Framers are always looking for ways to increase profits. They’ll try just about any advertising idea, even having their logo emblazoned on placemats at the local diner, cash-register tapes and bowling score sheets. They’ll squeeze suppliers for discounts; I’m guilty of this one. They’ll walk around their shops switching off lights to save a few pennies. However, one of the easiest ways to increase profits is by analyzing the markups on the materials that go into a custom-framing order and begin placing more emphasis on those that offer the best profit margins. This business concept certainly isn’t new; in fact, businesses in every industry focus their sales efforts on their most profitable items. Supermarkets place their moneymakers at eye level on store shelves; Chevy and Ford advertise their pickup trucks more frequently than they do their cars. Why shouldn’t framers do the same?

Many framers put most of their effort into selling low-margin products while ignoring more profitable items. Consider the major components that go into a typical custom-framing order and explore how to dramatically increase profits by shifting emphasis to selling products that are better for the bottom line. You can achieve these goals and give your framing more visual bang for the buck.

MATS

I consider mats—not frames—to be the foundation of custom framing and the center of the custom-framing universe. Consumers can buy some fairly nice frames in a number of places, including art supply stores, online sources and even some general retail stores, such as Target. These frames are not as nice as the ones consumers can purchase from custom framers, but they are certainly adequate for many buyers. Custom matting, on the other hand, tends to be the exclusive domain of the custom framer. Mats add beauty, create visual depth and enable the framer to control color and space. Most important, mats are among the keys to your profit picture, producing both direct and, more importantly, indirect income. When it comes to direct profit, mats are the kings of markup, when you calculate on a percentage basis. I discovered that a $5 sheet of matboard can produce more than $100 in retail sales. I proved this fact by doing an experiment under controlled conditions, and, admittedly, it required cutting concentric openings in the mat. Although this approach is great for making a mobile to hang in a child’s bedroom, it doesn’t represent the typical yield. However, even if you get only $50 worth of sales at from a $5 mat board, you’d probably be pretty happy.
When it comes to mats, however, the indirect profit has the greatest effect on both your sale and your profit, and that effect can be huge. Simply including a mat in a custom-framing order may increase your sale by as much as 35 to 45 percent. When you place a mat around a piece of artwork, you’re no longer framing the piece; you’re framing the mat. So, in addition to the price of the mat, the order now requires a larger frame, a larger mounting board and a larger piece of glass, all of which add to the total sale. For proof, try this experiment. Using a 24-by-36-inch print, a frame of your choice and your default glass type, price out the order without a mat. Then, add a single mat and once again price out the order. You should find a substantial increase in your sale. That mat can also produce additional profit by leading the way for add-ons, such as additional mats and upgrades to conservation-quality mats and fabric mats. But why stop there? Mats also open the door to fillets, decorative cuts and other embellishments. One of the best things about selling mats is that, while you’re increasing your profit margin, you’re also improving customer satisfaction. Mats provide great visual bang for the buck, and they put the “custom” in custom framing. And because the benefits of mats are readily apparent, they’re an easy sell, as long as you begin the design process with mats. For obvious reasons, it’s almost impossible to sell a mat after you’ve quoted a price without one.

FRAMES

Mouldings will typically have varying markups, with lower-priced units typically receiving a higher percentage markup than more expensive mouldings. Because the frame is the most expensive component in most framing orders, frames account for both the largest cost of materials and the largest portion of each sale—but not always the most profit. To illustrate this concept, compare two design options for a piece of artwork. The first design includes a nice high-end frame but has no mats—only a frame and your default glass choice—and prices out at $400. The second design includes a frame that’s neither as nice nor as expensive as the first. However, this option includes a double mat and the same type of glass you chose for the first design. This order also prices out at $400. On the surface, both designs may appear to produce similar profit margins, but not all $400 sales are equal. The order with mats and a lower-priced frame probably generates a significantly greater profit.

GLASS

Glass is the last major component that goes into most framing orders. I believe that many framers err when it comes to choosing their default glass. I recommend that your go-to choice for glass should be the lowest-price option you can offer: standard, reflective picture glass—the cheap stuff. I know that many framers do not use this glass as their default choice. It’s in your and your customers’ best interest to offer premium glass products as options, not the default, however, because a large portion of the public sees custom framing as expensive, and many see it as too expensive. By forcing the customer to buy a premium glass product, you’re adding to that perception. Furthermore, most of your customers have set a limit to the amount of money they’ll spend to frame an item. A vendor who offers a variety of choices almost always offers better but more expensive materials as options rather than forcing them upon the customers. This approach lets the seller keep
the base price more affordable and leaves an upgrade path in place. It makes sense for framers to take this approach, too. Another thing to consider is that standard picture glass provides an attractive markup percentage that is second only to mats. Standard glass produces a healthy profit for you and is a budget-friendly option for the customer. Premium glass products, on the other hand, are more expensive, typically produce significantly lower margins and take a bigger slice from your customer’s budget. You should continue to sell these products when appropriate, but you should offer them as options.

One final point is that framing components fall into one of two categories: those that enhance your designs by providing visual benefits and those that provide protection. Upgrades to archival products and all glass products typically provide protection. Buying them is somewhat like buying insurance. Not everyone wants to buy insurance, but it should be available for those who do. Customers should be the ones who make the choice. Analyze some of your recent sales to see whether you might be able to increase profits—and improve customer satisfaction—by changing sales emphasis. A few simple changes could provide a big improvement in your profit picture.

