%�!$��'&+�&+��&��(,&!* �*(�%%0%�**���*������!��)������������,+�/(�)+*�*�0�*�&��)�)�(,+�+!'&�!*���)�%')�!%(')+�&+�&'.�

�&�+ ��*�%��.�0��������)��!+�*�')���&��)��1��0',�',+�'��+ ��$�&�!&�%�)#�+��������*�&��)�*�')���')�0',)�'%�!&�&�%��')�������)�**�*���&�#��(0',)��%�!$*�',+�'��!&�'/�*���)'-!��)**,� ��*��'+%�!$�� %�!$��&���� ''���!$,*����&,%��)�'��+''$*�+'���+�)%!&�

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�&���0',�*+�)+���!&��)�$���+���+'�+ �*(�%��'$��)��!+���&�����!��!�,$+�+'���+�',+��',)��!)*+�+�*#�!*�+'��!&��',+�",*+� '.$!#���')��!*$!#���0',��)����+,)&(�+ ��'%�'���)*����)���'&$!&�*�)-!����*�&��)*�')��')���. �)��0',���&($,��!&�0',)�������)�**��*���0',)�*�')��&���!&��',+�+ ��,&��)$0!&����,*�*�'�������'&��*'�0',�#&'.�. �+�+'��!/�

2. Use clean lists���*�(,&!* �*�&��)*�.!+ �* '��0��%�!$$!*+*��-'!���,0!&��$!*+*��*�+ �0�+0(!��$$0!&�$,���*(�%�+)�(*��. !� ��)����#�

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Page 29: Art Business Today April 2013

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)

el +353 56 777 0949 - [email protected]. T Tel +353 56 777 0949 - [email protected] Moulding (Kilkenny) ‘There to Help & Support’ - [email protected]

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el +353 56 777 0949 - [email protected] ‘There to Help & Support’ - [email protected]

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Page 30: Art Business Today April 2013

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4. Hire help���%� +��&$�*�+&�*�%� %���&$$�)� �#�$� #��+��)�2*�*+)�%�+�� %�%,$��)*��&%* *+�%+�-&#,$�*�&����������$� #*��$&%+��&)�$&)���%��#�����*�+&�)��&�% *�#�� + $�+��*�%��)*�����0&,��&%2+�*�%��+��+$,����$� #���&%* ��)�+��$ %��,'�. +�

BUSINESS

30 April 2013 ART BUSINESS TODAY

We’ve been collecting emailaddresses for 15 years so wehave well over 2000 now. Thekey to our system is keepingdetailed records of customers’interests

‘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

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Page 31: Art Business Today April 2013

BUSINESS

April 2013 31ART BUSINESS TODAY

#(��&�'!� ��"��&�'$#"'�� ��'�"��&'��-'��&�"��'�&*�&'���"�� (�&"�(�*���'�(#�)'���&��#�"�'����!�� �"��'�&*����')����'�#"'(�"(��#"(��(����#"(��(�� �� ���!$#&���&(��� ��'$#"'����'�"��!�&��(�"�(## '���"��##'(�-#)&�'�"��&�'�#&���"���&!'�')����'�(��'����"��� $�-#)�!�"���-#)&� �'('��"��#(��&+�'��'(�-�#"�(��'(&����(��"��"�&&#+���������!#&���"'$�&�(�#"� �!�&��(�"��(�$'�&#!���*������!#"���"�"(&�$&�"�)& ���.�"��#&��(�+++��"(&�$&�"�)&��#!

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�*#���"��(������ � (�&����+�(#$�(�$'�(#&�!��"�"��#"�(��'����'����#��(���"�#,�/�" -�)'����(�� �'('+������#!���&#!��(&)'(���'#)&���/����$��!�� �&� �*�"(�(#�(���&���$��"(�'#����-#)1&��'� �"���&(���#"1(�!�"(�#"�&&� �*�"(�(#$��'�')����'���'(��##��/��'���##���$&#$�&�"� �'����"��� +�-'!�"��-#)&��&�!!�&���(�-�� ��&�#��)'�"�(�,(�'$����#&����&�*��(�#"'��/��(�-�� ��&�#��0'$�!!-1�+#&�'��#& �"�)����(��(���"����!�'�#"'(&)����"��"�"�$$&#$&��(��+�-�

