Decor: Spring 2015 Issue

SPRING 2015

Warm, Rich, Luxurious2015’s Top Design TrendsBY EDWARD NADER

ALSO IN THIS ISSUE

Tips for Landing a Corporate AccountBY LITSA SPANOS

Get SchooledDECOR Atlanta’s Topic & Trends Education Series

BY LINDA MARIANO

Looking for Increased Profit?Refocus Your Sales Efforts

BY PAUL CASCIO

I’ve recently been thinking a lot about how much this industry has changed. This year, we celebrate the return of DECOR Expo Atlanta, which will take place for the first time since 2008. I remember when aspiring custom framers would arrive for their first DECOR Expo, ready to take on the world. Entering the show floor with anticipation and excitement in their eyes, they were greeted at the door by the noise of double-miter saws, choppers, v-nailers and hot presses. Getting a chance to take a turn on the large steel wheel of a new tabletop laminator would always inspire new business ideas.

It’s not a matter of how many trade shows we need or should have in this industry. Rather, it’s about accommodating the logistics, demographics and geog-raphy of both the exhibitors and the attendees. When the industry was booming, we had a trade show in just about every major city in North America. Bringing back DECOR Expo Atlanta will augment the industry. Attendees will be able to see a showcase of top framing products, stay abreast of current trends, enjoy cocktail parties and special events, learn from front-of-shop seminars and maybe even take home a Top 100 Art & Framing Retailer Award. Exhibitors will meet attendees from the South, Southeast and Northeast that they wouldn’t have had the chance to meet at the West Coast show. In this issue, learn more about DECOR Expo Atlanta’s Topics & Trends Education Series (page 104). It’s just another reason that this is a must-see show.

DECOR Expo Atlanta will support the industry in every way possible. But it needs the support of distributors, manufacturers, suppliers, trade associations, educators, art and framing retailers, companies and independent representatives. I call on you to support your industry and help it return to its former glory. Join us for an exceptional three-day event in Atlanta!

See you at the show,

Michael Pacitti,Industry Consultant

92 DECORMAGAZINE.COM

SPRING [email protected]

______CEO/Publisher: Eric Smith

Editor: Megan KaplonManaging Editor: Linda Mariano

Contributing Editors: Tara Crichton, Paul CascioArt Director: Stacy Dalton

Industry Consultant: Michael Pacitti________

AdvertisingRick Barnett:

Managing Director, Business Development Group

[email protected] Rader:

Director of Sales & [email protected]

831-840-4444Ashley Tedesco:

Director of Sales, Print [email protected]

831-970-5611_______

Operations & FinanceGeoff Fox

[email protected]____

SubscriptionsVisit www.decormagazine.com for

subscription information._________

DECOR serves all segments of the art and framing market, including art and

framing retailers; picture framers; inte-rior decorators; artists; home-furnishing

providers; OEM/volume framers; gift retailers; photo studios; suppliers; distrib-utors; and manufacturers. The magazine features articles and columns from long-time and well-known industry experts

and top art and framing retailers.

Industry Notes

A New Chapter

Increased app-eal

NEWSMAKERS

GALLERY SPOTLIGHT


Art Business Today magazine, a publication of the U.K.-based Fine Art Trade Guild, has gone digital. ABT, which was established in 1910, launched an app this year to allow subscribers on-the-go access to the magazine’s valuable content. Users can watch videos, browse image galleries and read extended articles. The January 2015 issue was the first to be available through the app.

Fine Art Trade Guild members will have complimentary access to the app and free subscriptions to the print magazine. All others can receive a free seven-day trial when they download the app. A one-year subscription to the app costs $23.99, and a single issue sells for $4.99.

Myriad custom-framing galleries nation-wide are using unique approaches to build, market and create appreciation for the framing industry and to enhance their business. One well-established gallery, Artworld Fine Art Gallery & Framing in Toronto, focuses on in-gallery events and design to distinguish itself from the compe-tition. It’s all about theme and inspiration, says Donna Child, owner of Artworld.

Artworld Fine Art prepares well in advance for upcoming artist shows and galas. Social media has become a primary vehicle for driving traffic to the gallery and the custom-design and framing department. Advertising the business and special events on various social media platforms helps to maximize traffic to the gallery. Artworld uses every opportunity—even annual sales at suppliers—to create an event.

