Looking through the Glass
Part 1 of a 4 Part Series
Like many things, picture frames seem so simple from afar. But once you pass through the doors of a custom picture frame shop, simplicity falls away. Hundreds of framing corners hang on the wall snugging into one another, forming colorful regimented columns on the wall: brightly hued, warm wood grains, versatile metallics, and luxe leafed-gold and silver. Then there are the stacks of matboards in all colors of the rainbow. This wealth of choices can make the first-time-custom-picture-framing-customer anxious. And honestly, I have no easy fix for this glorious conundrum! But I can eliminate one decision for you- and that decision regards your glazing.
Picture framers refer to the glass protecting your art as “glazing”. But let me be clear about two things-
FIRST It’s not always glass.
SECOND A glazing’s job is to PROTECT- so don’t use something that won’t do the job.
At some point in the design process, probably near the end, after your brain has turned to mush while comparing Matte White to Solid White to Frost, your design consultant will ask you what kind of glass you would like. Unlike frames and mats, you have relatively few options, but your choice is important.
This artwork measured nearly 7-feet tall and is showcased in a room flooded with natural light. Grant’s Frames used acrylic for its protective qualities, its flexibility, and its light weight. Interested in framing oversized art? Check out our blog entry featuring some of our largest projects. https://www.grantsframestulsa.com/newsletter/2021/6/15/2zk74ow4jxs8mqczufwk08l0sqvmjj
First, if you are taking the time and spending the money to custom-frame, it should be a given that you want conservation glass. Conservation glass contains UV-protectant properties to help protect your art from the harmful uv rays that rob your art of color or certificates of signatures. Even man-made lighting can damage your art. When you purchase a ready-made frame off the shelf you are not getting any protection from the glass. Clear glass does little to prevent your art from fading away. Conservation glass will preserve the color for years to come.
Conservation glass comes in two types: Conservation clear and Conservation Non-Glare. While conservation clear will protect your art, it is also highly reflective and can hinder viewing. Conservation non-glare has been finely etched on one side to greatly reduce glare and reflection. However, the fine etching also reduces the clarity of the image. So, when choosing between non-glare and clear, consider the viewing conditions as well as the nature of the art itself. Highly detailed art may lose much of its charm tucked into a non-glare environment.
But what if you could have it all? What if you could protect the art behind a clear almost invisible substance that doesn’t blind the viewer when the lights are turned on? Museum clear glazing provides maximum visibility AND protection. You can expect to pay a little more for this option, but once you have tried museum glazing, you won’t look back.
The final option isn’t glass at all, but acrylic. Museum acrylic provides the same visibility and uv protection as glass, but with much less weight. In instances of framing large pieces, glass may not be an option. In these cases, we recommend using Tru-Vue museum acrylic. Grant’s Frames offers customers a choice between Tru Vue museum acrylic and Tru Vue Optium museum acrylic. Both offer UV protection, but the Optium is also scratch-resistant and static-free making it an excellent choice for framing pastels and other delicate fugitive art pieces.
I hope this explanation of glazing relieves a little of your anxiety about custom-picture framing. To see actual examples of all these glasses at work, stop by our showroom. In the coming months I will post about other essential (and non-essential) components of custom picture-framing. Next month, let’s talk about frames! After all, that’s why you’re here!