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

Page 32: Art Business Today April 2013

BUSINESS

32 April 2013 ART BUSINESS TODAY

1. Use social media to engage withyour email subscribers�.�*1'&��!+�-+!&��+'�!�$�%��!��,'���,&�/�$���+��/ !� �1'-����!&!,�$1���&��'��-,�&',��&'-� ��-+!&�++�'/&�*+��*�-+!&��+'�!�$�%��!��,'��-!$��$�+,!&���&�(*'�!,��$��*�$�,!'&+ !(+�/!, �, �!*��-**�&,+-�+�*!��*+�

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2. Combine your marketing channels'%�!&���$$�, ����+,�'���!�!,�$�%�*#�,!&��'*�/ �,�����$$�1'-*�3(�*(�,-�$�(*'�%',!'&�%�� !&��4����1'-�-+������'*��&!��+'�!�$�%��!���+��*� ���.�*,!+!&��+'�!�$���.�*,!+!&���&�� ''�$�*�%�*#�,!&����+��, �&�1'-4*���'!&��, ���+,�'���.�*1, !&��

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3. Create a LinkedIn company page�!&#���&��'%(�&1�(���+��*��&',�'&$1���*��,�/�1�,'���,�%'*���*�&�!&���'*�1'-*�-+!&�++���-,�, �1��*���$+'��&��0��$$�&,/�1�,'�*��� �1'-*�,�*��,�%�*#�,����&1�-+!&�++�'/&�*+�$!#��,'�#��(���%'*�(*!.�,��(*'�!$��'&��!&#���&���-,�/'-$��$+'�$!#���0('+-*���'*�, �!*��'%(�&1�

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4. Become the Wikipedia of yourindustry�.�*�, ��$�+,��'-($��'��1��*+�/�4.���$$�*'/&�!&�*��!�$1�!%(�,!�&,�'&$!&������/��'�,'���/��+!,���&��/����&4,��!&��/ �,/�4*��$''#!&���'*�/��%'.��'&�)-!�#$1��'/�.�*��/�4.���$+'��*'/&�%'*��$'1�$'&���/��+,-%�$��-('&�, ��!&�'*%�,!'&"��#(',����+!��$$1��!��/�����$���/��+!,��!+��,*-��3�'�,'�+'-*��4��'*�!&�'*%�,!'&��&��&+/�*+��/�4$$�#��(��'%!&�����#�����!&�&�����!&��&�����!&�

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15 social mediamarketing tips

Social media marketing expertCINDY KING helps you makethe most of your social mediamarketing activity

This extended business section, which focuses ononline marketing, is brought to you by Arqadia

illustration from internetmarketingtipsx.com

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Page 34: Art Business Today April 2013

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34 April 2013 ART BUSINESS TODAY

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11. Interact: don’t lecture��"!���%+*�/%+()�"��*�$�&�(���$*�%��*��*�#����$�����-�*��%*��()���%+*�-��*#�**�()�*%�*��#���&�(���$*�%��*���*�#��$��"�)*�$�����&�(���$*�%��*���*�#��

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36 April 2013 ART BUSINESS TODAY

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13. Create your voice��������"�#�����!���#�������#���"#����"���*%����+�������#���"��"�!%�"��"����������%�������#���������#��"�������%�!"�#���"���"���������������������"�����������$"�!"������#��(�$!�&��"�#��

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�!�%������$�� $�����#��#�����"�(�$����!����#�����#��#����������#����#��#���#��#�������"��!������"��������������������#���'��"��(�$!��!�������&��"�#��#����!����#��#�����$"#���!"�

This extended business section, which focuses ononline marketing, is brought to you by Arqadia

illustration from libeltyseo.com

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

Page 37: Art Business Today April 2013

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April 2013 37ART BUSINESS TODAY

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�!��#�0*�+'�*,���**�,$��$' "& ��)��)��+"& ��'&+�&+�+!�+�'+!�)*�.�&+�+'*!�)���&���)��+"& ����'&+�&+�*+)�+� 0��')0',)��$' �+!�+�"*��$" &���."+!�0',)%�)#�+"& � '�$*���+�)+�."+!�') �&"*"& �'&+�&+�"&+'�1�,�#�+*2�'����+� ')"�*�+!�+�)���$" &���."+!�0',)�()�*�&+�*�$�*�')�,+,)��%�)#�+"& �($�&*�����0',���&') �&"*��+!�*����+� ')"�*�"&+'��',)1�,�#�+*2�'���'&+�&+���$' �'&�����.��#�')����!���+� ')0��&��0',2)��'&�0',).�0�+'����'%"& �*,���**�,$��+��,*"&�**�$' "& �

