At 01:06 8/17/01, Joel Wilcox wrote:
From: "Sue Pearce"
Except for the part about the Plexiglas (don't we have some diverging
opinions about this!), What Joel Said!
his plan for attaching the print to the backing, and adding the matte is
precisely the process used by museums and the like for valuable photos and
prints. also the part about cutting mattes. This can take a little practice.
[snip]
Glass is the ne plus ultra. I would never say plexi is superior to glass,
but I find it easier to work with, much lighter, less dangerous,
shippable, and no one has ever looked at anything I've framed with it and
said, "Let me see, there's something wrong here." The relative benefits of
plexiglas are not insignificant, but I would certainly agree that glass is
better in an absolute sense. Actually, it's possible that for John's
purposes using plexi might be viewed as crass. I'm sure glass is the
museum standard and should probably be adhered to.
Joel W.
Ordered the frames with the plexiglass (a minor part of the cost). I'll
evaluate it when I get it. Joel mentioned my worry in using it. If it
isn't dead flat and doesn't look enough like glass, it will be replaced
with glass. Ultimately I like UV glass. Yes, glass alone inherently cuts
UV down, but not all of it, and it can be a problem under fluorescent
lighting which has a high UV content. Not just the print, but the mat if
it's other than white. Saw what happens to pictures hanging in stores with
price tags dangling in front of the mat. After a few months the mat fades
sufficiently to see a permanent shadow from the price tag. I can see a
distinct advantage in plexiglass (or acrylic) for prints that will be
shipped though! Visions of a package arriving on someone's doorstep with
shattered glass glazing having impaled an expensive fine print gives me
shivers.
Several mentioned letting a print "float." I've exchanged prints and mats
in frames and use archival mounting corners to let the print float in
them. Others will use the traditional hinge with linen tape at one end
only, but putting adhesive tape on a print has always bothered me. I've
seen what can happen with non-floating prints buckling when the mat and
mounting board shrink and swell with temperature and humidity changes. Not
a pretty sight. Someone also cautioned about dry mounting high gloss to a
board. I allowed a framer to do that with one print for hanging at
home. Never again. Very stable foam core board, but it did pick up the a
slight amount of texture from the board. And that was a semi-gloss print.
One caution I read last night was about polyester based Ilfochrome Classic
and plexiglass glazing. It advised against the combination. Seems the
polyester based Ilfochromes can build up a high static charge as can the
plexiglass glazing. Glass can too, but not nearly to the extent of
plastics. If the print floats enough and the static charge gets high
enough, the print can get pulled out from under the mat to the
plexiglass! And I thought buckling wasn't a pretty sight. (The stuff I'm
having done is on paper based Ilfo.)
Thanks,
-- John
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