For all your framing requirements call Steve on 01749 347218, we supply a superb choice of quality frames to enhance & compliment and work of art. Specialists in UV glass.

Types and Properties of Glass - An Outline:

Sheet Glass:

The cheapest commonly available glass, it is formed through rollers and may have a 'wavey' surface. Used mainly in contract framing businesses and elsewhere where cost is a major priority.

Float Glass:

A much higher grade product, formed by floating the molten glass on a bed of metal. It is very flat and generally blemish free, it is the first choice for general bespoke work.

Laminated Glass:

Basically two sheets of glass stuck together with a film in between. Many offer a good UV protection rate. They are strong and offer considerably more protection to art work than single sheets as they will not shatter if broken. Laminated glass is essential if you require berakage protection and other materials are unsuitable.

UV (ultra violet) Protection:

Many materials claim to offer UV protection, but remember to be a true conservation product, at least 95% UVB must be blocked. Other factors affect UV damage including temperature and humidity, but a good UV filter will prevent most of it. Well worth considering on many things because UV damage is cumulative and non-reversible.

Non-reflective and Anti-glare Glass:

Many years ago, non-reflective glass was a poor quality 'roughed' surface resulting in loss of detail while reducing reflections. Technology and techniques are now highly sophisticated, falling into two broad categories:

a) Etched: Similar to the old style, but much clearer. One side is finely etched to break up reflections. There are many good ones available but they are still unsuitable once spaced away from the artwork (an essential part of conservation framing) by more than a few millimetres giving a hazy effect.

b) Coated: The latest technology. A fine coating (which varies from manufacturer to manufacturer) is bonded to the surface of the glass. This coating is almost as hard as the glass itself, but does need some care, particularly with cleaning materials and techniques.

Further details are supplied with the glass. It is a superb product and can be used any distance from the artwork and cuts down surface reflection to about 1% when viewed at 90 degrees (typical uncoated glass reflects about 8%). When lit correctly, it is virtually invisible.

White Glass:

Most glass has a slight green tinge. This is not normally a problem and is generally accepted as 'the way things are'. White glass is a Low Iron - Head Lead content glass and it is totally colourless. Worth considering when absolute colour detail is a major priority.

Plastics:

Plastic materials offer an alternative to glass and can have advantages in certain circumstances, notably from travelling exhibitions or when the danger of breakages is a possibility. They are lightweight which is an advantage, especially when framing larger works or when shipping charges are calculated on weight. The disadvantages are they scratch easily and are generally more expensive than glass equivalents. They are also unsuitable for framing certain works such as pastel and charcoal drawings because they hold a static charge which can attract the pigments. The most common varieties:

a) Styrene: A soft material, typically 1.5 to 3mm thick, mainly used in contract framing.

b) Acrylics: Typically know as 'Perspex' or 'Plexiglass'.