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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15. Distribute your blog content tothe most popular groups on LinkedIn�+�"*���*0�+'� �"&�-�$,��$���"*+)"�,+"'&�'�0',)��'&+�&+�+'�*'%��'��+!�������������%�%��)*�'���"&#���&���)�2*�!'.�+'� �+��/('*,)��+'�*'%��'�+!��$�) �*+��&��%'*+�('(,$�)� )',(*�"&��+!���"&#���&�1*!�)�2��,++'&�'&�)+"�$�*�')�('*+*�+!)', !',+�+!��.�����,+�&��(�*+��0',)��'&+�&+�,&��)�1('*+�+',(��+�*2��&��+!�&��!��#�+!��1('*+�+' )',(*2��'/��*�$��+�+!�� )',(*�0',�.�&+0',)�('*+�*,�%"++���+'���'&����+2*�*,(�)���*0��&������$�)�+�*�%�**"-���/('*,)���

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Page 38: Art Business Today April 2013

BUSINESS

38 April 2013 ART BUSINESS TODAY

This extended business section, which focuses ononline marketing, is brought to you by Arqadia

W������#"�����"����#� ������������#� ������������"����������� ������������������������������� ��"����#� �

������������������$��� ������������� ������ $���� ������ �����"�����������������"����#"����������"���� �����#� �����������#����� ��������������"���#� �������������������������� ���������

�������������#����������������������������������"���� ���������������������� ������������������������������������ �����!�������������������������#� �"����������"�������������#������������

�������������#� ������������������ ���$����!����������������������#���������#$���������#����������������������"����#� $!��������� �� �����������"���� ��������#"��������#� ������������ �"����#� ���������������#� ������������"���������

�����"��������� ��������#� �������������� ��"����#� $���������������������#��������� ���������������#�"��"�������� #��������������"������#� �������� ��������

����������� ���������������������#� ������������ �������#� ���"������������������������

1. Define your perfect customer�����������������#� �������������"��� ���� �����������������������"������"��������������������������������#� � ������������#�����������������#���� #���#����� �������

��������������������"���������#���"������������ � �������#��������� ���#� ����������������!����#� ���������������������� � �#����$�����"� � ��#� �� �����#�������"�� � ��#� ����� �������������#���!����������������� ����������!��������������������������������������� ��������#���#���!�������#������ �������������� � ����"

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

Page 39: Art Business Today April 2013

BUSINESS

April 2013 39ART BUSINESS TODAY

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�!&#���$�#�"%�! ���*��!!�������! �!��%��$��, *���$%�"#!$"��%��$�$!��! ��(�!��#���*������'�$�� � ! �"��#����&%����� �� �%&#���#������$��!#����#�� �$�� ��$�$��#��� ���!#�%�����$%�! ��%!��&*�, *���$%�"#!$"��%��$�$!��! ��(�!���$��#���*������&"���$�!#���#��� ��%!��&*"!%%�#*�'���%���(���, *���$%�"#!$"��%���#���*�� !($�%��%"�*�"�#��������� ����� %�$�#'���$��)�$%� ���$�"#!��%�'��*�$��#��� ��%!���#��! ��

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2. Identify the keywords thatpotential customers are using����%!�!!���.$���*(!#��%!!��� �� %�#�$!���"�#�$�$�%��%�*!&�%�� ��#�����%�&$%!��#$�(�!��#��� �%��%��� ��$�%�

��%.$�%����%������#�� ���)��"�����$%�#%�#������(!&������- �%&#������#�� �#������$.������&$��%��%�(!&���$����%!$"����*�"�!"���(�!��#���!!�� ���!#��- �%&#���$!�&%�! .��$!��%�� ���!#-���#�� �$.��$�!""!$���%!��!#���� �#���$$&�$��� ��-#������$.��$�!""!$���%!���%$�!#���%��!#�� �!#��%�! �

��$���! �%��%�$��#����!!������'�$������ %�$�+�����$%�!����*(!#�$������� !(��!�%�#!&���%�����$%����*(!#���*��*(!#���� ���!�"�#�������%!�!&#(#�%%� ��&$%!��#���$�#�"%�! ����!!$��%����*(!#�$�(��������#������%�� ���� !#��%��! �$�%��%��#� .%���!&���*�� ��&"�(�%� !��!#��%�� �! ��%!�%(!��!+� ��*(!#�$�����%.$�"�#���%�*��� ��

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'-���&�" -*��'-,������*�,-*&�'&�"&.�+,%�&,��

/!"�!�1'-���&4,��'*���$',�'��',!�*�,1(�+'����.�*,"+"& ���� ��'*�+�"+�(�*,"�-$�*$1�-+��-$�"��1'-&����"%%��"�,��*�+-$,+�,!�,��'-$�&�,�����!"�.���/",!������+��*�!��& "&�'(,"%"+�,"'&����,�,�#�+���$'& �,"%��,'� �,,'�(� ��'&��'&�%'+,�+��*�!�,�*%+���-,1'-���&� �,�,'�(� ��'&��'&��'' $�"%%��"�,�$1��1�(�1"& ��'*�+��*�!���+���&1�(�'($��+�"��,!�1�3�-1�/!"$�/�","& �,'�%'.��-(�"&�+��*�!�+4������'' $��!�+�,!��%'+,�3*���!4�+"&���",�"+,!��%'+,�('(-$�*�+��*�!��& "&���&��!�+

“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

Page 41: Art Business Today April 2013

BUSINESS

April 2013 41ART BUSINESS TODAY

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Page 42: Art Business Today April 2013

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

ART

A�$���!����(��!"�������&�"���!��������(�����!#�"#�&��&�"�"������������!(!��!�"��#�#����� �������������#��#��������!(��$!���

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��������#�����!#���������������!������(��������#�!�$���&�#��#����!#�"#���������'���#��#�(��������!��&�""����(�#����$���&�!�����#�����!#��������������#��"�����&�!��#��������"$!%�(���#�����#�!����"#�!(�����!#������&�!���#�!���(��������""����%�!(�"#(����!����%������#������!��#���������"#!��#�#�������#��#��#��������""���������!�""����"��������(�����!����%����#"�"$����"�'�!�""����"�����������"�����������!#�

)��$*!��&�!���"� $�#����%�!"��*��"���������!#�"#�#����#��"��"���!���������������#�#�����������#�������)*%���&�("����#�*�"���"�����)���#��#*"����!#��#���#�#����#��("�����������������#��������!#��$��!�"#(����!�#�����������#��������(�&�!���!�"��*

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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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Page 43: Art Business Today April 2013

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April 2013 43ART BUSINESS TODAY

ART

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

Page 44: Art Business Today April 2013

ART

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

Page 45: Art Business Today April 2013

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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]

Page 46: Art Business Today April 2013

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

Page 47: Art Business Today April 2013

ART

April 2013 47ART BUSINESS TODAY

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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

One of Carl’s studioportraits. The bulk of hiswork is photographingfamiles and children

Page 48: Art Business Today April 2013

ART

48 April 2013 ART BUSINESS TODAY

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Independent businesses such asours must offer a good choiceof quality products andservices. Our reputation hingeson personal service, reliabilityand expert knowledge

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

Clockwise fromtop left:

a studio portrait;Carl printing

portraitphotographs for acustomer; Carl at

work as a weddingphotographer

Page 49: Art Business Today April 2013

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&�)� &��+"�$%! �����&���%�! �&���)���%!���� ��'���&����� ��+��&��!�'��� %&������&��%��$��&���'%� ����&��"��&���(���������$!��""����!$� ���'%�$%��&�� ����! (�$&��&�� &!���"���)������� ���$�����+������!�"'&�$%�/

Page 50: Art Business Today April 2013

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�������������������������������������������� ������������������ ���������������!���#�����������������

��������������%������� �������������������������������� ��������#��

������������$���������"������ ��������������� �������$������$����� �������������������������������$�� �����$���������������� $��������������� �������!������������������������!�������������������$������������ ������������������������$����������

��� ���� ����������������� � ��������!�����"�!�����������$������������������� � ���������!��� �������������������������������������� �������� ������ ��� ��!�� � ���������������!����������������������� �����������������!����������������� ����������� ������������������!����������������������� �������� � ����� ������ �����������!��$��� ���� � ����� $��������� ����������������� ���� ������������������������$� $����� �����������������$� � �� ��������$� %������������������ �$��

������������������"�����#������������������� � ��������"��������� �$����� ����������������������������

How do I work out what my labourcharge should be?