Artworld’s custom-design and cus-tom-framing department is staffed with well-trained and design-oriented indi-viduals with a passion for art, ornament, finishes and profiles. The framing sales representatives love showing new products

to Child and the framing staff.The gallery is superbly lit, with a warm

and inviting open concept. From lounging by the fireplace to enjoying a cup of fresh coffee, all guests enjoy the ambiance. The custom-design and framing department displays an expansive corner-sample-moulding wall that employees can drape closed for gala events and easily reopen the next day for business as usual.

Child and her team use a blog for regular posts on collecting fine art. The blog’s content contains, for example, Child’s entry, “Getting Noticed by Galleries,” for artists who want sell their work. Other entries are helpful to clients who want to learn the

terminology of custom framing and how and where to place framed art and images.

Artworld Fine Art has a well-main-tained and interactive website, featuring articles, videos, posts, the gallery’s catalog and a list of upcoming events, including in-gallery art lessons.

Child has found the way to incor-porate the best retail experience into her gallery. Her clients take away many ideas and return for more. The diversity of what she offers, her site’s multifaceted marketing and promotions, the professionalism of her team and the environment she has created continue to deliver satisfaction to clients and enhancement to her bottom line.

Artworld Fine Art Gallery & Framing By Michael Pacitti

Mic

hael

Pac

itti

INDUSTRY INNOVATORS

FRUSTRATION-FREE HANGING

Hanging artwork can be frustrating and time-consuming, but a new prod-uct streamlines the process. The Spot N Hang uses a metal plate that you secure to the wall with two nails to ensure that your piece of art will hang straight. It even allows for slight side-to-side and up-and-down adjust-ments without the need to make more holes in the wall or find a stud. The basic plate can support artwork that weighs as much as 30 pounds, and the larger plate holds as much as 45 pounds.

➤ Order from spotnhang.com.

New gadgets & products FOR THE TRENDY FRAMER

SPRING 2015 EDIT ION 95

RECHARGE YOUR BUSINESSby Meg Glasglow

Written for frame-shop owners and new framing entrepreneurs, Recharge Your Business: The Ulti-mate Frame Shop Owner’s Manual, a new e-book by Design Star winner Meg Glasgow, contains valuable advice on how to plan, implement and evaluate your sales and market-ing activities. Unlike other business books, this one answers the chal-lenges small businesses face in the art and framing industry. The easy-to-follow style and printable worksheets give you a step-by-step yearlong marketing plan for improv-ing profits.

➤ Recharge Your Business is avail-able on limited-edition CD or by download at megglasgow.com.

ARTISAN MATBOARDS

The Crescent Couture matboard collection will help you take your custom-framing jobs to the next level with richly textured surfaces, shimmering metals and unique finishes. Each matboard features a 100 per-cent cotton core and backing, so you needn’t sacrifice protection for beauty.

➤ Visit cresentpro.com to see the collection.

REVELATORY LIGHTING

You can operate the Method Lights ML100 wireless, ceiling-mounted picture light by remote control, and it takes only seconds to install, thanks to peel-and-stick adhesive. For use with artwork, the inconspicuous all-white fixture ensures that the image will be the focus of all viewers’ atten-tion. The remote control also enables the user to increase or decrease the light’s intensity and alter the light’s temperature to fit warmer or cooler pieces of artwork.

➤ Learn more at methodlights.com.


THE GUERRILLA FRAMER

By Paul Cascio

MIND YOUR

More Profit, Happier CustomersMARGINS

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 sup-pliers 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 indus-try 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 typ-ical 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 fram-ing 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, includ-ing 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 cal-culate 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 addi-tion 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 cus-tomer 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 vary-ing 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 expen-sive 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 mar-gins, 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 fram-ing 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 cus-tomers. 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 stan-dard 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 pro-duce 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 compo-nents 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 satisfac-tion—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 (pictureframingschool.com). Cascio also provides business and sales training and consulting. Contact Cascio at [email protected].

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.