Paul Cascio is the lead instructor for The American Picture Framing Academy.
Cascio also provides business and sales training and consulting.

The post Mind Your Margins – More Profit for Happier Customers appeared first on Art Business News.

By Michael Pacitti

Inspired by the unruly aspects of the natural world, the Art Nouveau style affected art, illustration, design and architecture from 1890 to 1910. Despite its relatively short span as a popular trend, Art Nouveau made many appearances throughout the decades, including a secondary highlight during the 1970s psychedelic movement. Remember the Grateful Dead’s album covers? Pure Art Nouveau! Even today, the Art Nouveau style still permeates the framing industry.

The phrase “Art Nouveau” translates to “new art” or “modern art.” Originating in France and Germany, the style was characterized by sinuous, undulating lines that sensualized the design world. It featured flowing organic motifs and ornaments with graceful, flowing edges, like a curling whiplash. Artists and artisans often based the asymmetrical patterns on plant shapes such as flowers, vines, leaves and seaweed. Small insects and birds were also key motifs in the Art Nouveau movement.

Art Nouveau contrasted with the later style of Art Deco, which emerged in the early 1920s soon after the popularity of Art Nouveau waned. While Art Deco is still, rigid, defined and motionless, Art Nouveau portrays life, motion and continuity.

Art Nouveau revolutionized the way people looked at the objects that made up their world. As a period in design, Art Nouveau could be considered more of a movement rather than a style, transforming the Victorian era with new, modern imagery. The movement coincided with the Industrial Revolution and brought new approaches to interior design, architecture, furniture, fabrics, glass, tableware, jewelry, frames, posters, wallpaper, textiles and lighting. The style embraced new materials including molded bubble glass, animal horns, ivory tusks and semiprecious stones. It was also very prominent in the styling and production of stained glass that originated in England and incorporated many Art Nouveau styles, shapes and patterns.

Art Nouveau affected the design of the most everyday objects including utensils, hardware and furniture. The movement resisted classical restrictions. Rather than limit art to a canvas or traditional sculpture, Art Nouveau expanded the artistic premise by turning everyday objects into art. The artists incorporated the distinctive Art Nouveau curves and flowing lines to a painting; added a dimensional dragonfly to door decor; or graced doorway moulding with flowers, vines and leaves.

As with any new style introduction, critics and exhibit attendees either loved the style or loathed it. But boosted by its appearance at the 1900 World’s Fair in Paris, the movement flourished across the globe. In the United States, Art Nouveau emerged naturally from the craft tradition and trades of the early 19th century. Soon, North American designers contributed their own ideas to the Art Nouveau style, particularly in ceramics, glassware, architecture and frames. In the United States, a new style of glass art surfaced as Louis Comfort Tiffany took interest in Art Nouveau. Tiffany’s lamp designs are still renowned today.

Furniture designers also embraced the forward-thinking Art Nouveau movement, using the new organic, flowing motifs in defined furniture rather than regimented architectural patterns. Like fine artists, Art Nouveau furniture designers drew inspiration from the natural world and shared the same belief in quality goods and fine craftsmanship. They embraced mass production and combined the ornate Rococo style with botanical influences. Charles Macintosh of Scotland had a particularly profound impact on furniture design and style, and is considered one of the fathers of Art Nouveau furniture.

In the print world, Art Nouveau became one of the first major artistic movements. The concept of mass-produced images and graphics played a significant role in the industry, incorporating color-printing techniques that were relatively new at the time. Art Nouveau designers painted, drew and printed work for popular forms such as advertisements, posters, labels and magazines. The poster craze of the 1890s spread throughout Europe and America.

In early 1895, Paris artist Alphonse Mucha debuted his work with a lithographed poster for the play Gismonda featuring Sarah Bernhardt. The look and design of this poster not only popularized the Nouveau style, but identified and spread the concept of the design throughout Paris. Although originally called Mucha Style, it soon became a major part of Art Nouveau. Mucha went on to produce thousands of advertisements, illustrations, paintings and designs.

Many other artists of the time interpreted Art Nouveau as part of their own styles, including painter Gustav Klimt, glass designer René Lalique and architect Antoni Gaudí.

Today, contemporary illustrator Echo Chernik captures the essence of Art Nouveau in her modern work. Her concept of “total art” can be found framed in many styles of Art Nouveau period frames and on display throughout the Bellagio Resort in Las Vegas. Her paintings illustrate the sensuous lines and subtle light of Art Nouveau and feature feminine figures with long, flowing hair. Chernik’s success shows that Art Nouveau’s symbolism and motifs are still appreciated by the art world today.

Michael Pacitti is publisher of DECOR magazine and Show Director for DECOR Expo Showcase. He has worked in the interior design, art, photography and custom framing design industry for more than 25 years.

The Art Nouveau frame style is ideal for images or posters representing Paris plays and advertising from the late 1800s. Unlike the symmetrical style of Art Deco mouldings and frames, Art Nouveau frames incorporate linear movement of tendril-like motifs and weaving patterns that capture the eye. Most frames of this style depict flowing leaves and flowers with sinuous lines. Art Nouveau frames should have movement within the surface of the moulding.

