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Fine Art Trade Guild Standards - Glass |
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Glazing guidance is given in each of the Five Levels of Framing; the following article was published in Art Business Today's October 2005 issue A Clear View Sales of premium glass products have mushroomed over the last five years, but many framers are still confused by the terminology and put off by high costs. Annabelle Ruston looks at the types of picture framing glass on the market, and finds out why some framers are prepared to pay more Fifteen years ago most framers used 2mm float glass 95 per cent of the time, with a bit of plastic for pictures to go in public places and diffused glass to cope with strip lights. Nice and easy, added to which float glass was becoming cheaper all the time. But today framers are inundated with scientific explanations for expensive glazing, backed up with sophisticated marketing and point of sale material. Current wisdom from the movers and shakers in the framing industry is that for independent framers to prosper they must offer something different, a specialist service and expert advice, and that to compete on price alone is the road to ruin. The availability of specialist glazing products complements this philosophy nicely. Before thinking the inevitable 'But people round here won't pay for posh glass', framers might consider the example set by the big supermarkets who have shown that selling upmarket deli products, wine and specialist beers is all down to creating a desire and educating your customers. In the USA, specialist glazing products are commonplace and the UK has a habit of following its lead. It might be worth considering why American consumers are prepared to pay more for the glass in their frames – a particularly interesting question given that specialist glazing can easily cost 20 to 30 times more than 2mm float. But first framers need to understand the different properties of the various types of glazing. Types of glazing One reason why framers resist specialist glazing is that they are confused by the various terms employed by manufacturers. For example, what one person refers to as 'anti-glare' glazing, another will term 'non-glare' or 'reflection control', and both are in fact the same thing as 'etched' or 'diffused' glazing. In reality, there are three basic technical concepts that framers need to understand in order to sell specialist glazing with confidence: diffused; invisible; and UV-filtering. Once these are understood, the rest of the jigsaw should fall into place. Diffused Diffused-reflection glazing products scatter light as one or both surfaces are etched, which breaks up the light. The main problem with diffused glazing is that the etching process inevitably removes gloss from the surface, so some contrast and sharpness are lost; this effect is increased the further the glazing is positioned from the artwork. However, diffused glazing is generally a lot less expensive than invisible (see below), often around 80 per cent cheaper, and is a good option for harsh lighting conditions. It costs about double the price of float glass. Both glass and plastic can be diffused, and diffused glazing can have a UV-filtering layer on one side. Glazing that is only etched on one side is slightly less effective, which can be desirable as the 'greying' effect is also reduced. Diffused glazing is sometimes etched with acid after manufacture and is sometimes etched during the production process. The quality of the etching process varies; premium diffused glazing products are etched very finely and might also be smoothed and polished. Invisible Ordinary float glass is not invisible; it acts as a slightly reflective layer between the viewer and the artwork, sometimes with a greenish tinge. Invisible, anti-reflective or clear glass (different terms for the same thing) can be so subtle you might look at the frame and think the glass had not yet been put in. It is important to understand that invisible glazing does not protect artwork from fading and deteriorating; its properties are to do with visual clarity, though it can have a UV-filtering coating (see below). Two factors explain the invisible qualities of this type of glazing: increased light transmission and reduced iron content in the manufacturing process. Float glass transmits about 91 per cent of light rays, whereas invisible glass transmits around 99 per cent, thanks to layers of 'optical interference coatings' (OICs). This coating process is technologically sophisticated and expensive, hence the high cost of invisible glazing. Some manufacturers have found that replacing iron with other raw materials helps reduce the greenish tinge of ordinary glass, increases light transmission, and helps render the product 'white' or clear. (It is now possible to buy float glass with a low-iron content; this product offers improved clarity but is not properly invisible as it is not coated with OICs.) There are three practical considerations with invisible glazing. Firstly, it is designed for use in good lighting, rather than bright or harsh conditions. It is also angle dependent, which means that it works best from the normal viewing angle of 45 degrees either side of straight ahead. When looked at in bright light or from a wider angle there might be a slight colour tint. Lastly, it needs to be handled and cleaned with care as the coatings can be vulnerable