Framing Spotlight: Matting
The main purpose of matting is not just visual, but protective. Mats keep the glass from coming into contact with your artwork. This provides an air space to prevent damage due to condensation behind the glass. For other design options, we use liners, mat walls and acrylic spacers to separate artwork from glass and acrylic.
At The Framer’s Workshop we use only preservation quality acid-free and lignin free mat boards to protect your valuable art. These mats are available in solid core rag board (100% cotton) or with colored and textured surfaces over acid-free centers. Bainbridge has a patented technological advantage with their ARTCARE line of mats. Embedded in their mat boards and acid-free foamcore boards are micro chambers, which trap impurities and protect art from the effects of pollution, paper degradation and the by- products of the art´s own aging. Photographs and prints respond well to this MicroChamber Technology, which prevents accelerated yellowing. For more detailed information, we include an article by the former Director or Preservation at The Library of Congress and a technical report on Zeolite Molecular Traps:
Photos & technical information...
Framing Spotlight: Hinging and Mounting
Fine art must be secured in a way that will accommodate changes in the art itself. In most cases, we hinge art on paper from the top so that the art will not buckle as it expands and contracts. Hinges should be reversible and should not alter the art substantially. At the Framer’s Workshop, we suit the type of hinging material to the requirements of the art. Fabrics, for instance, are usually sewn in place. Three-dimensional objects require varying types of attachments. Non-adhesive attachments, such as polypropylene film corners may be used to support documents, magazines, and valuable art on paper. In all cases, we strive for invisible and reversible methods, and we discuss all the options with you.
We also mount inexpensive posters to foam core board using a spray adhesive and a vacuum press. The main benefit of this treatment is to prevent waving of the poster behind the glass or Plex, but the drawback to this method is that is not reversible. Large format photos are sometimes vacuum mounted, but high gloss photo papers may not respond well to this treatment. Our experienced designers will explain all the ins and outs of artwork mounting when you bring us your framing project.
Framing Spotlight: Glazing Options
Ultraviolet light is present in nearly all forms of light, including sunlight, incandescent light, fluorescent light, and halogen light. UV light exposure causes artwork to fade, yellow, and become brittle. Although UV protective products will slow such deterioration, it is still important to hang valuable art away from direct sources of ultraviolet light.
At The Framer’s Workshop we carry a variety of U.V. protective glass and acrylic in both clear and non-glare options. For budget picture framing needs, we also feature similar products without UV protection.
Although ten choices in glazing protection may seem daunting, our designers will quickly guide you to the right choice based upon your needs and budget. Here is the run down on our glazing options:
Tru-Vue Museum Glass & Optimum Museum Acrylic™
The newest addition to our line-up of ten glazing choices is Museum Glass. Museum Glass is our finest grade premium glass. Optimum Museum Acrylic™ is our premium acrylic option for oversize and security installations.
Museum Glass is a truly an extraordinary product. It provides the same UV blocking protection of Conservation Clear and Conservation Reflection Control in that it blocks more than 98% of the ultraviolet rays in the 300-380 nm range. In addition, Museum Glass has a very special anti-reflective surface far superior to a typical non-glare glass. A special coating is used in extremely thin layers to break up the incoming light rays so that they don't bounce back off the glass, producing a glare. Because the rays don't bounce off, the picture is actually more illuminated than with clear glass. Clear glass transmits 91% of light to the artwork, while Museum Glass transmits more than 97% of light to the artwork. This improves color intensity and clarity.
Tru-Vue Museum Optimum Acrylic is the best acrylic choice for museum and original artwork or valued prints needing superior glare-free clarity and UV protection. Both Museum Glass and Museum Acrylic offer similar protective and visual advantages.
Tru-Vue Conservation Clear Glass (U.V. Glass) filters 98% of damaging ultraviolet light. This is the glass you see on most of the art in our gallery and is our number one selling glass.
Tru Vue Conservation Reflection Control Glass (Non-glare U.V. Glass) has the same U.V. filtering quality as clear glass, but has an etched surface to reduce glare. This surface softens the image with a resulting slight loss in clarity and color intensity.
Tru-Vue Conservation Clear Acrylite (U.V. Plex) filters 98% of damaging ultraviolet light and provides an extremely clear view of the image without the slight greenish tint that is inherent in regular glass. Like other acrylic products, it is ideal for shipping and installing oversize pieces of art.
Conservation Reflection Control Acrylite (Non-Glare U.V.Plex) filters 98% of ultraviolet light and has an etched surface that is slightly less distorting than its glass equivalent. We use this product in many corporate installations where large windows produce glare, and we need an affordable acrylic product to reduce reflection.
Tru-Vue AR Conservation Clear Acrylite (Abrasion Resistant U.V. Plex) is similar to U.V. Plex with the addition of a scratch resistant surface. This product is ideal for office installations where janitorial services may be cleaning the framed artwork.
Tru-Vue Premium Clear Glass is a quality clear picture framing glass for budget projects that do not require U.V. protection.
Tru-Vue Premium Clear Acrylite (Clear Plex) is a general purpose, defect-free acrylic for picture framing without UV protection.
Preservation Spotlight: Image Permanence Institute--Digital and Traditional Photography
As we see different types of digital prints and photos brought in to the shop on a daily basis, it is important for us to know what type of print you bring in, especially if the image needs mounting. We have done mounting tests on various types of digital output, and we know that some are safe to mount. As this field is constanly changing, we will continue to offer expanded information on this ever-changing field.
The Image Permanence Institute makes available two helpful documents regarding digital and traditional photography printing methods, inks, papers, storage, and restoration:
A Consumer Guide toTraditional and Digital Print Stability.
A Consumer Guide to the Recovery of Water Damaged Traditional and Digital Prints
