Picture framing glass

This article uses bare URLs, which are uninformative and vulnerable to link rot. Please consider converting them to full citations to ensure the article remains verifiable and maintains a consistent citation style. Several templates and tools are available to assist in formatting, such as reFill (documentation) and Citation bot (documentation). (June 2022) (Learn how and when to remove this template message)

Picture framing glass ("glazing," "conservation glass," "museum quality glass") usually refers to flat glass or acrylic ("plexi") used for framing artwork and for presenting art objects in a display box (also, "conservation framing").

Purpose

The primary purpose of glazing in art framing is to clearly exhibit the work while physically protecting it from damaging factors such as light ,

Low-iron, or water white glass, is made using special iron free silica, and is generally only available in 2.0 millimetres (0.079 in) thicknesses for picture framing applications. Because low iron glass light absorption can be as low as 0.5%, compared to about 2% for clear glass, the light transmission will be significantly better than clear glass. Low iron glass has light transmission of approximately 91.5% and reflection of 8%.

Laminated Glass

Acrylic

Some types of

Due to the change in the refractive index, as a light beam travels from air (refractive index of about 1) into glass or acrylic (refractive index of about 1.5) and then back into air, these transitions cause part of the light to be reflected. While "anti-glare" (a.k.a. "non-glare" or matte finish) glass treatments focus on scattering the light, "anti-reflective" coatings actually reduce the amount of light, which is reflected from each glazing surface, which has the benefit of increasing the amount of light transmitted through the glazing.

Matte (Etched, "Non-Glare," or "Anti-Glare")

The main purpose of

• Light Reflection – the main goal of
  Weber's law
  ). In other words, under normal lighting conditions, the human eye perception of the intensity of a reflected light source in a 1% reflecting glass surface will be perceived as more than twice of the same light source in 0.5% reflecting glass.
• Light Absorption – light absorption of glazing is the light that is neither transmitted nor reflected by the glazing. Since light is not necessarily absorbed uniformly, some wavelengths may be transmitted more than others, causing the transmitted color to be distorted. A good way to detect light absorption of glazing is so-called white paper test. This test, used to detect the transmission color of glazing, involves placing a piece of glazing on white paper, and comparing the paper's color with and without the glass. A slight greenish tint will indicate the presence of iron oxide in the raw materials used to produce clear float glass.^[10] Additional transmitted colors may result from the absorption of any applied coatings.
• Light Transmission – the lower the light reflection and light absorption, the higher the light transmission, and therefore, the visibility of the objects displayed behind the glazing.
• Reflected Color – Uncoated glass reflects light uniformly and does not cause
  anti-reflective
  coating design.
• Intensity of Reflected Color – intensity of reflected color can be measured by its relative distance from the color neutral zone (i.e. white). Due to the variability of industrial processes, some producers design their anti-reflective coatings to have more intense colors so that the statistical deviation of outcomes falls within a specific color (green or blue, etc.). The tighter a manufacturer's control of its processes, the closer the design can be to the color neutral zone, without crossing over from a designated color.
• Reflected Color under an Angle – as a reflected light source is reflected from the glazing under a shallow angle, some anti-reflective coatings may cause the reflected color to shift. Therefore, in picture framing, a stable color under a wide viewing angle is desirable.
• Cleaning – since anti-reflective coatings render the glass surface virtually invisible, the dirt or soiling of the surface is much more visible on an
  anti-reflective surface. This enhanced visibility of surface smudges results in an end-user difficulty to clean the AR-coated glass. Therefore, some anti-reflective coatings have special surface treatments to improve cleanability, while others give special cleaning instructions to avoid damage to its coating.^[11]
• Handling – Some coatings are more durable than others. A scratch through an anti-reflective coating is also much more visible than a scratch through the surface of an uncoated glass due to the difference in the reflectivity of the scratched surface (for glass, about 8%) and the reflectivity of the anti-reflective surface around the scratch (about 0.5%). Therefore, anti-reflective coatings with more scratch-resistance are preferred in art glazing. Magnetron-sputtered and sol-gel anti-reflective coatings are typically metal oxides with superior hardness compared to other application methods.

