|
|
 |
|
|
Preserve your Art, Photograph or Document
JULY 14, 2008
When sticking a postage stamp on an envelope, it doesn't require much thought, but when framing a postage stamp as a tiny piece of art, now that's a different story!
Postage stamps are delicate pieces of paper which need extra special care when being framed. To uphold its quality, whether framing one stamp, or a sheet of stamps, the correct tools and materials are needed, as well as specific mounting techniques. 
You can certainly be imaginative when framing stamps. If you frame a single stamp, it could be put in a tiny frame, so it would be perfect in a doll house. Also, a large number of stamps could be framed together, or stamps could be framed with artwork or memorabilia.
Stamp collectors and stamp framers use a variety of tools to help protect mint-condition stamps. Stamp tongs, which are a flat-bladed, are used to handle stamps. Mounts, which are clear plastic sleeves with gummed backing, retain the adhesive gumminess of the stamps. It’s the most popular method for mint stamps. There’s also a special glue, an archival-quality adhesive, which is used on the mounts to completely keep the stamp firmly within the mount, especially for framed stamps.
If it’s not so important to you for the gumminess to stay intact on the back of the stamp, and you don’t care if the  stamp can’t be removed from the paper you’re sticking it on, then the stamp’s own glue can be used for mounting. The backs of the stamps can be lightly moistened, or the paper can be removed from self-sticking postal stamps.
Of course, archival materials are extremely important in preserving the paper and the color of the stamps. That means using acid free mat board and acid-free inks, and glass. Framing with glass will protect stamps from fading because it reduces the amount of ultraviolet light passing through. An additional precaution in preserving the framed stamps is to keep them out of all-day direct sunlight .
After taking all these steps of using archival framing materials and specialized tools, your postage stamp artwork is sure to be beautiful.
JUNE 27, 2008
What document is taken better care of, encompassing the best in preservation technology, than probably any other piece of paper in the world? This one:
"We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness."
These famous words, written in June 1776 by Thomas Jefferson, are from the Declaration of Independence, a document which is a great "symbol of liberty" for the people of the United States. Yet, the document itself is over 230 years old! So is it in good shape? Well…
In its long history, the Declaration of Independence hasn’t always been well taken care of. The document is terribly faded mainly because there were not very good preservation techniques in the 19th century. Besides that, when the document was at the state department, people with influence would expect to get the document brought out to them!
Since the signing of the Declaration of Independence, the document was handled a great deal! Apparently, there’s even a handprint on the bottom left of the front of the Declaration! No one knows whose handprint it is.
Before the document made its home at the National Archives in Washington, D.C., starting in 1952, it used to be exhibited. Apparently, from 1776 to 1921 the Declaration was moved around to different cities and different public buildings so that as many people as possible could see the document in person. At the time, it was displayed for somewhat long periods of time, with exposure to light. Back then, the Declaration was also rolled, which is something that would not be done to important documents nowadays. The action of rolling the parchment, along with holding the curled parchment flat, damaged the ink used to write the words.
When the Declaration of Independence was permanently moved to the National Archives, even though preservation ideas back in the 1950s were different and not as effective as now, it was still kept safer by being encased than it ever had previously.
Today, the Declaration of Independence is sealed in inert gas to protect it from any more fading. It is believed that  the absence of oxygen will allow the document to stay in good condition. The preservation environment also includes controlling temperature, relative humidity, and light exposure. Plus the Declaration is kept in encasements made of titanium and aluminum.
More than one million people visit the National Archives each year to see the Declaration of Independence. Amazingly, it is on display every day except for Christmas. The conservators of the National Archives are working to safe keep this important treasure of the United States to make sure that it lasts as long as possible so it will be preserved for future generations.
MAY 19, 2008
In the world of stamp collecting, one has to be aware of how to take care of these colorful, art-worthy, but small pieces of adhesive-backed paper. Stamp collecting is, for sure, an extremely popular hobby engaged in all over the world, with an average of 10,000 types of stamps coming out world-wide each year. 
There are several choices in keeping one’s stamp collection in good shape. Collections can be framed, placed in boxes or in binders. The environmental conditions are extremely important in keeping the stamps in excellent condition. Stamps need to be kept free from moisture and temperature changes.
Before framing a single stamp, one needs certain materials to protect their quality and visual appearance. Archival quality materials are the key. Such materials as acid-free mat board, acid-free inks, and frames of conservation quality are all important. Plus UV glass is meant to protect the color of the stamps from fading.