The post Period Design Series: All About Art Nouveau appeared first on Art Business News.

When we think about the framing industry, we think of mouldings, mats, glass and all the equipment it takes to bring those elements together to create a beautiful frame. Whether it is a piece of artwork, a memento, an award or myriad other things that we want to display, the frame design completes the look. Step into a frame shop or gallery, and you’ll find an amazing number of choices. How does the consumer know where to begin?

As design professionals, our job is to help. Fotiou Frames and its new Jane Seymour Moulding Collection bring a beautiful branded line that both designers and consumers can trust.

“Jane Seymour is an Emmy- and Golden Globe-award-winning actress, artist, designer, author and philanthropist, who has proved her talents in virtually all media,” says Barry Diamond, Fotiou’s chief marketing officer. “Her love of art, color and design was the driving force behind this signature collection and the unique finishes created for each series.”

In an interview with DECOR, Diamond provides more details about the vision behind the new collection. He explains how the vision for the branded line began and how the relationship with Seymour evolved into the creation of a whole collection.

DECOR: Tell us about Fotiou Frames: your history, your position in the framing industry and your goals.

Barry Diamond: Fotiou Frames was established in 1972 and currently has three locations: Woodbridge, Ontario, Canada; Rancho Cucamonga, California; and Nashville, Tennessee. Our product selection consists of more than 1,800 designs imported from artisans throughout the world, many of which are original designs exclusive to Fotiou. We are known for our artistry, innovation and workmanship, which have all played their part in distinguishing us from other companies. Our goal is not only to provide the best customer service and quality products to our dealers, but also to offer them as much support as possible to help them grow their business.

DECOR: What is the concept and vision behind the Jane Seymour partnership and the design collaboration for the Jane Seymour Moulding Collection?

BD: The concept of the design collaboration and the partnership is based on a few components.

Our concept was based on understanding that frame shops and galleries continually strive for new ways to bring more customers and awareness to their businesses. We wanted to create a campaign based on the knowledge that consumers and home decorators will follow the creative influence of a notable spokesperson they relate to, trust and admire, much like the effect that Martha Stewart had on the home-decor and craft market. We wanted to create a campaign that will support our dealers and drive more traffic to their stores, which is something that has never been done by a supplier in our industry, at least not to this extent.

With that in mind, we partnered with Jane as an advocate of fine framing and design. We feel that Ms. Seymour is a perfect fit, as she brings a new energy to the framing world and will be a valuable asset to the entire industry by empowering our audience—both framing retailers and consumers—with a better understanding of how to add color and style to their decor through creative and beautiful designs. Jane’s celebrity and universal message resonates with people and gives strength to our goal of offering consumers a clear style direction to assist with the daunting task of selecting a custom frame design among the many hundreds of styles available at a frame shop or a gallery.

Additionally, Fotiou has always been known as a leader of fine-quality moulding styles and innovative designs. With this partnership, we are presenting not only new and exciting styles but also a new mindset, one that will continue to drive new trends in the industry.

We are promoting the partnership with a direct-to-consumer marketing campaign, including advertisements in Architectural Digest and House & Home magazines, plus Facebook, Pinterest and other social-media platforms. We are also providing our Jane Seymour Moulding Collection dealers with a point-of-sale kit that includes the corner samples, posters, counter signs, window clings and postcards to reinforce the branding and marketing efforts, as well as increase awareness at the retail level.

This collaboration has been very exciting, and we believe we have truly captured Jane’s creativity and inspiration in the collection that we intend to expand for some time.

DECOR: Describe the collection for our readers.

BD: For the launch, we began with three series of mouldings: the Wave Series, the Sea Glass Treasure Series and the Malibu Nights Series. The colors, textures and shapes of the ocean and beaches at Jane’s home in Malibu have influenced the frame styles in each series. Whether it is the shimmering patterns from the reflections of the sun onto the ocean waves, the soft palette of sea glass or the pearlescent colorings of the shells, all of these elements, which are so important and influential to Jane, have been integrated into the design style for this collection.

DECOR: When did the collection launch, and what has been the reaction from both your customers and consumers?

BD: The collection launched at the beginning of June 2014, and the reaction has been tremendous! Our dealers are thrilled with the direct-to-consumer marketing campaign and the added exposure they are receiving from our efforts. And they are telling us that their success with the Jane Seymour Moulding Collection began immediately from the moment the corner samples went on display. We are also hearing feedback directly from the consumers that they are enchanted with the oxidized finishes and strong color palettes of the frame styles, in addition to the craftsmanship and quality of the product itself. They’ve told us they love being able to have a brand name that they can trust, like Jane’s, and bring her sense of design, color and style into their homes.

DECOR: How has Jane worked with Fotiou on the collection’s development, and how will she work with you now that it has launched?

BD: We have been very fortunate to collaborate with Jane and Susan Nagy Luks of Coral Canyon Publishing, Jane Seymour’s art director, at every stage of the collection’s development. From the initial consultations for design, style, color, finish and every element needed right up to the launch, Ms. Seymour has been part of every process and approved each of the designs in the collection.

