A
Modern Guide to Archival Museum Quality Matting and Framing For Your
Antique Prints By Ron
Flynn
When hiring a frame shop to mat and frame your
Audubon prints, the words "museum quality", "conservation" and
"archival" will be terms you will hear often in connection with
materials and techniques. You might naturally think that the term
“museum quality” means better or a higher standard, and that
“conservation” and “archival” mean longer lasting or preserving.
Unfortunately, there are no agreed upon industry standards that define
these terms, or guarantee the quality of materials used and/or the work
done. Rather, these terms are used by the manufacturers and framers to
describe the many different products and techniques they use in matting
and framing. The purpose of this article is to point out the differences
in these products. This will help you decide which matting and framing
products and techniques are right for your particular prints, in the
location and environment they will be displayed in. You will need to
weigh the monetary or sentimental value of your prints, against the
costs of using different framing and matting materials and techniques,
to achieve the overall appearance you desire with the appropriate level
of protection for your artwork. My wife has been a watercolorist for a number of
years, and I have been collecting and selling antique prints for many
years. We have a considerable amount of matting and framing work done.
We do no matting and framing ourselves, but are fortunate to have access
to private framers. I regularly confer with our framers, and the curator at the
local college museum, about the latest materials, techniques and thinking in
the areas of archival museum quality matting and framing. Generally, it is recommended that your artwork
be hung in areas with relatively constant temperatures, and away from
excessive heat and humidity. Sunlight, halogen spotlights, black light,
and direct indoor incandescent and florescent lighting can all fade
colors, darken unpainted paper surfaces, and contribute to the
deterioration of the artwork over time. The basic purposes for matting and framing are
to display your artwork in a way that will best enhance and display the
beauty of the art itself, plus encasing it in a protective stable
environment that will greatly lessen the potential for damage and
deterioration from interior and outside sources, and prolong the life of
the artwork. When matting
and framing your Audubon prints, there are 3 main areas of
consideration; the glazing, the frame, and the matting package. There
are a few other items to think about, which I will also discuss.
GLAZING
GLASS - Glazing, of course, protects your artwork from
airborne dirt and pollutants, especially in areas where smoking is
prevalent. It also affords some protection against damage from little
flying objects that children might throw around. Finally, glazing
prevents very interested or curious people from actually touching your
artwork and leaving finger smudges or natural human body oil residue
from the fingers. Regular picture framing glass (perhaps under
different names regionally) is the most common material used for
glazing. Picture framing glass can come in different qualities from
different manufacturers. At a minimum, picture framing glass should be
clear and without imperfections. Popular back in the 60s-80s and now
experiencing a comeback, non-glare forms of regular picture framing
glass are available. Non-glare glass cuts down on the reflection of
light when artwork is viewed from different positions. Avoid textured or
etched non-glare glass. Acid residue could remain which has not been
completely neutralized. Also, some non-glare glass will not be as clear,
and can tend to slightly distort the details or change the colors of the
artwork underneath it. If using non-glare glass, be sure and view your
artwork (in natural and artificial light) under a sample of the glass.
Borrow a few of the frame shop’s mat board corner samples and set them
between your artwork and the glass. You’ll see your artwork, through
the glass, at the same spacing as it will be when matted and framed.
This is important! If your artwork does not have a relatively high
sentimental or monetary value, you could safely use regular picture
glass (clear or non-glare) if your artwork is hung in places where only
reflected or ambient light reaches it. UV GLASS - Obviously, you want your artwork displayed in an
area with enough light so it can clearly and comfortably be viewed. Too
much light, however, will cause damage to your artwork over time.
Quality frame shops will now likely suggest that you use UV glass for
all your artwork. UV glass filters out most of the damaging ultra-violet
light rays from the sun and from fluorescent lighting. However, UV glass
does not prevent damage from visible light sources. UV glass, also known
as conservation glass, does not cost much more than regular picture
framing glass. Today, it is probably a good idea to use it, provided you
get a good quality UV glass. You should find out what percent of the
light in the UV spectrum is filtered out by a particular glass. Good UV
glass will filter out 85-95% of UV light. However, UV glass from some
manufacturers: will not be “smooth as glass” on its surface, will
slightly distort the image as seen through it, and will sometimes alter
some colors in the artwork when viewed through the UV glass. A non-glare form of UV glass is also available.