THE ART OF FRAMING


Framers encounter a diversity of art and personal objects that customers want to frame, and these pieces provide a con-stant revelation: These items are meaningful to the people who bring them to you to frame. When most people think of picture framing, the usual suspects come to mind: photos, paintings, needlework and all of the media that falls under the umbrella of art. As you acquire more experience, however, you find that plenty of artwork is unique.

The question that arises when one of these treasures finds itself onto your table, though, is, “What on earth should I do with this piece?” Customers always have some idea of what kind of frame they think they want. Those initial ideas from customers provide a decent place to start, but framers have creative avenues at their disposal, and the framers’ ideas will determine the end result.

I find that the most challenging work comes from customers with pieces that are so unusual that I can’t imagine why they want them framed in the first place. These customers may attribute some sentimental value to the moldy, stained and damaged items sitting before me, but I still look at them and wonder what to do. I am not one to refuse a job or a challenge, so I first try to find a redeeming quality in an item. This quality can be as simple as coloration or subject matter.

Ask the client questions about the item. Find out where it is from, what it is for and what its importance is to the client. The answers to these questions will often guide you to the right frame suggestions. Making something fabulous from old news-paper clippings, ancient needlepoints and other memorabilia is so satisfying. I usually approach these items with the attitude that either I have to make something from it, or it can stand on its own.

Choosing framing that reflects the parameters of histori-cal accuracy is usually the most tasteful approach. Luckily, this method doesn’t rule out all the layering of textures and finishes that will produce a richly detailed final product. The linen, silk or other fabric mats of which I’m so inordinately fond are particularly effective with antique subject matter that

has uneven color tones and has darkened with age. You must carefully choose mats with surface papers that are uniformly pigmented to downplay stains and discoloration. The balance between light and shadow naturally occurs within the warp and woof of fabric texture and can minimize the visual weight of the color variance. Framers during the Depression era would have generally framed art with delicate, barely there frames, and Victorian era pieces would receive treatment with heavier carved mouldings. These approaches can begin the creative process, but don’t let them handicap your creativity with pre-conceived ideas of what is possible.

Framing the art so that it can speak for itself is extra chal-lenging in that the simplicity of the format makes every choice crucial. When there is so little to see, everything must be perfect. Galleries and museums use this formula to create continuity and flow between varied subject matter and media within their galler-ies. The framing becomes part of the environment, so the object appears almost to float in the air. In this context, the goal of the

Framing Life’s Treasures By Tara Crichton

Framing the art so that it can speak for itself is extra challenging in that the simplicity of the format

makes every choice crucial.


mat color, frame scale and finish must be as close to invisible as possible. Usually, the best glass for this method is museum-quality, or antireflective, glass that does not impose itself on the visual field.

After all the complexity of dealing with crumbling nostalgia, it’s almost a relief to deal with the relatively simple task of object framing. The most pressing challenge of object framing is finding or constructing a frame deep enough to contain the item. I once had a client show up with a Japanese umbrella for framing. A well-meaning friend of mine had assured her that I could frame anything. After all, I’ve framed insects, guns, a narwhal tusk, the art from the fuselage of a World War II fighter plane, African masks and spears, a sweat-stained shirt that had been worn by the client’s grandfather for 20 years and even a pizza crust. (I did tell that customer that it would still get moldy and disintegrate, but apparently it was an inside joke and worth the expense.) Despite my friend’s claim, just like everyone else, I am constrained by the laws of physics.

The umbrella in question was 3 feet wide and 4 feet long when open. I could have framed it if cutting it into pieces had been an option. I suggested that the customer take the beau-tifully painted umbrella to a photographer who could take photos of its interior and exterior to reveal every aspect of its glorious hand-painting. Then I framed the photos so she could

enjoy looking at the umbrella every day.The greatest obstacle to framing objects with the unbounded

creativity that we desire is the fact that few finishes and design-forward frames have the required depth to entirely enclose the objects we are framing. Don’t let this obstacle handicap your creative process. Using a tall basic stem frame in black or a finish to match the cap frame will work as a buildup to transform any frame into the shadowbox frame that you desire. Slightly recess the buildup frame from the outside edge of the cap frame so that the resulting frame looks slightly less boxy and so that you visually minimize the seam between the two frames.

