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AndyPan CPF

AndyPan CPF

MGF, Master Grumble Framer
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Jun 29, 2002
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Lincoln, RI
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Get The Picture
I have an artist that does a lot of work with us. She's a charcoal artist, and she tends to work oversize more times than not. Lately, a lot of her works have been very dark landscapes, usually woods cast in shadow and the like.

She called me this morning to say that she has a buyer for one of her pieces. However, the work is so dark, the client is concerned that he won't be able to hang it anywhere without it basically becoming a huge mirror. The art is simply hinged to AF foam core, with 1/4" spacers to lift the glass of the face of the art. So obviously, non-glare is out of the question.

Would AR-glass be the best option for this scenerio? Is there anything special about the glass I should know, ie special handling instructions, cleaning instructions for customer, etc.? Am I correct in thinking that Denglass is basically UV-AR-glass, or is there something about it I should know? What about Image Perfect glass? Is that a anti-reflective glass, or just the "true color" type glass?

Thanks in advance for your help!
 
If the client has the money, the best solution is
anti-reflective acrylic sheet, which comes as
large as 41"X71" and has been designed so that
its coatings eliminate static. It is available
in single lites, cut to size or in boxes from
Maryland Glass and Mirror 800-352-3380 or in boxes, from Tru Vue 800-621-8339, ex.2604. A large
sheet will cost hundreds of dollars and it should
be handled with gloves to avoid finger printing.
Artists are going to have to learn that if they
do anything as impulsive as making large friable
drawings, they are creating a big framing expense.

Hugh
 
Andy,

A/R (anti-reflective) is a coated product that is unaffected by the distance from the image. It does not totally eliminate glare, but it helps. TV Museum glass is A/R with a UV filter. Both products are pricey. Reflection control depends on viewing angle, among other things. At a "bad" angle, you get glare instead of the haziness of etched glass.

Denglas is also a coated anti-reflective product and comes in UV or regular.

Image Perfect is "micro-etched" rather than coated. It's an interesting product and can be used without diffusion at some distance from the image. Many of us find it beastly to handle and clean. I threw out a fair amount of it when an employee I had that loved it moved on.

Non-glare acrylic might be good, but I'd worry about the static problem with a charcoal, even at the kind of distance from the image that you're talking about.

The ideal solution would be UV or museum glass and controlled lighting, though you didn't say how big it will be. I like acrylic for frames over 30x40.
 
Thanks for the advice Ron. Acrylic, I think, would be out of the question for the exact reason you mention-- the amount of static generated would most likely cause an issue with pulling the charcoal off the paper, both during fitting and during subsequent cleanings. This artist works large, with her largest pieces being approximately 36x46. We've used regular glass and 1/4" black spacers for a number of years (she followed me from the other shop), and have had very good results. This is the first time we've had to worry about the glare issue, because most of her other works are fairly "light" (or as light as you'll find with a predominantly black & white medium). She's not too adverse to the cost, but I think Denglass would probably be out of the park for her. I think I will get her into the AR-glass. It's a bit of an investment, both for her and for us, but I think in the long run, everyone benefits.

Thanks again!
 
I try to keep two samples of framed art with black mats - one with AR or Museum glass and one with regular UV glass. The dramatic difference can help overcome customer resistance to the large price difference. I have sold Museum glass in jobs up very close to the 40 x 60 limit in size by having examples like this.

Perhaps someone else can jump in with advice to this artist as whether UV protection is required for the Black and white materials used by your artist. AR glass is quite a bit less expensive than Museum glass.

BTW True-vue includes cleaning instruction cards and yes, you should handle the glass with gloves.

Pat :D

[ 08-13-2003, 11:04 AM: Message edited by: Pat Murphey ]
 
Okay. We've opted to go with the AR-glass. She'll pass on the additional costs to her client, so all's right with the world.

The reason I bring this back to the top is I am not sure if a special cleaner will be needed, or if the client can clean the glass with a regular glass cleaner. If a special cleaner is needed, what is it and where can I get it?

Thanks for the help.
 
I think Hugh might be talking about a newer Acrylic product -- some time ago we were discussing Acrylite coming out with an Anti-Reflective product -- not the fuzzy non glare -- is this the NEW THING? Is it being tested East Coast?

Hugh also mentioned much less static on this product.

Curious framers want to know more!
 
i do not know if it is new, but i have worked with it. i work in dc and hugh spoke to a customer of ours and decided to use it. as far as we can tell it is maryland glass and i think vermont that carries it here on the east coast. it is more than expensive, it is also low static.

good stuff, but i think it is going to have very limited use by the general public.
de
 
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