Jane is also very involved in the promotion of the collection and the education behind the campaign. Whether it’s the blog entries on the website, outreach through her social-media pages, appearances at trade shows or media interviews, she is very committed to being a partner in getting our message to the consumer. Our mutual goal is to create more awareness and get more people thinking about and using custom framing. It’s good for Fotiou and the Jane Seymour Moulding Collection, and it is good for the industry!

For more about the Jane Seymour Moulding Collection with Fotiou Frames, visit janeseymour.fotiou.com

With a career that spans 30 years, DECOR Managing Editor Linda Mariano is a leader in marketing, brand management, e-commerce and promotion initiatives. Through her company, LM² Art Marketing & Licensing (LM2ArtMarketing.com), Mariano brings her expertise and years of experience to help art-industry leaders and artists develop their marketing, branding and business strategies. She can be reached at LMariano85@yahoo.com.

The post From Silver Screen to Fine Art Frames: Jane Seymour’s New Line with Fotiou Frames appeared first on Art Business News.

By Tara Crichton

Historically, spring is my favorite time of year. I say “historically” because this seems like the spring-that-wasn’t. Fall got co-opted by winter and spring has gotten bullied into submission, too. My personal response has been to revolt against the grey by bringing as much color into my personal space as possible. I brought the essence of spring into my life with décor accents redolent with gorgeous tints of salmon pink, the blue of Caribbean water, and the green of freshly sprung bulb sprouts. None of these are colors I have ever considered being in my palette. I’ve always preferred neutrals.

This year I’ve gotten thoroughly saturated with neutrals and want to kick them back into the closet with my heavy winter coat. One of the joys of this human existence is our infinite capacity for change. We change our tastes, our preferences and our minds all the time. Don’t assume that your custom-framing customers are any different than yourself.

Custom-framing customers always come into the custom-framing shop carrying their art and a preconceived notion of “what they want.” This is not a bad thing. But this doesn’t mean that you should let them have what they think they want either. This first exchange of ideas is a necessary base on which you build your final masterpiece. It is a long-debunked myth that less is more. More is more! The consumer only thinks that they know what they want because they don’t know what all the options are. The custom framer as designer should be well versed in all the versions and permutations of the framing construct. It is all those levels of variation that create a final product greater than all its parts.

Lately I’ve been finding myself irresistibly drawn to texture. Frames, mats, it doesn’t matter. I can’t get enough of linen mats and their amazing wealth of minute detail. I think it’s the way you get such subtle variation in the way your eyes read the color of the mats. White is nubby or irregular with a ‘whiter’ white on the weft and shadow on the weave. Black has more interest when it’s textured than when it is simply the absence of color. All of a sudden it has even more depth.

The colors that are available in fabric mats are awe-inspiring. The grey silks are subtle and have a sheen so elegant it starts to mirror the colors in the art as the light changes in its environment. The red silks are so intensely saturated they achieve a vivid tone impossible to mimic in a paper application. There is a mat that looks like dark dye denim that I want to use on everything, and almost have. I’ve used it on pencil sketches, black and white photos and vividly colored art prints. It’s my equal opportunity offender and my customers couldn’t be happier. Without exception they all remarked that they never imagined choosing a mat that looked like that before I showed it to them.

Texture can take your dowdy neutrals into the world of spectacular. That said, I do tend to shy away from the more blatant color/texture combinations. There is an Astroturf mat that I’m sure has found its niche that still feels like an inside joke to me.

When it comes to frames, the ones closest to my heart right now are the ones whose profile has drama. I still love frames with fantastic wood veneers and sweet glossy lacquers, but it’s the shape of the profile that makes all the difference when dealing with your basic black, white or espresso finish.

A perennial favorite of mine is the dramatic cove profile. That sexy swoop falling down to the art in the center gets me every time. It’s a graphic statement that directs the eye with bold authority. The cube frame is saved from terminal boredom when the rabbit is deep and sculptural. The way the frame stands up, cradling the image feels like a floater frame application for glassed art. I love the extremes of big chunky frames on smaller pieces and delicate barely-there frames on large abundantly matted pieces. The vocabulary of scale is not often initiated by the average customer. Years of standard double mats with a 1- to 1½-inch frame have blinded customers to the infinite variation possible with true custom framing.

I’m also smitten with the new metal frames. The bold, tall narrowness with sharp squared edges is everything you want for a modern application. The colors are killer and completely current. Texture hasn’t been neglected in the frame design either. The frames that look like the face has been shaved down with a grinding tool make me drool with delight. The metal frames that have a gentle curve on the outside edge and a slightly angled face are appealing for completely opposite reasons. They have a soft, brushed finish and possess an oriental feel that is worlds apart from your dusty old bamboo moulding of days thankfully past.

Come to think of it, never let the dust settle in the first place. Don’t let the stagnation of the comfort zone keep you and your customers from experiencing the excitement of discovery. Play with color, texture, scale and proportion. Embrace change and let your creative juices flow. Life and framing are at their best when the unexpected opens your eyes causing you to see everything in a new way.

The post Looking for Summer: Time for a Framing Change appeared first on Art Business News.

Custom-framing design is a process that follows a systematic and coordinated methodology, including research, analysis and integration of knowledge into a creative process to satisfy the needs and resources of your client. Your customers expect you to know what moulding motif or ornament goes with the artwork or image. They also rely on you for matching the right tint, tone and shade of the matboards used. They appreciate your ability to allow more light to travel into an image without glare by recommending a glass that will do it. And they appreciate that you can design a custom frame composition that will last for years because you use higher-quality components and products that are approved.