When I hear the bells on the front door of my shop jingle, I smile and wait to see what my customers have brought me. I know that, whatever it is, it will present an opportunity for me to create something amazing. I am grateful every day that my customers trust me with their cherished items and let me help them enhance the beauty of their art and preserve it for future generations. ®

Tara Crichton has worked in the framing industry for more than 24 years and is a graduate of University of Guelph with a double major in fine arts. She has worked in every aspect of the framing industry, including retail, wholesale distribution, OEM and art direction. She now owns and operates a gallery just north of Toronto.

Tara

Cri

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Neutrals are back! The last several years have been all about color, but the spotlight is now back on neutrals. Top designers are moving away from color and toward a palette inspired by earthen elements.

Neutrals are all around us in nature; when you combine them in design, they are as natural as nature itself. This year, warm neutrals prevail over cooler tones. Grays move toward taupe and pebble. Pay close attention to soft golds, buttery yellows and saffron; they are also moving to the forefront. Camel will be increasingly popular going into 2016.

There is no question that metallic gold, which made it onto the scene a few years ago, has been gaining momentum. You’ll find both metallic and flat gold everywhere.

When you introduce color to a design, the story usually turns blue. Midtones dominate the market, as do darker, richer indigos. These indigos transition nicely to a denim feel, which is gaining momentum with a more-refined-than-jeans feeling. When you use midtone blues, including ocean hues, they often take on a watery feel. These colors mix well with soft lavenders, teals and jades to achieve a palette that is as tranquil as the beach.

As I noted a couple of years ago, hunter green is making a comeback. The alternative to hunter is dark olive, but olive’s appearance could be due to the influence of warmth across the palette. Sage is also popping up. You might see designers pairing the new hunter with turmeric. Other colors to put on your watch list will be terra cotta and clay.

The Sherwin-Williams Color of the Year for 2015 is Coral Reef (SW6606). Energetic, optimistic and uplifting, it blends pink, orange and red to brighten any space. Sherwin-Williams boasts that the color is simultaneously vintage, cottage, traditional and contemporary.

The Pantone Color of the Year for 2015 is Marsala (18-1438). It is warm like coral but is a darker, richer red with less pink and orange and more brown like the earthy red wine from which it takes its name.

The youthful market is moving away from comic-book brights and toward a non-neon look that is less vivid overall. A lot of pal-ettes have thrown in a Hello Kitty-type pink for freshness.

Browns are also continuing to gain some momentum. Again, the overall warming of the palette across the board has moved to brown from gray as the go-to dark neutral. Brown also pairs beautifully with gold.

Furniture frames begin to take a more curvilinear approach, creating graceful lines that move the eye around the room. Slight movement and undulation are showing up. You can also expect to see interesting shapes, soft angles, embellishment and detailing.

Wood grains are becoming more complex. We are seeing the use of more exotic African woods with definitive grains and additional embellishments. Embellishments can take on the look of gold leaf, which designers apply or rub into the grain for emphasis. They also use them to accentuate the contrast between the rough grain of the wood and the elegant, opulent gold. Stain-ing has varying patterns. Metallic accents on wood are mostly gold leaf or gold inlays. Silvers are present but pale in compari-son to the quantity and effect of gold. Designers—who typically aren't afraid to mix and match—are also combining wood with other elements, including bamboo, shell, acrylic, marble, stone, semiprecious stones, mother of pearl, bone and parchment.

Dark, rich colors, as well as opulence, are finding their way into fine design. The most contemporary designs are becoming more ornamental and patterned. A softening and a movement toward classicism are underway.

In more modern design, watch for things to be uneven and confusing. For instance, designers are hoping to fool the eye by using geometrics—for example, to make the legs of a table appear uneven. Even simple geometric patterns become complex, intermingling just enough to create confusion and interest, and designers are combining rough and refined extremes in close juxtaposition.

What’sTRENDINGSPRING 2015 By Edward Nader



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Shapes are becoming more complex, and designers are moving away from minimalism. It appears that consumers, tired of simple lines, are searching for shape, pattern and tex-tures, rather than color, to add interest.

ON THE WATCH LIST

Mirror is the material of the moment. These days, there is no wrong way to use a mirror. They are showing up in smoked, iridescent, aged and painted versions. Designers are using mirror-on-mirror techniques—even with mirrored frames. Mirrors also provide a way of introducing the gloss trend that has become so popular in framing.

