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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 oiloracrylics attracting these materials. There are many brands of acrylic glazing to choose from; one with an ultraviolet filter is recommended. The frame and the mat should be deep enough to prevent the artwork from touching the glazing. A stiff backboard behind oiloracrylics the mat protects and supports the matted artwork. It is best to use non-acidic boards. A dust seal with paper or tape 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 oiloracrylics permanently weakens the paper fibers and is oiloracrylics not easily removed or lightened in oiloracrylics conservation treatment.

Sheila also did collaborative oiloracrylics printing with Rauschenberg, Frankenthaler, Motherwell, Arakawa, Segal, Wegman, Shields, and many others. In 1990 she was honored with a 25 year master printers show at Rutgers Zimmerli Art Museum in oiloracrylics New Brunswick, New Jersey. In January 1994, assisted by artist friends, Sheila developed a new monoprinting process utilizing the silk screen medium, yet enabling the artist to work directly on the silk using almost all of the drawing tools they are used to using on paper. Art on the Net is a collective of artists helping each other to come up on the Internet and share their works on the World Wide Web. Artists create and maintain studios and rooms in the gallery where they show their works and share about themselves.