As with non-glare glass, when choosing a UV glass, you should definitely
view your artwork through a sample of the UV glass you are ordering, and
in both natural and artificial light, with proper spacing between the
glass and artwork. MUSEUM QUALITY GLASS - I think it would be fair to say that any museum
would utilize the highest standards and very best materials in
protecting and displaying their artwork. Again, there are no agreed upon
standards for a “museum quality glass.”
Some UV glass is also called museum quality. However, a true
museum quality glass will cost considerably more than ordinary picture
framing glass, and will exhibit superior qualities and features. A good museum quality glass would offer
non-glare features to eliminate reflections from your artwork when
viewed from different angles. Yet, this glass would be smooth and hard,
to reduce excess collection of airborne dust and dirt. It might also
have an anti-static coating. A good museum quality glass would be harder
and stronger than ordinary picture glass, but it would be optically
clear and distortion free. Finally, a good museum quality glass should
offer filtering of 95-99% of the radiation from the ultra-violet light
spectrum. ACRYLICS – Clear acrylic sheets (Lucite®, Plexiglas®, and
Lexan®) are materials that are being used more and more today as
quality glazing materials in archival matting and framing. Acrylic
sheets are perfectly safe for your Audubon prints, but they can develop
static charges and may not be safe for other artwork such as chalk and
pastels. Their chief advantages over glass are their nearly unbreakable
characteristics and their lighter weight. They should be considered for
any size artwork that will be hung in a rec room or children’s room
where balls or other objects might be tossed about. When matting and
framing double elephant sized Audubon prints, whether original or modern
reproductions, acrylics might be used in place of glass to reduce the
overall weight of the finished framing job. Acrylics cost a bit more than regular picture
glass. It can be considered archival because it is stable and does not
out-gas any fumes that would harm your prints. Acrylics are optically
very clear and distortion free. It comes in several thicknesses.
However, acrylic sheets can show up with minute scratches in them. Do
not hesitate to reject a sheet with scratches. If the scratches are
miniscule and in an area over the window mat, they will be virtually
invisible if placed on the inside, up against the window mat.
Acrylics are available with a UV coating that will filter 95-99%
of ultra-violet light. While certainly not traditional, acrylic sheets
have legitimate uses in modern matting and framing, and are now being
used more often. ANTIQUE GLASS – Framing with original antique glass is becoming
more popular. Individuals or frame shops will rummage through salvage
yards where fixtures and furnishings from old buildings and homes are
sold. Often, old windows or individual glass panes can be purchased at
fairly reasonable prices. This 75-100 or more year old glass will give
some authenticity to framing an antique print. The imperfections and
other marks commonly found in glass of that age would give it some
original character. The glass can be cleaned up and cut to size, often
trimming off the edges where glazing putty has stained it for many
years. Some frame shops can arrange to have a clear UV coating applied
to this glass to further protect your artwork. NO GLASS – One of the newest ideas in framing is to frame a
print without using a glazing covering. Using blind archival fastening,
the print would be mounted to a back mat or board, and framed without a
top mat, as if it were an oil painting. This technique would not be
recommended for antique Audubon prints. However, it is something to
consider when framing modern high quality Audubon reproductions. There is a relatively new product called Print
Guard, manufactured by Lyson Inc. in Illinois. It is recommended for use
on any watercolor or water-soluble surfaced print. It comes as an
aerosol spray, and 3 light coats are applied to each print. The flat
non-glossy finish provides protection from moisture and humidity. The
print can be dusted or lightly scrubbed to remove dirt and fingerprints.
The most important feature of this coating is that it filters out 97-99%
of ultra-violet light. I have treated 2 later edition Audubon octavo
bird prints, and another 12 assorted modern prints, with this product.
