In even the most beautifully framed art, there may be an unseen threat ready to destroy. Naturally occurring acid in paper and framing materials can cause yellowing, deterioration and ruin not only the frame and mat, but the art as well. Although it may look polished in the beginning, artwork that yellows and turns brittle won’t be worth displaying for long.
The art to showing art goes beyond composition and spacing; the materials used to frame art are equally important to maintaining beauty over time. Selecting framing materials that are acid-free will make a great difference in the longevity of framed artwork.
To understand acid-free and non-acid-free paper and framing materials, we need a quick review of chemistry. pH (acid) is measured on a scale of zero to 14. pH neutral is seven; anything below seven is acidic and anything above is alkaline (non-acidic). Acid-free paper has a pH rating above seven.
The main source of paper and matting-discoloring acid is lignin. Lignin is a chemical compound found in the pulp of paper that produces acid as it deteriorates. It occurs naturally in trees and other plants and holds wood fiber together, making it is an obvious component of plant-based paper.
While most paper is made from wood pulp, true acid-free paper is made from cloth or rags. This removes the threat of lignin. Completely acid-free paper is known as rag board or museum rag board. Other paper materials used in art and framing are called wood-pulp paper or pulp paperboard. Paper can be acid-free and still contain lignin, however. Most quality acid-free papers are manufactured to have a minimal amount of lignin and neutralized to prevent fading and yellowing. In this manner, wood pulp based materials can be made essentially acid-free.
In these products, acid is neutralized during the manufacturing process and lignin is eliminated in two ways:
If you’ve ever removed the frame off of an old black and white photograph and discover discoloration under the frame, this if the result of acidic paper over time. When exposed to the elements, the acid in paper, matting and frame backings can change the chemical composition of the artwork, affecting color and image clarity.
Another form of damage is chemical burning. When wood pulp, which is essentially sulfur, combines with water in the atmosphere, you get sulfurous acid. All non-acid-free paper lets off a microscopic fuming of sulfurous acid, which causes paper to become dry, brittle and brown.
Art and photographs not only need to be produced on acid-free paper, but to truly protect them over time they need to be framed with all acid-free materials. These framing elements can damage artwork if you choose the wrong products:
The commonality of these materials is that they can easily contain wood pulp that hasn’t been properly treated to remove lignin or protect alkalinity.
Investing in acid-free frames does not require using an expensive professional framer. Frame Destination sells a variety of acid-free framing supplies for DIY projects. To ensure top quality and superior preservation, consider a museum conservation quality mat board. Conservation quality matting and frame backings actively protect against air pollutants and reduce yellowing and fading. Many of these products, particularly those produced using The Bainbridge Artcare™ treatment, are completely wood pulp, acid and lignin free and undergo an additional buffering process to maintain an alkaline balance.
Upon inspection, it is easy to check already-framed pictures for framing material acidity. Mat boards are made up of layers of materials. When you look at the layers of the mat (typically visible in the framer cuts of the beveled mat window) you’ll see either slightly yellowish layers that indicated wood-pulp board or pure white layers of rag board. Yellowing backing paper also indicates that at least some of the material used during framing is not acid-free.
Another tell-tale sign is a brownish darkening on the inner edge of the mat window. By the time you notice the darkening on the edges of the picture image, the damage beneath is already severe.
If art was framed using non-acid-free materials, gently remove the art if possible and store it in a cool, dry, dark place until it can be reframed with acid-free framing. Removing the acidic frame, mat and backing paper will help prevent further damage.
To prevent deterioration of your art, ensure the quality of the materials used during framing meet International Organization of Standardization (ISO) standards. The ISO 18902 is the key quality standard with respect to photos and the ability to preserve and protect photos for extended periods. Check the framing or matting package and product information for the statement “Meets Imaging materials - Processed imaging materials - Albums, framing and storage materials." This will tell you that the materials meet necessary ISO requirements for proper preservation.
Some materials that do not indicate meeting ISO standards may claim to be “acid-free” or “conservation board.” However, be sure to check with the manufacturer about how they define this, as it may not be up to the standard necessary to properly frame and preserve your art.
Choosing high-quality acid-free materials throughout the framing process will ensure your art is preserved and protected against deterioration. With a variety of properly treated and acid-free options to fit any project need and budget, it’s easy to make a modest investment that will keep your art in top shape for years to come.