�� ���� � ���������� ������� ������

ART BUSINESS TODAY

Page 51: Art Business Today April 2013

FRAMING

ART BUSINESS TODAY

�������������� ���������� ��������#�� �������������������� ����"���������������������� � ���������� ������ ���������!�������������������������������$�����������������!���������������������"����������������������������� ����"������������������ ����������������������&���#������$������������������ ��������������� ���$� ���� � ��������"��������������������

How do I work out my running costs? ����� ������������ ��� ��� �����

���� ������������ ����������������������� ��� ������ ������� $���������� ������������� ����������"���������$���&���������������������������!�������$���&��������� ������������� ��� �� ������� ��������������������#���������������������������$��������$� ���������" �������$� �"��������������������$� �

������� ���������������������������������

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

April 2013 51

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=_..

Page 52: Art Business Today April 2013

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���

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

Page 53: Art Business Today April 2013

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

Page 54: Art Business Today April 2013

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

T�� �!#$+���%#���&���!%� ���$������� ���! �!��%���"��%&#��#��� ���&$� �$$�����#���� ��� !��!&�%�%��%�%��$��(! ��#�&������ �$��#��(���������%��*

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$�*!&�"�$$�%�#!&���%����#! %��!!#!��%������%!#*�*!&�(����$���! ��!��%����#$%��!#$+������ �$��'�#��&��%��� �������%��$�� �"�#���%�(!#�� ��!#��#�� ���$�&���%���$�����$�%�������� �$�&$����*%!��*,$�"��%&#���#���#$��$�'��%�����$� ��!��%����������#��#�� �"#�$$�����%����!�*%��%�$&##!& �$�%����!'� ��"�#%$���$!���%

%���%�����%�(�$��� &���%&#����$���%*�(�$ !%���"#�!#�%*��$!�%��#���#�� !��&�#�$�����%�����#$"�)�������� ���� ��#��&�#�$(������#���#$���'���!#�$�!&�����'���! %���#������ �$�%!��*������!����!#$+��*��!!������%%��������� �!���%#������� ��#�$�(� ������� ����&%�� ����%�� !%�&�����$���� ����!'�#�%���*��#$�

� ������!$%�!��%���%!!�$�(��&$���!#"��%&#���#��� ���(������(�%��#�$"��%���(�*$�$����%!������� ����"#!'���!##��� ����%��$���%%������&%*�(�$���$�� ��"�#���%�*��%��!#��!#���$$�%�����#$%�%%��"%��$!�%��%�����*��#$���%�#�%��"#� ��"�����$�� �#���� $�%���$������!! ����$��!���&"�(�%������%%�#����$��#�!#�!#���!$%������%�'��(�*�!����%#� �

An electrician at theMorsø factory inDenmark installs theelectrical componentsin a Morsø EH

Page 55: Art Business Today April 2013

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

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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56 April 2013 ART BUSINESS TODAY

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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

The first Morsøfactory on theisland of Mors,top, and thecompany’spresent HQ

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58 April 2013 ART BUSINESS TODAY

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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)

Page 59: Art Business Today April 2013

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Pete Bingham’s

AgonySend your framing problems to: [email protected]

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�##��"���(������) ���'�+� ��'�(��&#�&�"����&����)�'('���'�)''���(���&*�&�#)'�'$���� �(��'��"��+�-'�#���� $�"������#(��&���"�&�(��!#&���)'�"�''��/��+�&��$ ��'���(#�+� �#!���&(�'('���&�!�&'�"���� �&-�#+"�&'�0��#"(�")�'���(��/���(� ������#)(��#+�+��&)"�#)&�)'�"�''�'��"����'�#*�&���(��(�+��� ��#(��"�'�*�&-������&�"( -�����(##���#!�����'�(��(�+���!$ �!�"(����"��+�&��&�(��) ��#&�(���$&��(��� ��"���)'�"�''(�$'�(��(�+�&��'��&����!#"��(����&#)$����(�"�� ���!�"����$�#$ ���"�(���'�!��"�)'(&-��'��"*� )�� ��0

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

Page 63: Art Business Today April 2013

April 2013 63ART BUSINESS TODAY

NEWSLETTERSLETTERS

A cautionary tale

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Conservation: not for amateurs?