All are framed, without glazing, and are hanging on a wall that is
bathed with direct morning sunlight, plus they receive several hours of
overhead incandescent lighting each day. I have control samples of all
prints stored in my paper vault. Upon comparison after slightly more
than 2 years, there is no noticeable fading of colors, or darkening of
any of the uncolored paper areas, from either of the light sources.
FRAMES
Frames for your Audubon prints are made from
many different materials. Wood is, of course, the most popular material.
Frames are also made from metal, glass and plastic. I will not discuss
glass or plastic frames because they are either, in my opinion,
inappropriate or not structurally sound. There are hundreds of metal
frames available that might be used in particular decorating schemes.
Metal frames are mostly extruded in very simple profiles and designs.
There are a few ornamental cast metal frames also available. Metal
frames come in various natural metal finishes as well as painted colored
finishes. Metal frames are structurally stronger than wood frames.
Therefore, a smaller width metal frame will safely hold and support a
larger and heavier sized framing job, compared to an equally sized wood
frame. WOOD FRAMES – There are literally hundreds of different wood
frames available in various profiles and finishes. This article is not
intended to favor particular frame finishes or profiles. The selection
is vast and the final decision is up to you, and your particular taste
and decorating scheme. Wooden frames, and some simple metal frames for
that matter, are available in standard sizes at Wal-Mart and other major
discount store outlets. Some of these frames are made of solid woods,
like oak, and are adequate, but often the assembly is not precise and
professional looking. In terms of quality, the next step up from
pre-manufactured standard sized frames from retail outlets is the
so-called custom frame. The term custom frame or custom framing has many
meanings. You can find, on the Internet, many companies selling a vast
selection of “custom frames” at “discount prices.” While the
profile selection and variety of finishes is generally fairly large, and
certainly more than your local Wal-Mart, they are usually made from
inexpensive woods, or other wood materials, and come in standard sizes
only. A few of the WWW
custom frame shops will allow you to provide your own measurements, and
they will manufacture a custom sized frame for you. The cost will be
somewhat higher than their standard size custom frames. You should again
take note of the materials used and the quality of workmanship in the
finished product. Most of the Internet custom frames are a bit better
than what you might find at a Wal-Mart or similar store, but local frame
shops can do much better in terms of quality and service. CUSTOM FRAME SHOPS – When you walk into your local framing shop, with
the idea of matting and framing one or more of your Audubon prints, you
should get the impression that you are dealing with professional
competent people, who have knowledge of the latest materials and
techniques of archival museum quality matting and framing. When you go,
bring your artwork and all your questions. You should expect individual
and personal attention, specific to your needs. You may want to call
first and ask some of your more important questions. Maybe you’ll
discover that a particular frame shop is not equipped or knowledgeable
enough to suit you. If you phone first and tell them what you want done,
you might make an appointment with the owner/manager or person most
knowledgeable about your area of matting and framing. At a frame shop, you will likely see scores or
hundreds of pre-finished frame samples from a number of manufacturers.
Some samples may come in various colors, but not all will be displayed.
If you find a profile you like, ask what finishes it comes in.
Pre-finished frame mouldings are usually sold by the foot, and each side
is measured from point to point on all four sides of the frame. Prices
will vary widely. I’ve seen pre-finished wood frame mouldings from a
company like Frame America at less than $5.00/foot, and mouldings for
over $30.00/foot for some Larson Juhl frames. Once you have selected your frame, glazing and
matting (discussed next), the frame shop will do one of two things. Most
frame shops do not actually make your frame, for lack of space, or lack
of money for a large moulding inventory. Instead, they will phone in
your frame’s manufacturer name, style and measurements, to a regional
manufacturing warehouse. The warehouse will cut and assemble your wood
frame and ship it to the frame shop. Some of these manufacturing
warehouses are near enough to the frame shop so that someone can make
regular trips to pickup assembled frames and other matting and framing
supplies as needed. Some frame shops will have the inventory and
equipment to actually assemble your frame at their store. No matter who
assembles your frame, it is the quality of the work that matters. Look
around the frame shop. They will likely have framed art or prints for
sale, or have framed work there that is waiting to be picked up. Examine
the quality of the workmanship. Look at all four corners and see how
they line up. Whether you pay $5.00/foot or $30.00/foot for your frame,
you do not have a quality frame job if the corners aren’t well
constructed. This is an easy way to evaluate the work done by a
particular frame shop. Whether you choose an authentic antique frame
reproduction, or choose a period, contemporary or modern design, the
choice of frame finish and profile is yours to make from the hundreds
that are available. Finally, your frame shop should advise you on frame
size and structural stability. If you are framing a full double elephant
sized Audubon print using a metal frame, with either glass or acrylics,
a 1” to 1-1/2” wide metal frame should be structurally sufficient.