There are so many choices to make in framing one’s stamp collection. You can start by choosing a theme. It could be animals, plants, sports, music, jewelry, important figures in history, famous celebrities, or popular culture. Your theme could be the country of issue, cancellations or first-day covers. A single stamp could be framed, or a whole sheet.
  
If you choose more than one stamp, you might want to sketch out the layout, or make models of the stamps’ sizes so you can move them around and see where they look best. Before mounting the stamps, all decorating such as hand-drawn or printed designs, hand-lettering or printed text should be done first. The color of the mat board should compliment the colors in the stamps you’re displaying, or white mat board can be used for optimal contrast. Stamps’ gumminess can be protected from damage by using stamp mounts, which are plastic sleeves with adhesive backing. Stamps are placed into the mount, and then the mount is moistened and adhered to the backing paper. 
Stamp collections stored in boxes, which also can be made from archival quality materials, could be protected if stored in proper and safe areas. It’s best to use boxes that are no bigger than a shoe box because then the stamps won’t warp. Stamps should be kept away from hot attics or damp basements where there are extremes in temperature and humidity. Storing stamp collections in these areas also could cause mold growth and insects could be a problem.
The best places to store stamp collections is in ones’ living space. Stamps can be kept safe in covered boxes:
- placed under a bed
- in a closet
- on the back of a bookshelf, or
- on a high shelf in a finished basement (not along an exterior concrete wall).
Another excellent tip in protecting ones’ stamp collection from deterioration is to make sure you’re using plastic materials that are made from an inert, clear material. Inert means chemically stable. It won’t react with your stamp collection. Vinyl is not safe because it is not inert. Any enclosure made with a vinyl compound will interact with the material it comes in contact with and over time, in this case, the postage stamps, will get damaged. According to the National Postal Museum, plastic materials that are inert, would be labeled PVC free, which means they contain no polyvinyl chlorides and won’t emit hydrochloric acid as they deteriorate. Chemically inert plastics include polyester, polyethylene and polypropylene. 
Keeping your prized postage stamp collection in tip-top condition can be accomplished. It’s important to use archival and inert materials, whether framing your stamp collection or keeping it boxed or in plastic sleeves in an album. It’s equally important to remember to keep your stamps away from extreme temperatures and dampness.
MAY 12, 2008
Graduation is around the corner, and proud moments are always in the making. Now is the perfect opportunity to capture instances like these, and possibly win some cash and other prizes for sharing them with us!
We're interested in what your special memories are, and what they entail. While graduation is likely to be a popular theme since that season has arrived, all memories are welcome: weddings, recognition events, a new addition to the family, honor ceremonies, other milestones…the possibilities are endless.
Moments like these make us all proud, and here is a chance to share them! Use this page to talk about your achievements, reveal the struggles you were faced with overcoming in order to succeed, humorous moments along the way, personal success stories, or even special stories of a loved one. Who knows, you might find someone with a similar instance to relate to.
To enter our Proudest Moment contest, click here.
JANUARY 28, 2008
When deciding how to frame your diploma, most people think about where they plan to hang the frame and the surrounding decor. Since this is commonly an office, dark mat colors such as black, navy, green and maroon are the most popular choices, as are darker wood tones including mahogany, cherry, and deep walnut tones.
Since leather is a common office furniture element, we have received requests for leather-look matting to coordinate. Unfortunately, no manufacturer has been successful in creating an archival quality leather mat board. The leather surfaces are not acid-free, and do not meet fade and the bleed resistance requirements to be considered conservation-quality. They also have a black core which results in a black bevel when cut. Black core boards are typically buffered to be acid-free, but they are not a conservation quality choice. From a practical standpoint, if you choose a leather mat board for your diploma, you risk the document becoming discolored due to leaching of the acidic surface paper content or the leather color bleeding onto the document.
Above is an actual photo of two diploma frames. The one on the top was framed using a leather mat, the one on the bottom was done in a conservation-grade board. In just a couple of years, the leather mat caused the diploma to discolor.
As an alternative, there are other excellent texture choices for mat boards that look classy and are also conservation-quality. Suede mat board is a perfect alternative. For other archival fabric choices, visit Nielsen Bainbridge's Fabrics/Textures Color Index.
For more technical information about various types of mat board, take a look at our article on choosing the right mat and we you may also be interested in learning about damaging elements to your framed document and/or artwork.
