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CURRENT COLUMN

Why Paper Discolours (Part 2)
Why Paper Discolours (Part 2)

Why Paper Discolours (Part 1)
Why Paper Discolours (Part 1)

Mending a Tear in an Aboriginal Drum
Mending a Tear in an Aboriginal Drum

Distortions and Dimensional Changes
in Paper (Part 3)
Distortions and Dimensional Changes
in Paper (Part 3)


Distortions and Dimensional Changes
in Paper (Part 2)


Distortions and Dimensional Changes
in Paper (Part 1)

After treatment
Oscar Cahén: Innovative Conservation
for an Innovative Artist

Structural
Rigid Water Gels: New Treatment Options for Paper Conservators

Structural
Structural Remedies for Canvas Paintings

Digital
Organizing and Preserving Collections - Part 4: Digital-based Material

Photos
Organizing and Preserving Collections - Part 3: Photo-based Material

Organizing and Preserving Collections - Part 2: Paper-based Material

First Steps
Organizing and Preserving Collections - Part 1: The First Steps

Natural Dyes
The Use of Natural Dyes in Textile Conservation

Butterfly
A Relocation Project

Challenges of Preserving Contemporary Artwork

Preserve Your Investment through Art Conservation

A Project Completed: Heritage Preserved

Old and New Methods for Cleaning Paintings

I Can See Clearly Now – Or Can I? Part 2

I Can See Clearly Now – Or Can I?

The E.J. Hughes Mural: An Expanded Project

Is She or Is She Not an Emily

Treating Art with Sensitive Media

Malaspina Mural: An Update

For the Artist: Testing Your Materials

Conservator as Art Historian

Alum Sizing and the Art of W.J. Phillips

Treatment of an Elizabeth Keith Wood Block Print

Structural Treatment of an Emily Carr

The Treatment of a Monumental Wall Hanging

Changing Images

Preserving a Rare Record

Gold Leaf: Imitation and Genuine

The Case Against Canvas Backings

Heritage Colours: Research Discovers Original Colours

Lighting Your Art: Balancing Seeing and Protecting

The Double-Sided Emily Carr Painting

Choosing a Period Picture Frame

How to Identify a Picture Frame

Stretching Canvas and Restretching Artwork

Mounting Textiles

Aging Paintings:
Some Causes and Effects

Chine Collé Prints

What's Your Favourite Color?

Backing Removals

Rips, Holes and Tears

Filling in the Gaps

DIY – Preventative Care of Paintings

Frame it Right

Fire, Water and Smoke-Damaged Paintings

Inherent Vice

Saturated Problems:
A Water-Damaged Painting

Moldy Paper

Conserving Time

Conserving Paper: Dos and Don'ts

Repair of Textiles

Conserving Wood

Rescuing Endangered Murals

Repairing Acid-Matte Burn

Art Services & Materials
Exhibition Openings & Events


Conservation Corner Back

Tru Vue glass samples

Tru Vue glass samples

I can see clearly now – or can I?

by Rebecca Pavitt
www.fineartconserve.com

You've got the art, it's fit to be framed, you've chosen the moulding and matting to set it off perfectly – you're good to go. Hold on, back up the bus, you've forgotten the glass!

Not so long ago, there were limited choices for picture frame glazing: float glass, non-glare float glass, and acrylic. The choices were pretty straightforward. Times have changed, and there is now a variety of options available. The purpose of this article is to help consumers sort through the many products on the market, so that they can make the right choice for the right reasons. In this, first of a two-part article, glass options will be explored.

Float glass often has a green tinge caused by iron impurities, blocks less than half of ultraviolet light and, depending on the location of the light source, reflects about 8% of visible light back at you as glare.

Non-glare glass is etched on one side so that reflected light is scattered in different directions rather than bouncing directly back at the viewer. Etching, however, gives the glass a foggy appearance which can obscure the underlying artwork.

In the 1980s a new, very exciting line of glass made just for artworks was marketed by Denglas. Its products included clear float glass which did not distort colour, anti-reflective coating to reduce glare without obscuring the art, and UV filtering coating. Denglas is no longer produced; Tru Vue now makes almost all of the high-end picture framing glass.

  • All of their glass is clear float (no coloured tinges).
  • Their UV filtering coatings block 99% of UV rays between 300 and 380 nm.
  • Anti-reflective coatings on float glass increase UV filtration to 78% (not considered “conservation grade”)
  • Anti-reflective coatings show fingerprints easily, so are best handled with gloves and cleaned with microfibre cloths spritzed with rubbing alcohol.
  • Available in sheets up to 40 x 60 inches.

Museum Glass: UV filtering coating on one side, and glare reduction coating on both sides.
AR Reflection-Free: Glare reduction coating on both sides.
Conservation Clear: UV filtering coating on one side.
Premium Clear: No coatings. 45% UV blocked, as with regular float glass.
Conservation Reflection Control: UV filtering coating and etched surface on one side.
Reflection Control: Etched surface on one side.

Almost everyone agrees that Museum Glass is a lovely product that is virtually invisible. When cost is not a consideration, it is the product of choice. Its appearance (or lack thereof!) is so good, that many museums and art galleries use it to frame oils and acrylics to protect them from environmental damage without compromising aesthetics. For situations where glare is a problem and budget a concern, Tru Vue makes etched glass. The characteristic fogged appearance increases the further the glass is from the art, so this etched glass is not a good choice for deeply matted items, or shadowboxes.

Previously: The E.J. Hughes Mural: An Expanded Project
Next issue: Acrylic Picture Framing Products

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 Sun, Jun 7, 2009