Know Your Framing: Glass

As the old saying goes, not everything is created equal. This is especially true for glass. Most of us are familiar with clear and non-glare glass, but did you know that glass is also graded by its conservation value? From Clear to Museum, the glass covering your artwork is every bit as important as the colours you choose to put around it. Be sure you are making an informed decision by learning about the different glass options right here!

Clear – 45% UV Protection, 8% Light Reflection, Over 90% Light Transmission
-        Works well in any presentation hung in a controlled lighting environment
-        Can be used with any number of mats

Non Glare/Reflection Control – 45% UV Protection, 8% Scattered Light Reflection, 89% Light Transmission
-        Ideal for minimizing glare and reflection when conservation grade UV protection is not a concern
-        Use on any framing project with up to two mats away from artwork without significant resolution loss

 Conservation (UV) Clear – At least 97% UV Protection, 8% Light Reflection, over 89% Light Transmission,
-        For protecting artwork against damage and fading caused by UV light, especially old or fragile items
-        Ideal for any framing application, if reflection-free viewing is not important

Conservation (UV) Non Glare/Reflection Control – At least 97% UV Protection, 8% Scattered Light Reflection, 89% Light Transmission
-        To minimize glare while protecting artwork against harmful UV light rays, especially old or fragile items
-        Use on any framing project with up to two mats away from artwork without significant resolution loss

Clear: 8% Light Reflection, over 89% Light Transmission
Museum: Less than 1% Light Reflection, Over 97% Light Transmission
Reflection Control: 8% Scattered Light Reflection, 89% Light Transmission

Museum – 99% UV Protection from every angle, Less than 1% light reflection, Over 97% Light Transmission, Optical Coating, Anti-Static
-        For virtually invisible glazing that will enhance colors, brightness and contrast levels of all types of artwork, even posters
-        For protecting valued diplomas or irreplaceable artwork against damage and fading caused by UV light
-        Ideal for framing applications, including shadow boxes, multiple mat or deep framing projects
-        Optical coating gives true colour transmission and the greatest colour neutrality 

Clear vs Museum
The benefits of Museum Glass are especially apparent on shadow boxes, appearing almost invisible. 

This post by: Megan 

The Cadillac Experience

In the 1930s Nicholas Dreystadt took over the management of the Cadillac Division of General Motors.  Cadillac was in dire straits and probably would have sunk like a stone but Nicholas took a new tact.  “The Cadillac Customer” he said, “does not buy transportation, he buys status!”  This statement would have been nothing but hot air except for one thing.  They could supply the quality to back up the claim.

A Caddy to the uninitiated looks much like any other vehicle, four wheels, seats, headlights, etcetera but it’s what’s underneath that takes the product to the next level.  I believe that there are parallels that can be drawn in any competitive service industry, so let’s take custom picture framing as an example.  On the surface most frames look basically the same: four corners, hangers and wire surrounding some worthy art piece.  But there is much more to it than that.

 

The obvious questions run something like this: Does the frame compliment the piece in color, texture and style?  Does the weight of the frame and the width of the mats or liner support the piece visually without overpowering it?  Is the whole package pleasing to your eye as the paying customer?  What’s underneath is actually more important than what is on the surface.  Cadillac would not have become an icon if it had built pretty cars that couldn't stand the test of time.

                                                                                                                                                    

Will the framing package that you are buying preserve that work of art or destroy it?  The quality of framing products varies widely and often the effects are not immediately noticeable.  Are the mats conservation quality or will they discolor and erode the artwork?  Does the glass block ultraviolet light which will damage the image?  More importantly can the person behind the counter guide you through the maze of what you need or do not need to give you the best product for the best value?

Framed $100 bill, Museum glass,Suede mat with debossing, Double frame with fillet.
An investment in status

The Cadillac experience begins on the showroom floor, where the customer is treated as a person of status.  Sales people are expected to be knowledgeable and courteous.  The product should please the eye while resisting the effects of time.  The entire experience should be completed as a dialogue that enables the customer to make an informed decision that satisfies the wants and needs of the purchase.  Every customer deserves that same experience whether buying a car, a picture frame or simply investing in status.
This post by Scott

Shadow Boxes: "Cooky Book"

Shadowboxes are a great way to show off your precious items or to pay tribute to your favourite family memory. Framing your Grandmother’s cookbook and her favourite recipe will add a personal and unique touch to your kitchen area.

