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Museum Glass and other optical and protective options:
The above example reveals an optical difference in Tru Vue Museum Glass and Tru Vue Reflection Control Glass. The light situation is identical with the examples; the only difference is the kind of glass used. The difference is dramatic. There is still a reflection in the museum glass but it is optically minimized. The color and vividness of the painting glazed with Museum Glass is clear and obvious. The Reflection-Control Glass has defused the light and actually creating a blanket of reflection, softening the color and detail.
Reflection-Contol glass can be highly effective in certain situations and virtually invisible at most angles of sight. Reflection-Control glass is available in conservation grade (UV filtering) or regular glass.
The darker an image is the more reflection it can create. When a dark image is glazed with regular glass is can create a ‘mirror” type of dynamic. Reflection Control glass can be highly effective in most situations. It cost more than regular glass but can reveal much more detail and greatly reduce reflection. Again, Reflection Control Glass or Reflection Control Plexiglas is available in a UV Filtering (conservation) grade. Museum Glass is on a higher optical level and provides the same UV filtering ability as Conservation Glass (97%). At most angles it is virtually invisible and most people are amazed at its unintrusive presence.
Glass and Protective Picture Glazings
There are at least six different types of glass/glazing materials to consider for various needs. For safety it is recommended that Plexiglas be used in a child's room or recreation room where horseplay might occur.
If you do not want colors on a photograph or watercolor painting to fade, it would be wise to use UV filtering glass. Any paints, dyes and inks are vulnerable to damage (discoloring and or fading), from exposure to ultraviolet light. If you notice that your picture’s color has faded, it is too late. Upgrading the glass to a UV filtering glass will help stop any further damage. The use of “UV” filtering glazing is at an optimum when used in conjunction with other archival materials such as archival- acid-free matting and backings.
More about light and the display of artwork:
Damage from Ultraviolet Light and Heat: No artwork should be displayed in direct sun light. There are several reasons for this, the ultraviolet light from the sun can fade the colors, the heat can activate the artworks materials and structure and break those materials down from the heating up and cooling off (shrinking and expanding). Artificial fluorescent light can have a similar intensity of ultraviolet light and can damage the artwork just like the sun. All light sources including halogen and incandescent lights emit UV rays. Even if you apply a UV filtering coat in on the windows of the room where the artwork is intended to be displayed and use UV filtering conservation glass or Plexiglas, there is still the heat and cooling fluctuations to deal with. This is why museums are very concerned with climate control (heat and humidity), not just ultraviolet light.
Glass can conduct heat extremely well. I always advise customers after picking up their picture frame projects to be cautious with the artwork while driving home, even for the shortest distances. I advise them to place the glassed side of the artwork down and if they have an insulative blanket to place it over the artwork on the drive home. When struck by sunlight even for a couple of minutes artwork can heat up enough to create condensation under the glass! Most artwork under glass that is purchased at an outdoor art festival should be refitted (glass removed and re-cleaned). Usually such outdoor art shows are conducted when the weather is warm and wonderful. The glass, even if not directly exposed to the sun will sweat (create condensation) under the glass, at the least creating water spots at the most dripping condensation on the artwork! If the artwork is not matted or has an archival spacer lifting the glass off of the artworks surface, great damage can be done. If photographs are damaged this way the emulsion on the photograph can act like a glue and permanently adhered to the inside of the glass. It is a miracle if it can be successfully unstuck.
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).
Click this link to go to general information about picture framing and to see more examples of how art and keepsakes can be protected and displayed.
This irregular shaped fabric from Africa was
“floated” on linen and appears to levitate off of
the surface. Clear spacers lift the museum glass
off of the objects surface.
Douglas E. Taylor copyright 2008
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