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GLASS TYPES AND USES GLASS - 
GLAZING: We do NOT sell glass on the web because of the handling, packing 
and breakage, But you can purchase that locally. Call a local frame shop or a lumber yard. 
Frame shops will have thinner, more expensive glass and better
for find art work. 
NOT ALL ART REQUIRES GLAZING. 


REGULAR GLASS. 
Picture frame glass is thinner and a better quality than 
lumber-yard type glass. If you are on a budget, single strength window glass from the hardware
store will work. 


NON-GLARE GLASS.
 Etched so that when light strikes it, it does not throw back 
the LIGHT rays, it scatters them.. It can be single etched or double etched. 
It defuses the image especially when multiple mats are used
.

UV GLASS. Has a coating to reject bad UV rays and prevent fading of the dye 
in the prints. UV can be regular or non-glare. Should be used on fine art prints 
and watercolors.

NON-GLARE UV GLASS. Has UV coating to reject UV rays and also defuses 
the return of the light rays. Can be distorting when multiple mats are used. 
The further off the image the more distortion.

MUSEUM-Extremely expensive, but great for quality art.

PLEXI-GLASS-Different types but all have to be cleaned and cared for carefully. 
No Windex. Plastic glazing will magnetize and collect lint, and easily scratched. 
But great on items that will be moved around and especially on large art items 
to prevent breakage. 
 

 

MAT BOARDS FOR PICTURE FRAMING

The mat board around a print has a JOB and that JOB is to protect the art work by separating the glass from the art
(paper or photography). If glass is laying directly on paper art or a photo when the glass is subjected to temperature 
changes it will sweat and it will sweat on the inside and damage the art or cause the glass to stick to photographic art.

There are many types of mat boards;

Regular-standard wood pulp with a buffered acid neutralizer added. and cotton ph neutral, white cores, metal, marble, suede,
leathers and more. Go with your budget. Even the regular wood pulp mats are PH buffered and will outlive you. 
Acid and museum quality are best for find art work because the value of that art will benefit your children and their children. 

NOTE: The photographic paper that is presently being used will stick to glass very readily, especially High gloss. 
so DO NOT PUT IT UNDER GLASS WITH THE GLASS TOUCHING THE PHOTO. You can mount the photo and put it in the
frame with no glass or you can use a frame space to separate the art and the glass. 
(Frame space can be your mat or it can be thin piece of wood or plastic strips around the inside of the frame behind the 
glass to separate the photo from the glass and photo should be mounted to a hard surface board to do this) 

STANDARD mat boards are made with wood pulp fibers and have the natural occurring lignin (which is acidic) and the pulp
is buffered with an alkaline (calcium carbonate) to neutralize the acid. These mats will normally hold their neutrality for 50-100 
years

ACID FREE MATS are made from cotton fibers and do not have lignin and are ph neutral and are the best for your art work, 
but they generally run about twice the cost of the standard wood pulp mats. With few exceptions these mats also have 
calcium carbonate added to help them to hold their neutral ph. I might mention that the new resin coated photography papers
are somewhat sensitive to the calcium carbonate, so in photography you only have a couple of mats that are recommended 
for that art form because they do not have calcium carbonate in them.

MOUNT. A lot of my customers use the terms Mat and Mount interchangeably and this is not proper. 
Mounting a print indicates that you have glued it down to the backing board. This process is best done by someone who is
knowledgably about the procedure. Mouting helps to keep the art from becoming wrinkled from humidity. I'm sure you have 
seen a poster print in a frame and it's all "wavy" well that's from the paper taking moisture from the air and it causes the 
paper fibers to swell and thus producing the wrinkles. Mounting prevents the buckling is most cases. It is possible under 
really humid circumstances for the print and the backing board both to buckle. Mounting a signed and numbered limited edition 
is considered a "NO-NO", because it alters the issued condition

 

WIRE - hangers 
APPROPRIATE to the size and weight of the picture. If in doubt double it. 
And when adding wire, go through the eye screw, 
around the wire and back through the eye screw and then twist the rest around the wire. 

Be careful and don't prick your fingers. Blood on art work is discouraged. You can tape the ends when you 
finished twisting. See fig. You can also use strip plate hanger on the back instead of the eye screws. 
They come in 2 hole plate and 4 hole plate. Great for heavy things and if you don't want to add the thickness of the 
eye screw to the back.  
 


 

INSTALLING ART INTO THE FRAME.

There are many ways to secure the picture into the frame and I'm sure you will come up with one that I will fail to mention. 
Masking tape is not an authorized method of installation 

1) Frame is shallow and canvas is deep. Canvas will stick out the back and that is normal and OK. You can secure the canvas into the frame several ways. 

a) Use Offset plates. They are metal "Z" plates with a hole so you can screw them to the frame. and they come in several 
depths. 1/8, 3/8 and 1/2. 
 


Punch hold in bars add eye schrew
fig 1

put eye screw down thru other screw
fig 2

nailness saw tooths
fig 3

one of several sizes of offset "Z" 
fig 4.



b} Use eye screws. Set the canvas into the frame and a with an ice pick or nail punch a starter hole in the side of the stretcher 
bar at the level the canvas drops into the frame. See fig 1. Put an eye screw into the starter hole so that it lays flat on the back 
of the picture frame. 
Put another eye screw thru the center of the first eye screw fig 2. until it holds down the assembly securely. Use eye screws that will not puncture thru to you frame front. 
 

2) Frame is deep and art sits totally down into the frame.

a) some of the "Z" plates will work, just turn them down into the frame instead on up on the canvas

b) small nail behind the art work into the frame side. 

c) Use glazier points and push into the frame. 

PAPERING THE BACK- done by most frame shops and it is more cosmetic than practical. It supposedly keep out the dust,
yea right. Put glue around the frame and layover your paper and press it into place and stretch as you press. Trim off any access paper before the glue sets up. You can lightly mist the back of the paper and when it dries it will tighten-up. 

Canvas art should not have papered back because it can cause excessive buildup of moisture and cause rotting of the canvas. If you want the back covered, be sure to cut at least 3 triangle slits "V" in the back and fold back the flaps on the "V". Careful don't cut deep enough to cut the canvas or you will have to take my repair canvas class.
 

ADDING HANGERS TO THE FRAME. lots of types of frames and lots of types of hangers.

1) small items, the saw tooth strips fig3. are easy and now they have ones with no nails to lose. I personally just don't like them. so I don't use them. I often use the small mirror type hangers. 

2) Eye screws, many sizes 

3)Mirror hangers fig 4.. Metal strips with holes for screw (2 screw and 4 screw) Mirror hangers are great for heavy items. Lots of sizes.

They are intended to use with two hangers on the wall and should not have a wire connecting the two hangers that are on the frame. This type of hanger is not strong when a wire is added because the pressure is sideways not straight up on the hanger. 

HOWEVER, if you put the hangers on the back of the frame so that they are not pointed up but at an angle to the center top of the frame, you can add a wire because pressure is now in the correct direction for the strength of the hanger.

 

 


 

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