Tru-Vue Glass Literature
Your most precious photographic memories should be given the same treatment and protection that apiece of fine artwork receives.
Some of life's most precious memories are captured in the photographs that we take: a child's first birthday, your parents' 50th wedding anniversary party, your daughter's wedding portrait. Yet, more often than not, we display these memories by simply placing the photo in a frame or sticking them on the pages of a self-adhesive album.
While this treatment is appropriate for most snapshots, your truly special photos, especially those with historical merit or those that may be irreplaceable, desere so much more. That's where your custom framer can be of assistance.
Special Characteristics of Photography
The very nature of your photographs will dictate how they must be framed. Some photos are printed on papers which do not take well to regular heat-activated mounting techniques. Others, especially antique photos, are very sensitive to alkaline-based framing materials and therefore must be mounted and matted using special non-buffered boards.
All photos should be framed using at least one mat made of TruGuard® Conservation Quality Artboard. This will ensure that the photo emulsion does not touch the glass. If it does, temperature and humidity changes may cause it to stick. This can potentially ruin the image. An acid-, lignin-, and groundwood-free artboard such as Tru Vue® Ultimat® will protect the image from damage that can be caused by these impurities.
Bring Memories To Life
Photographs can really bring back the memories and feelings of a special time. Why not add an extra element to your memories by placing a treasured memento in a shadowbox presentation with the photo?
For instance, a photo of your son's high school graduation can be brought to life when paired with his mortarboard and tassel. Or your daughter's dance recital portrait will do a grande jeté when frame with her ballet shoes and a program from the event.
These are just a few examples that can help to enliven your still shots. Ask your custom framer to help you find the special touch that will bring your picture-perfect memories to life!
Lacquering vs. Glazing
Many times, a photographer will recommend that you lacquer a photo in order to protect it. This process is accomplished by applying coating directly onto the photographic image. The lacquer seals the photo against dirt, moisure, and in certain cases, ultraviolet light damange. While this does protect the photo to an extent, it also causes a perment change to the image. In years to come, the lacquer may yellow or crack, thus ruining the photograph.
A protective measure that is more in keeping with the methods of Conservation Framing is the use of UV-blocking glass. Tru Vue® Conservation Series® Glass featuring TruGuard® UV Protection effectively blocks 97% of the most damaging ultraviolet rays. And like all other glass, it protects the framed items from ourside impurities which might otherwise damage it.
The single most important step you can take to protect your framed artwork from harmful UV rays is to specify the use of Conservation Glass featuring TruGuard® UV Protection.
What are you really buying when you use the services of a custom framer?
Talent... yes, and the knowledge and ability to select the proper framing materials for your particular project. This means helping you choose the right colors, the right frame style, and most importantly, the right materials to protect your art, photo, or memorabilia. There's the matboard, the frame, the backing board and the mounting materials to consider. And of course, the glass. And glass is glass, right? Wrong. All glass is not created equal. In order to preserve, protect, and get the most out of your artwork, you have some choices to make. And with a little knowledge, those choices will be very easy.
What determines the glass I should use?
Your custom framer should help you select the right glass for your project. The very fact that you are having this item framed denotes its value to you. The best choice for any framed item is to use glass featuring TruGuard® UV Protection.
What other glass choices do I have?
Tru Vue® offers five types of glass available with TruGuard® UV Protection. All five types block 97% of harmful UV light rays.
Perhaps you have a very bright room in which you will display your artwork, or you intend to hang the piece opposite a window or lamp. Anytime you think reflection may become a distraction from the enjoyment of your artwork, you may want to ask for Conservation Reflection Control®.
Many framers are conditioned against using reflection control glass. This is the result of the poor quality glass that has traditionally been available. These low-tech "non-glare" glasses have a highly frosted appearance because they are etched on both sides. The resulting fuzziness and distortion made for many dissatisfied framing customers, which soured framesrs on the idea of reflection control.
