Float glass.
Still the most common and often used glass, 2mm thick but also available up to 6mm thick. The UV filter rating of float glass is approximately 47%. Float glass will slightly darken colours, this is caused by the iron content which gives the glass a green tinge. For pictures over 1 metre square I would suggest 3mm thick float or where weight is a issue; Acrylic.

Non-reflective glass.
This glass is etched on one or both sides to create a diffused surface that disrupts reflections caused by lights and windows. I always have this glass in stock, although it is rarely used, I would only recommend using it in very harsh lighting conditions. This glass has a matt and dull look, which causes a loss of sharpness in the artwork, this effect increases the further the glazing is positioned from the artwork so it can only be used over 2 or 3 mounts and not on deep box frames. The UV filter level is about the same as float glass although it is also available with a 97% filter.

Schott Mirogard - 2mm, 3mm, and 4mm – The anti-reflective glass.
This is a practically invisible glass with outstanding clarity and minimal reflections. Firstly it has less iron content than float glass that gives maximum clarity and almost no change in the actual colours of the artwork. Secondly an anti reflective coating is applied to the glass that almost totally eliminates annoying reflections. The UV filter level is similar to float glass at approximately 47% All anti reflective glazing is angle dependent which simply means it is designed to be viewed ‘face on’ or at 45 degrees. For more information on this glazing please click here: Download Schott Mirogard pdf

Schott Mirogard Plus UV.
This is a 2mm glass with the same benefits as the Schott Mirogard anti-reflective glass detailed above, but it has the added bonus of an 84% UV filter that provides an excellent compromise between cost, clarity, anti reflection and UV protection.

Tru Vue Conservation Clear glass.
This is normal 2.5mm float glass but has a coating on one side which gives approximately 97% UV filter protection. It has the same reflection and colour darkening as float glass and a very slight surface ripple, which is only noticeable on close inspection. It is a very cost effective solution where high UV protection is required.

Tru Vue Museum Glass.
The same as Conservation Clear glass, with the 97% UV filter and with the added benefit of a very effective anti reflective coating which greatly reduces annoying reflections. It is rather costly but is a very high spec glass.

Plastic glazing.
Various different types, thicknesses, and qualities are available. I mainly use 3mm Artshield Acrylic, which is much more scratch resistant than Perspex. Artshield acrylic is also available with a 99% UV filter. Plastic glazing is used when safety and weight are an issue. For more information on this glazing please click here: Download Artshield pdf

Laminated float glass.
Where safety is an issue, available in 4.4mm and 6.4mm thicknesses, a sheet of plastic is sandwiched between two pieces of float glass. Should the glazing be damaged the broken shards of glass are held in place and will not damage the artwork or the public. The plastic layer gives the added benefit of a 99% UV filter. The only negative with laminated glass is the considerable increase in weight.

Luxar and Mirogard laminated.
These are the ultimate glazing options, and are considered to be the best glazing available – 99% UV filter, laminated, anti reflective, maximum clarity and perfect colour transmission – at a cost!

Mountboards

I use 3 types of mountboards – Whitecore, Conservation and Museum.

You may have seen some old mounts which have a brown bevel cut edge, this is caused by the lignin (tree sap) in the board fibres. Lignin is the binder which holds wood and paper fibres together. Over time lignin becomes highly acidic. This process is accelerated by heat and light. This acid then causes the board to weaken and discolour and the acid can soon migrate from the mountboard and causes damage to the artwork. I do not use this type of mountboard.

Whitecore board – Only used for non valuable and easily replaceable art such as posters, mass produced prints etc. Made from chemically purified wood pulp, free from lignin, and pH neutral.

Conservation board – made from high quality alpha cellulose, purified of lignin and containing an alkaline buffer to protect the board and artwork from acidic pollutants. This is the type of mountboard we use most often.