• Organic UV Absorbers are added to an inert, inorganic silica-based coating to yield a UV absorbing layer on one side of the glass. Organic UV absorbers are capable of blocking almost 100% of UV radiation between 300 nm to 380 nm, but in an industrial environment it is difficult to make a sharp UV cut-off without affecting the visible spectrum, therefore UV absorbers tend to also increase the absorption of the visible light. Chemically-deposited UV absorbers also result in a less scratch resistant surface than magnetron-sputtered or Sol-gel UV blocking layers, as evidenced by the manufacturer's recommendation for avoiding environmental and other contact with the UV-coated side.[12]
• Interference UV Blockers are usually built into anti-reflective interference thin film stacks, and focus on maximizing the UV reflection below the visible light boundary. Industrially-available sol-gel processes offer up to 84% UV block,^[13] while magnetron-sputtered AR/UV-Blocking layers can block up to 92%^[14][15] with no adverse effects on the transmission or absorption of visible light.
• UV Filtering of the Substrate is possible by adding UV filtering agents during the production of the substrate. While typical clear float glass blocks approximately 45% of UV radiation, the addition of CeOx to glass^[16] has been shown to further reduce UV transmission as well as widespread use of organic UV blocking dyes in the production of acrylic substrates.^[17] Most soda-lime glass completely absorbs short wavelength UV-B radiation below 300 nm. Low-iron glass typically blocks approximately 12% of UV radiation between 300 and 380 nm.^[18]

UV Protection in Art Glazing

UV Definition in Art Framing

The most widely used definition of "

According to the Library of Congress Preservation department, the artwork damage does not stop at 380 nm though,[20] and all radiation (UV, visible, IR) has the potential to damage art. Thus, calculating a simple average of all wavelengths between 300 nm and 380 nm does not account for the fact that different wavelengths have different artwork damage potential. At least two other methods exist, which provide a more holistic measurement of radiation damage, from both the UV and visible portions of the spectrum:

• Krochmann Damage Function (KDF) is used to rate a glazing's ability to limit fading potential. It expresses the percentage of both UV and of that portion of the visible spectrum from 300 nm to 600 nm^[21] that passes through the window and weights each wavelength in relation to the potential damage it can cause to typical materials. Lower numbers are better.^[22]
• ISO-CIE Damage-Weighted Transmission (ISO) uses a weighting function recommended by the International Commission on Illumination (CIE). Its spectral range is also weighted and extends from 300 nm to 700 nm.^[23]

For picture framing purposes, it is not appropriate to use these methods for absolute ratings, since "Better" ratings are obtained with lower visible light transmission, which is not aesthetically desirable in a framing glazing. However, by including more art damaging factors than UV radiation between 300 nm and 380 nm, these methods provide a more holistic relative ranking tool. For example, comparing a 99% and 92% UV Blocking glazing, would translate to 44% and 41%, respectively, under the KDF.

How much UV filtering should a glazing have

The discussion on how much

One of the most thorough and independent studies was conducted by the US Library of Congress in an effort to display and preserve the US Declaration of Independence. At first, it was decided to use special yellow "Plexiglass UF3", which removes both the ultra-violet as well as the blue end of the visible spectrum, with significant, but acceptable interference for viewing.[25] Sealing the display by a chemically inert gas such as nitrogen, argon or helium also aided its preservation.^[25] In 2001, the display of the US Declaration of Independence was revised to include a multi-laminated glazing for shatter-resistance, with sol-gel interference-based multi-layer Anti-Reflective coatings on outer surfaces^[26] to improve the visibility of the document.

From the above evidence, it can be concluded that if preservation were the only goal of glazing, then only a climate-controlled, dark space would offer the best possible protection for an artwork, which can be exhibited once in every several years,^[27] while no glass at all provides a perfect displaying option. Therefore, for those artworks, which are chosen to be displayed, the ideal amount of UV blocking should be as much as possible, without affecting the visible light transmission.

Controlling UV Lighting Inside

While determining how much UV light should be filtered by art glazing, it may also be important to consider the amount of UV light present inside a room or a building. Note that regular window glazing filters away a significant portion of the UV light, which originates from the sun.

The relative amounts of damaging light in equal quantities of light:^[25]

The above indicates that the damage level of even direct sunlight coming from the horizontal skylight is reduced to 36% by regular window glass. Due to the sun's changing position, even less direct light enters through side windows and hanging an artwork away from direct sunlight reduces the exposure to potentially damaging direct sunlight even further.

Indoor lighting, especially fluorescent lighting, is considered to contain some UV Light. GELighting.com asserts that "UV exposure from sitting indoors under fluorescent lights at typical office light levels for an eight-hour workday is equivalent to just over one minute of exposure to the sun in Washington D.C., on a clear day in July.^[28] Additionally, the relative damage of incandescent light is 3 times less than that of fluorescent light.^[25] Since UV filtering picture framing glass does not protect against all damage factors, it is important to display framed artwork in a well controlled environment to reduce the effects of heat, humidity, and visible light.^[29]

See also

• Professional Picture Framers Association

References