The use of reclaimed materials is also gaining momentum. The reclaiming of old and discarded items and making them into art is building in almost every community. It embodies the idea that everything is art from someone’s perspective.

Look for marble—especially white marble—to also gain momentum. High-end marble will have fewer veins and pat-terns. Brown marble, terrazzo and malachite will also be in vogue. The popularity of lava, stone, soapstone and crystals will increase, whereas geodes’ will likely fall out of favor as agate becomes more in demand.

As the economy is on the rise, so is luxe. Look for luster, chunky textures, chenille, bouclé, jacquards and velvets. You will see a lot of textures, such as the use of tufting and quilting. Embossed leathers will move to the forefront. Also look for inlays, louvers, gold, brass, marble, acrylic and large crystals. In this luxe look, solids outweigh patterns, but when designers use patterns, they are typically interlocking diamonds and geometrics.

A global mix will tout heavy, chunky, unfinished wood and hammered metal for a worldly look. Glass will be organic, soft and irregular. You will see the influence of classicism from Roman art in shapes, scales and palettes. This movement will slightly refine the global look you have been seeing to a slightly less bohemian look.

The general trend for 2015 is warmth—in color, metal and general style. The warming of color and softening of hard edges lead us back to classicism, which is just that—classic. It will never go out of style. ®

Edward Nader is a veteran of the art and framing business with clients all over the U.S. and abroad. Nader does design work as one facet of his career, helping with product development in several different industries including the art, framing, furniture, gift and design industries.



The excitement is mounting for DECOR Expo Atlanta, which will take place Sept. 9-11 in an all-new venue, the Marriott Marquis Hotel in down-town Atlanta—a city known for design and decor. Creating the buzz are the promise of three action-packed days of education, exhibition and special events and the anticipation of gathering fram-ing-industry professionals from across the country.

One aspect of the show that’s sparking interest is the Topics & Trends Education Series. DECOR mag-azine is presenting the series, which will offer seminars to help framing and

design professionals further master their craft with practical ideas, tech-niques and strategies for improving business and focusing on tracking design trends, honing marketing skills and maximizing sales.

Topics & Trends will also discuss front-of-shop techniques to ensure that your business is gaining the traction it needs to succeed in today’s competitive market. How do you position yourself for success in a world that’s saturated with do-it-your-self framing? Is your website a powerful sales tool? Are you using social media to gain visibility, customers and profit? In the seminars, industry leaders and peers will address these and other important topics.

Some trusted industry contacts gave their ideas about what this educational series should cover. “The industry is giving us innovation,” says Rob Markoff, owner of Gallery Services in San Diego. “The level of quality—from design and concept to execution—is excellent and gives framers more to explore than ever before. That means they need to get out-side their comfort zone and learn new

design skills, new technology and new merchandising ideas.”

Artist Marta Wiley highlights the importance of a framer’s design acumen. “You can’t sell a frame until there’s some-thing to put in it. Don’t overlook the importance of what the client brings to be framed and how [that client views] it as precious,” she says. “Showcasing the prized piece becomes the challenge—to make it look fresh and new with the framer’s great design skills.”

Kimberley Breil, owner of Frame & Picture Shoppe in Wilbraham, Mas-sachusetts, emphasizes the importance of maintaining quality in the craft and keeping up with all the latest industry news. “We need to remember … that a lot of art gets rematted and reframed, but can you take it apart without damaging the piece? And has the framer used good design and proper materials? Even if it’s not expensive, it’s the client’s expectation that the framer has used proper conser-vation techniques. I want to be sure I am current on all the design tips and trends that are out there; it’s as simple as that.”

HEATS UPDECOR Expo Atlanta

TOPICS & TRENDS SERIES

By Linda Mariano


Barry Diamond, chief marketing officer at Fotiou Frames, with head-quarters in Woodbridge, Ontario, and branches in Rancho Cucamonga, Cali-fornia, and Nashville, Tennessee, sums it up: “The Topics & Trends focus is really about the why-to’s, not the how-to’s.”

Diamond is right on target; comple-menting and building on attendees’ skills is the goal of the series.

