What is the best way to preserve 2D art? The best way to preserve 2D art involves a combination of proper archival framing, careful mounting artwork, using acid-free materials, and maintaining a stable environment through climate control art practices, alongside appropriate storage solutions. Can I store unframed artwork? Yes, but it requires specific methods to prevent damage, such as interleaving with archival paper and storing in flat, protective boxes. Who is responsible for art conservation? Art conservation is typically carried out by trained professionals, often called conservators, who have specialized knowledge in the care and preservation of art.
Preserving your cherished 2D artworks, whether they are delicate watercolors, historical photographs, or vibrant prints, is essential to ensure their longevity and beauty for generations to come. Unlike robust sculptures, flat art is particularly vulnerable to a myriad of environmental factors and mishandling. This guide delves into the crucial aspects of protecting paper, handling prints with care, and implementing conservation methods that safeguard your treasures. From the initial framing choices to long-term storage, every step plays a vital role in preventing fading and damage, ensuring your art remains as vibrant as the day it was created.
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The Foundation: Choosing the Right Materials
The materials used in framing and display are the first line of defense against the elements that can degrade artwork. Opting for the wrong materials can inadvertently accelerate deterioration, while the correct choices create a protective barrier.
The Importance of Acid-Free Materials
The term “acid-free” is paramount when discussing art preservation. Paper, wood pulp, and even adhesives can contain acids that, over time, migrate into the artwork, causing discoloration, brittleness, and eventual disintegration.
Why Acidity is a Problem
- Yellowing and Browning: Acids break down the cellulose fibers in paper, leading to a yellowing or browning effect.
- Brittleness: As paper becomes more acidic, its fibers weaken, making it prone to cracking and breaking.
- Foxing: This is a type of spotting that can occur on paper due to the presence of metal impurities and mold, often exacerbated by acidic conditions.
What Constitutes Acid-Free
- pH Neutrality: Materials labeled “acid-free” typically have a pH of 7.0 or higher.
- Buffered vs. Unbuffered:
- Buffered materials contain an alkaline reserve (often calcium carbonate) that neutralizes acids as they form or are introduced from the environment. These are excellent for works on paper that are not inherently acidic, such as prints and drawings.
- Unbuffered materials are also acid-free but lack the alkaline reserve. They are ideal for photographs, albumen prints, and very old documents where the alkaline buffer might interact negatively with the object.
Selecting Archival Quality Framing Components
Archival framing is not just a buzzword; it’s a commitment to preserving the integrity of your artwork. Every component, from the matting to the backing board and the frame itself, should meet stringent archival standards.
Mat Boards
- Construction: Archival mat boards are typically made from 100% cotton rag or alpha-cellulose pulp that has been deacidified.
- Window Mats: The visible mat surrounding the artwork should be acid-free.
- Mounting Mats: The mat that directly contacts the artwork should also be acid-free and, ideally, unbuffered if the artwork is sensitive.
Backing Boards
- Purpose: The backing board provides structural support and protects the rear of the artwork.
- Materials: Archival backing boards are also made from acid-free, buffered or unbuffered materials, depending on the artwork. Foam core board, if not specifically archival, can off-gas acids.
Adhesives and Tapes
- Avoidance: Never use standard adhesive tapes, glues, or spray adhesives directly on the artwork. These are almost always acidic and will cause permanent staining and damage.
- Archival Alternatives: For mounting artwork, special archival tapes or methods like Japanese tissue paper with a reversible adhesive (like methyl cellulose) are used for minimal contact and reversibility.
Glazing (Glass or Acrylic)
- UV Protection: This is crucial for preventing fading. UV-filtering glass or acrylic blocks a significant portion of harmful ultraviolet rays from sunlight and fluorescent lighting.
- Types of Glazing:
- Regular Glass/Acrylic: Offers no UV protection and can even attract dust and grime.
- UV-Filtering Glass/Acrylic: Contains a coating or is manufactured with UV inhibitors. It’s essential for artworks displayed in areas with significant light exposure.
- Museum Glass/Acrylic: Offers superior clarity, anti-reflective properties, and the highest level of UV protection.
Mastering the Art of Mounting and Matting
How artwork is attached within its frame—the mounting artwork process—is critical. Improper mounting can lead to stress on the artwork, discoloration, and permanent alterations.
Traditional Mounting Techniques
These methods aim to support the artwork without adhering it permanently, allowing for expansion and contraction.
Hinges
- Purpose: To support the top edge of the artwork, allowing it to hang freely within the mat opening.
- Materials:
- Japanese Paper (Koूzo, Gampi): Strong, thin, and long-fibered, ideal for making hinges.
- Archival Adhesive: Methyl cellulose or wheat starch paste are reversible and acid-free.
- Application: A small strip of Japanese paper is folded and glued to the back of the artwork and then adhered to the mat or backing board.