Build a Custom-Framing Design Platform
Take, for example, a black and white poster of the Chrysler building in New York. Immediately, the Chrysler building stands out as a true architectural form replicating the Art Deco period. Introducing several variations of Art Deco-styled mouldings, along with matboard colors from the Art Deco period, puts together the final form of the design process. Let the customer know why and how you chose the moulding design and colors to match the image. You are now taking on the role of a consultant rather than a clerk. Customers will appreciate your selection and eventually come back for more design knowledge.

Another good example of Period Design framing is that of Art Nouveau. Art Nouveau images often need an Art Nouveau moulding and Art Nouveau colors. Art Nouveau, entirely different from Art Deco, has movement. Art Deco is regimented, symmetrical, stacked and proportioned. Art Nouveau replicates movement in its truest form. Look for tendrils and flowing designs in the mouldings. Colors of Art Nouveau are muted greens and vegetable tones.

Don’t be afraid to push the boundaries and reach further into today’s mouldings and finishes. They have changed and we have come a long way from plain contemporary mouldings and colors to high-gloss, lacquered, traditional ornamental moulding, which represents a new, transitional look.

Yes, certain consumer generations today want that designer look. They expect you to have the right design for it. We have come a long way as far as design goes in this industry and many of the profiles and finishes are being well received by many consumer groups. No longer is it the big-city look that buys the flashy frames and finishes. When it comes to today’s designs, texture, surface, dimension, brilliance and substance are all around us and now’s the time to embrace them. The longevity of these trends may be short; however, that’s a good thing that will enable more change a lot quicker. It’s called moving forward with the changes.

All of the design tools are there for you, including a new look of texture and surface. Even matboards have taken on a new, fashion-forward look of texture and dimensional surface. Custom framing designers are individuals like you who implement their design skills based on a factory of ideas rather than a warehouse of pre-arranged framing formats. Consider yourself a design factory, not a design warehouse.

Your clients expect you not only to give solutions, but also ideas that will enhance the piece you are working on. Whether it be a war medal in a shadow box or a vintage poster, let the client always know why you are suggesting some form of change or embellishment to the art or object. If you believe that that the green matting needs to be lightened a bit, tell the customer why and how you will do it. For instance, if a matboard on an image is too dark, tell the customer that you believe it will look better if you tint the green board by adding a bit more white to the green.

Adding white to most colors will cause the color to reflect or absorb less or more light. Pushing the green a bit darker will cause a toned effect, so tell the client that you want to tone the green down by adding a bit more gray to the green and choose a more muted green. Finally, if you are looking for a deep, darker green then you will have to shade the green by adding black to it, making it a Hunter Green. These designer buzzwords will carry you further as a consultant to custom-framing design and add more credibility to your work. So, you are not really changing anything here, just adding more design influence.

Customers continually compliment your design skills based on the originality of the design and the final form of putting all the components in place, perfectly balanced. It’s not rocket science; it’s merely your ability to generate ideas using the elements of color and design. Most of your daily tasks already involve these basic elements and principles of color and design. Take color, for instance. You deal with color on a daily basis and you are surrounded with many motifs and ornaments from the hundreds of mouldings on your walls.

So remember when your client drops off an image that needs to be framed by you and you alone, that’s where your design skills kick in. Think about it, you have no pressure, you are in charge and you are at your best comfort level. You may even have a chance to use up some of your obsolete mouldings!

I encourage custom framers to add the word “design” or “designer” to business cards, Facebook pages, websites, etc. Start thinking DESIGN. Tell your customers why you love to design and show them examples. And when you have come to a situation where there is no apparent solution at the beginning of a challenge, that’s where the design process starts with you.

The post You, the Designer! appeared first on Art Business News.

There’s a magical feeling of excitement in the air. It’s noticeable from the first moment you walk through the door. Nothing about this place is typical—from the decorated replica statue of Michelangelo’s David to the speakers pumping loud music, it’s clear that these people think differently. For 30 years, Roma Moulding has done more than buck the trends; they’ve created them.

A tour through Roma Moulding’s headquarters in Toronto clearly shows that this is a company on the move. Although steeped in European tradition, its modern strategies and products keep them ahead of the curve. Founded in 1984 by John Gareri and Nino Talotta, Roma Moulding has grown from a small, local producer of fine art frames into a truly global phenomenon.

The company works with master artisans in Europe, who use centuries-old techniques to create awe-inspiring mouldings. They source designs from Africa, Asia and beyond. Their award-winning products are assembled right here in North America. With such a broad, international scope, Roma Moulding really does have the world in its hands. In order to truly appreciate what Roma Moulding is, it’s important to understand how and why they exist.

Step back 30 years. Reagan is President. Pop songs from Wham!, Tina Turner and Prince blare out of speakers speeding by in Chevy Cavaliers. The big, bad L.A. Raiders are Super Bowl champions. The world is becoming more connected and the appetite for luxurious home furnishings is growing quickly. Meanwhile, back in the suburbs of Toronto, John and his brother in-law, Nino, work part-time jobs framing photographs at night to support their young families. Then John realizes something’s missing. The mouldings lack life and excitement. They appear as an afterthought in the art creation process and aren’t able to truly elevate a piece or assimilate into a home’s interior. John knows he can do better.