Drawing from DECOR maga-zine’s adept writers, industry leaders and other experts, the series’ seminar leaders will be the best in the industry. DECOR’s Paul Casio, Tara Crichton, Meg Glasgow, Michael Pacitti and Litsa Spanos are just a few names in the lineup, and the winners of the Top 100 Art & Framing Retailer Awards will take a front-row seat to share their business success stories.

The following seminars and more will be part of the Topics & Trends series:

• Color Trends• Designing with Texture• Period Design• Evaluating Your Business Acumen• Protecting Your Business• The Framing Chronicles• Events That Make a Difference• Top 10 for Selling Success• Top 10 for Marketing with Panache• The Corporate Advantage• Success at the Top: Meet the Top 100

Special Award Winners• Counter Intelligence: Make Your

Selling Skills Profitable

DECOR Expo Atlanta is a must-attend show for anyone in the industry, and the Topics & Trends seminars are not to be missed. See you in Atlanta! ®

With a career that spans 30 years, DECOR Managing Editor Linda Mariano is a leader in marketing, brand management, e-commerce and promotion initiatives for major retailers, specialty retail, art indus-try, media and entertainment, as well as entrepreneurial business environments. For Redwood Media Group, Mariano oversees the marketing and brand-exten-sion efforts of the company.

The cutting-edge

TOPICS & TRENDS Education

Series will extend over the

full three days of DECOR Expo

Atlanta, September 9-11, 2015.

All of the seminars will be

available to attendees at

no extra charge.

>> DecorExpoAtlanta.com

Rob

ert J

. Hib

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“How can I win a company’s business?” You might ask yourself that question if you’ve ever walked into the offices of a cor-poration in a beautifully designed space with stylishly framed artwork on the walls.

Before you start reaching out to poten-tial clients, it’s critical to understand why corporations are buying. Knowing this important information will portray you as a knowledgeable consultant rather than a salesperson and will help you build long-term relationships, win the trust of new clients and ultimately gain their business.

Artwork showcased in an office or busi-ness represents the company’s corporate image and demonstrates its brand. Many fantastic options are available to corpora-tions, including original paintings, works on paper, mixed-media collages, sculpture, photographs, giclées on canvas, posters and custom framing. All of this art can say specific things about a space and the company that inhabits it. Most important, the right style of artwork and framing can enhance and bring to the forefront all the amazing qualities of that business for cli-ents and employees to see and enjoy every time they walk into the building.

Aesthetically pleasing environments increase productivity, creativity and mood; they even motivate employees to dress better! Inspiring art can help generate better ideas, improve time management and create an overall happier work atmosphere. The

average workday is eight hours or more—longer than the average person sleeps each night. People sometimes feel as though they live at their places of employment. Shouldn’t they at least get motivation and inspiration while they’re there?

The following tips can help you land your next big project. Choose one to implement right away or a variety to start working into your business plan this year.

➤ Become an expert networker. Get involved in your community. Join net-working groups and the Chamber of Commerce. Get involved with organiza-tions, such as museums, the opera, ballet companies or the symphony, that demon-strate appreciation for the arts. You will meet like-minded people and create valu-able connections.

➤ Sponsor interior design events and get to know the designers. Ask what projects they are working on and offer to help.

➤ Fine-tune your printed marketing materials. Make attractive business cards and brochures that focus on corporate art.

➤ Create a weekly or monthly email newsletter or blog. Stay consistent with your brand and add compelling copy and images. Track “opens” and “click-throughs” from your email service. Understand what

your audience likes and doesn’t like. Learn from that feedback and adjust accordingly.

➤ Re-examine your website. Make a cor-porate art section showcasing a variety of art and framing. Post testimonials from past clients and professional photographs of spaces that make you proud.

➤ Learn the ins and outs of social media. Facebook, Twitter, Pinterest, Instagram and LinkedIn provide fantastic ways to spread the word on what you do. If you are short on time, hire someone who can help you; it will be worth it in the long run.

➤ Once you’ve set up your social media accounts, make sure to post about all the cool projects you’re working on. Get your friends and followers talking and excited about what you do. Create a video about your services and post it on your website.

➤ Review your personal style. Consider whether or not potential clients see you as confident, polished, professional and creative.