If farming the same print with a wood frame and acrylics, a 2” to
2-1/2” wide wood frame should be adequate. For a wood frame with
glass, probably a minimum 3” wide frame should be used to carry the
weight and maintain structural integrity. SUPER CUSTOM WOOD FRAMES – If you want the very best of frames, you can
have a truly custom frame built for your artwork. You will find these
custom frames available at large or exclusive print dealers, highly
specialized frame shops, and at upscale art galleries. A truly
spectacular authentic custom frame, along with hand colored mat, and
museum quality glass, might cost in the $1000.00-$15000.00 range for a
double elephant sized print. These type frames are assembled from unfinished
hardwood mouldings. The mouldings can be ornate designs made by machine,
or can be hand carved. Once assembled to the correct size for your
artwork, they are sanded to perfection, and then finally finished. How
your custom built frame is finished can almost be left to your
imagination. However, many examples of authentic period frame finishing
designs will be available. You could easily take features from more than
one example, and combine them into your personal custom frame. Simple yet elegant hand rubbed wood finishes, in
most any shade you want, are available on a large variety of different
woods. Custom colored hand painted features and accents can be added.
Various complementary or contrasting wood inlays can be included.
Gold-leaf and white gold-leaf accents can be added. For an authentic yet
completely different look, the unfinished frame is covered with gesso (a
plaster like coating), followed by a smooth clay layer in one of several
colors. The gold-leaf is applied to the colored clay layer, and
burnished by hand (a very laborious process). The burnishing of the
gold-leaf gives the gold its luster. Further hand burnishing removes
minute areas of the gold-leaf, revealing portions of the colored clay
beneath it. This produces a very stunning and dramatic effect. To
complete these unique custom frames, additional hand antiquing and
distressing provide the final touches. WOOD OUT-GASSING OR LEECHING –
There is the potential for out-gassing, or
leeching out, of harmful fumes or by-products from some wood frames. In
certain unseasoned or inexpensive wood frame mouldings, resins or other
acidic chemical compounds may exist in the wood. These acidic compounds
or resins, or fumes from them, could actually come out of the wood
mouldings and get into the mat package, and damage the matting materials
or even the artwork All surfaces of pre-finished frame mouldings are
generally finished and sealed, except for the rabbet. The rabbet is the
right-angled cutout in all wood frame mouldings that accepts and holds
the glazing, matting (with artwork) and any support backing. The rabbet
is usually always freshly cut raw wood. Conservationists now recommend
that the right-angled rabbet of any wood frame be sealed with either a
clear acrylic sealer, or a polyester tape with acrylic adhesive, before
assembling the entire frame package.