OCTOBER 01, 2007
Like most valuable, historical or original documents, animation cels become very sensitive and vulnerable as they age. These one-of-a-kind cartoon animation cels can be extremely valuable and irreplaceable. For that reason, keep these tips in mind when handling or caring for your animation cel.
1. Whenever you touch the animation cel, wear clean cotton gloves. With this type of art, fingerprints can be severely damaging. The cotton gloves will also reduce scratches to the ink or paint.
2. When cleaning the animation cel inside or outside of a frame, never use a liquid cleaner. These types of chemicals can severly change the paint coloring and devalue the animation cel tremendously.
3. Don't ever bend the animation cel in any way. Even if it is just a sligh flex, the paint could chip and flake off.
4. If the animation cel needs wiping for whatever reason, always use an antistatic cloth or a fine brush. Remember you are always putting the animation cel's paint or ink at risk when wiping, so a very light touch is necessary.
5. Although we often use compressed air to blow dust from certain objects, do not use it for animation cels. Part of the image can be blown away if compressed air is used.
6. Consult an expert before any major cleaning or restoring of an animation cel. See below for links for animation cel restoration.
7. When storing an animation cel, always lay art flat with absolutely no weight on top. We suggest using an art folder with lignin-free paper.
8. If an image is adhered to the background layer, do not ever try to pull them apart. It is best to leave them together to eliminate any damage to the paint.
For more information about Animation Cel handling, framing and restoration, visit the links below:
How to Frame an Animation Cel
Animation Art Conservation
Vintage Ink & Paint
JULY 05, 2007
Since the beginning of civilization, art has served humans with a decorative purpose and/or a special link to their past. Over the course of centuries, or even just a few years in adverse conditions, art can become discolored or damaged from many different factors including: humidity, improper cleaning, temperature, careless handling, poor storage conditions, previous clumsy restoration, dirt, fire, flood or even vandalism.
Protect your artwork from the very beginning! Here are some tips on how to do so:
1. When purchasing the artwork, inquire about any special requirements that are needed to protect the piece of art. Ask the gallery for their advice on cleaning and maintaining the art.
2. Think very carefully about where you want to display your art. Any art exhibited over a fireplace can expect damage or discoloration from smoke and heat. Art displayed in a kitchen will most likely also experience discoloration and damage from cooking oils and different types of odors. Rooms with many windows may cause the art to become discolored from sun radiation and heat.
3. Examine and research before handling and moving the art. Make sure you are able to pick up the art safely, and clear a safe and wide path for moving. Also, consider that environmental changes from moving the art might cause detrimental changes to the color and deterioration of the art.
4. When transporting the piece of art, make sure conditions are not extremely dry or cold. Art tends to crack in these types of conditions. Do not move a piece of art to an unheated vehicle in cold weather. It is best to transport art in moderate temperatures, such as the fall and spring.
5. Cleaning or repairing the piece of art is best done by a professional art restorer. It is important that materials used to clean or restore the art are compatible with the original materials. This will require intensive research. If not, this could seriously damage the piece of art beyond reparability.
6. BE PATIENT! Be aware that art restoration takes a lot of time, research, money and patience.
Visit the following sites for more information and resources for restoring your artwork:
Media Specific Information:
Statue Restoration: STATUE.COM, INC
Art Restoration: Art Restoration Services - Cecile Wendover Clover
Photograph Restoration: Professional Photo Restoration & Photo Montage Resource
Restoration Information and Tips:
Solvents Industry Group
Polychromies Secretes
MAY 25, 2007
One of paper's biggest enemies is acid. Acid makes paper weak and brittle and can lead to discoloration, deterioration and irreversible damage. Other factors that affect the life of paper materials include: the manufacturing process, paper components and inks that are applied to the paper. It is important that a safe environment be created to keep these elements from destroying your documents. To protect and preserve your historical and family documents, there are steps you can take to ensure their safety and longevity.
Some things to remember when you want to preserve a document include:
1.) When handling the document, be sure your hands are clean and dry. Oils in your skin may leave stains or weaken the paper, thus permanently damaging the document. For valuable pieces it is recommended that you wear gloves to be certain nothing is transferred from your hands to the paper.
(Wear white cotton gloves when handling important and/or valuable documents)
2.) Also, you should never use paper clips, staples, rubber bands, tape or glue on important, valuable and/or historic documents. These basic office products can stain, tear, and ruin paper materials.