Photo Corners
- Use: Small triangular pockets made of archival paper or polyester that hold the corners of the artwork.
- Benefit: Offers a non-invasive way to secure prints, especially photographs.
Polyester Encapsulation (Mylar/Melinex)
- Process: The artwork is sandwiched between two sheets of archival polyester film, creating a protective sleeve. The edges are then sealed.
- Considerations: While offering excellent protection against airborne pollutants and physical damage, it does not offer the same breathable support as traditional hinges. It’s crucial to use 100% polyester, not PVC, as PVC can emit harmful gases.
Matting Considerations
- Float Mounting: This technique displays the entire artwork, including its edges, by mounting it to the backing board behind a clear window, with the mat opening slightly larger than the artwork. This is ideal for showcasing deckled edges or artist signatures.
- Overlapping Mat: The mat opening is cut slightly smaller than the artwork to slightly overlap the edges, hiding them and creating a clean visual frame. This is the most common method.
- Beveled vs. Straight Cut:
- Beveled: The inner edge of the mat is cut at an angle, revealing the core material. For archival mats, the core should also be acid-free.
- Straight Cut: The inner edge is cut at a 90-degree angle, revealing the surface material.
Framing for Protection and Display
Archival framing combines aesthetic appeal with protective function. The goal is to create a sealed environment that shields the artwork from environmental hazards.
Creating a Protective Enclosure
- Sealing the Frame: The back of the frame should be sealed with a dust cover (usually an archival paper or card) to prevent dust, insects, and pollutants from entering.
- V-Grooves: Sometimes used on the mat board to prevent the artwork from shifting against the glazing.
Mounting Artwork in the Frame
- Spacing: Ensure there is a small gap between the artwork and the glazing. This is typically achieved by the mat or a spacer system. Direct contact can cause the artwork to stick to the glass, especially in humid conditions.
- Ventilation: While sealing is important, some very sensitive materials might require slight ventilation to prevent moisture buildup, though this is a more advanced conservation technique.
Hanging Your Framed Artwork
- Secure Hardware: Use sturdy hanging hardware appropriate for the weight of the framed piece.
- Wall Surface: Ensure the wall is clean and free from mold or mildew.
- Light Exposure: Position artwork away from direct sunlight or intense artificial light sources.
Environmental Controls: The Silent Guardians
Even with perfect framing, the surrounding environment can pose significant threats to 2D art. Climate control art practices are vital for long-term preservation.
Temperature and Humidity Management
These two factors are inextricably linked and have a profound impact on the stability of artworks.
Ideal Conditions
- Temperature: A stable temperature between 65-70°F (18-21°C) is generally recommended. Avoid drastic fluctuations.
- Relative Humidity (RH): A stable RH between 45-55% is ideal.
- High Humidity: Promotes mold growth, insect activity, and can cause paper to swell and buckle.
- Low Humidity: Can cause paper to become brittle and adhesives to fail.
- Fluctuations: Rapid changes in temperature and humidity cause materials to expand and contract, leading to stress and potential damage.
Achieving Stability
- Climate-Controlled Storage: If possible, store valuable artworks in a room with a dedicated HVAC system that maintains consistent temperature and humidity.
- Dehumidifiers/Humidifiers: Can be used in smaller spaces, but care must be taken to monitor and maintain stable levels.
- Placement: Avoid placing artwork near heat sources (radiators, vents), exterior walls that experience temperature swings, or in bathrooms and kitchens where humidity is naturally high.
Light and Its Dangers
Light is a powerful destructive force for art, especially paper-based works.
Light Sources and Their Impact
- Ultraviolet (UV) Radiation: Present in sunlight and some fluorescent lights, UV rays are a primary cause of fading and degradation.
- Visible Light: While less damaging than UV, prolonged exposure to intense visible light can also cause fading and embrittlement.
- Infrared (IR) Radiation: Emitted by heat-producing light sources, IR radiation can cause materials to heat up, leading to expansion/contraction cycles and potential damage.
Mitigation Strategies
- UV Filtering Glazing: As mentioned, this is crucial.
- Low Light Levels: Display artwork in areas with moderate, not intense, light. Aim for 5-15 foot-candles for sensitive works.
- Light Timers/Shades: Use timers on lights that illuminate artwork and install UV-filtering window films or blinds/curtains to control natural light.
- LED Lighting: Modern LED lights produce less heat and UV radiation than traditional incandescent or fluorescent bulbs.
Storage Solutions for Unframed and Framed Art
Proper storage solutions are as critical as display for the longevity of your artworks. Even when not on view, art needs protection.
Storing Framed Art
- Vertical Storage: Store framed pieces vertically, leaning against a sturdy surface, rather than stacking them horizontally. Stacking can put undue pressure on the bottom pieces.