MATTING
I’ve discussed the frame and the glazing. The
rest of the materials that go into a framing job are referred to as the
“framing package”, “mat package” or simply the “package.” A
few people might include the glazing as part of the “package”, and I
won’t quibble. The most important parts of the package are the
window or top mat and the back mat. Besides hinges and fastening
devices, the window and back mats come in direct contact with your
artwork, and therefore must be made of materials that will not damage
your artwork. Unless your artwork is fairly small, you will undoubtedly
need a backboard or backer board, which goes behind the back mat, to
help support and give structural integrity to the package. Finally, a
moisture barrier and dust cover would complete the package. MAT BOARD COMPOSITION and CONSTRUCTION – The window mat and the back mat would generally
be made from the same mat board material. The window mat is, of course,
the one on top with the beveled cutout to reveal and display your
artwork. Only about 1/4” of the window mat, along all four edges, need
contact the artwork to hold it down. However, some Audubon prints and
modern reproductions are done on large paper sheets with smaller image
areas. In these cases, a larger area of the window mat will cover and
contact the artwork. The artwork is attached to, and rests entirely on,
the back mat. Mat boards are a pressed board made of fibers. They
generally come in various thicknesses called plies. Commonly, mat boards
are sold in 2, 3, 4, 6, and 8 ply thicknesses. 3 and 4 ply are the most
commonly used. 2 ply is more for photographs and very small artwork.
The thicker 6 and 8 ply are used for their added strength to very
large mats, or where special effects such as added depth are required. There are many different kinds or grades of mat
board. Some are not acceptable for archival museum quality matting,
despite what is claimed. Read the specs before you decide which one to
use. Standard mat board is made from bleached wood
pulp. It is not acid-free. Lignins, and other chemicals from the wood
pulp in the mat board, will soon turn it yellow, and turn any artwork it
touches acidic. When this happens the artwork will discolor and begin to
deteriorate. Standard mat board is NOT RECOMMENDED. Buffered mat board is made from bleached wood
pulp and is treated with a buffering agent, like calcium carbonate, to
make it acid-free. Buffered mat board is a little better than standard
mat board. However, the buffering agent will gradually wear away or
deteriorate. When this happens, you basically have standard mat board.
While buffered mat board will offer acid-free protection for a while, it
is NOT RECOMMENDED. Acid-free mat board is made by chemically
neutralizing the acids in bleached wood pulp. It is sometimes also
buffered. However, acid-free mat board is not lignin (a complex polymer
in wood) free. Eventually, acids and other chemicals in the lignin will
begin to discolor and damage the artwork. While providing adequate
protection for a period of time, acid-free mat board is NOT RECOMMENDED
for archival museum quality matting. 100% Alpha Cellulose mat board is an acceptable
archival museum quality mat board for use in matting your finest
artwork. It is made from wood pulp, but has been emaciated and
chemically purified to remove all lignins and other acidic chemicals. It
is 100% acid-free and 100% lignin free. It is also buffered, to raise
its pH* to 8.5-9.5, for additional protection. Finally, the very best archival museum quality
mat board that you can use for your artwork is 100% cotton rag mat
board. It is not made from wood pulp, and is naturally 100% acid-free
and 100% lignin free. Little purification is required because cotton is
nearly 100% pure cellulose. 100% cotton rag mat board is also available
in a buffered form, for additional protection in areas where light
sources and airborne pollutant levels are high. *pH is a chemical measurement of how acid or
alkaline a material is. The scale goes from 0-14.0, with 7.0 being
neutral. Numbers below 7.0 are acid, and above 7.0 are alkaline. The pH
of a high quality archival museum quality mat board should be in the
8.5-9.5 range. COLORED MAT BOARDS – Mat boards are now available in
literally hundreds of colors, including an amazing variety of whites and off-whites. Mat
boards also are available in various patterns and textures. Today, mat
board manufacturers have changed their color selections, in various
grades of mat board, as consumers have become more aware and
knowledgeable about the need for archival museum quality matting and
framing for their most valuable artwork. The three NOT RECOMMENDED mat boards, above, now
come in a limited selection of colors. These three grades of mat board
have legitimate short-term uses. In
fact, many frame shops now explain and sell them for “temporary” or
“short-term” matting of inexpensive artwork and other items that
people might want displayed for a relatively short period of time.
