Normally we drymount prints onto a 3.5mm foamboard which in effect sticks them
to the board so they remain flat in the frame and do not go wavey which most people appreciate. Valuable prints which
include most limited editions and giclées( pronounced zhee-clay), original prints created by
the artist such as silkscreen, etching etc., should be hinged to a
conservation board. The glass should not rest directly on these prints but mounts or a
spacer should be employed.
We use conservation paper tape to seal the glass to the foamboard, or conservation board, which prevents
the intrusion of dust and insects. A solid 3mm medium density board is used as a final backing board and this is fixed to
the frame and sealed with a long lasting gum paper tape. Finally felt pads are placed on the bottom corners to give a
space between the picture and wall, which promotes air circulation, also the pads grip the wall making constant level
adjustments unnecessary.
Photographs larger than 8"x10" are best drymounted to prevent future cockling, however some types of photograph should be
hinged, these include computor generated prints that are heat sensitive, cibachrome and valuable
photographs.
Prints should not hang directly opposite windows because long term exposure will eventually fade light-fast
printing inks. Giclée pigment prints are much more durable under strong lighting conditions.
Paper products are subject to biological and insect attack under high humidity conditions. Framed prints should never be stored in
these enviroments. Good air circulation is important in rooms therefore a fan or air conditioning is benificial.
To reduce reflections especially from windows and lights we recommend a small box such as a matchbox wedged behind the
top edge of the frame. This tilts the picture down towards the floor, and therefore minimizes reflections.
An alternative
to float glass is 2mm diffuse glass, which is surface eched and therefore does not reflect. The downside is that less light
is transmitted through the glass, resulting in darker colours and reduced clarity. We also offer a low relection glass, which when viewed
at the optimium viewing angle,directly opposite the framed image, the glass tends to disappear.
Conservation Board
We use a solid white conservation board from Arqadia. Made from
a high quality bleached alpha cellulose, the board is essentially lignin-free (see Acid entry ). Under accelerated ageing conditions
the board changes from pH 9.4 unaged, to pH 7.5 over a 100 years; pH 7.5 in 150 years; pH 7.5 in 200 years.
2mm Float Glass is used for most framing situations. It is a high quality, optically clear glass, giving a bright image and virtually no colour distortion. Float Glass should not be confused with the opically inferior sheet glass which is used in budget framing.
2mm Diffuse Glass
Diffuse Glass is surface eched and does not reflect a mirror image, however less light is transmitted through
the glass resulting in reduced clarity, and a darker image. The image becomes blurred when the glass is moved a small distance
from the object. A maximum space of a double mount, about 3mm, between the glass and object is acceptable.
2.5mm UV Filtered Glass
UV Filtered Glass helps prevent damaging UV light fading and degrading delicate papers and fabrics.The inside of the glass facing
the artwork is coated with the UV filter. It is important to remember that UV Filtering will only slow the deterioration of artwork on
paper, this is because no filter can block 100% UV energy and there are other factors which cause paper and fabrics to degrade
such as the chemical nature of the paper,inks and pigments used. The wavelenghts that constitute light are measured in
nanometers( 1,000,000,000,000 = 1 million times 1 million = 1metre). The eye can see light measuring between 400-700 nanometers,
because these wavelenghts form colours, the visiable spectrum. Damaging UV light is invisible and lies below the 400 nanometer wavelength.
The atmosphere protects us from wavelenghts below 300 nanometers( X and Gamma rays), so the range which threatens artwork lies between 300-400
nanometers. UV rays which measure between 300-340 nanometers cause paper to become brittle and discolour, while UV rays
in the 340-400 range cause colours to fade.
Low Refection Glass
Only about 92% of light is transmitted through Float Glass, the rest is reflected towards
the viewer. Low reflection glass transmitts over 99% of light, giving a brighter, clearer image, with minimal
reflection. Low Reflection Glass then reflects less than 1% of light when viewed at the otimium viewing angle, that is directly
opposite the glass at 90 degrees. At this point the glass virtually disappears. Viewed at different angles the glass
will reflect some images from windows and lights.
Most types of Low-Reflection glass are coated with a multi-layer optical interference coating (OIC) which is
very similar to the lens on cameras and binocolars. Coated glass must be handled and cleaned with care, as the coating can
be vulnerable to scratching.
Conservation Tape
We use this conservation to seal the glass/mount/foamboard package
to prevent the intrusion of dust and insects. The tape is an acid free, water based, non-ageing, non-yellowing with a elastic
acrylate adhesive.
Drymounting
Drymounting is a method of sticking paper and light fabrics to a board
without the application of wet glue. The drymounting tissue softens under heat and pressure in a vacuum press.
We use a 3mm smooth foamboard as a base for drymounting. It is very light, smooth, and stable.
Cibachrome Prints
Cibachromes are ultra high gloss photographs that are very sensitive
to marking, and therefore demand the upmost care when handling. Cibachromes are produced by Iford, and are now branded as
Ilfochromes. These photographs should not be drymounted, but hinged, for small prints, and placed onto acrylic sheet held by static
force, for larger prints.
Giclées Prints
Digital prints from a image file that are produced from an printer using
light resistant pigment inks that have greater luminosity than conventional lithographic prints.
Silkscreen Prints
Silkscreen printing is a method of pushing ink or paint through a fine
mesh that holds the stencil through which the paint passes onto the paper. Sometimes called Serigraphs, these prints are often
printed in bold flat colours on heavy weight paper, normally in small editions.
Etchings and Engravings
A print made from an inscribed or etched plate. The copper plate
is covered in wax into which the image is drawn. The plate is immesed into an acid bath which eats into the exposed parts
of the plate. When the wax is removed the drawn image is etched into the plate allowing ink to fill into the design. The plate is put
on an etching press and a roller then passes over the plate under pressure, picks up the ink image and rolls this onto a damp paper.
Each colour is a separate proceess, and each print must be exactly aligned.