Tru Vue® Conservation Reflection Control® glass employs etching on only one side, eliminating the reflection problem with only a subtle softening of clarity. (This "soft focus" actually enhances some images such as portrait photography and impressionist landscapes, where an atmospheric effort is desirable.)
Ask your framer to see a sample of the five types of Conservation Series® Glass over your piece and judge it for yourself.
The most important thing to remember when framing your artwork is to consult with your custom framer. The more he or she knows about your project the better they are able to use materials that will ensure your enjoyment for years to come.
What is Conservation Glass?
We've all heard about the dangers of ultraviolet light rays-- particularly to organic materials. Exposure to UV light causes organic material to break down. This is visible in the form of fading colors and embrittlement and yellowing of the materials that bear the artwork. These effects, once started, are cumulative and irreversible. The best way to preserve your art is to protect it from exposure to UV light from the outset. For starters, don't hang your art in direct sunlight or light it with fluorescent light. Ask your framer to use Conservation Quality Glass, such as Tru Vue® Conservation Reflection Control®.
Conservation Series® Glass effectively blocks 97% of the dangerous UV light-- protecting your artwork without affecting the visible light spectrum so your colors show true as nicely in a year as they do the first day you frame them.
Specifying Conservation Framing is an important form of insurance for your valuable artwork, keeping it as lovely as it is today for your enjoyment for years to come.
As consumers, we bring our valuables in to be framed for a number of different reasons. Sometimes we frame an item to create an attractive decoration for our home. On the other hand, sometimes we frame the very things we value most-- whether that be commercial or sentimental vlue-- in order to protect them from damage.
If It's Worth Framing, It's Worth Protecting
What is Conservation Framing?
Put simply, Conservation Framing employs the use of materials that have been proven to protect and maintain art in as close to its original condition as possible.
When should I ask for Conservation Framing?
Value is, at best, a subjective thing. If it's worth framing, it's worth protecting. Use TruGuard® Conservation Quality Artboard and Glass featuring TruGuard® UV Protection on everything you have framed.
How can I be sure that I am getting Conservation Quality?
Let your framer know that you want Conservation Framing employed on your project. Specifically, request the following:
1. Specify TruGuard® UV Protection Glass.
Ultraviolet light rays are one of the most dangerous elements that your artwork can encounter. It will not only cause your colors to fade to a mere shadow of their former glory, but it will cause the materials themselves to begin to break down right in the frame.
Conservation Quality picture framing glass is specially formulated to protect framed works of art from the damaging effefts of ultraviolet light. By specifying Tru Vue® Conservation Series® Glass, you are ensuring that over 97% of these most damaging light rays are filtered out before ever coming into contact with your valuable.s
2. Specify Conservation Quality Artboard
Ordinary pulp-based matboard contains acids and lignins which, over a period of time, damage the artwork thgey come in contact with.
When going over your artboard options with your framer, ask him or her to show you only Conservation Quality Artboard, such as Tru Vue® UltiMat® and UltiBlack®.
Conservation Quality Artboard is free of all acides, lignins, and other impurities found in ordinary "pulp" board. The result is an inert or pH neutral board which will cause no damage to the artwork it encases as time goes by.
3. Request a careful adherence to proper conservation techniques for mounting the artwork (sometimes called "hinging") and sealing your artwork.
The framer you patronize should be fully versed in the specifics of conservation hinging. Be sure to impress upon him or her how much the piece means to you, and demend that proper conservation standards be upheld.
But even if a piece has value of a more personal nature, it can deserve Conservation Framing. A seldom-recognized fract is that most pieces we bring to a framer should be framed with conservation in mind. As a rule of thumb, if the item you are framing is an irreplaceable, one-of-a-kind photograph, document, or piece of memorabilia, or if it is an original work of art or limited edition, it should be framed using conservation techniques and materials. The cost premium for Conservation Framing is marginal-- and certainly well worth it.
Where do I go to receive Conservation Framing?
The framer that gave you this information did so because he or she believes in and practices Conservation Framing. It is important that you entrust your valuable framing projects only to just such a trained professional who cares about the conservation process, has experience and the necessary skills and techniques, and who is committed to using high quality conservation materials throughout your entire project.
