Framing

Choosing your framer
Your framer should be able to demonstrate that they are familiar with conservation framing techniques. Conservation framing of your limited edition print will ensure that its potential value and condition is preserved for many years.

Mounting the print Hinge the print to the undermount using archival materials. It is not recommended that the print be permanently mounted down. Matting Mats, apart from providing decorative enhancements to the framed presentation, provide a mechanism to prevent the print from touching the glass. We recommend that only rag conservation or equivalent mat board be used. Glass Use glass with a Ultra Violet (UV) filter. Backing Board Foam core board or similar. Fibre board should not be used.

For more comprehensive information on conservation framing visit the Picture Framers Guild of Australia Inc. web site at www.pfga.org.au and read the information for Framing Category 4 - Conservation

Exposure to ambient Ultra Violet light is the most common cause of both colour fading and the breaking down of the chemical bonds within paper, and other materials. This is largely due to the fact that lignin, a natural product found in paper made for wood pulp, will turn acidic and accelerate the deterioration. Have you seen old newspaper turn brown and brittle? This is the affect of lignin turning acidic. If exposed materials are made of premium Acid Free (AF) materials the effects of UV will be reduced. Heat and moisture will also contribute to deterioration. Appropriate hanging and storage procedures will reduce or retard the detrimental affects of ambient conditions.

We recommend the use of Ragboard (100% cotton) when used in conjunction with limited edition prints and artworks on paper. It should be noted that regular buffered acid free matboard will offer only limited or short term protection from UV deterioration when compared to Ragboard. In addition the use of glass that has a UV filter is also recommended.

Hanging
When hanging framed items particularly valuable artwork or items having a high sentimental value the following points on hanging location should be considered.
 Always hang on an inside wall (as opposed to a wall forming the exterior of a building)
 Never hang opposite a window
 Never hang next to a window
 Never hang on a chimney breast
 Never hang in any situation where UV light and humidity conditions are variable.

Storage
If the art is to be stored and not hung the following issues should be considered.
 Never store in the roof space or a cellar (heat and damp can be a problem)
 Never store in a shed where extreme temperature fluctuations will occur.
 Preferably store wrapped and upright. All artwork should be stored right side up so there is no pressure on hinges or other reversible mounting techniques.