- Protection: If stacking is unavoidable, place archival-quality interleaving material (like glassine paper or archival board) between frames to prevent scratching or abrasion.
- Climate: Ensure the storage location maintains stable temperature and humidity. Avoid attics, basements, and garages, which are prone to extreme fluctuations and pests.
Storing Unframed Art
Protecting paper that is not yet framed requires careful handling and the right enclosures.
Flat Storage Boxes
- Construction: Use archival-quality boxes made from acid-free board.
- Interleaving: Place each piece of artwork within its own acid-free envelope or interleave with acid-free tissue paper or glassine. This prevents abrasion and sticking.
- Arrangement: Store prints and drawings flat within the boxes. Do not overfill the boxes, as this can cause damage when opening or closing them.
Rolled Storage (for very large or flexible works)
- Caution: Rolling should be a last resort, as it can stress paper fibers and create creases.
- Method: If rolling is necessary, roll the artwork with the image side facing outwards. Place a sheet of acid-free tissue paper or glassine inside the roll to act as a buffer. Roll loosely.
- Enclosure: Store rolled works horizontally in tubes made of archival board or in custom-made flat drawers.
Handling Your Art with Care
Even the best materials and environments can be compromised by improper handling. Handling prints and other 2D artworks requires a gentle and informed approach.
Before You Touch
- Clean Hands: Always wash and thoroughly dry your hands before touching artwork. Oils and dirt from your skin can transfer to the surface and cause permanent damage.
- Gloves: For particularly valuable or sensitive items, consider wearing clean, lint-free cotton or nitrile gloves. However, some find gloves reduce dexterity, so practice is key.
The Right Way to Hold
- Support: Never hold artwork by its edges, as this can cause stress and damage. Support the entire piece from the back with both hands or use a clean, flat surface to slide it.
- Avoid Bending: Never bend or fold artwork.
- Clean Workspace: Ensure your workspace is clean, clear, and free of potential hazards like food, drinks, or sharp objects.
Transporting Art
- Secure Packaging: When transporting framed or unframed art, use sturdy, archival packaging materials. Bubble wrap can be too insulating and trap moisture, so consider archival foam or acid-free paper for padding.
- Flat or Vertical: Transport framed pieces flat or vertically, secured to prevent movement. Unframed works should also be stored flat within protective sleeves or folders.
Conservation Methods: When Professional Help is Needed
Sometimes, artworks require more than just careful storage and framing. Conservation methods are employed by trained professionals to stabilize and repair damage.
What is Art Conservation?
Art conservation is the practice of treating and preserving artworks. Conservators assess the condition of an artwork, identify the causes of deterioration, and then plan and execute treatments to stabilize it.
Common Conservation Treatments
- Cleaning: Removing surface dirt, grime, and discolored varnish.
- Mending Tears: Using archival adhesives and Japanese paper to repair tears in paper or canvas.
- Stabilizing Pigments: Securing flaking paint or media.
- Deacidification: Applying a deacidifying agent to neutralize acids within the paper.
When to Seek a Conservator
- Significant Damage: If an artwork has tears, stains, mold, significant fading, or flaking media.
- High Value: For artworks that are historically or monetarily valuable.
- Uncertainty: If you are unsure how to proceed with a specific preservation challenge.
Look for conservators who are members of professional organizations (like AIC in the US) as this often signifies adherence to ethical standards and professional training.
Frequently Asked Questions (FAQ)
Q1: Can I frame a watercolor painting myself?
A1: Yes, but it’s crucial to use archival framing techniques and acid-free materials. This includes using UV-protective glazing and ensuring the artwork is mounted without direct adhesive contact.
Q2: How do I prevent fading in my old photographs?
A2: Preventing fading in photographs involves using UV-filtering glazing, avoiding direct light exposure, and maintaining a stable climate with consistent temperature and humidity. Store them in acid-free materials as well.
Q3: Is it safe to store my unframed prints in a regular cardboard box?
A3: No, regular cardboard boxes are acidic and can damage your prints. You should use archival-quality storage solutions, such as sturdy, acid-free flat file boxes, with interleaving of acid-free tissue paper.
Q4: What is the difference between archival and regular framing?
A4: Archival framing uses materials that are pH neutral and do not contain acids. Regular framing often uses materials that off-gas acids, which can cause discoloration and deterioration of the artwork over time. Archival framing is designed for long-term preservation.
Q5: How often should I check on my stored artwork?
A5: It’s a good practice to check on your stored artwork at least once or twice a year to ensure conditions remain stable and no new issues have arisen. This allows for early detection of any environmental problems.
By adhering to these guidelines, you can significantly enhance the longevity of your 2-dimensional art, ensuring that its beauty and historical significance are preserved for many years to come. Investing in quality materials and mindful practices is an investment in your art’s future.