When you have a piece of art, a photograph, or an item that you want framed, you have several options as to how to go about getting it done. With a photo, you can easily buy a ready-made photo frame at almost any store. For a poster or print, many retail stores offer standard poster frames that are available in a variety of colors and sizes to fit your decor. As an alternative, you could also visit one of the many "do-it-yourself" framing centers where, with the help of the employees, you can cut your own mats and build your own frame.
With all these options available, why are you in a custom frame shop?
This brocure will tell you a bit more about the many jobs that a professional framer performs when it comes to your treasured works of art and precious memories.
DESIGNING YOUR FRAMING PACKAGE
Although a good artistic eye is something that can't be taught, there are certain rules of custom framing which lead to good design that can. When followed these guidelines, well-known to your custom framer, produce a beautiful, well-balanced framing presentation that enhances the work of art without overpowering it.
For example, did you know that the width of the mat border should never match the width of the frame? This tends to draw the eye away from the art they surround. Or that a poorly placed decorative element, such as a French line, can detract from the beauty of the finished package? Good design based on commonly accepted framing principles is one of the many reasons to custom frame.
PROTECTING YOUR ARTWORK
Perhaps the best reason to custom frame your personal and well-loved works of art is that a professional picture framer has the skills and materials necessary to preserve and protect them as closely as possible to their original condition. Acid- and lignin-free mat and mount boards like Tru Vue® UltiMat® contain no impiurities which can damage the art they surround. Special UV-filtering glazing such as Tru Vue® Conservation Series® Glass can be used to protect art from the irreversible damage caused by light damage.
Professional picture framers have the training and skills required to use these materials to beautifully present your treasured items in a way that will not only enhance their appearance, but protect them for your enjoyment for years to come.
WHY A CUSTOM FRAMER?
If you were planning to build a new home for your family, would you ask the person working in the lumber department of your local home improvement store to draw up the plans? Or if you were sick, would you ask the check-out person at your drugstore to diagnose and treat your illness? Probably not.
The same reasoning applies to your decision to use a custom framer's services. A professional picture framer is a person who has been formally educated to know how to preserve, protect, and beautify works of art, regardless of their known value. Many hold the professional degree of "Certified Picture Framer" or "CPF". This notation can only be used with one's name after a rigorous, standardized test has been passed. CPF is to framing as Dr. is to medicine.
Careful selection of the matboards can result in a perfect complement to the picture within the frame. Visually, the matboards provide "breathing room" from any distractions on the surrounding wall. Providing your framer with enough information about the environment in which you plan to hang the framed piece will allow she or he to select matboards that will tie the artwork into your overall room setting or color scheme.
Your framer is armed with a number of creative techniques that employ color, including double- and triple-matting; embellishments such as accent lines, paints, or gold leafing; using fabrics; or special die-cuts.
Think about the effect you want the framed artwork to create. Let the framer know if a subdued, elegant, or vibrant look is most appropriate for the room where the art will hang. The mats surrounding your image can be made bold or discreet, playful or ornate.
This is all very nice, but not the most important reason we use a matboard in the first place.
Matting is the border that surrounds your art within the frame. It is more than just a pretty color; the purpose of matting is both cosmetic and protective.
Certainly one of the reasons we use matboards to encase art is to bring out the colors in an image while drawing in the eye. There are many creative and elegant techniques that can be used which can add distinction to your framed piece. The addition of matting can mean the difference between an insignificant piece that gets lost on a wall and a dramatic one tha serves as a perfect accent for a room.
Matboard, as a graphic element, can serve to highlight a color, accent a shape, or increase the overall size of the framed piece. Color obviously plays an important role in this transformation process. For example, using a black matboard has the effect of "lightening" and "enlarging" the artwork, while using a white matboard serves to "darken" and "shrink" the image.