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9-.8�8&2*�8:'/*(9�.3�;&7.4:8�5:'1.(&9.4384;*7�9-*�>*&78����-&;*�(42*�94�1440+47<&7)�*&,*71>�94�<-4�<.11�'*�9-*�43*94�1*&5�43�94�-.8�;*7>�-.,-�-478*�&3)�9*11:8�&11�-4<�)**5�-.8�:3)*789&3).3,�4+�9-*'1&(0�&79�4+�7*8947&9.43�.8��&3)�-4<�<*1*88*7�2479&18�2:89�&;4.)�&3>�)&''1.3,.3�9-.8�-*7*8>�43�5&.3�4+�'*.3,�(&89�.3949-*�4:9*7�)&703*88��47��<478*�89.11�'*(42.3,�9-*�9&7,*9�4+�9<.89*)�1*,&1&99*39.43���4-3��&1(412A8�<&73.3,8�&7*�4+

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Preventing credit card fraud

I3��*(*2'*7�&�1&)>�(439&(9*)�2*�'>*2&.1�&80.3,�94�':>�&�57.39�+47�8*;*7&19-4:8&3)�54:3)8���*7��2*=�(&7)�

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<-4�54.39*)�4:9�9-&9�4;*7�&�2439-�-&)5&88*)�+742�9-*�+.789�97&38&(9.43�&3)'&30�89&9*2*398�&7*�2439-1>��84�&3>+7&:)�8-4:1)�-&;*�'**3�5.(0*)�:5���9*1*5-43*)�2>�(&7)�574(*8847�&3)'&30��'49-��&9�$*89��94�97>�94�&8(*79&.3.+�9-*7*�<&8�&3>9-.3,�7*,.89*7*)�&,&.389*.9-*7�(&7)����<&8�&8943.8-*)�94�).8(4;*79-&9�9-*�'&308�(&3A9�9*11�>4:�9-&9�):*�94)&9&�5749*(9.43�7*,:1&9.438��%4:�9-.309-*�+7&:)89*78�)43A9�034<�9-&9���47�&7*9-*>�&114<*)�94�9*11�>4:�<-*9-*7�9<45&79.(:1&7�(&7)8�&7*�7*,.89*7*)�94�9-*8&2*�5*7843���9�.8�6:.9*�5488.'1*�9-*�1&)>.8�,*3:.3*��':9�-4<�)4���+.3)�4:9���+&3>9-.3,�,4*8�<743,�9-*�'&30�<.11�)*3>7*85438.'.1.9>�&3)�9&0*�2>�243*>�&3)��<.11�-&;*�1489�9-*�,44)8��4-3��7&3)1*7�7&3)1*7��&11*7.*8

Fine art printing is a skill

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9-*8*�57.39*78�(&3�)*1.;*7�,44)�7*8:198�&3�*=97*2*1>�,44)�8(&3��7*94:(-.3,80.118�&3)�*=(*11*39�(414:7�034<1*),*&7*�7*6:.7*)�.3�47)*7�94�(7*&9*�&�-.,-6:&1.9>�+.3*�&79�57.39���-&;*�'**3�.3�9-*�.3):897>�+47�4;*7

��>*&78�&3)���034<�431>�944�<*11�-4<(-&11*3,.3,�8(&33.3,�&3)�(414:7(477*(9.3,�-.,-�7*841:9.43�.2&,*8�(&3'*���9�.8�.25479&39�9-&9�>4:7�7*&)*78:3)*789&3)�9-.8�54.39�&3)�9-&9�&79.(1*8)4�349�2&0*�57.39.3,�&55*&7�&8�*&8>�&89:73.3,�43�9-*�<&8-.3,�2&(-.3*��*77>��&33.3,�.3*��79�!41:9.438��.2.9*)

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

Page 64: Art Business Today April 2013

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]

Page 65: Art Business Today April 2013

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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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

Page 66: Art Business Today April 2013

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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

Page 67: Art Business Today April 2013

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Page 68: Art Business Today April 2013