Replies to This Discussion

Permalink Reply by Jon Kellogg on April 28, 2012 at 5:24pm

A friend showed me that site. It does have a lot of info & I'm glad to hear it helped. Just shop around for supplies. If you have a Michael's near by, keep an eye for their 50% off ad's. It's a good way to get a deal on the bigger items.

I too use double sided tape to stick the mats together.

I bought a Logan Point driver gun, best investment ever! Now all I need is a ATG applicator & I'll be all set!

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Permalink Reply by Rick Badwey on April 28, 2012 at 5:29pm

I have framed several copies, but then people over time would prefer to look at and enjoy the original.  It is all a matter of taste.

A great  website, for framing is http://www.fineart.co.uk/Buying/Museum_Level_Framing.aspx  AND

http://www.universityproducts.com/

Both of the above are great sources for museum level products and information

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Permalink Reply by Rick Badwey on April 28, 2012 at 5:26pm

Mike, as long as they are 4 ply 100% rag.  Keep in mind that cotton has a much longer shelf life and more stable than wood.  Wood breaks down (like any foamcore) and outgasses and deteriorates over time.

This then can bleed on your artwork or autographs.

If you are just hinging the mats together, use a 1" white linen tape.  This is fine since the tape and the adhesive does not have contact with your autograph.

Never, double tape the mats together.  Why?  First, if you want to remove the item for the future, you may damage the mats, or the item. Plus, if the object slips in the matting, it can come in contact with the tape.

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Permalink Reply by Mike P on April 29, 2012 at 5:39pm

If double tape is bad, how do you attach the mats together in a safe way? Is white linen tape double sided?  

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Permalink Reply by Rick Badwey on April 28, 2012 at 5:23pm

W.W.  The most common misconception is that museum grade framing is expensive.  It should not be.  A cost for a no really "acid free" mat is about $7 in a 32" x 40" sheet.  The same size in the highest quality is about $12 a sheet.

Regarding the acid free foamcore, I have a current project where I have removed some frames for the National Trust for Historic Preservation that were donated by a collector.  The framings were done 20 years ago.  When we took them apart, the foamcore decayed and severely yellowed.  They stained the contact point of the artwork.  When the curator form Washington DC came to inspect them, she was mortified.

Last I spoke with them, they were going to pursue some action against the framing company, who was supposed to have a stellar reputation for dealing in similar material.

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Permalink Reply by Mike P on April 30, 2012 at 1:53pm

Ok, so I've come up with a list of what I would need.  If I would need anything else, please let me know.  Also, if anyone knows a museum-grade solution to attaching the two mat-boards together (double-mat board) please let me know.  

-2 mat boards 4 ply cotton rag

-4ply cotton rag back-board

-Mylar photo corners 

Last question: Once the double mat boards are connected to each-other and the photo corners w/ photo is connected to the backboard, you would have to hinge the double mat-board and the backboard together correct? (with 1" white linen tape?)   

Thanks again for the help, 

Mike. 

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Permalink Reply by W.W. Dunbar on April 30, 2012 at 5:32pm

Perhaps Rick can chime in, and give you the correct answer.

Like I said before, framing & matting can be a lot of fun.  Below are a few pictures of some the items I've done over the years.

Close-Up of 3"x5" card

 

14" x 17"

 

20" x 25 " with 8 different 3x5 cards

 

30" x 35"

 

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Permalink Reply by Rick Badwey on April 30, 2012 at 6:07pm

W.W.

With the exception of the matting, it is hard to tell if a job was done correctly without taking it apart.  I had a dialogue with Michael earlier and here is The ONLY way to do the job correctly, no exceptions.

Before I go on, the Library of Congress has a great website  http://www.loc.gov/preservation/care/mat.html

However, even one of their preservationists agrees the site needs to be updated to show only 100% cotton rag should be used in all layers!  High Phibbs, lead conservation framer for the National Gallery of Art emphasizes the same thing.

Even Philadelphia Print Shop says the same thing.  100% cotton rag, not wood pulp.

Now to the layers:

Top Layer:   UV filtered glass or acrylic....HAS TO BE at least 1/8" thick, or it is inferior quality

Second Layer:  100% Cotton Rag matting (can be a double layer, called double matting).....white core does not mean anything unless the top and bottom color is white.....(In other words, the top, core and  bottom color must all be the same.

Object:  Document or article being framed, which should be mounted on

Third layer:  100% Cotton Rag backing

Final Layer: 100% Museum final backing as corrugated or archival grade coroplast

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Permalink Reply by Mike P on April 30, 2012 at 6:42pm

Extremely helpful explanation thanks Rick; exactly what I was looking for.  Like you said, dealers should be more involved with procedures and have museum-grade materials up for sale more often.  Besides your site Rick, it is extremely difficult to find both cotton rag mat-boards AND other museum grade materials.  I can only wonder how many people display expensive pieces of artwork and photography without knowing that they could be severely damaged in the long-run due to cheaply made products.  

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Permalink Reply by Rene on July 6, 2012 at 10:31am

Very interesting discussion!

Because of the lack of space in the room where I have my signed photos collection, some don´t have matting. In these the autographs are in direct contact with the glass and I learned here that there is big risk because the photo/autograph can stick to the glass.

I wonder if the following will work:

I place a 5 mm Filmoplast P 90 that sticks to the glass (1). Above the Filmoplast P 90, I put a 5 mm Byron Weston archival piece (2). Byron Weston archival paper is 100% cotton, acid free and I use Sub 32.

All around the frame this seems to avoid the direct contact of the photo with the glass when placed. But you don´t see anything from the front (3).

Now I place 2 sheets of Byron Weston paper between the back of the photograph and the backing (4 and 5).

If I only hang the photo on the wall I don´t use the backing, I just add a third sheet of Byron Weston.

My frames have no direct contact with sunlight; it is a closed room with low humidity. And when the room is used, the electric light has a low intensity. Of course the light doesn´t go directly to the frames.

What do you think of this Rick?

Thank you for your help.

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Permalink Reply by Rick Badwey on July 10, 2012 at 4:21pm

Renee, you should have at least a 4 ply rag matting barrier (1/8") between the glass and the autograph.  THis is the safest and should be relatively inexpensive.

Even with low light, I would use UV filtered glass or acrylic.  After all, some light is constantly hitting the item EVERY day

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Permalink Reply by Rene on July 10, 2012 at 4:26pm

Thank you Rick!

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