The main purpose of matting is to keep the cover glass from coming into contact with the framed subject matter. This also provices an area where air can circulate. Differences in temperature between the outside and inside of the frame can cause moisture to condense behind the glass. This moisture may damage the inks and colors and can serve as a breeding ground for mold, mildew, and fungi. Placing the material directly against the glass will result in buckles, wrinkles, mold formation, and "sticking" to the glass.
A WORD OF WARNING ABOUT MATBOARD
Using higher-quality matboard-- specifically, conservation quality matboard such as Tru Vue® UltiMat® or UltiBlack®-- is essential to protecting your artwork. Matboard that is not rated as conservation quality contains elements that will damage your artwork over time. These "natural" substances include acids and lignins. Through the aging process, which is intensified by sunlight and heat, the matboard "burns" or discolors the art that it surrounds.
Conservation matboard eliminates this concern because all lignins and acids have been removed. As an added benefit, Tru Vue® UltiMat® and UltiBlack® feature an alkaline buffer to neutralize future shifts in acidity within the frame.
Be sure to tell your framer how important your art is to you by specifying the use of conservation quality matboard whenever you want to preserve the condition of the piece you are framing.
What is glazing?
Glazing is a term that describes the protective covering used in picture framing. It refers to either glass or acrylics.
What is "float" glass?
Float glass is raw, untreated glass manufactured via a process on which molten glass floats on molten tin to achieve a flat uniform finish. Once made, manufacturers such as Tru Vue will fabricate special qualities to float glass, giving it added value. For instance, some companies etch glass to give it non-glare properties.
What is a "lite" of glass?
A "lite" of glass refers to a piece of glass regardless of size or thickness.
How many different glazing products are there on the market?
Basically, there are four major groups of glass products and three major groups of acrylic products for the professional picture framing industry.
The four major glass product groups are Clear, Non-Glare, Anti-Reflective, Ultraviolet Light Filtering
The three major acrylic product groups are Clear, Non-Glare, Ultraviolet Light Filtering
How is glass shipped?
Typically, glass is stacked upright or boxed and placed on wooden pallets or skids. Boxed glass comes in a variety of sizes normally noted by its square footage. Most major glass manufacturers package glass in approximately 50 or 25 square foot boxes. Consult your manufacterer or glass distributor for more information.
How is glass inspected?
Some picture framing glass manufacterers such as Tru Vue inspect, wash, and paper pack all of their glass products. Tru Vue, for example, uses federal specification DD-g-451d, the specification used by raw glass manufacturers, to detect defects. These defects include dirt, gaseous inclusions, seeds, and stones.
Isn't all clear glass the same?
No. Manufacterers such as Tru Vue specialize in producing quality products for the professional picture framing industry. Clear glass can be purchased in a variety of ways including boxed for ease of use. Yet, not all boxed glass is the same. Some companies wash, box, and paper-pack clear glass so it is ready to use as soon as it is delivered to your store. Tru Vue Premium Clear glass is inspected, washed, paper-packed, and boxed for your convenience.
What is the difference between paper-packed and powder-packed clear glass?
Paper-packed glass has been cleaned and packaged with paper interleaving material so it arrives ready to use. Powder-packed glass has a fine powder interleaving material that has to be removed prior to use. Cleaning powder-packed glass can be very labor-intensive, impacting framer productivity.
Is there a recommended thickness for picture framing glass?
Professional framers use either 2.0 or 2.5 mm glass. Recently, the 2.5mm products have become more popular with framers as the glass is more resilient, reducing chipping and making it easier to handle.
What is non-glare glass?
Non-glare picture framing glass is designed to diffuse light that reflects off of ordinary clear framing glass, giving it a mirror-like appearnace.
Is all non-glare glass the same?
There are several different types of non-glare glass available in the marketplace. These include single-sided and double-sided etched glass vs. micro-etched glass. Consult your glass manufacturer for further details.
What is the ideal mat depth for non-glare glass?
No more than two mats are recommended when using typical non-glare glass. Tru Vue Reflection Control glass, a single-sided etched product, is recommended for three mats. Consult your glass manufacturer for more details.