In even the most beautifully framed art, there may be an unseen threat ready to destroy. Naturally occurring acid in paper and framing materials can cause yellowing, deterioration and ruin not only the frame and mat, but the art as well. Although it may look polished in the beginning, artwork that yellows and turns brittle […]
Looking for tips on how to turn your art into a business? “How to Start Making Your Art Your Business: 100 DIY Tips” could be your guide. With each of this book’s chapters listing simple ten one-paragraph tips, it’s a quick and easy read. The author is Tamara Holland, an attorney turned multimedia artist. Check out her website at Bean Up the Nose Art.
The chapters discuss tips for each of the following steps of beginning an art business:
Being a professional artist means you are a business owner, a role that isn't for everyone. In the first chapter, Holland outlines the 50/30/20 rule for a successful art business — devote 50% of your time to marketing, 30% to administrative tasks, and 20% to creating new art. She suggests deciding whether this rule excites you or turns your stomach before moving forward. If it turns your stomach, there are companies like Fine Art America, Zazzle, and Society6 that can help with some of the more laborious issues like printing, shipping, and customer service. You’ll make less money, but it may be worth that trade-off.
All of her tips are useful; I particularly liked the chapters discussing how to start marketing your art, blogging, building your business and support system through social media, and teaching classes. As an introverted artist, I know that self-promotion can be a daunting task. Holland recommends creating a social media “cheering squad” with artists for promotion and support. Art classes are another good potential income stream; I’ve attended numerous lessons over the years. Online classes have gotten extremely popular, so if you ARE an introverted artist, don’t rule out teaching because you don’t like standing in front of a group.
Finally, she has a chapter devoted to tips on jumpstarting stalled creativity. Creative blocks, even if they are just teeny, tiny ones, are something nearly every artist faces at one time or another; as an artist, I’ve even developed my own tips for overcoming creative blocks. The number of hats we all have to wear is increasing in both number and complexity. Your creativity, while spontaneous in the past, may need a little gentle coaching now. Holland’s tips —go outside, take pictures, ask questions, and Log off — are useful exercises for all of us, whether we consider ourselves artists or not.
Looking for tips on how to turn your art into a business? “How to Start Making Your Art Your Business: 100 DIY Tips” could be your guide. With each of this book’s chapters listing simple ten one-paragraph tips, it’s a quick and easy read. The author is Tamara Holland, an attorney turned multimedia artist. Check […]
Mat boards are a key component to any framed work of art or photograph—and they’re not just for aesthetics. Mat boards, positioned in between the artwork and the glass, are flat pieces of paper that contain an open window through which the artwork shows. They are designed to keep the glass away from the surface of the artwork while offering a more professional look to the framed piece.
Not all mat boards are the same, however. It is important to carefully consider the type of mat board you select for your frame—and not just for appeal, but for the long-term preservation of your piece.
Mat boards vary by their material, the qualities of those materials, and their intended use. Whether you are interested in preserving a family heirloom for decades to come or you are decorating your home or office with store-bought prints, you will want to ensure you select the best mat board for the job.
This type of mat board, also known as rag mat board, is made with a cotton core and backing rather than a wood-based core. There are two types of cotton rag mat board: regular cotton rag mat board, which features face papers, or “museum quality” cotton rag mat board, which does not.
For museum quality cotton rag mat board, the process through which the cotton is colored is restricted; this keeps it safe for artwork. Because there are no face papers, the bevel, which reveals the core of the mat board, is the same color as the surface.
Regular cotton rag mat board will have a face paper, which can be colored, while the bevel typically remains white. Face papers are made from, of course, paper—because paper can become acidic, some cotton rag mat board face papers are buffered with calcium carbonate. This treatment allows the paper to more readily absorb acidic compounds, but it does not make it truly “museum quality.” In cases where certain types of photo prints can become damaged by the calcium carbonate, “unbuffered” archival mat board is more suitable.
This acid-free mat board is composed of alpha-cellulose fibers, the purest form of paper pulp, and is moderately priced. Alpha-cellulose is created through mechanical or chemical separation of fibers from wood or other plants like hemp, cotton or straw. When processed, the fibers are finer than human hair and purified. Alpha-cellulose mat board can also be treated to offer active protection against harmful pollutants, but this process can be harmful to some prints. Alpha-cellulose mat board can be considered archival, though not museum quality.
This type of mat board, also known as paper mat board, is the most common and least expensive. However, paper mat boards are not recommended for long-term preservation of art pieces and should be used as a temporary solution (fewer than five years) if you want to maintain the quality of the image or art.
