foam core

McLeod wrote


Dan Quinn wrote:

I've an idea what you're talking about. I was expecting some
answers to the questions I asked. Backing a loose print in a frame
I'd think would be a good other way to display.
BTW, do you use a heated press for flattening. Dan

I would never let a print I cared about touch glass.


I'd think an overmat would take care of that. I doubt the
value of glass, save for class, if you know what I mean.


I usually just flatten
them between two sheets of rag board with weight on top over time.


A flute ventilation corrugated board with hydrophobic separators
works well. Dan

On 31 May 2004 15:23:15 -0700, (Dan Quinn) wrote:


I'd think an overmat would take care of that. I doubt the
value of glass, save for class, if you know what I mean.



A flute ventilation corrugated board with hydrophobic separators
works well. Dan

Glass is what prevents UV damage to your print and mat. As to your
second sentence I haven't got a clue what you're talking about.

McLeod wrote

Dan Quinn wrote:

I'd think an overmat would take care of that. I doubt the
value of glass, save for class, if you know what I mean.


A flute ventilation corrugated board with hydrophobic separators
works well. Dan

Glass is what prevents UV damage to your print and mat. As to your
second sentence I haven't got a clue what you're talking about.

UV damage to a hinged, framed, and hung print? I feel my leg being
pulled.
A flute is the largest flute available in corrugated board. It
provides the greatest air circulation. It is used by paper makers,
leaf collectors, and others whishing to slow and flat dry sheet
goods.
I introduced a new twist in it's usage with the introduction of
hydrophobic separators. I do not recommend the usuall hydrophillic
blotter sheets.
For sources search this NG for, blotter blotters blotting . Much
in the way of archival materials is available from the sources
listed. Dan

On 1 Jun 2004 13:57:19 -0700, (Dan Quinn) wrote:


UV damage to a hinged, framed, and hung print? I feel my leg being
pulled.
A flute is the largest flute available in corrugated board. It
provides the greatest air circulation. It is used by paper makers,
leaf collectors, and others whishing to slow and flat dry sheet
goods.
I introduced a new twist in it's usage with the introduction of
hydrophobic separators. I do not recommend the usuall hydrophillic
blotter sheets.
For sources search this NG for, blotter blotters blotting . Much
in the way of archival materials is available from the sources
listed. Dan

Yep, UV damage to a hinged, framed and hung print. When I took my
conservation matting course the instructor included a display of the
same print that had been matted and framed similarly with the only
difference being the type of glass. The difference was dramatic. As
to drying prints I have no opinion. I was previously talking about
flattening prints between two pieces of mat board, not drying them.

McLeod wrote

Yep, UV damage to a hinged, framed and hung print. When I took my
conservation matting course the instructor included a display of the
same print that had been matted and framed similarly with the only
difference being the type of glass. The difference was dramatic. As
to drying prints I have no opinion. I was previously talking about
flattening prints between two pieces of mat board, not drying them.

UV. Well there must be something to it. Framers here in town
are ready to use glass. Via Google I came across Denglas and
also www.glassonweb.com .
Denglas offers anti-reflection, white water, and UV. All are
anti-reflection and give better than 50%, UV 90%, UV reduction.
The anti-reflection is coated glass; think coated filters.
Non-glare glass is not the same thing.
With anti-refection glass a print appears as though there is
nothing covering, as long as it's clean of course.
I'll likely consider ani-reflection glass. I've a little
experience cutting glass. Good thing you mentioned UV. Dan