Conservation

1. Conservation Why, When and Simple Basics Framing

2. Conservation Framing Described as the process of encasing and presenting artwork so as to protect and preserve it for future generations. There should be no alteration to an items original condition and any technique that does is not considered a Conservation framing practice.

3. Conservation/Restoration Conservation: The process by which artwork is preserved rather than repaired. Restoration: The process of returning damaged artwork to a state similar to its original condition.

4. Materials/Techniques Materials have been specially developed for Conservation framing and can be expensive; therefore neither economic nor appropriate for every framing job. Arqadia’s Timecare Heritage Museum Mountboard. All techniques used must be fully reversible. Newberry Method of supporting fabrics.

5. Programme of the Endorsement of Forest Certification Forest Stewardship Council Sustainability The use of materials from sustainable sources is increasingly important and there are worldwide environmental concerns over wood sources and a desire for greater controls along the timber chains. Arqadia holds both FSC and PEFC chain of custody accreditations. Arqadia products carrying these labels come from forests that are managed to meet social, economic and ecological needs of present and future generations.

6. Why Conservation Framing Paper and fabrics are fundamentally organic in nature and will degrade. The rate of degradation will depend upon the following factors: UV Radiation Humidity Heat and Damp Biological Attack – Insects and Mould Techniques and Materials used in Framing Environmental Pollution Manufacturing Processes Whilst existing damage to artwork is in many cases irreversible, conservation framing will limit further damage.

7. Simple Basics When Conservation framing the framer should be able to answer ‘YES’ to the following • Will the rebate depth of the moulding accommodate the framing package? • Will the window mount and under mount be of Conservation quality? • Will the artwork be attached to the undermount using Conservation • quality gummed white paper tape? • If close framed will the glazing be spaced away from the picture surface? • Will pH neutral Conservation backboard be used? • Will the frame be sealed with gummed paper tape and have secure fittings?

8. Simple Basics When Conservation framing the framer should be able to answer ‘YES’ to the following • Will the rebate depth of the moulding accommodate the framing package? • Will the window mount and under mount be of Conservation quality? • Will the artwork be attached to the undermount using Conservation • quality gummed white paper tape? • If close framed will the glazing be spaced away from the • picture surface? • Will pH neutral Conservation backboard be used? • Will the frame be sealed with gummed paper tape and have • secure fittings?

9. Cove Box Construction Input dimensions B, D, X and Y Entry Screen Details to be saved to plt file for cutting Example of boxes cut on a Valiani CMC using Arqadia mount board.

10. Use of Arqadia’s Framebox FrameBox mitred, glued and pinned top and bottom. Two pieces glued and nailed to form box. FrameBox secured to moulding. PVA applied along recessed face.

11. Method of securing using Framers Multipoints. Stacked Mouldings Arqadia Moulding 1800iv Arqadia Moulding 164.300.167 Moulding mitred before underpinning.

12. Simple Basics When Conservation framing the framer should be able to answer ‘YES’ to the following • Will the rebate depth of the moulding accommodate the framing package? • Will the window mount and under mount be of Conservation quality? • Will the artwork be attached to the undermount using Conservation • quality gummed white paper tape? • If close framed will the glazing be spaced away from the • picture surface? • Will pH neutral Conservation backboard be used? • Will the frame be sealed with gummed paper tape and have • secure fittings?

13. Mount Board Quality Standard – Suitable for ‘disposable’ artwork of no commercial or sentimental value. Arqadia Whitecore Range. White-Core is classed as Standard board. Treated so that the bevel remains white – in some cases the core may be of conservation standard but some part of the board (usually the facing paper) may not be of conservation level. Conservation – Suitable for collectable artwork that is to be kept for future generations. Arqadia Conservation Range, Larson Juhl Artique and Timecare Solid Core Ranges. Cotton Museum – Suitable for museum quality and artwork to be preserved for future generations. Arqadia Timecare Heritage Museum.