Wood pulp is made from wood chips processed chemically or mechanically to break down the bulk structure into smaller fibers. This material is then sent for further processing to become paper products. Paper mat boards contain lignin, a natural material found in wood. When lignin breaks down, it produces acid; this happens more rapidly if the mat board is exposed to humidity or direct sunlight. As the acid reaches the artwork, it will “burn” it and leave a brown stain. It also causes the paper to become brittle and disintegrate over time. The damage caused by acid is irreversible.
The choice of mat board depends on your interest in protecting the artwork and the aesthetics. Mat boards intended to conserve artwork often have fewer color options as dye is sometimes harmful to the artwork; temporary mat boards are often available in a wide range of colors.
If you are concerned about the long-term preservation of your piece, you can find many mat board options to meet your needs. Mat boards are now made to not only prevent damage they may cause to the artwork overtime, but also to provide additional protection from environmental hazards. Professional-grade mat boards aren’t just for priceless works of art in the museum—they can be used to protect priceless family photos, too.
Mat boards are a key component to any framed work of art or photograph—and they’re not just for aesthetics. Mat boards, positioned in between the artwork and the glass, are flat pieces of paper that contain an open window through which the artwork shows. They are designed to keep the glass away from the surface […]
Picture frames are our passion. We love personally crafting and assembling high-quality wood and metal pictures for our customers, but we love seeing our frames put to use even more.
So show us how you use our picture frames! Throughout 2015, Frame Destination customers who post photos of the frames they have purchased can enter for a chance to win a $50 certificate for their next purchase of picture frames, framing materials and accessories from Frame Destination. The giveaway isn’t just a one-time event, either — we’ll announce a winner on the 15th of each month until the end of 2015.
Take a photo of your new metal picture frame hanging in your office. Snap a picture of one of our traditional wooden frames assembled and ready to hang in your home. We want to see the frame you chose, how you’re using it, and where you decided to enjoy your new picture frame!
It’s just a few simple steps to enter for a chance to win the $50 certificate from Frame Destination.
The first winner of the $50 certificate will be announced on August 15, 2015, via Facebook, Twitter and Google+. The winner will also be contacted personally with instructions to redeem the certificate. We look forward to seeing what our customers do with our picture frames!
Picture frames are our passion. We love personally crafting and assembling high-quality wood and metal pictures for our customers, but we love seeing our frames put to use even more. So show us how you use our picture frames! Throughout 2015, Frame Destination customers who post photos of the frames they have purchased can enter […]
Most people know that direct sunlight can seriously damage precious framed art and documents. Over time, light exposure can cause colors to change or documents to become brittle, yellow, or oxidized. But light exposure is not the only threat to your cherished art pieces and photographs. To improve the lifespan of your framed treasures, keep in mind the many other ways damage can occur.
This type of damage is usually caused by improper mat board, backing board, adhesives, and other materials in the frame package as well as any chemical or airborne pollutants that the piece is exposed to over long periods of time. Lignin, which is found in wood products (including wood frames), can fade or yellow photographs.
How to Prevent It: Choose mat board made from cotton rag or alpha cellulose, use acid-free mount board, photo-safe adhesives, and other materials marked “museum quality.”
Airborne pollutants inside the home will cause fading of photos and art. Even the type of paper a photo is printed on can be the culprit and give off harmful gases inside the frame, causing discoloration.
How to Prevent It: Besides using the correct materials, it is important to ensure the environment in which the frame piece is displayed is not harming the photograph. For example, be cautious using household cleaners around the frame. Additionally, if you paint a room, let it cure for two weeks before rehanging the frame.
Infestation by insects can leave holes and stains and must be treated by a professional conservator or exterminator. Insects usually enter through openings as a result of a poorly assembled frame.
How to Prevent It: Check framed pieces regularly for signs of insect infestation and damage.
Did you know that room temperature is actually too hot for a photo? Framed pieces exposed to heat for extended periods of time can warp, discolor, or deteriorate. Even the light you use to display and highlight your art can produce enough heat to damage your framed piece.
How to Prevent It: Use non-heat producing lighting to illuminate your framed piece and avoid displaying it where the frame will be in direct morning or afternoon light.
When exposed to moisture, framed photographs can succumb to blocking. Blocking occurs when the surface of the photo becomes adhesive-like and sticks to the glass frame; the photo is often destroyed if it is attempted to remove it. Moisture will also cause warping, mold growth on the surface of the piece (which poses a health hazard), and color bleeding on digital photographs.
How to Prevent It: Display your framed piece in a climate controlled area—low humidity and air conditioned is best. It is also advisable to use picture frame spacers to ensure the artwork does not touch the surface of the glazing.
