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What to do if glass becomes broken in a picture frame:
Beyond the obvious danger of getting cut, the framed art or keepsake can be damaged. To prevent potential damage to the art's' surface and material, carefully place frame face-up to allow the glass to rest in the most natural and less intrusive way. If any glass shards are loose and easily assessable, carefully remove them. Do not remove pieces that are partially secured under the lip of the frame. Use shipping tape or heavy duty masking tape to web across broken glass to hold it together and prevent pieces from moving and sliding across the face of the artwork. You might want to use strong sticky tape to carefully lift loose broken pieces straight up to prevent scratching of the art’s surface. Sometimes slips of paper can be inserted between the artwork surface and broken glass; this acts as a delicate cushion. It is best to carefully transport the entire frame with taped and webbed glass face up to your trusted custom frame shop. A good frame shop has the best chance of safely removing the broken glass. They have the knowledge and equipment to remove and replace the broken glass. Despite their expertise, it is always a delicate operation and there are always some risks.
At Vista Gallery and Framing we always find out how the glass became broken in order to prevent it from happening again. The most likely reason is improper hanging devices. The use of an ordinary nail in the wall instead of the appropriate hanging hook. Sometimes the hanging hardware on the back of the frame is not adequate. Sometimes it may have been the glass itself that is to blame. Perhaps the frame was hanging in a high activity area like a recreation room or an active child’s room. In that case we would recombined acrylic glazing (Plexiglas).
Picture Hanging Devices
Warning! Do you have this type of hanging device (saw-tooth hangers) on your artwork or framed wall pieces?
I believe this type of hanging device is extremely dangerous and should not be used on any picture with glass larger than 8 x 10 inches. Too often they are matched to a frame too heavy to handle the engineering of this simple device. There are much better hanging devices available.
Recently, I walked into a friends office. Behind her head, as she sat at her desk was a beautiful image, hanging on the wall with a nice rustic oak frame. The entire piece was about 30 by 40 inches and weighed a hefty 10 pounds. She bought the reproduction print "ready to hang". I looked at the back to see how it was hanging. It was literally a matter of hours before the frame and glass would have fallen on my friend, if she was unfortunate enough to be sitting in her chair at the time. This picture was equipped with a saw-tooth type hanger. The weight of the frame was slowly pulling out the little nails out of the wood.
If your picture does not have hanging wire on it, please see a professional picture framer. Never use string. Often they can make it safe and ready to hang for a nominal fee or maybe as a complimentary service. A few cents could buy a lot of piece of mind and prevent damage to the frame, artwork and whatever is below the hung picture frame. We are happy to evaluate any existing framing you may have concerns about.
Sometimes e ven screw-eyes are dangerous and are very inadequate for larger pieces, or when they are positioned poorly on the frame, or when used in certain woods. Just because the hanging device came with the picture when you bought it, does not mean that it is the best or safest.
There are much better hangi ng devices available.
Here are a few. They all have very specific purposes.
Visit us for a free evaluation of any of your framing concerns
Glass and Protective Picture Glazings Click this link to learn more about glass and glazing options and how they may protect your art or keepsakes.
What You Can't See, Can Hurt.
How You Can Protect Your Artwork or Important Keepsakes
There are some basic problems that are most commonly misunderstood and cause the most problems, concerning the protection of framed art. I will generalize with the hind sight of almost 20 years of professional picture framing experience. Picture framing methods and materials are better than ever and have changed drastically in the last twenty years. It is challenging for most picture framers to keep up with the latest innovations in conservation and protection. There are many framing options available and it is important to inform the public on their choices.
Most people are concerned with the aesthetics of their picture framing and believe that if it looks good it is doing what is necessary to protect the artworks or keep sakes. Aesthetics are important to the enjoyment of their prized image. However aesthetics are only one part of the frame package; real protection of the piece can provide a life time of enjoyment. Proper conservation picture framing can prevent colors from fading, colors changing, and materials (papers, fabrics or whatever is being framed) becoming brittle and fragile.
The picture framing technology that has developed in the last five years has boggled the minds of not only the general public but many picture framers. The materials and products have revolutionized conservation and protection of artworks and keep sakes. Conservation and archival are misunderstood words that are important to understand.
Conservation refers to the protection and preservation of the artwork. This can involve many approaches to create barriers, protecting the artwork from hostile attacks from sneaky invisible enemies of important things.
Archival means that the materials will not disintegrate under their own power or properties. For example, the newsprint paper that this article is printed on is made of wood pulp and contains a high percentage of acid (or high ph level). With a little time this paper will discolor and become brittle. This action will be accelerated if exposed to sources of ultraviolet (UV) light like, sunshine or florescent lights. The UV light creates a chemical reaction with the high ph content. Other materials with high ph levels are card board, masking tape, most cellophane tape, and many papers that have not been ph neutralized. These typical household materials can harm wonderful things in a reactively short period of time. Unfortunately by the time you notice the damage, it is too late. A common damage with card board used as the backing of artwork is that there will be brown "scorch" marks burned into the back of the art, which will eventually appear on the face side of the art. The acid bleeds from one surface to another. Special acid free backings, mats and mounting materials are available to prevent such damages. When combined with UV filtering glass can provide the optimized protection.
What are some basics that you can you do to prevent damage?
1. Artworks should never be displayed in direct light or near a heat source.
2. When cleaning glass or acrylic glazing make certain to wet the soft, clean cloth and not to spray cleaner directly on the glass. The cleaner could run between the glass and frame and then under the glass before you can say, "I hope that stain comes out". This can damage most mats and even artwork.
3. Make certain that the artwork is not touching the glass. This can be especially dangerous for photographs and watercolor paintings. Beside the before mentioned glass cleaning problem, other problems can happen. Sometimes moisture condensation can occur behind the glass, next to the artwork. A mat or special framing spacer can help prevent this. There are two functions of a mat. One, to create a visual barrier between the image and the rest of the world. Two, to create a physical spacer between the artwork and the glass. Shadow box walls and small spacers can also be used to hold the glass away from the arts surface.
4. Artworks should be hung properly with the adequate hanging hardware and hanging hooks. Use picture frame wall hooks, not a nail to hang framed art. Make certain that the frame is not in a high traffic area where it might get bumped or knocked off the wall. There are security mounting devices if necessary.
What is archival?
“Archival” refers to a material that will not disintegrate under it’s own power. It would have to be contaminated with something that would break down it’s fibers or structural substance . A newspaper is not archival. Because of the acidic content of the economic wood pulp paper it is made from, the newspaper yellows and becomes brittle with age. This harmful affect is intensified with exposure to ultraviolet light. A newspaper left outside on a lawn one day can look quite old and antique. Archival material such as rag printmaking paper or watercolor paper can be contaminated but exposure to materials such as cardboard or masking tape which have a high acid-content in them. The archival material must be protected with archival materials (acid-free backings, mats and mounting materials.
Evaluating the Quality of Your Picture Framing
Picture framing older than ten years, and certainly 15 years, should be evaluated by a professional picture framer. Backings and mats will probably need to be replaced. Ask the framer to show you the damage before replacing the materials; you will be amazed.
These basic guide lines can prevent costly damage and provide a lifetime of enjoyment. More information will be added to this ongoing educational page in the near future.
Douglas Taylor has a Masters Of Fine Art, has been an art educator since 1982 and been involved in professional picture framing and art handling since 1979.
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