➤ Before heading off to an appointment with a new potential client, research the company to discover the details of its brand and corporate image. For example, find out whether the company climate is modern or traditional. This knowledge will guide you

TIPS TO HELP YOU WIN YOUR NEXT BIG ACCOUNT By Litsa Spanos

CorporateSUCCESS

TIPS TO HELP YOU WIN YOUR NEXT BIG ACCOUNT By Litsa Spanos

in suggesting the right art and framing to best represent the customer’s image.

➤ Study interior design magazines to keep up with color and design trends in the commercial market. Your knowledge of design is critical when working with inte-rior design professionals, who are always looking for fresh ideas.

➤ Stay up to date with all your suppliers’ product lines. Be open to new products and ask your reps to show you the top-selling frames.

➤ Know what’s hot in the art market. Research and get to know professional art-ists in your area. Connect with national print vendors that offer a variety of printing methods, such as canvas, paper, wood, metal or acrylic. Corporate clients typically want originals in main public areas and prints in private offices and hallways. Give them a variety of choices.

➤ Acquaint yourself with the facility man-agers for the large companies near you. They are responsible for new remodeling projects, moves and relocations, which are things you need to know about.

➤ Be prepared to frame large quantities of prints, along with originals, which require more time and expertise. Offer fram-ing of corporate documents, certificates, marketing materials and other important documents. If your shop lacks the capabil-ity to frame anything and everything, seek wholesalers to provide that help.

➤ Stay focused and positive. Don’t say anything negative about your competi-tor. Concentrate on what you can do for that client, whether that’s provid-ing great service, competitive pricing or complimentary consultation.


➤ Offer both regular and secure delivery and installation services. Corporate cli-ents expect this service. If your company lacks that ability, partner with one that can help you.

➤ When working on a proposal, offer two or three price points. You’ll find that many companies will choose quality over price.

➤ Recommend higher-end artwork and framing for public spaces, including lob-bies and conference rooms. Other areas that might need special attention are the CEO’s office and executive suites.

➤ Suggest artwork that’s noncontrover-sial, especially in financial institutions and health care environments. Colorful abstracts, beautiful landscapes and expres-sive photographs are great choices, and the right frames can beautifully complement the artwork.

➤ Ask for referrals from happy customers. Many private clients work with corpora-tions and can give you valuable leads.

➤ Make sure to carry a notepad with you at all times. If you see new business construc-tion, note the info and call the company.

➤ Be grateful. Send emails and personal thank-you notes to let clients and poten-tial clients know you appreciated their business and time.

➤ Allow for plenty of time to get to know your potential client, tour the space and listen to the company’s needs.

➤ Be honest, fair and ethical. Have your client’s best interests in mind and have a genuine appreciation for the client and its business. Express yourself and let the client know how important its business is.

➤ Accept even the smallest order. A small project often turns into a large one. Once the door opens, you will have the oppor-tunity to get to know the client, gain trust and build a relationship that can potentially evolve into larger projects.

➤ As the economy continues to rebound,

many companies are taking the opportunity to revamp their image and rebrand them-selves. They are starting fresh and want to reassure clients and employees that they are still working and vital. Artwork and framing play a huge role in this aesthetic upgrade. These makeovers provide an opportunity for you to offer options to make it easy for a company to showcase its personality and set itself apart from the competition.

Winning corporate business takes time, effort and perseverance. Staying positive, persistent and focused will ultimately help you land that next big corporate project. ®

Litsa Spanos, President of ADC (Art Design Consultants), is an established art consultant, dealer, gallery owner, custom framer and guest speaker; a writer for Art Business News and DECOR magazines; founder of the juried art competition Art Comes Alive (ACA); and the publisher of the Blink Art Resource Guide.

You can reach her at [email protected]. For more information, visit adcfinearat.com & blinkartresource.com. A

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“Bond,” Anna Razumovskaya Best known for her romantic paintings of elegant, graceful women, Russian artist Anna Razumovskaya combines the legacy of Renaissance painters with her own unique contemporary flair.

“Quickly, easily, brightly: this is the way I draw, the same way I live,” she says. “My art is a reflection of my life, a reflection of myself.”

See more of Razumovskaya’s work at anna-art.com.

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