Glazing can be either glass or acrylic. Only glass should be used with any friable media such as unfixed pastels, charcoals, or graphite, never acrylic as it can damage the work by attracting these materials. There are many brands of acrylic glazing to choose from; one with an ultraviolet obscure artists and recording artists filter is recommended. the frame and the mat should be deep enough to prevent the artwork from touching the glazing. a stiff backboard behind the mat protects and supports the matted artwork. it is best to use non-acidic boards. a dust seal with paper or tape obscure is also recommended. what damage results from using poor quality mat board? avoid mat boards containing wood pulp which causes "matburn"--a darkening of the paper under the mat or at the bevel cut of the window mat. this type of stain permanently weakens the paper fibers and is not easily removed or lightened in conservation recording artists info treatment.

then lile got an old unix machine together (being a unix systems administrator, this was fairly simple) and registered art.net with the internic. once the domain was created, with the help of friends, she brought up art.net onto the internet. lile started contacting artists about the san francisco bay area who might be interested in showing their works on the internet and helped them come up on art.net. she visited many cafe''s to see the local artists works and enjoy the coffees. when she saw works she liked, she contacted the artists and offered to help them come up on the internet and the www via art.net. many artists took the plunge and are now resident artists here at art.net. artists from around the net started hearing about obscure art on the net or would discover the art.net web site via the www.

once a wooden sculpture has been dehydrated cracks will appear, where even exposure to high relative humidity will not make the cracks close up entirely. however, conservators can fill the cracks with a variety of materials to create a unified visual impression. what should i ask for when matting and framing works of art on paper? mat board should artists be made from 100% rag or lignin-free cellulose. sometimes those labelled as "museum board" or "conservation board" are not of the highest quality. alkaline buffered boards are not sufficient if the board contains wood pulp. photographs should not be matted with alkaline buffered boards as some prints are adversely effected by alkalinity. hinges are used to attach the work of art to the backboard of the mat. they should be made of japanese paper, and should be adhered with wheat starch paste. pressure sensitive adhesive tapes and pre-gummed tapes should not be used. photographs are often attached to the mat with photo corners.