Defend against damage to your artwork by first selecting the correct materials to use in the entire frame package.
A professional frame store can supply all of these high-quality framing materials. You may opt to use your own selected materials in place of ready-made frames, some of which already include archival materials, but it is important to ensure that every piece of the frame package can stand up to potential damage. In the long run, an investment in a good framing package is the best way to ensure you can enjoy your framed pieces for years to come.
Most people know that direct sunlight can seriously damage precious framed art and documents. Over time, light exposure can cause colors to change or documents to become brittle, yellow, or oxidized. But light exposure is not the only threat to your cherished art pieces and photographs. To improve the lifespan of your framed treasures, keep […]
Glazing is often the last decision you make when you are completing your framing package. And the options—much like the rest of the framing process—are manifold. Framing and conservation experts often recommend acrylic, which offers both UV protection and anti-reflective coatings; however, acrylic is prone to scratching, builds up static charges, and, to some framing purists, is inferior to traditional glass. Standard clear glass is the most common type of framing glass, but it often casts a green tint due to its iron content. UV-filter glass, though protective, can cast a yellow tint.
Compounding the complexity is the fact that Groglass, a manufacturer of high-performing coatings for glass and acrylic, has developed a collection of glass that offers the same, if not better, protection and clarity than any other protective glazing option—and all without any optical distortion or color variations.
Glass, acrylic, UV filters, anti-reflective coatings, green and yellow tints, iron contents, distortion…it’s a lot to take in when all you’re trying to do is put the finishing touch on your frame. Knowing what different types of Artglass we offer is all well and good, but it’s a lot more helpful if you know what’s behind the mumbo-jumbo.
When we say “light damages photographs,” it is a somewhat incomplete or incorrect phrase. Light, which is electromagnetic radiation, refers just to the part of the electromagnetic spectrum that we can see. This light does damage photos, but the bigger culprits are ultraviolet and infrared radiation.
When light hits a photograph, the energy is absorbed by the molecules within it. This energy causes the molecules to go through chemical reactions—what those reactions are depend on a variety of factors. Different types of radiation, including visible light, UV, and IR, cause different types of reactions.
View our Infographic on How Light Affects Artwork
As is obvious, protecting photographs from UV light is imperative—that is, if you want your photographs to last for longer than a couple years. There are different ways to filter UV light in framing glass. TruVue, for example, uses a silica-based UV blocking coating with a matte finish that blocks UV light.
Groglass’s Artglass employs UV-blocking, multilayer molecular films—equal to 1/400th of a human hair—to provide UV protection. Artglass UV WW and Artglass Preservation Clear both offer preservation-grade UV protection of over 90%, which is calculated as an average UV-light blocking capability in the 280-380 nm spectral region (i.e. the measurement of the wavelength under which UV light falls, including both UVA and UVB). The difference between the two is that Preservation Clear has a reflection of about 8%, while UV WW has no reflection due to its antireflective coating.
Glass reflects light. It can be very irritating to have beautiful artwork in your home, but never be able to see it properly due to the glare that is inherent in glass frame glazing—this is why some opt for acrylic.
However, Groglass and some other glass manufacturers have developed antireflective (AR) optical coatings that reduce reflections and, ultimately, allow for an unhindered view of the artwork. Groglass uses a magnetron vacuum sputtering process (a method of applying very thin films—think on a molecular level!) that deposits the antireflective metal oxide coating as a molecular film that is less than a micron thick.
It’s so advanced it was originally developed for aerospace applications. This coating is applied to either one or both sides of the glass, and reduces residual reflections to less than 1% and increases the light transmission to 98%—meaning more light is transmitted to allow for a clearer image.
With Artglass, you don’t have to choose between UV protection and antireflection; you can have the best of both worlds. Artglass UV WW (where the “WW” refers to Water White glass, meaning it is made of iron-free silica) has both antireflective and UV blocking properties, meaning your photos are protected—and you’ll be able to see them with little to no glare!
If you prefer glass over acrylic, then using Artglass offers significant benefits: namely, your artwork won’t suffer a quick fading death from harsh UV light, and you’ll be able to view them without the frustrating effect of reflection. But knowing the science behind why light does what it does makes it easier to choose the right glazing for your artwork.
Glazing is often the last decision you make when you are completing your framing package. And the options—much like the rest of the framing process—are manifold. Framing and conservation experts often recommend acrylic, which offers both UV protection and anti-reflective coatings; however, acrylic is prone to scratching, builds up static charges, and, to some framing […]