This recipe book is attached in a conservation manner with Mylar film. The film is cut into straps and wrapped around the back of the book and all pages. The adhesive only contacts the Mylar and is attached to the bottom mat.

The recipe is photocopied from the book, raised up with foam core to the height of the book and framed with acid free mat board to give it more definition.

The offset spatula is sewn down using fishing line at two anchor points. No adhesives are used.

The sides of the frame have also been lined with the same mat board that is used for the backing to give clean edges. 

Museum glass is the best option for shadow boxes as it provides the greatest reflection control with the most clarity. 

This particular piece is glazed with regular clear glass, which provides 48% UV light protection. If your items are very fragile or valuable, conservation glass would be recommended. Clear Conservation glass blocks 99% of UV, but has no reflection control. Non glare glass is not recommended for shadow boxes, as the farther the glass is placed from the objects, the foggier the contents will appear. The ideal glass for shadow boxes is Museum glass. Museum glass blocks 99% of UV light and is coated with an anti-reflective layer that allows less than 1% of light reflection and over 97% light transmission. This provides the optimum protection and viewing of the object. You can learn more about museum glass at www.tru-vue.com. 

This post by: Megan 

Know Your Framing: Mat Board

The first thing that comes to mind when most people think of mat board is: “What colour(s) should I use?” This is a very important question, but there is an even more important issue looming in the background, and that is “What KIND of mat board should I use?” With this question, we refer to the actual content and make-up of the board. Have you ever wondered what those boards are actually made of? The quick answer is, “Why, paper, of course!” This is true; many mat boards are made of wood pulp, but there is more to it than that. Wood pulp, or cellulose, is a naturally acidic material and can cause fading and other damage to artwork. Mats made of wood pulp must be  coated or chemically treated to remove the acidity. This is referred to as “buffering” and it is a relatively new process in the framing world. Take a look around your house for older framed pieces. Look carefully at the beveled edge around the image. Is it white or has it turned yellow or orange? 

Acidic mat boards showing their true colours. 

This image has three mat board layers. The middle bevel is still white and crisp, while the layers above and below it have both turned yellow with time. This is a quick indication that the middle mat board is Acid Free, while the other two are not. When these mats are removed from the image, the paper underneath will vary in colour from where the mat has been in contact and where it has not. 

Alpharag - 100% Cotton Mat Board from Bainbridge

1. 100% Cotton
The mat board of the highest conservation value is made of 100% cotton.  Cotton is naturally acid free and provides the best protection over time. (The Egyptians used cotton for preservation.) Cotton mats are generally more expensive than other acid free mat boards and are limited in colour to a few shades of white, but will provide the greatest longevity for your images. 

100% Cotton Core with Buffered Surface Paper from Crescent.

2.Cotton Core, Buffered Surface Paper
Because 100% Cotton mat boards have a very limited colour selection, buffered mats are a great option for adding colour to your framing without compromising on conservation standards. Buffering wood pulp is the most common method of creating acid free board. These boards, however, are not created equal. The highest conservation value in a dyed mat board contains a cotton core and a buffered surface paper. This allows a dyed paper to be visible and complement the image, while retaining a high conservation material as the contact layer. This type of mat board is perfect for protecting high value items, such a limited edition prints, or original artwork, while still allowing your style to show through with your colour choices. 

3. Buffered Cellulose Core 

Artique: Buffered Cellulose from Larson Juhl

The last type of Acid Free mat board contains a cellulose/wood pulp core, buffered to an appropriate pH level, as well as buffered surface paper. This is the lowest conservation value and is  great for posters and other “lower value” framing projects that you want to protect, but which do not require the utmost protection. 








This post by: Megan

Edit: Originally Posted on September 10, 2013