Prints Galore

Glazing is used as a protective covering over some types of artwork. Glazing refers to either glass or an acrylic product. Glass tends to break more easily than acrylics but acrylics are more prone to scratching.

 

There are a number of different types of glazing products available at different prices. The three key components to consider in choosing a type of glass to use to protect your artwork are Ultra-violet radiation blockage, anti-glare properties, and how much light the glass transmits. As we emphasize Preservation framing at Prints Galore, we normally recommend Conservation Glass to protect your artwork. Conservation Glass blocks over 97% of the Ultra-violet radiation that can harm and fade your artwork. The table below shows the various types of Glass, their properties, and a cost comparison for a 16 inch by 20 inch sheet of glass.

Product	Properties	Features	Price
Regular Glass	· U-V Blockage 47% · Light Transmission 91%	Like window glass but higher quality	$17
Conservation Clear	· U-V Blockage 97% · Light Transmission 91%	Slightly different colouring due to U-V filtering	$32.30
Reflection control	· U-V Blockage 53% · Light Transmission 91%	Useful where artificial light creates reflections on artwork. Not recommended for shadow boxes or art work utilizing a fillet.	$25.50
Conservation Reflection control	· U-V Blockage 97% · Light Transmission 90%	Offers both U – V protection and anti-glare features. Not recommended for shadow boxes.	$42.50
Museum Glass	· U–V Blockage 97% · Light Transmission 97%	U-V protection, reflection control, and offers superb clarity. Highly recommended for prized artwork.	$74.38

 

Some artwork and framing alternatives do not require glazing. For example, oil paintings should not have glazing. This type of art is typically varnished with a clear varnish to protect it and to add a gloss to the finish. It is then placed in frame but not sealed with glazing so that the work can continue to breathe. Similarly canvas transfers or giclee prints are laminated rather than glazed as they are intended to imitate oil paintings.

 

Another process that does not require glazing is when art is dry-mounted to hardboard, a process known as plaque-mounting. In this process, the art is protected through lamination and the edge of the hardboard is finished in the customer’s choice of colours. Plaque-mounts can be hung directly on a wall and do not require a frame. In the right circumstances, they are an effective and cost-efficient way to decorate a room.

 

 

Matting typically serves two major purposes; to protect the artwork from coming into direct contact with the glazing material and to provide both a functional and decorative border between the art and the frame. 

 

At Prints Galore all of the mats that we use are what are known as “acid-free” mats. This means that the material in the mat that could come into contact with the art has a Ph balance greater than 7.4 or has an alkaline reserve. This is important because the alkaline in reserve will counter balance the weak level of acidity in the water particles in the air caused by industrial pollution and therefore will protect the art from being damaged by acid. Acid-free mats are relatively new in the market and it is only recently that many frame shops use them exclusively instead of their non-acid-free, less expensive cousins.

 

Tip: Take a close look at your art. If the bevel on the mat has turned brown or is discoloured, chances are the mat is not an acid-free mat. The bevel on acid-free mats should stay a crisp white colour.  

 

Today mats come in literally thousands of different colours and shades as well as many different textures and surface patterns. Well chosen mats can make a tremendous difference in the presentation of artwork bringing out, for example, subtle colours in the art or helping to focus the eye on a specific feature of the art. Personal preference also plays a strong role in determining the number of mats used, the size of the border, and the choice of mat decorations, if any, such as v-grooves or embossing. Openings in mats can be cut in virtually any shape and also can enhance the art.

                                         

 

 

Today, there are a wide variety of framing products available to frame most anything. Framing material comes from a variety of hard and soft wood products as well as various kinds of metal frames. 

 

At Prints Galore, we do not sell nor do we encourage the use of polyurethane molding. We have several reasons for this position including the environmental unfriendliness of more use of plastic. More practically, time and again we see art framed in plastic with veneer to make it look like wood that someone found at a “great” price. Unfortunately, the corners seem to have pulled apart or the seller for some reason didn’t put a hanger on the picture. Closer examination usually reveals that the reason the corner pulled apart is because the plastic fractured probably when the frame was joined using an underpinner so that the only thing holding it together is the paper glued on the back. To the right is an example of a plastic frame that was likely damaged in the initial joining process. 

 

Generally, wood framing material comes in more variety and with more choice of decorative finishes than metal frames. Our experience is that customers perceive wood frames to be of higher value than metal frames although with some of the simpler wood frames the price differential is negligible between wood frames and metal frames. Certainly higher end hardwood frames with an elaborate finish considerably out-price any metal frame. Here are some samples of wood frames of various types of wood and different finishes. 

 

Apart from appearance and price, there are several other important considerations when choosing a moulding for your artwork. First of all, the depth of your artwork is a consideration - if it is needlework particularly with any kind of beading, or if it has multiple mats or a fillet you will need a frame that is deeper than the frame required for a dry-mounted poster with a single mat. The frame should accommodate the artwork plus the glazing material, the mats, and the backing material while still fitting flat to the wall. Secondly, the frame should be strong enough to hold the artwork including, in particular the glass. A 32 by 40 lite of glass weighs a significant amount and from a safety point of view alone, needs to be in a frame that is strong enough to hold it. 

  

 

 

 

 

 

There are several different ways to mount artwork within a frame. 

 

If the art is an original or limited edition or if the customer wishes, the art will be mounted using preservation or conservation techniques. Typically the art will be either hinge-mounted or  mounted using acid-free materials similar to photo corners onto an acid-free backing board.

 

Open-edition prints or posters, or even photographs are commonly dry-mounted onto a foamcore backing board.

 

If the work to be framed is something else, for example a Hockey Jersey, several options are available for mounting. Sometimes the work will be sewn onto a matboard and other times special frames with built – in interior hangers are used. For other objects they are sometimes set into a hollowed out backing of foamcore and matboard or even glued to the backing board using adhesives such as silicone.

 

Needlework requires other steps to ensure proper mounting. Needlework is stretched over acid-free foamcore using stainless steel straight pins to ensure the work is straight and displayed to its best advantage. Some needlepoints in particular, also require blocking to ensure they are straight.

 

It is also sealed to limit humidity changes or atmospheric pollution from damaging the work.

 

Original works on canvas sometimes come mounted on stretcher bar. Other canvas works such as those typically purchased at holiday spots in the Caribbean are taken off of stretcher bar so they can be transported back home. These can sometimes be remounted on stretcher bar but often the customer will choose to have them dry-mounted.