What's the difference between etched glass and micro-etched glass?
Tru Vue's Reflection Control Glass, a single-sided etched non-glare product, has been etched through a single-step process in which the glass is submerged in an acidic solution that etches microscopic voids onto the surface of the glass. These voids scatter light waves away from the artwork, reducing the glare. Micro-etched glass is typically a two-step process, theoretically etching the glass twice, thereby placing voids upon voids.
On non-glare glass, which side faces the artwork? Why?
When using non-glare framing glass, the side that has been acid etched always faces away from the artwork. This side appears milkier than the other.
Reflection Control glass helps reduce glare by scattering light waves in a random pattern away from the viewer. (See Diagram 1). In comparison, when using ordinary clear glass, the light waves are reflected back at the viewer, providing the glare. (See Diagram 2). If non-etched or the clear glass side of the non-glare glass were to face outward, the reflection would be identical to that of ordinary clear glass.
Is there any acid residue on etched, non-glare glass? If not, how is it removed?
Speaking for Tru Vue products only, there is no acid residue on Tru Vue Reflection Control Glass. One of the steps in halting the etch process is to remove the etch solution from the glass surface. One step in achieving this is to rinse the etch solution from the glass. The glass is then washed one additional time to prepare it for inspection and packaging and to remove any traces of acid that may remain.
Will the acid in Tru Vue Reflection Control harm my artwork?
The acid used in the etching process has been completely removed via rinse cycles. Therefore, the threat of damage by acidic residue is nonexistent. In addition, the etched side of the glass is on the outside and is completely away from the artwork.
ULTRAVIOLET LIGHT-FILTERING GLASS
What is Ultraviolet Light Filtering Glass?
Picture framing glass designed to black or repel damaging ultraviolet (UV) light is commonly referred to as UV-filtering glass.
Is all UV-filtering glass the same?
No. Each firm manufactures its UV-filtering glass differently. Tru Vue, for instance, applies a UV-inhibiting coating on the glass surface. Other companies apply a thin laminate material between two lites of glass. Cutting, handling, and cleaning procedures for each glass varies. Consult with your glass manufacturer for further details.
Is there an accepted standard level for UV filtration levels?
Currently, museum and conservation professionals recommend UV filtration blocking levels at a minimum of 97 percent UV filtration in the damaging 300-380 nanometer range.
What is a nanometer?
A nanometer (nm) is a unit of meaturement of a light wavelength.
Invisible light typically refers to those light waves in the UV portion (200-400nm) of the electromagnetic spectrum. These light waves cannot be detected by the human eye. Visible light waves are those that are in the 400-700nm range of the electromagnetic spectrum. This is the range through which the human eye perceives color.
What is the difference between the 300-380 nanometer range and the 300-400 nanometer range? What does Tru Vue block?
The UV region of the electromagnetic spectrum ranges from 200-400nm. The earth's atmosphere blocks the light weaves under 300nm; therefore, they are of lesser concern. The shorter the wavelength, the more potentional damage it can cause. Thus lightwaves close to 300nm can cause more damage than those closer to 400nm. Tru Vue's Conservation Series picture-framing glass protects artwork from the most damage, in the 300-380nm range.
What effect does UV have on art?
The lightwaves in the UV portion of the electromagnetic spectrum are much shorter than those in the visible range and have a lot more energy. This higher energy creates a greater degree of heat and causes more rapid deterioration of the molecular pigments used in printing, causing fading.
When should I use UV-filtering glass?
Conservation Series Glass should be used whenever there is concern over possible damage to artwork caused by UV light. This is especially true when using conservation framing techniques. Many professional framing instructors recommend conservation framing on sentimental, valuable, limited-edition, and one-of-a-kind artwork. A basic rule of thumb to help you remember to use UV -filtering glass is, "Whenever you use conservation-quality matboard, you should strongly consider the use of a UV-filtering glass."
The following questions pertain specifically to Tru Vue Conservation Series Glass products.
How is Tru Vue's UV-filtering glass made?
