First, we shall do no harm!
We employ only techniques and materials that are 100% reversible and of conservation quality. We use Japanese hinging, corner mounting, and archival mounting. Our goal is for your piece to remain in the exact same condition as was when you brought it to us for framing. We use matboards that will never change color, nor will they leave an acid burn around your artwork. Saying a work is “acid-free” is not the same thing as being “conservation quality.”
We also use conservation quality glass which gives the greatest protection for your artwork available. There are different kinds of conservation glass, and what is chosen depends on where the piece is going to live and what your budget is. All Tru-vu conservation glass that we use protects your artwork to 99%:
- Conservation Clear – Looks like the glass you are used to seeing.
- Conservation Reflection Control – Creates a softer finish.
- Museum Glass – Makes it look like there is no glass at all with a non-reflective quality that doesn’t change the look of the artwork.
- Optium Museum Acrylic – The best and, of course, most costly but with good reason! Like the Museum Glass, it looks like there is absolutely NO glass at all but, it will not break, is scratch resistant, can be cleaned with any cleaner, has no static electricity, and is lighter.
In true conservation framing, we encapsulate your artwork in an envelope with the glass, mat (if used), or spacer, and archival backing.
Debbie Smith has been designated a Certified Picture Framer by the Professional Picture Framers of America because she has the knowledge and knows how to employ all conservation framing techniques.
