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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 peter from; one with an ultraviolet filter is max and recommended. The frame and the mat should be deep enough to liberty prevent the artwork from touching series the glazing. peter A stiff backboard behind the mat protects and supports the matted artwork. max It is best to use non-acidic boards. A dust seal with paper or tape is also recommended. liberty What damage results from using poor quality series mat board? Avoid mat boards containing wood peter pulp which causes "matburn"--a max 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 liberty or lightened in conservation treatment.
How series can I protect peter my works on paper from light damage? Even though your max artwork may be framed under UV filtering acrylic sheeting, the intensity of the light and duration of exposure liberty is a concern. Try to avoid direct and excessive daylight. Close window curtains or drape the artwork when series possible. Windows can also be covered with a film or a screen that will lower light intensity and ultraviolet rays. If possible peter take down the artwork periodically and exchange it with another piece, allowing the work to "rest" max in storage. The most light-sensitive materials include watercolors and liberty gouache, modern color inks, pastels, newsprint and all color papers. It is important to remember that light damage series is cumulative and irreversible.. My solid wood sculpture is cracking in the vertical peter direction. What can I do?Q. I have an outdoor bronze sculpture. How should I take care of it?
Our studio grew out of Maurel Press originated in 1955 by artists Sheila and Ary max Marbain. It opened as a custom screen printing shop specializing in printing with contemporary liberty artists. Sheila had studied art at series Black Mountain College peter in North Carolina with Joseph Albers, Ilya Bolotowsky and William max deKooning from 1948 through 1950. Ary had worked and exhibited as a painter in France for many years. After the sudden death of Ary Marbain in 1963, the studio was closed for a year. Sheila then decided to modernize liberty the workshop and introduce screen series photography along with a new vacuume printing table. Our studio reopened on 23rd Street in Manhattan. With an assistant, Sheila plunged into printing three dimensional objects. A plexiglass peter airship for Lichtenstein, max an Oldenburg soft drum set, a set of dominoes with Fahlstrom, liberty and series and a large fabric banner with Marisol were some of the editions.
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