14. Whitecore – denotes the colour of the core but does NOT imply the board is of Conservation quality or higher. Board Thickness – both window/undermount must be a minimum thickness of 1100microns. BWS – colours used incotton museum board must be fade resistant scoring 5 or more on the BWS. Arqadia print BWS on all Whitecore/Conservation Boards. Whitecore, Board Thickness and Blue Wool Scale

15. Simple Basics When Conservation framing the framer should be able to answer ‘YES’ to the following • Will the rebate depth of the moulding accommodate the framing package? • Will the window mount and under mount be of Conservation quality? • Will the artwork be attached to the undermount using Conservation • quality gummed white paper tape? • If close framed will the glazing be spaced away from the • picture surface? • Will pH neutral Conservation backboard be used? • Will the frame be sealed with gummed paper tape and have • secure fittings?

16. To attach the artwork to the window mount. • The use of any form of pressure sensitive tape. • To glue or place one long hinge across the top of the artwork. • To glue or place tape at each of the four corners of • the artwork. Unacceptable Practice

17. Water - soluble conservation gummed white paper tape. or • Japanese paper hinges and freshly made wheat or rice • starch paste or methyl cellulose paste. Hinging Artwork – Good Practice • Always attach the artwork to the undermount along its top edge – using:

18. Hinging Artwork – Good Practice Tape away from artwork to allow for movement. Tape tight to artwork Hinge in ‘Shear’ Artwork Undermount

19. Simple Basics When Conservation framing the framer should be able to answer ‘YES’ to the following • Will the rebate depth of the moulding accommodate the framing package? • Will the window mount and under mount be of Conservation quality? • Will the artwork be attached to the undermount using Conservation • quality gummed white paper tape? • If close framed will the glazing be spaced away from the • picture surface? • Will pH neutral Conservation backboard be used? • Will the frame be sealed with gummed paper tape and have • secure fittings?

20. Spacer Glass Artwork Radiated Room Heat Natural Convected Air flow Spacer Importance of Airspace • Paper: • Hygroscopic – absorbs moisture. • Expands and Contracts with changes in temperature and humidity. • Air Circulation will: • Equalize humidity across the surface of the paper and help prevent cockling. • Inhibit the growth of Mould. • Greatly reduce the chance of ink transfer from print to glass.

21. Transfer of Image to Glass Ink/Image transfer from the print to the glass. Ink/Image Transfer Artwork was in contact with glass following initial framing. Actual Artwork

22. Simple Basics When Conservation framing the framer should be able to answer ‘YES’ to the following • Will the rebate depth of the moulding accommodate the framing package? • Will the window mount and under mount be of Conservation quality? • Will the artwork be attached to the undermount using Conservation • quality gummed white paper tape? • If close framed will the glazing be spaced away from the • picture surface? • Will pH neutral Conservation backboard be used? • Will the frame be sealed with gummed paper tape and have • secure fittings?

23. Backboard Essentials • Backboard should be: • Min 1.8mm thick for small pictures. • Between 3 – 6mm thick for larger pictures. • Qualities – stable, rigid material preferably pH neutral. (Arqadia Aqua Conservation 999120000) Extra protection from migrating acids can be achieved by the insertion of a barrier such as Melinex or Plastazote. (Arqadia Plastazote BDPLAG 003/005)

24. Simple Basics When Conservation framing the framer should be able to answer ‘YES’ to the following • Will the rebate depth of the moulding accommodate the framing package? • Will the window mount and under mount be of Conservation quality? • Will the artwork be attached to the undermount using Conservation • quality gummed white paper tape? • If close framed will the glazing be spaced away from the • picture surface? • Will pH neutral Conservation backboard be used? • Will the frame be sealed with gummed paper tape and have • secure fittings?

25. Final Assembly • Use of Framers points NOT Flexi - points. • Back sealed with good quality gummed paper tape • – no bridges or air bubbles, corners overlapped • for added protection. • All hanging fitments should be strong, secure and • attached to the frame. Avoid riveted ‘D’ rings. • Pads or buffers attached to bottom corners to allow for • air circulation around the frame.