However, frame shops would offer no guarantee of longevity in using
these grades of mat board. Today, the 100% cotton rag mat boards are
available in the largest selection of colors and variations. You can be
as creative as you want in putting together a matting package for your
artwork. You can double and triple mat for extra depth and interesting
effects. For antique artwork, you can select off-white colored mats to
match the color of the antique artwork’s paper. You can pickup a
specific color in your artwork and use a matching colored mat. Or, you
can do both by double matting. It is not necessary or recommended to use
a colored back mat. You artwork lies directly on the back mat, and is
never seen, so use a plain white back mat. There are two other considerations when using
colored mat boards. You should be CAUTIONED that not all colored mat
boards, even some made from 100% cotton rag, are “color safe” or
“color fast.” Colored mat boards that are not color safe can easily
fade, even if protected by UV glass. More importantly, however, is the
danger of non-color safe mat board colors running or bleeding when
displayed in certain environmental situations. If colors run or bleed,
they could ruin your artwork. This is further reason to never use
colored mat board for the back mat. Various manufacturers will certify
and label some of their colored mat boards as “color safe” or
“color fast.” Use only those. The 2nd consideration, when using
colored mat board, is to realize that the color is only on the surface.
When the beveled window cutout is made, the white inner core of the
colored mat board will be exposed on all four inner edges, and will be
next to your artwork. This may or may not matter to you. If you use a
single colored top mat to pickup a color in your artwork, the white
beveled edge inner core may closely blend or match the color of your
artwork’s paper. You could use a white or off-white inner top mat, and
double mat on top of that with a colored mat that picks up a color in
your artwork. There are at least two manufacturers, that I am
aware of, who make a “solid core” 100% cotton rag mat board. This
means that the surface color, and the color of the inner core, is
identical. When the window mat cutout is made, the four beveled inner
edges will match the surface color of the mat. This can be very useful,
in either single or double matting, if you don’t like the look of the
exposed stark white beveled inner core. Bainbridge makes a line of solid
core colored mat boards, which I have seen, and Crescent has a similar
line, which I have extensively used. These “solids” aren’t
available in a wide range of colors. Until just recently, Crescent had
only 15 colored solids, mostly off-whites plus beiges and grays and
black. Crescent is currently coming out with more colors for their
solids. I’ve seen about another 15 new colors, and I’m told more
will be available this fall. They are available in 2, 4, 6 and 8 ply,
and either buffered or non-buffered. CUSTOM MATS – While your local frame shop will custom cut the
mat for your artwork and personally mount and assemble your artwork in a
complete framing package ready to hang on your wall, that is custom
service, and not a custom mat. You would find people with the knowledge
and skill to create custom mats at upscale print dealers or art
galleries, if your local frame shop does not do this work. The work
requires a lot of experience and patience. The simplest, and perhaps most elegant, custom
mat that you can have done is the French mat. The term French line is
also used to describe this mat finishing technique. Usually 1 or 2 fine
accent lines are hand drawn around the entire window mat, using colors
that are picked up from the artwork. (see the illustrations in this
article) If 2 lines are drawn, they run parallel to each other around
the entire mat. Often the space between the two French lines will be
hand painted with another complimentary color. If you think it appropriate for your artwork or
decorating scheme, you can order a hand painted mat. This requires an
artist, but the possibilities are limited only to your imagination.
Typically, one or more different decorations would be hand painted and
evenly spaced around the entire window mat. A straight or wavy hand
painted line might connect these painted decorations. Also, the cut
beveled edges of the window mat can be painted with an accent color. If
you cannot find just the right color, among the hundreds of available
colored mat boards, the bevel and exposed surface of the lower mat (in a
double mat system) can be custom painted to any color. Finally, a hand
painted frame liner or fillet can be used between the glazing and top
mat. They can be painted and decorated in any color, including metallics.
Some people would say that the finest of all
custom mats is the French Silk mat. Actually, the French Silk mat falls
into a category of custom mats called “hand wrapped mats.” Hand
wrapped mats fall into two categories, paper wrapped and fabric wrapped.
