Reorganizing The Wall

Val

PFG, Picture Framing God
Joined
Nov 21, 2005
Posts
6,729
Loc
Carson City, Nevada
We currently have abt 1300 moulding samples up, and more coming in. No more wall space, or we'd probably show more.

In the past, I've always organized by color and type, such as oak, mahogany and cherry, bright colors, white, gold and silver wood, barnwood and distressed, metal, fillets and liners, etc.

We're tossing some oldies that haven't moved (I can tell by the dust, since I've only owned the shop for 4 months) or just too tacky and cheapo-looking, or those I know to be stagnant.

How do you organize your moulding wall? By color? "Collection"? Vendor?
 
The same way you do. I have found that to be the best as far as I'm concerned.
 
If I had to throw away samples that are dusty - well, let's just say I'd have about 5 left! (My shop is on a busy street and I could dust 'em every day and there would still be more dust tomorrow! Meanwhile, I have to do framing!)

I organize mine the same as you and I have never counted 'em - too many, too many - but it seems to impress folks, even the moldings that have never sold - they look very official, I guess...
 
Val: mostly the same way you do with some exceptions: the LJ Ponzio collections--like Bolshoi and those higher end ones--get their own space as do most all Romas. Reason being is that they just don't fit into the wood/silver/gold/black rows but standon their own. Plus isolating the higher end profiles gives them better "distinction" in the store
 
I have a Craig Ponzio wall, and a roma section, all with signs for crediablity or branding. I also have sections of just woods and silvers and golds.

I do have a board of New Collections that I set on an easle for more attention. Then over my head behind the counter I have a wall with those hugh mouldings you very rarely sale just for drama. They get alot of attention there.

I will sonetimes put new sets of moulding on a different wall in the middle of art work. Because it is unexpected, they get a little more attention also.

Jennifer
 
I have two words for all you folks whose samples are dusty: Swiffer Duster. This thing is a great tool. It will dust all kinds of delicate things without distubing or harming them, and will get into every nook and cranny in your place. The first time I discovered this thing I went crazy and dusted our entire house.
The duster heads themselves work really well to grab dust, not just shove it around. Plus, the handle telescopes for extra length and the business end articulates and locks into whatever angle you need.
thumbsup.gif
Rick
P.S. These also work great to clean the notorious mini blinds.
(Yes, I do have stock in P&G, but I'm not just shilling for them.) :rolleyes:
 
All ours are # and the price/ft is marked on them as well as to where they can be found
( in what bin )and how much is left if we have it in stock.We are constantly upgrading our supply and have a pretty good representation of sticks on hand.
The last several rows we know are in stock. the rest has to be ordered. No way could I ever have on hand all the molding out there, besides who would want to? Anyway when a customer comes in I can tell them immediately how much and if we have it on hand. We generally try to steer them in this direction first.
If they choose what we have in hand we can guarantee a much faster turn around. Our competitor has been know to give as much as 6 weeks while we say often we can have it ready for you by closing or early tomorrow. I cant say that he is so busy that he is backed up for 6 weeks, but who knows! I just know that we work very hard at what we do and take a lot of pride in our fast turnaround service. Even if that means ( as it often does ) staying later than usual
 
I arrange mine the same way you do, and also have a small shop with very limited wall space. I'd guess I have around 1400 samples, and no room for more, so I am constantly taking down ones that I haven't sold in a year or whatever. One thing I do think works well here is that I have high end frames mixed with less expensive ones, (except for closed corner, those are on a seperate panel..). I find that this keeps it about the style/color, not the price. There are usually many choices that look great on their art, and they think about price once we've narrowed it down. I just like them to be able to see things next to eachother, so they can see why 14k gold looks better than fake gold leaf.
Anyway, there's my two cents..

Have fun rearranging your wall!
 
Like most of the others I do mine like you. Mixing higher priced corners w/the lesser priced ones is a good thing. I know which companies tend to have a higher price, but I ignore that and show the customer what looks best first. If they balk at the price, I start showing them some others; but more often than not, they'll go with the higher priced one because it truly looks better. And 99% of my customers want a particular color/style so having them grouped that way is much more practical.

Rick - thanks for the suggestion on the swiffer duster - I've been looking for a better way so will have to get me one.
 
The only ones I arrange by color are the gold samples. CCs on a wall by themselves, gold-tone on a different wall.

I mix the wood colors a bit to make them more visually "accessible". I noticed that when many frames are the same color on top and next to each other, it becomes optically challenging to pick up a specific one or a pattern out of many (for the customer as well for me).

I do have, for example, cherry and mahogany in one area, but I arrange darker colored wood tones between the rows and the columns so as to put some boundary between the rows of the same colored samples.

For example, say you have 8 samples, 4 light cherry and 4 dark cherry; I alternate the dark with the light so they stand out a bit more.l
 
Put your most profitable ones in your action area, the area closest to where you and your customer stand when looking at the artwork. Move them out to the cheapies as you get further away. I have our plain, inexpensive mouldings on fabric covered slats across the room.
 
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