Why Conservation Glass is Worth It

Hello, art lovers!

Today I'd like to focus on the importance of using Conservation (UV) Glass on nearly anything you're having custom framed. Even when a customer brings in "just a print" (their words), I always recommend Conservation (UV) Glass. Here's why:

# 1. Glass Provides a Physical Barrier. Since you've paid for the artwork, I can only assume that you love it, that you want to continue to enjoy it (for years to come), and that you will take good care of it by dusting it regularly and storing it properly. Conservation (UV) glass is a basic part of good art care. It keeps curious fingers, floating dust and dirt, and ravenous insects from damaging your artwork--even originals on canvas.

# 2. All Artwork Fades. Over time, not only natural sunlight but also the artificial lighting inside your home will cause all artwork to fade. Let me repeat: All artwork fades over time. By artwork, I mean photos, prints, originals, needlework, sports memorabilia, children's art, etc--whatever you're hanging on your wall? It will eventually fade. The best way to prevent fading is to keep your artwork stored flat (unframed) or upright (framed) in a dark, dry place. The second best way to prevent fading is to install Conservation (UV) Glass. It blocks 99% of UV rays from reaching your art. Basically, it's SPF for artwork, and it really works.

# 3. Art Restoration & Cleaning is Expensive. Rather than pay for expensive cleaning and restoration later, invest in Conservation (UV) Glass now. Even an original oil or acrylic painting on canvas, which--once it's completely dry--does not need to "breathe" (a common myth), should be protected under Conservation (UV) Glass or Conservation (UV) Acrylite (plexi). Again, glass keeps dirty fingers, bugs, and dust off your valuable artwork. A $50 or $75 pane of glass now is far less expensive than the hundreds of dollars it costs for professional cleaning and restoration services.

# 4. You Have Choices. UV Glass and UV Acrylite comes in three finishes--Clear, Non-glare (aka "Reflection Control"), and Museum, and they all offer 99% UV protection. By far Museum Glass is the best glass for viewing your artwork's true color and detail. Museum Glass is amazingly clear, it has no glare, and there's no "haze" on it to distort the colors and detail. It's pricier than non-glare and clear, but it's worth it if the "haze" of non-glare glass or the "glare" of clear glass bother you. Again, all three types offer 99% UV protection for your artwork.

To learn more about Conservation Glass, click here for a video on glass by Tru-Vue, the makers of the Conservation (UV) Glass I use.

Happy Framing!

JoAnn

Free Framing Advice for Artists & DIYers

Hi, everyone. Today's post is meant for photographers, artists, or any DIYers (do-it-yourselfers) who do their own "framing." I'm using quotation marks because most folks don't have a mitre saw or pneumatic v-nailer at their house for doing professional framing. Most DIY "framers" buy ready-made frames and install the artwork themselves. If that describes you, you're going to learn a lot in this post! :)

First, inspect the frame. Are the mitres (where the two 45-degree angles meet at all four corners) smooth and tight? If so, great. If not, choose another frame. Warped wood or twisted plastic will only get worse over time, thanks to humidity and temperature fluctuations. It's a natural and normal process--there's no getting around it.

Next, throw away the glass. Yes, I mean that literally. Go straight to your local frame shop (of course you know which shop I recommend) and ask for Conservation glass. I carry three kinds of Conservation glass: clear, non-glare, and Museum grade. My favorite glass is Museum glass, but it's truly a personal choice, since they all have a 99% protective UV coating to help prevent fading.

Personally, I can't stand the look of clear glass due to the glare (I see myself in it, not the art). The non-glare glass is much, much better, but it has a slight "haze" to it, which is especially noticeable when not viewed straight on. When a customer doesn't want to spend extra to have Museum glass, I always recommend non-glare glass (except on shadow boxes), but Museum glass really is the way to go. It's perfectly clear yet glare-free. It's amazing. Read more about Tru-Vue glass here (pdf document).

Now that you have an acceptable frame with UV glass in it, you need acid-free, archival mats. YES, your photo or artwork is worth archival matting. Several times I've seen artwork come in after just a couple of years behind a poor quality mat. It leaves a permanent, orange-brown "burn" because the acid literally migrates out of the mat and into your photo or artwork (called acid migration). Acid burn is preventable (UV glass can help) but not repairable. Don't risk it.