In both types, a 4-8 ply 100% cotton rag mat is cut to size and the
beveled window opening is cutout. At this point, the mat could be
finished in any of the above-described techniques. For a paper wrapped mat, the cutout window mat
is hand wrapped with a 100% cotton rag artist’s watercolor paper. The
paper can be any color, and any available finish or texture. From there,
the custom mat can be decorated and finished with any or all of the
techniques described above. A fabric wrapped mat is a step above the paper
wrapped mats. The process is the same as for a paper wrapped mat, except
the mat is hand wrapped with a fabric. Fabric wrapped mats are made
using linen, suede and silk. I suppose of those three fabric types, silk
could be considered the “queen” of fabric wrapped mats. The choice
of fabric colors and textures is certainly in the hundreds, and probably
exceeds the number of colored mats that are available. The silks and
linens can also be hand painted with additional decorations and accents. The variations for custom mats are only limited
by your imagination, taste and pocketbook. COMPLETING THE MAT PACKAGE – A number of other details and techniques go into
completing the mat package. The artwork cannot touch the glazing. The
common use of a window top mat will generally provide enough space
between the artwork and the glazing. If for some reason a top window mat
is not used, either spacers or a frame liner or fillet will have to be
used between the glazing and the back mat. Even if both a 4 ply top mat
and back mat are used, it is generally recommended that a rigid
backboard or backer board be used behind the back mat. Mat board is
fairly rigid, but over time and under certain conditions, it could sag
or warp. An acid-free backboard, such as foam core or tiger board, would
prevent this. The top mat and back mat are generally hinged
along one common side so that the two pieces would fold open like a
book. Acid-free archival linen tape is generally used. The top mat and
back mat inner surfaces (the surfaces that will touch the artwork) are
placed face up and two sides butted. A strip of linen tape applied
straddling the butted seam will create the hinge. The artwork is secured
or mounted to the back mat. Two T-hinges made from Japanese rice or
mulberry paper, and attached using wheat or rice paste, is the best way
to mount artwork. There is an acid-free paper tape roll available, with
water-activated adhesive, that is also used to make T-hinges. Clear
acrylic or mylar mounting corners can be used, if they do not prevent
the top mat from lying flat and the artwork is not too tightly
constricted. The T-hinge method is best because it allows for some
natural expansion and contraction of the artwork. Dry mounting and
heat-activated glues are not safe for your artwork. Also, there is no
pressure sensitive adhesive tape that is safe for your artwork. After the mat package is mounted in the frame, a
polypropylene or polyester sheet should be affixed as a vapor barrier.
This is especially important in cold weather climates where the frame is
to be hung on an outside wall. Finally, the back of the frame is sealed
with a special Kraft paper dust cover. In cold weather areas where the
frame is hung on a colder outside wall, spacers are placed on the back
of the frame to provide warmer air circulation behind the frame. IF YOU VALUE YOUR
AUDUBON PRINT, DO NOT FOLD OR TRIM IT TO FIT A SMALLER SIZED FRAME. ENCAPSULATION
Frames Unlimited,
a chain of framing shops here in the Midwest, is offering a technique
called encapsulation, for added protection, as part of their framing
package. Encapsulation is a process that uses a gel adhesive to seal
your artwork in a clear archival Mylar envelope. This clear envelope,
containing the artwork, is mounted to the back mat in a mat package, and
covered by the cutout window mat, for conventional matting of antique
prints. I’ve
seen a sample of their encapsulated artwork, but not matted and framed.
This technique, though used in libraries for document storage, is not
yet proven as a safe environment for artwork, within a framing package ALTERNATE
UV PROTECTION
When I purchased the condo I now live in, all
windows with a south and west exposure were lined on the inside with a
protective film. This film provides filtering out of 98% of UV light
from the sun, and also filters out some percentage of the sun’s IR
energy, which helps cut down on air conditioning costs. These films are
available in clear, tints and reflective colors. My reflective film has
a 20 year warranty, and only reduces the amount of visible light in a
room by 5%. If you cannot find a satisfactory UV glass (non-distorting
and non color altering) to protect your various artwork in a particular
room, you might consider this option for UV light protection. However,
so as not to defeat the purpose of such a film, the room lighting should
not be fluorescent. Visible indoor light on valuable artwork should
always be indirect or ambient.
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