Framing Prints, Pt 1, What can go wrong if you don’t
Conservation of Works on Paper
Most frame shops present a bewildering array of choices, and it is too often the rare frame shop that understands the conservation of images. We believe the more you know, the better your choices, and the better you will enjoy your prints.
(There are several good guides on eBay Guides and Reviews about framing. ??onservation of Works on Paper??is a four-part guide that gives more information: not to make you a framer, but to make you a better consumer. Part 1 talks about what can go wrong and why. Part 2 talks about the anatomy of framing. Part 3 talks about the over matted print. Part 4 is a check list, worksheet, and tips.)
The proper mounting, framing and storage of an image is important both for aesthetic reasons and for the longevity of the image. We live in an age where we can see hundreds of new images in a day, and it isn?? hard to take images for granted.
At some point we might find that images we care about have faded, changed color, are covered with spots of mold, eaten by insects, brittle, bent, or cracked. Those are the basic things we want to prevent by the proper care??onservation??f works on paper.
Generally speaking, the major causes of damage to works on paper are photo-oxidation, acidification or migration, biological, mechanical injury, improper framing and storage.
Photo-Oxidation
This is damage caused by high and, or, prolonged levels of light??aylight, fluorescent, incandescent, halogen??hich contain ultraviolet radiation. The paper may show yellowing, browning or fading. Certain colors may fade or change. Some pigments are lightfast, or colorfast, and are relatively resistant to the effects of UV; a few types of pigments are ??ompletely??resistant, but it is safer to assume that all pigments, dyes, inks, etc., are susceptible to UV damage, and to take reasonable precautions.
Acidification and Acid-Migration
Many papers and mat boards are made from unbuffered wood pulp. Acid in one material can migrate into another, causing damage to an otherwise safe support or substrate, for example. In addition to wood pulp paper, certain adhesives, rubber bands, certain plastics, and even some pigments can contain acid or emit harmful chemicals that are damaging. Acidification usually causes a brownish discoloration or burn, and the paper, mat board, etc., becomes inflexible and brittle.
Biological Deterioration
Mold and insects can thrive on works on paper. Mold can grow on the surface of the art, mountings, frames, glazing. Insects can bore through mat board and paper. Mold can be fibrous and clustered, and can be in varying colors. Reddish-brown spots are called foxing.
Mechanical or Physical Damage
Aside from careless handling, damage can be caused by extreme temperature and relative humidity levels, fluctuations of temperature and relative humidity, incompatible materials in contact with the work of art??aper clips, rubber cement, masking tape, etc.
Framing
Although framing is the best way to protect a work if it is to be seen, it can itself cause problems. Unsealed wood frames, especially in woods like oak, and certain plastics can gas off, trapping harmful gases in proximity to the work. Lack of a window or spacers/fillets between the glazing and the work, can damage through contact, and if there is condensation on the inside of the glazing, the moisture is trapped on the work. Pastels and charcoal are easily attracted to acrylic glazing because of the unavoidable electrostatic charge of the glazing. Often, the backing in a framed piece is cardboard, and unless it is a special, buffered, acid-free cardboard, it can cause acid migration.
Storage
Improper storage can expose works to all of the previously mentioned problems.
* * *
There is a contemporary aesthetic that rejects the conservation of art: the self destruction of a work being part of its essence. But most people buy art to look at and enjoy, and do not want to watch it disappear. And it shouldn?? matter if it is a snapshot of your child?? hamster or a Picasso.
Museums go to great lengths to preserve their collections??limate control, UV filtered light, special storage cabinets, air filtration, regular examination by trained conservators, etc. This is a daunting and expensive concern. Temperature changes can cause materials to expand and contract, separating the image material from its support. High humidity can encourage the growth of molds. Low humidity can cause certain materials to become brittle. The perfect climate for photographs may not be perfect for paintings.
Most of us simply cannot be perfect conservators of the art we own. But there are steps we can take. See Framing Prints, Parts 2-4. We sell prints and all of this is adivce we give our cusomers.
To read our other guides, click:Guides.