“I thought, ‘There’s no future with these frames and it’s creating a massive void in the North American market’,” John says. “It was a huge opportunity and I immediately started thinking that I could search Italy for beautiful frames to bring back to North America.”

Into the Unknown At this point, John took an enormous leap of faith and decided to go out on his own. He knew that better products were being created in Italy and started to nurture his European connections. Before long, John had established himself and opened Roma Moulding in late in 1984. At the time, Roma was a small operation and John had his hands on every aspect of the business.

“I would go out all day and take orders. Then I’d return at night to build the frames. The next day I’d go deliver all the frames and take more orders. It was my way of getting an edge on the competition. Speed, craftsmanship with a personal touch.”

By focusing on quality and style, John created a line of high-end products for an underserved market. From there, a series of expansions—including opening distribution centers throughout the United States—truly put Roma on the map as a key producer of fine interior furnishings. However, due to rapid expansion, the company found themselves negotiating with neighbors to occupy any nearby warehouse space.

“We had grown so much that we started asking our neighbors if we could use part of their facilities; then we asked the people behind us and others nearby,” John’s son and current Roma Moulding CEO, Tony Gareri, recalls. “We were connecting all these spaces with ramps, which during the winter meant trudging through snow. It worked but it wasn’t great. My father had the vision that we had to be under one roof. He knew that in order for us to get to the next level, we had to be together and we had to be united.”

With a vision for the future, John packed the company up and moved to a 30,000-square-foot facility that still stands as Roma’s home. After a series of renovations to tailor the space to their unique needs, team members soon began to wonder, “How are we going to fill this?” While the move proved intimidating for some, John had the foresight to know his company would grow to occupy every inch. “To us, the move meant that we were for real, this is the next chapter in our company,” Tony says.

Tony Arrives on the Scene Around this time, Tony officially joined the Roma team. After years of spending summers at “Corner Sample Camp” or following his father to trade shows, Tony graduated from university. While he may have had plans to backpack around Europe or to “find himself,” John had other plans.

“I got my degree on a Thursday,” Tony says, “On Friday, my father turned to me and said, ‘So we’ll see you first thing Monday morning.’ It may have sounded like a question but was definitely more of a statement.”

The family branched out and continued to produce forward-thinking products that pushed the envelope. Further expansion into the United States and a series of awards propelled Roma to the top of the industry as they released industry-changing designs such as the Tabacchino collection in 2005. Tony admits to being a design junkie. Growing up in a family whose livelihood depended upon having good taste meant that he quickly developed a keen eye.

“Very early on as a child, I was taught about, and very interested in, design. I’ve read Azure and Architectural Digest for as long as I can remember,” Tony says with a laugh.

Under the tutelage of his father, Tony began to carefully study why Roma carried certain lines and what specific partners wanted to see in the company’s next launch. He also began to expand his own design inspirations and noticed the emerging trends within interior design. He saw good and bad design in everything from sofas to buildings, kitchens and of course, custom frames. Never one to chase a fad, Tony likes to identify trends and stay ahead of them.

“I prefer to create the frame as a masterpiece that can be used on art, rather than seeing the art and then making a frame that’ll fit it.”

Often, Tony and John will travel the globe searching for a texture, pattern or even feeling that inspires them to create their next great moulding. With the entire world at his fingertips, Tony chooses one city as his favorite destination.

“Paris is hands down the most inspiring place I’ve ever been,” he says, beaming. “The feeling you get when sitting at the Arc de Triomphe de l’Étoile is tremendous. This section of Paris was built to celebrate victory, and the attention to detail is enough to get any design enthusiast’s heart pumping. Its romance, its culture and its design all in the same beautiful place.”

With his inspiration coming from the French capital, it’s logical that Tony would look to one of France’s most renowned designers—Philippe Starck—to further his passion for all things avant-garde. From chandeliers to ghost chairs, Tony was drawn to the symmetry found in Starck’s work and used it as motivation to create something beautiful on his own. After playing around with different profiles and finishes, Tony approached an Italian supplier with his concept for the Lavo collection.

On to Italy “I remember it like it was yesterday,” Tony says. “We prototyped it in Italy and I asked the guy to take this traditional profile and spray it with black lacquer. He looked at me like I just grew a second head. The results didn’t amaze as he started spraying it but as the lacquer dried and cured, we knew we had something special in our hands.”

Lavo is of course, one of Roma Moulding’s most successful collections, but it didn’t immediately win everyone over, even if it did turn heads.

“We got back to Toronto and my father wanted me to show the Lavo mouldings to our partner specialists. They thought we were nuts and that it would never sell.”

However, Tony pushed on and released the collection on the belief that the market was yearning for something different. He was right, as half a decade later Roma still releases new editions to the Lavo collection. In Tony’s words, the next Lavo release “is really going to knock people’s socks off.”

Clearly, Tony’s renegade leadership style can be traced back to doing things differently. With the confidence that his ideas could change the industry, he pushed for more authority within the company and big changes continued to take place.

A Sudden Realization After working for Roma Moulding for over a decade, Tony began to burn out. With the world in the grips of an economy-ruining recession, Roma had started to grow into a sterile, numbers-focused company that cared more about its next sale than it did anything else. Tony felt like a dark cloud followed wherever he went. Team members would rather duck behind a corner than talk to him or a senior leader.

