Short answer: Non-glare acrylic, such as Acrylite P99 or Optix NG, has a light matte texture on one face that scatters reflected light, so you don't see lamps and windows in the frame. The texture also adds a slight haze (P99 transmits about 90% of light vs 92% for clear), which is invisible when the art is pressed against the sheet but blurs anything set back behind a thick mat or in a shadow box. Use non-glare for flat prints, posters, and documents; use clear or anti-reflective museum acrylic for matted art and 3D objects.
Key facts
- Products: Acrylite Gallery non-glare (P99), Acrylite OP3 P99 (UV filtering plus non-glare), Plaskolite Optix NG Light Matte and Heavy Matte, Optix 99 ultra-light matte.
- Texture: P99 has a light matte finish on one side only; the matte side faces the viewer.
- Light transmission: Acrylite lists P99 at 90% and OP3 P99 at 92%, vs 92% for clear.
- Thickness: framing non-glare is thin: Optix NG Light Matte runs 0.080 to 0.125 in., Optix 99 0.060 to 0.125 in.
- Distance rule: keep the art within about 1/4 in. of the sheet; farther back it looks soft.
How non-glare acrylic works
Clear acrylic has a mirror-smooth surface. Light bouncing off it stays organized, so you see a sharp reflection of the window, the ceiling light, or yourself. About 4% of light reflects off each face of clear acrylic. Non-glare acrylic has a very fine, even texture on one surface, made by the manufacturer during production. That texture scatters the reflected light in many directions. Instead of a crisp reflection you get a soft, even sheen that your eye mostly ignores.
It's the same idea as matte paint or a matte phone screen protector. It doesn't reduce how much light reflects; it spreads the reflection out so it no longer forms an image. Anti-reflective “museum” acrylic works differently: a thin optical coating actually cuts reflection to under about 1.6% without any texture.
The trade-off: haze and softness
The texture that scatters reflections also scatters some of the light coming through from the art. You'll notice:
- A slight haze, like looking through a very lightly frosted window. Blacks look a little less deep and colors a little less saturated.
- Softer detail, which gets worse the farther the art is behind the sheet.
Distance is the key. When a print is pressed directly against the sheet, the scattering happens right at the image, so it barely shows. A thin mat (framers commonly cite up to about 1/4 in.) is tolerable; move the art back an inch in a shadow box and it looks like it's behind a shower door. The same thing happens with etched non-glare glass.
Tip: before you choose non-glare, picture how the art sits in the frame. If there's a deep mat, a spacer, or anything three-dimensional, use clear acrylic, or anti-reflective museum acrylic if reflections are the real problem.
Non-glare vs clear acrylic at a glance
| Clear acrylic | Non-glare acrylic | Anti-reflective museum acrylic | |
|---|---|---|---|
| Reflections | Sharp, about 8% total | Diffused into a soft sheen | Under about 1.6% |
| Image sharpness | Crisp at any distance | Crisp only when art is close to the sheet | Crisp at any distance |
| Light transmission | 92% | About 90 to 92% | Over 98% |
| Best for | Matted art, shadow boxes, display cases, signs | Flat posters, prints, certificates, maps, menus | Valuable art, deep frames |
| Thickness we stock | 1/16 to 1 in. | 1/8 in. | Not stocked |
When to use non-glare acrylic
- Posters and prints in poster frames or clip frames, where the print is held flat against the front.
- Certificates, diplomas, and documents without a mat or with a thin one.
- Rooms with a window opposite the wall, where clear acrylic would show a bright rectangle of sky.
- Menus and signs under bright overhead lights, where the print is behind a flat cover. Acrylite says P99 meets the ADA's non-glare finish requirement for signs.
When to skip it
- Art behind a thick or multiple mats, or on spacers.
- Shadow boxes, jersey frames, and anything 3D.
- Display cases, cake covers, and boxes.
- Edge-lit signs and engraved pieces, where you want full clarity.
- Photos with fine detail you want people to study up close.
For those, use clear acrylic, or UV-filtering acrylic if fading is the concern. Coated anti-reflective museum acrylic, such as Tru Vue Optium Museum Acrylic, stays sharp at a distance and also blocks UV, but it's a specialized product; see acrylic vs glass for picture frames.
Is non-glare the same as frosted acrylic?
No. Frosted acrylic, such as Acrylite Satinice, has a much heavier texture and is made to hide what's behind it and diffuse light. Non-glare has a very fine texture meant to be looked through. Frosted acrylic options explains the difference.
Cutting and caring for non-glare acrylic
Non-glare acrylic cuts just like clear, and we cut frame fronts to any size. Order them cut to size and see your price instantly in the instant quote. Clean it gently with a soft microfiber cloth and mild soap and water. The matte surface hides light fingerprints better than clear, but scrubbing hard with abrasive pads can polish shiny spots into the texture.
Questions
Can I use non-glare acrylic with a mat?
With a single thin mat, usually yes; the art will look very slightly soft. With a thick, double, or stacked mat, or spacers, use clear or anti-reflective acrylic instead.
Does non-glare acrylic block UV?
Standard non-glare blocks about as much UV as regular clear acrylic, which is only part of it. If fading is the concern, choose a UV-filtering non-glare grade such as Acrylite OP3 P99.
Why do my photos look blurry behind non-glare?
The photo is probably too far from the sheet. The matte surface scatters light, and the effect grows with distance. Press the photo flat against the acrylic or switch to clear.
Which side of non-glare acrylic faces out?
The matte side faces the viewer and the glossy side faces the art. P99 is matte on one side only, so check by touch or by looking at a reflection before you close the frame.