If the frame you bought says the mat is acid free, hopefully it is. I say "hopefully" because Big Box stores have their own definitions of "acid free," "archival," and "conservation quality." My supplies here at the Black Iris Custom Frame Shop are all approved by the Library of Congress in Washington DC, and I have ready-made sizes in a variety of colors for $2-$19, depending on the size you need. My mats come with a guarantee not to damage your artwork.

Okay, with your frame, glass, and matting in hand, we now need to talk about mounting (attaching) the artwork for display. Warning: this paragraph will have a lot of "do NOTs" in it. For instance, do NOT use Scotch tape, masking tape, duct tape, gorilla tape, packing tape, or band-aids to mount your artwork to the backing board (yes, I've seen all of these). Also, do NOT mount the artwork to the back of the mat. Attach it to your backing board. Oh! And let's not forget your backing board. Do NOT use cardboard, masonite, plywood, or whatever came inside your frame; instead use acid-free foamboard or coroplast (available, you guessed it, at any reputable frame shop including Black Iris).

For mounting your artwork, use acid-free artist's tape (it's solid white, not clear or opaque, and removable even years later) or acid-free, clear corner mounts (they look like clear triangles). Either will work for small works of art on paper. For large, heavy, or fabric items, see a professional--framing complicated pieces by yourself could mean you're causing irreversible damage. Again, don't risk it. For steps on how to mount your artwork on paper so that it's straight and lies flat, consider taking my framing class this month (too complicated to explain here).

Next, assemble your frame package starting from the back. Backing board first; frame last. Make sure there are no fingerprints or lint to distract the viewer, then close up the back (see About Dust Covers), and you're done! One last piece of advice--never smash your artwork directly up against the glass. Always use a double mat (or see me for installing spacers). Otherwise, due to humidity and static electricity, the artwork will eventually stick to the glass--not good on valuable pieces! Again, this is preventable, but once the damage is done...it's done.

Finally, you need hanging hardware. If the frame you bought came with a sawtooth hanger at the top or with a wire strung between two eye hooks...well, all I can say is...good luck with that. This kind of DIY hardware is not professional grade and often pulls out due to vibrations of outside (road) traffic, inside (foot) traffic, doors opening and closing, appliances, etc. With low quality hanging hardware, one day your frame will end up on the floor, broken. You'll need the frame repaired and the glass replaced for sure--which is far more expensive than coming to see me about good, solid hardware before you hang it.

Now hang your beautiful artwork (use two hangers to keep it level), and enjoy.

Let me know if you ever have questions about framing, and good luck DIYers! My next mat cutting class starts Thursday, August 7. Framing class starts August 21. See you there!

Framing for a Lifetime,
JoAnn

Mat-Cutting 101 was a hit!

Hello, art and framing lovers!

Last night (Thursday, March 6, 2008) I taught my first mat-cutting class, which was open to the public. I can tell you this: as a former English teacher, I haven't been that rejuvenated after teaching a class in a very long time! The best part: no papers to grade.

It was exhilarating, actually. The students arrived early at my gallery & frame shop. They were raring to go. They listened. They asked excellent questions. They asked even better follow-up questions. They practiced mat cutting. They made mistakes. They fixed their mistakes. They helped one another, and they applauded each other's successes. It was an amazing, uplifting, and emotionally "high" experience for me. I loved it! And I realized that of course what I miss about teaching are all the good parts.

Our second class is next week on March 13. We'll finish cutting our 8 x 10 "practice" mats and then we'll do the real thing on a 16 x 20 mat. Each student gets to bring one piece of artwork from home and cut a mat for it. They all seem really excited about it! One person is going to mat a portrait for her husband's birthday. What a great gift.

After last night's class, several students asked some very in-depth questions about mounting artwork and cutting frames. That gave me the perfect segue to promote my upcoming framing class in April. Unofficially, I'm calling it "Open Frame Shop Night" for the four Thursdays in April. "Graduates" of my mat cutting class can come in, choose mats and frames, and then work on the project with my help. I'll let you know how it goes!

JoAnn