“Three years ago I began to check out,” Tony says. “When I looked in the mirror, I didn’t like who I had become. I didn’t think my life would turn out this way. I wanted out.”

Now ready to walk away from the only business he knew, his family’s legacy, Tony called a meeting. With a lump in his throat, Tony approached John with a concept so extreme, so outside the box, many wouldn’t believe the words coming from his mouth: “I want to blur the lines between work and play. I want Roma to be a company that puts a premium on happiness.” Happiness? The man who was being groomed to run one of the biggest players in the custom frame industry wanted to be happy?

As you might imagine, over the next year Tony got a lot of flack. “Happiness is opening a new account with a large partner and big sale,” was a common refrain he’d hear. “If you want to be happy, go make something beautiful and sell it.” However, with his family’s support, the man who pushed Lavo onto the market refused to back down.

“I wanted to create a playground where the most talented people would enthusiastically come and produce the best work they ever have,” says Tony.

He implemented a progressive culture strategy that focuses on people, happiness and inspiration. Once again, his unorthodox idea worked. Today, Roma’s staff retention is very high, the errors produced by team members are at an all-time low and, most importantly, his team members are happy to be there.

“Now it’s about spreading that happiness to all of our partners,” says Tony. “We want to be a highlight of your day.”

While he admits that “there are still tweaks, ways we can get better and ways we can make more people happier,” Tony sees the company’s next frontier as spreading happiness to everyone they connect with.

The Next Chapter Does a company really need to care about how they make a customer feel? Why not focus on building something faster and cheaper than your competitors?

“Cheap is cheap. You can’t go cheaper than the cheapest. Same thing with speed. At some point, fast is as fast as it can be,” Tony says. “Beyond that, for us it’s about creating an emotional connection that makes our partners feel as great as we do every day.”

A conversation with the Gareri men will leave you inspired. Their ability to balance traditional profiles with modern finishes, to boldly go where others are afraid to and to wear their hearts on their sleeves is what really sets them apart.

“We truly believe that by treating people with kindness, we’ll get to where we need to be,” John says smiling proudly.

The post The Pursuit of Happiness: Roma Moulding Celebrates 30 Years appeared first on Art Business News.

By Michael Pacitti

Period design is a fascinating field of study, and one that can help you do better business. Behind each frame lies a story that’s well worth knowing—and sharing. Did you know that most frames fall into one of thirteen periods of design? Knowing and understanding all the influences behind a frame can really help to hone your skills as a custom framing designer. And this, in turn, will bring you more satisfied customers.

So without further adieu, let’s dive into this issue’s featured period of design!

Art Deco: 1925 – 1937

No doubt you’re aware that Art Deco is hot right now! Part of the reason was last year’s movie remake of F. Scott Fitzgerald’s “The Great Gatsby,” with a star-studded cast including Leonardo DiCaprio, Tobey McGuire and Carey Mulligan.

If you saw the film, you’ll recall the rich, opulent ‘20s glamour of the costumes and set. This was a sparkling, smoke-swirled era with glittering sequins, lavish beading, polished hardwoods and elaborate, over-the-top splendor. Box office reviews for the movie may have been mixed, but the fashion trends had already caught on.

Pantone announced an Art Deco emerald green for the color of 2013. Hipsters across the country started sporting suspenders and bowties. Rolls Royce announced a new, Art Deco-styled vehicle. Kitchen fixtures began cropping up in shiny, nickel-plated styles. And of course, Art Deco frames grew in popularity.

Hallmarks of Art Deco

Let’s review the classic hallmarks of Art Deco. Clean lines, geometric shapes and grayed colors are a good place to start. We’re talking dove gray, flat silver, brilliant red, soft lilac and emerald green—this is the basic palette— set against exotic woods such as Makassar ebony, zebrawood, and the refined metals of bronze, brushed steel and nickel.

Art Deco’s visual motifs include geometric shapes, curves, Egyptian zigzags, sunburst,
lightning bolts, airbrushed screened ray bands, motion light, aerodynamic and streamlined forms. Glamorous ornamentation is another hallmarks of the Art Deco period. The more lavish, the better.

Influences and Background

There’s a lot of interesting history behind the Art Deco movement, and it’s well worth knowing. Let’s dive into it.

Art Deco holds some wonderful paradoxes. On the one hand, it is considered a supremely theatrical, ornate style; yet it is also classical and symmetrical. The movement drew its inspiration from art genres including Cubism, Futurism, Neoclassicism, Modernism, Futurism and the Bauhaus era. Art Deco’s true heyday was from 1925 to 1937, though things started up as early as 1920.

Think of the Roaring Twenties—the Jazz Age, with flappers kicking their sequined heels up at raucous, lavish parties. It was a glamorous time, but it was also an era that embraced technology. This is a key distinguishing factor between Art Deco and the Art Nouveau period, with its organic motifs.

Although many other design movements have political or philosophical roots or intentions such as Art Nouveau, Art Deco was purely decorative. It was bold and brassy and powerful. It took buildings and designed them to look like cruise ships!