Tru Vue UV-filtering glass is essentially clear glass that has been washed and inspected prior to receving a special UV inhibitor coating. The coating is applied directly to teh raw glass substrate by a roller coated application process.
What is the percentage of UV light blocked by ordinary clear glass? By non-glare? By optically-coated products? How is this achieved?
In the 300-380nm region of the electromagnetic spectrum, premium clear glass blocks approximately 46% of the light being transmitted, and reflection-control glass blocks approximately 50% of the light being transmitted.
In comparison, conservation procuts block 97% or more of the light being transmitted in the 300-380nm range.
UV-blocking capabilities of Tru Vue conservation products is acoomplished through the use of a UV inhibitor. The inhibitor converts the lightwaves into energy that is emitted in the infrared portion of the electromagnetic spectrum. This conversion is at very low levels and does not incur damage in that portion of the spectrum.
How do you cut Conservation Glass without scratching it? How tough is the coating?
There are some simple tips to remember when cutting Conservation Series Glass that should eliminate scratching.
1. The cutting area should be clean and free of glass chips or shards. This can be obtained by vacuuming or brushing.
2. When removing the glass from its boxes, always lift it. Do not slide it.
3. For safety precautions, in addition to scratch prevention, wear lint-free gloves.
4. Always cut the side which does not contain the conservation coating. This will be identified by ink jet printing. If there is no ink jet printing, simply make a quarter inch scratch in the upper corner on both sides of the glass. The side that can be easily scratched contains the conservation coating.
5. The hardness of the coating is tested via ASTM Test Method D3363-74. This test uses a set of calibrated drawing leads which range in hardness from <6B (soft) to >6B (hard) to determine the hardness of the cured coating. This testing is relatively inexpensive and simple, and is useful in maintaining consistency during production. The conservation coating currently in use has a pencil hardness of >8H.
What type of cutter do you recommend for cutting Conservation Clear and Conservation Reflection Control?
Since all cutting of Conservation Clear and Conservation Reflection Control occurs on the uncoated side of the glass, any glass cutter that is used for cutting clear glass can be used. However, all precautions such as using new cutting inserts should be followed.
What type of testing has Tru Vue done on its conservation UV-filtering products?
Initial Qualification Testing for Tru Vue's conservation coating includes:
1. ASTM D3359-87
2. ATSM D3363-74
Standard test method for film hardness by pencil test
Standard instructions for operating a calorimeter for analyzing the visible light transmitted color of the applied coating
4. Methyl Ethyl Ketone Resistance
In-house testing used to determine the cure of the coating
5. Solvent Resistance
In-house testing used to determine the cure of the coating
6. Dry Cloth Scratch Resistance
In-house testing used to determine the scratch resistance of the coating
7. ASTM G53-88
Standard practice for operation light and water exposure apparatus (Fluorescent UV-condensation type for exposure of non-metallic materials)
8. ASTM D3003-71
Standard test method for pressure mottling and blocking resistance of organic coatings on metal substrates
9. Ultraviolet Light Absorption
Standard instructions for operating a spectrophotometer for analyzing the ultraviolet light-absorbing value of the applied coating
Upon qualification, Conservation Clear Glass is still tested during production runs for ultraviolet light absorption, solvent resistance, pencil hardness, taber resistance, boiling water resistance, and color.
In addition to the above-mentioned testing, work is currently in progress in the laboratory to determine the chemical resistance of the coating to any chemicals which could be used on it in the home, in frame shops, in artists' studios, etc. Initial results of this testing have been published and are available by contacting Tru Vue directly.
Are there special cleaners for Tru Vue's conservation products?
In keeping with standard conservation framing techniques, an ammonia-free cleaner should always be used when cleaning Tru Vue Conservation Series glass.
What type of glass cleaner do you recomend?
In keeping with conservation framing techniques, an ammonia-free cleaner should always be used when cleaning Tru Vue Conservation Series glass. For all other glass types, any household glass cleaners, including generic or store brand cleaners, are acceptable. All-purose or multi-purpose cleaners are not recommended. Lab testing has determiend that prolonged or repeated exposure over long time periods could have an adverse effect on the coated substrate.
