How to Light, Secure and Clean Glass

I'm frequently asked about how to best light, secure and clean my glass so I thought it would be helpful to summarize my recommendations here for future reference.  

Lighting

As the vast majority of my work is one-of-a-kind, each piece interacts a bit differently with light so experimentation is required.  However, there are some general guidelines that can help find the best lighting possible:  

1. Direction - Spotlights above and slightly in front of the glass are a good way to light the front of a piece and how I light for photography.  If there is already good lighting in the room, try angling a spot that is in front of the work.  If you have multiple light sources that can move (like tracks) try one spot from above and front and setting a second one directly above the work so that it shines into the piece--sometimes this makes transparent colors glow but occasionally creates weird shadows.  You've got to experiment and you'll likely probably find a 'sweet spot' where the angle is the best.  
   
   Transparent work also often benefits from a light behind the work since backlighting transparent colors almost always looks great.  Diffusing the backlight is usually best since shining a spot directly on the work could be harsh or create bad shadows or hot spots.  For backlighting I usually test a light on the wall directly behind the work.  This approach diffuses the light and can make the transparent colors glow.  Of course if the wall behind the work is dark this won't work.  If you have a lighted pedestal see below. 
   
   
2. Type - Powerful sunlight-color LEDs are often best because they are usually offer a nicely-balanced natural white and are bright without being hot.  Halogens can be good but run hot so keep them a few feet from the glass.  Direct sunlight may look great but please avoid it because different colors of glass heat up at different rates so cracking is a risk.  Indirect sun is great--just make sure it's not casting hard shadows or making the work too warm.  
   
   
3. Pedestals - Pedestals can be purchased with a built-in light that shines up into a translucent base that the glass sits on.  This is often a great way to display glass that benefits from light from below.  If buying this style of pedestal, get one with an LED rather than incandescent light to make sure things don't get too hot under the glass.  You can also remove the transparent base and use cardboard, contact paper or aluminum foil to create a mask that only lets the light through where the glass sits on the pedestal.  By blocking the light around the bottom of the glass you'll create greater contrast and reduce glare on the bottom of the work.  It's can be a really dramatic look.  Experiment with a flashlight under the piece while it's sitting on a glass table to see if this would work for your glass.  (Set glass down on a glass table VERY carefully!)
   
   
4. Display cases - Most of these have built in lighting but try pushing on the fixture to see if they adjust and can angle the light.  This can provide some different options to experiment with.  I've seen cases with rows of LEDs in the back or top sides--this can be effective.  Beware of hot halogens that are too close above the glass.
   
   

Securing Glass

Collectors and gallery owners generally use the following:

Museum Wax: Probably the most common approach but be sure it's compatible with the surface you're putting the glass on.  Most is white, which doesn't always look the best if the base is transparent, but it does seem to be the most secure of the temporary options.  Available at hardware stores, Amazon, and arts & crafts stores.  Can be messy and ruin some wood finishes, so test it before using it.

Dental Wax: I got a tip from Duncan McClellan that dental wax holds better than Museum Wax and isn't as messy.  I haven't had a chance to try it yet, but plan to do so. 

Museum Gel: The main benefits of Museum Gel are that it's clear and easy to remove.  It does hold objects quite securely but it's tricky to use because if you apply too much, the glass will 'drift' on the layer of the gel, sometimes as much as a few inches, which could result in tragedy.  The trick with the Gel is to use as little as possible so objects stay put.  I usually apply 3-4 balls of the gel each about the size of a small grain of rice to the base of a large piece before setting it down.  Over about an hour, the gel spreads out across the entire base, securing the glass.  I don't know if it's ok for all surfaces, but I've used it successfully on non-porous surfaces.  Be very careful to not use too much.

Silicone: This is a more permanent approach and the right silicone adhesive is effective at holding glass securely. It's hard to remove from most surfaces without monofilament (fishing line), solvent and/or a razor.

UV Adhesive: This a permanent way to secure glass to glass and what I use when I need to attach blown work or sculpture to a glass base.  I use Loctite 349 which requires a 365nm wavelength UV light to cure in minutes.  Surfaces need to be prepped with pure acetone or alcohol.  Here's a link for more information on Loctite 349.  It's very difficult to remove something that is attached with UV adhesive, so consider it permanent.  The only way I've ever removed something that's attached via UV adhesive is to burn it off by slowly heating up the glass back up to 1000 degrees, causing the glue to burn out and fail.    

Hxtal: A specialty epoxy that is used by artists and museum restorers for only glass-to-glass bonds.  Low viscosity, perfectly clear with a very long curing time.  Do your research on how to use it correctly.

Loctite E-30CL: This is a well-regarded specialty epoxy I've used to adhere glass-to-acrylic.  It's clear, medium viscosity and has a very strong hold.  Definitely test its performance before using.

Cleaning

Cleaning glass that hasn't been sandblasted or etched is very straightforward. I clean glass with either a paper towel or cotton cloth and some glass cleaner.  Glass cleaners have waxes and ammonia in them that both clean and shine the glass.  I'm sure a museum conservator wouldn't use glass cleaner on a 3000-year old Egyptian core-formed vessel, but glass these days is much more stable than the oldest examples.  If cleaning something like museum wax off of the bottom of glass, I use 99% denatured alcohol or acetone.  If cleaning a sandblasted work (like some Bloom) check with the artist on how to best care for the finish.  I include cleaning cloths saturated with mineral oil with all satin-finished Blooms--it's what I use to clean and refresh the finish on those pieces.