Discoveries, Motifs and Ornamentation

In 1922, archaeologist Howard Carter and his sponsor, Lord Carnarvon, thrilled the
world with their discovery of the tomb of King Tutankhamen. Reporters and tourists
thronged at the site for a glimpse at treasures which had lain nearly undisturbed for over 3,000 years. Soon, a fascination for ancient Egypt found expression in clothing, jewelry,
furniture, graphic design and, of course, architecture. In fact, one of the most popular Art Deco motifs is that of the sunburst pattern, taken from Egyptian hieroglyphs and symbols.

Art and Posters

Although the term “Art Deco” is rarely applied to painting or sculpture, the style is visible in the streamlined forms of certain 20th century painters from the inter-war period. One of the most famous artists who employed Art Deco themes was painter Tamara de Lempicka (1898-1980). A bold, fiercely independent woman (with a fascinating life story), Lempicka revolutionized the world of female portraits. She embraced the “synthetic cubist” method of painting, using small, geometric planes of strong color to create stunning, empowering portraits of women.

Along with the technological advances of the era, the art world saw dramatic evolution in the world of printmaking and lithography. As a result, Art Deco posters became available to many who might not otherwise be able to afford the original artwork. These images endure today.

Lempicka’s prints were (and are) popular, as were images in the “Cassandre Style,” so named after the pseudonym of the famous artist Adolphe Jean-Marie Mouron, who held a one-man show at the Museum of Modern Art in 1936. No doubt you are familiar with Cassandre’s sleek designs of towering ships and speeding trains—the pinnacle of Art Deco graphic design. Pinup posters and advertisements were popular as well.

Fashion

The fashion-forward clan knew exactly what they wanted after the end of World War I, when technological advances kicked into high gear. It was time to move beyond the hardship and into an era of empowerment for women. Flapper fashion was born. Long-waisted dresses, V-necklines and ostrich feathers celebrated women’s femininity, while bobbed haircuts brought a dash of erotic androgyny into the mix.

Picture Frames, Photo Frames & Mouldings

Now that we’ve explored the history and hallmarks of the Art Deco period, let’s bring the discussion back to framing. Here’s where we start to put it all together in terms of your business and clients.

Art Deco mouldings and frames tend to have clean, smooth finishes. They hold a characteristic of not only symmetry, but also a consistency in finish and color. Whether you’re talking about a painted green frame or one made of highly polished metal, it will have clean-cut lines that will beautifully compliment any art deco art image or photograph. Aluminum, stainless steel, plastics, lacquer and inlaid wood are excellent choices.

Have a client who wants to frame a poster of the Chrysler Building or a classic Tamara de Lempicka print? Get a slick, polished frame and set it off beautifully. Loft owners and condo dwellers—especially those with high ceilings—are looking for Art Deco stylings whether they know it or not!

Framing Art Deco posters requires a moulding that is clean, flat and symmetrical in pattern and ornament. Try pairing the image or subject matter that you are designing with frames that have geometric or stylized patterns from representational forms (remember the Egyptian sun we discussed above?). Bear in mind: Art Deco often incorporates a repetitive pattern throughout the image. Choose mouldings that are cool, elegant and sophisticated. You are looking for symmetry, clean lines and geometric patterns.

Furniture and Decor

In the wake of the Gatsby style resurgence we’re seeing, interior decorators and designers are incorporating Art Deco themes into their decor these days as well. The original Art Deco furniture was an amalgam of many different styles and movements of the early 20th century—including Neoclassical, Constructivism, Cubism, Modernism, Art Nouveau, and Futurism—and that’s what we’re seeing again today.

Art Deco decor is characterized by the use of materials such as aluminum, stainless steel, leather, lacquer, inlaid wood and exotic materials such as ivory, shark skin and zebra skin. Functional elegance is the key. Other elements include: high-gloss finishes, glass
and metal combinations, geometric shapes and bold patterns (think animal prints). Keep these in mind when working with an Art Deco artwork and/or frame.
Inspiration and Resources

If you want help your clients to create a space in which their apartment, home or loft looks and feels as though they have a roommate named Gatsby, the following websites
are good places to start.

Houzz.com
Houzz.com has literally thousands of pictures of Art Deco interior designs. From poster
art and shower curtains to bed frames and wall-mounted mirrors, Houzz.com gives you
an idea of all the many ways that you can build an Art Deco vibe in your home.

Interiordesignipedia.com
One of my favorite sites for custom framing design ideas related to Art Deco is interiordesignipedia.com

Lighting Advice
Layered lighting schemes are important to consider when exploring Art Deco decor. Sconces and torchères beam light up or down to cast a flattering, sultry glow. Art deco fixtures were futuristic for their era, yet polished. Check out this video on adding LED effects to a room.

Art Deco Color Schemes
Here’s a great site for working with art deco schemes: http://www.decopix.com/Art_Deco_Color_Schemes/

Michael Pacitti, IDEC, CPF, has worked in the interior design, art, photography and custom framing design industry for more than 25 years. He has been associated with the Color Marketing Group since 1990 and the Color Association of the United States (C.A.U.S), through which he has taught seminars on color and design to interior designers throughout North America, Europe, Australia and China for 25 years. He has also written numerous articles on color and design and is a professional certified educator with IDEC Interior Design Educators Council.

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The post Period Design Series: All About Art Deco appeared first on Art Business News.