How should I store conservation glass?
Conservation glass should be stored in its original corrugated container with the kraft paper interleaving material. If the glass has been cut, it can be marked with a wax pencil, a static sticker, a Post-It note, etc. to mark which side contains the conservation coating.
Is the paper interleaf pH-neutral?
Yes. Testing has been done using TAPPI test methods both in-house and by outisde testing facilities to determine the interleaving materials used are pH-neutral.
Do I need special equiment for Conservation Series glass?
No special equipment is required for handling, cutting, and cleaning Conservation Series glass. The recommended techniques can and should be used for all glass types for safety precautions and ease of use. NOTE: When using the conservation framing techniques, use recommended guidelines.
Which side of Tru Vue's conservation products face the artwork? Why?
It is recommended that the side of the glass which contains the conservation coating face the artwork. This side is slightly less scratch-resistant than the clear glass side. The UV-blocking capabilities, however, are in no way diminished by the placement of the coated side.
Which side of conservation products should be cut? Why?
The glass should be cut on the side that does not contain the conservation clear coating. This will be identified by ink jet printing. The clear glass side of the glass seems to scratch less and scores easier than the coated side.
Can the conservation coating harm the art?
The conservation coating cannot harm the artwork. Part of the application of the coating involes a cure cycle which binds the coating to the glass.
Does Conservation Clear glass have anti-refleftive capabilities?
The Conservation Clear glass has no anti-reflective capabilityes.
What is anti-reflective glass?
Anti-reflective glass, which is also referred to as optically-coated glass, greatly reduces the amount of reflected light on framed art to approximately 1 percent. This glass almost appears invisible to the eye.
Is all anti-reflective glass the same?
No. Manufacturing techniques vary from product to product. These techniques affect the appearance of the individual products. Consult your glass manufacturer for more details.
When should I use anti-reflective glass?
Anti-reflective glass can be positioned any distance from artwork, photography, craft, or needle art without distortion.
Does anti-reflective glass block damaging UV light?
All types of glass block
some UV light. As stated in the UV-filtering section, the 97 percent UV blocking minimum is the accepted level in accordance with museum and conservation standards. Anti-reflective glass blocks significantly less UV light. Therefiore, it should not be considered a conservation product.
How does anti-reflective glass diffuse light?
Anti-reflective glass is manufactured using state-of-the-art technologies which apply several micro-thin layers of a quartz glass-like coating to both surfaces of float glass. When light comes in contact with this surface, it breaks down and virtually disappears, making the glass appear almost invisible on the framed artwork. This technique is called destructive wave interference. To illustrate, if you were to fill a bathtub with water and splash your hands positioned at opposite ends of the tub, the waves would eventually meet in the center, crash together, and cancel each other out. Light waves react the same way to anti-reflective glass.
What's the best way to clean optically-coated, anti-reflective glass products?
When handling optically-coated glass products, it is best to wear gloves to minimize fingerprinting. If no gloves are available, the kraft paper interleaving can be used. If fingerprint or surface marks do appear, there are some relatively simple cleaning techniques that should remove them.
1. Clean the glass using any household glass cleaner. NOTE: When conservation framing, use only ammonia-free products.
2. Apply the glass cleaner to the cloth. DO NOT appy the cleaner to the glass surface. Use short, quick strokes to clean the glass. Remove all residual glass cleaner before it dries, or streaking will occur.
3. Only clean the portion of the glass that requires it.
4. If the whole glass requires cleaning, clean it one section at a time. Do not attempt to clean the whole piece of glass at one time, as the glass cleaner will dry and streaking or sparkling will occur.
This information was provided for your assistance courtesy of Tru-Vue®.
Tru Vue® manufactures a complete line of TruGuard® Conservation Quality Artboards and Conservation Series® Glass featuring TruGuard® UV Protection that work together to protect your framed valuables.