A Lesson in Framing

  It is important to know that no framing or frame job is exactly the same.  The appearance of “low prices” often tricks people into using one shop over another.  The guise of 50% off framing specials often pulls people in to trusting large corporations with a high employee turnover rate with their prized memorabilia.  However, in framing you often get what you pay for and no materials are always the same.  The following information will provide you with helpful tips and questions you should ask anyone with whom you trust your artwork, i.e. your framer.

• Acidic materials = costly damage.  Acid free framing or archival framing has not been around forever.  Chances are if you had something framed 7-10 or more years ago it is not being completely conserved properly.  Signs of damaging acids include a faded mat or piece of artwork, and a telltale sign is a creamy colored or yellowed bevel of a mat.  Acids touching your artwork will cause ring around yellowing in photographs and prints, as well as fading of color.  It is important that you re mat these pieces or change their backing to acid free materials in order to fully conserve each piece.  This often devalues signed and numbered prints when left in this condition for years at a time.  If you don’t ask your framer whether or not the materials being used for your artwork are acid free, chances are they are using the cheapest materials possible, which means not the best for your piece.  Frame-Up Custom Frame Shop uses only acid free mat board in our framing. 
• A mat is both a design element as a well as a protective device between your glass and artwork.  By putting a mat on your piece you keep the glass from touching, and eventually with humidity, sticking to your artwork.
• The professional finish on the back of your piece is also used for conservation purposes.  Frame-up Frame Shop always covers the back of wood frames with a dust cover to avoid bugs, dust, and moisture from entering the vicinity of your artwork. 
• What’s in the glass?  It is very important that you know what glass is appropriate for your piece.  There are a variety of glass choices available to you:  Some reflect light and some protect from ultra-violet light damage: 

Regular glass- Filters out approximately 45% of ultraviolet light just based on the nature of the glass.  Will have a regular amount of glare.  The cheapest option available

Non-Glare glass- Filters out approximately 45% of ultraviolet light like regular glass.  Will have a reduction on glare because of a special hazy coating on the front of the glass.  Good for around two mats but will distort the image when others are being used.

Conservation Clear glass- Filters out approximately 98% of ultraviolet light with a special coating on one side.  Will have the same amount of glare as regular glass.  Best for valuable art of memorabilia or anything that will be in direct light.

Conservation Non-glare glass- Filters out approximately 98% of ultraviolet light with a special coating on one side. Will have a reduction on glare because of a special hazy coating on the front of the glass.  Good for around two mats but will distort the image when others are being used.

Anti-Reflective museum glass- Filters out approximately 78-98% of ultraviolet light with a special coating on both sides.  Will reduce glare almost 100% and in most lighting is invisible.  Best for all art and definitely in high light areas

Plexi glass- Is used for large pieces or in places where glass could be broken.  Good for  kid’s rooms as well as shipping artwork.  Shows clear like regular glass but is lighter and more resilient.  Is usually more expensive than regular glass but also comes in all of the above glass options in relation to conservation and glare.

*Come in to Frame-Up Custom Frame Shop to see samples of these glass options and to choose which works best for your art piece*