to scratching. UV-filtering Most glazing offers artwork little protection from UV light rays, which are an inherent part of ordinary daylight and pose a major threat to the longevity of paper and textiles. However, it is important to remember that while glazing with a UV-filtering layer can help protect artwork, it cannot prevent its deterioration. This is because no UV glazing filters 100 per cent of damaging rays and there are other factors than light which cause artwork to deteriorate (such as the materials used in its manufacture, the quality of inks and pigments, framing materials). Manufacturers tend to blind framers with science when discussing glazing with a UV-filtering layer (the layer is either coated on one side of the glazing, or is laminated between two pieces). The essential point framers need to understand is that light wavelengths are measured in nanometers, and the eye can see light measuring between 400 and 700 nanometers, as these waves form colours. UV light is invisible and ranges between 200 and 400 nanometers. The atmosphere offers protection from those measuring below 300 nanometers, which means that the range of light that poses a threat to artwork is between 300 and 400 nanometers. The 300-340 range causes paper to become brittle and discoloured, while the 340-400 range causes colours to fade. When choosing UV-filtering glazing framers should look for that which offers the highest percentage of protection across the widest range of nanometers. Check what percentage of rays are filtered between 300 and 400. Also ask the manufacturer for reassurance that the glazing will not yellow or discolour over time. Percentages vary, but, on average, glazing with a UV filter can block over 99 per cent of UV light in the 300-380 range and 93 per cent of UV light in the 300-400 range. Plastic glazing can also be coated with a UV-filtering layer. Glazing with a UV-filtering layer is sometimes branded as 'conservation glazing' by the manufacturer. Museum glazing in addition should have anti-bandit and fire retardant qualities. Selling specialist glazing Supporters of specialist glazing argue that once you have won customers round to the benefits of the product, they are unlikely to be put off by your adding a profit margin of maybe 100 per cent. While framers are unlikely to mark these products up as much as they would float glass, the gross profit per picture is still greater. In other words, once you have persuaded customers to take the plunge and pay more for better glazing they are unlikely to question the exact percentage of the price increase. It takes the same amount of time to make a frame with special glazing, but the profits can be better. Most manufacturers and distributors supply framers with highly effective point of sale samples. The same picture framed with strips of float, diffused and invisible glazing can go a long way to winning customers over. A sample of the three types of glazing which can be held over the customer's own artwork personalises this concept of quality. The advice from the experts is to start by having confidence in the product and recognise the good value for money that specialist glazing offers your customers. Your enthusiasm should make the sale for you. Then, when quoting a price, start from the top. Quote an 'all in' price rather than a breakdown of each component. 'If the artwork is over £500 we try to sell premium glazing,' explains Steve Nicholls GCF, Niche Frames Ltd. 'Everyone is impressed by our samples, and when you say that special glass will add less then ten per cent to the bill they generally go for it. Most people think UV glass is worth the extra £50 if the picture is irreplaceable. We have built up a reputation for offering custo\mers expert advice and that is one of the reasons they come back to us.' Eddie Cooper GCF, KC Fine Arts, feels the same way, 'I think that what sells specialist glazing is a combination of the impact of my point of sale samples and the fact that UV glazing actually protects artwork against deterioration. People are prepared to spend another £60 for protection and a clear image. My customers do tend to trust my opinion; I have a lot of repeat business and word-of-mouth recommendations. As a business, I am also known for conservation work so people expect to be offered premium products; for example I don't stock any standard mountboard and we use conservation back board.' Framer Robert Wynn-Jones offers his customers seven types of glazing, and has made his own point of sale sample featuring his full range. 'Specialist glazing is part of the service I offer my customers. About half of them are put off by the price, but the others go for it. I am a trained paper conservator so I can talk quite confidently about the damage done to paper by UV light, which must help sell special glass. My role is to make customers aware of their choices, but the final decision is theirs.' Old School Fine Art specialise in framing for museums and top-end collectors. 'We only use museum glass and our clients expect it. If you are in the business of producing frames that costing around £2500 the customer expects glass that costs around £100. No one will quibble about £250 worth of glass on a £15,000 picture. Museum glass has become standard; you don't see any float in museums and top private collections. And the price has come down a lot; eight years ago a 30x40inch sheet would have cost £400, whereas now it is £100.' So it looks as though specialist glazing will see an expanding customerbase among independent framers seeking to 'sell up' and stand out from the discount stores. If expert advice and niche products are the future for independents, then there is surely a place for specialist glazing products. Glass speak: understanding the terminology Acrylic glazing - Plastic alternative to glass Anti-bandit glazing - Glazing that will not shatter if broken. This type of glass is normally laminated with a central layer of gel that prevents fragmentation. 4.4mm safety glass is most commonly used for pictures Anti-glare glazing - The US term for diffused glazing Anti-reflective glazing - See ‘invisible glazing’ Clear glass - See ‘invisible glass’ Coated glazing - Glazing can be coated with a UV-filtering layer and / or anti-reflective layers Colourless glass - See ‘clear glass’ Conservation glass - Refers to glass with both a UV-filter and aniti-reflective qualities Diffused glazing - Etched glazing designed to reduce reflection in harsh lighting conditions Drawn glass - Drawn glass is made by drawing molten glass as a sheet directly from the furnace. It is often greener than float glass, and has more blemishes, so is a cheaper alternative that is used at the bottom end of the framing market. The pulling process which is used when drawing the glass can cause distortion, bubbles and marks Etched glazing - See ‘diffused glazing’ Float glass - The most commonly used type of picture framing glass, normally 2mm Glazing - The term used to encompass both glass and plastic glass substitutes Invisible glazing - Aims to provide maximum clarity for the viewer. Reflection is reduced by optical interference coatings (OICs) and the glazing is often made with a low-iron content which helps eliminate the greenish tinge and render the glazing clear Laminated glazing - See ‘anti-bandit glazing’. UV-filtering layers and OICs can also be laminated between two sheets of glass Low-iron glass - Glass made with a reduced iron content which increases transmission and reduces the greenish tinge of ordinary glass, helping render the glass invisible Museum glass - Conservation glass which probably also includes anti-bandit and flame-retardant elements Nanometers - The scale used to measure the length of light waves. Damaging UV light is between 300 and 400 nanometers Non-glare glazing - See ‘diffused glazing’ Non-reflective glazing - See ‘invisible glazing’ Optical interference coatings (OICs) - Technologically sophisticated coatings that are designed to maximise light transmission and reduce reflection. Coating is an expensive process Paper-interleaved glass - Glass that is sold washed and interleaved with paper. This type of glass is more expensive than powdered glass, but does not require washing, and is the most commonly used by UK framers Perspex - The brand name of a type of acrylic Plastic glazing - A generic term used to describe plastic-based glass substitutes, from styrene (the cheapest option) through various types of acrylic Powdered glass - Glass that is protected by powder requires washing. It is less expensive than paper-interleaved glass, but most framers do not have space for a glass washing unit Rolled glass - A type of sheet glass similar to drawn glass. Rolled glass is used at the volume end of the market and is of a lower quality than float glass Safety glass - See ‘anti-bandit glazing’ Semi-diffused glass - Inexpensive re-cycled float glass that is rolled to give an uneven texture Sheet glass - An imprecise term commonly used to incorporate both float and drawn glass Styrene - The cheapest type of plastic glazing Toughened glass - Anti-bandit glass that is treated so that it shatters into lots of tiny pieces if broken Ultra violet (UV) light - Invisible light at the violet end of the spectrum that causes paper to deteriorate and discolour, as well as fading some colour pigments. UV light is a major threat to the longevity of works on paper UV-filtering glazing - Incorporates a layer that filters out a high percentage of damaging UV light Washed glass - Pre-cleaned glass. Most glass used by framers is washed, as glass-washing units are very large Specialist glazing manufacturers Bohle - Make Optical Anti-reflective White Glass and Bohle Total Vision micro-etched diffused glass. www.bohle.de Denglas - US manufacturer of invisible glass, including Water White Denglas. UV Denglas® is a conservation glass. www.denglas.com Flabeg - Makers of ARTControl™ invisible UV-filtering glass. www.flabeg.com Glass & Mirror - Manufacturers of the Artshield range of plastic glazing. www.glass-mirror.co.uk Glas Trosch - Manufacturers of the LUXAR® range of invisible glass. www.luxar.ch Glaverbel - Belgian manufacturers of diffused glass. The range includes three grades of glass, Matobel, Glamatt and Satinluxe. www.glaverbel.com Guardian Industries - Makers of the Inspiration Glass Series of specialist glass. www.guardian.com Pilkington - Make Galleria™ diffused glass. www.pilkington.com Rankins - UK manufacturers of Art Guard fire-resistant anti-bandit museum glass. www.rankinsglass.co.uk Schott - German manufacturers of Mirogard® invisible glass, some grades of which also offer UV protection. www.schott.com Skan - New to the framing industry, UK company Skan have launched three types of finely-etched diffused glass: SKAN Clear™, SKAN Glaregard™ and SKAN Visiongard™. www.skan.co.uk |
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