3.) Avoid using pressure-sensitive tapes to repair tears. Even tape that says it is “archival” can cause irreversible damage, such as stains, ink alteration, and causing the paper to become brittle. Remember, "archival" does not always mean acid free!
(Example of Pressure Sensitive "Archival" Tape)
4.) Another important tip to remember is to never laminate an important document. The process is irreversible, and can decrease the value of the document.
5.) Any exposure to light must be carefully monitored. Ideally, documents should have limited exposure to light; however if the piece is valuable and is going to be framed and displayed, then you should have UV filtering glass over the document, and/or UV filters should be placed on windows and light bulbs. When hanging the piece, be sure to take note of windows and do not place the frame where it can be hit with direct sunlight.
6.) When you store your documents and other paper materials, be sure to store them flat, in a cool, dry and preferably dark area. Papers should always be stored in acid-free, alkaline materials, (boxes, folders or mats) or polyester film folders. Never keep your documents in a damp or humid area- such as a basement, attic or bathroom. These areas can lead to mold growth and foxing (brown stains that appear on the surface of the paper). The Library of Congress states that the ideal temperature for storing and preserving documents is below 72 degrees Fahrenheit with a relative humidity of 35%.
(Example of Archival Storage Boxes)
For more information about proper storage of documents click here to read our blog dedicated entirely to this topic.
For exceptionally valuable or important documents or if you are looking to preserve or restore a document that is currently damaged you should first contact a paper conservator who will be able to tell you exactly what needs to be done. To select a conservator you can contact the referral service at The Foundation of the American Institute for Conservation (FAIC), or visit this link: http://aic.stanford.edu/public/ for more information.
For more information and for conservation materials check out these sites:
www.webyfl.com/index.asp?PageAction=Custom&ID=21
www.loc.gov/preserv.care/paper.html
www.kdla.ky.gov/recmanagement/preservation.htm
http://www.dickblick.com/categories/conservation/
http://www.flaxart.com/
APRIL 04, 2007
Damage Caused by Matboard
When framing and matting a document or piece of art it is important to consider the value of the object being framed, and whether the piece is going to be purely decorative or if preservation is important.
For decorative framing, there are many matting options available to give your piece that special touch. Some of these options include: using textured mats, such as suede, leather, or linen & fabric. Selecting a mat with a different colored core, or using a metallic colored mat, or even just using creative cuts outs around the edge of the mat can give your art an entirely different look.
(Example of using cut-outs)
It is important to note that although these options will be aesthetically pleasing to look at, they may not be up to conservation standards, and may end up damaging your piece in the long run. When you pick out a mat, you must consider the value and importance of the piece to be framed and use this information to guide your matting choice. If the piece is valuable or something you intend to preserve for many years to come, chose your matting carefully. Begin by finding out if your mat choice meets conservation standards--meaning that it is both acid-free and lignin-free, and is inherently neutral, not merely buffered to a neutral pH level.
The two major effects of using non-conservation mat board include acid mat burn and discoloration. Acid mat burn causes yellowish-brown stains to appear around the edges of the art or document, where the paper comes in contact with the mat. If an acidic backing is also used, these stains will spread over the entire paper. Mat burn will not only cause your art to discolor, but will also make the paper brittle and weak, leaving it open to further damage, such as easy tearing and deterioration.
(Example of extensive acid mat burn damage)
Discoloration is not always caused by acid mat burn. Certain mat types do not meet conservation standards, and the colors will bleed through the mat onto the paper. Leather mats, for example, seem to be a high-end choice; however, they are not archival quality, and can cause paper to discolor in a short amount of time. Below is a picture of two framed diplomas. The one on the top was framed using a non-archival leather mat, the one on the bottom used archival cotton rag mat board. In just a couple of years, the leather mat has caused the diploma to turn yellow and discolor.
Although a leather mat can give your document a unique appearance, and will stand out, it can cause irreversible damage. It is not recommended for use when framing valuable and historical certificates and documents, such as your diploma.
Types of Mat-board
A decorative mat board is made simply from paper, and is not conservation-quality. The back is buffered with calcium carbonate to make it non-acidic, however non-acidic does not mean the same thing as acid-free, and over time it will return to its original state, and can damage the artwork. While this type of mat is the least expensive, and provides the greatest variety of colors and textures, it should only be used on pieces that do not hold a significant amount of monetary or personal value.
There are two types of conservation quality mat board—rag and alphacellulose. Both types meet conservation standards as set by F.A.C.T.S. (Fine Art Care and Treatment Standards, http://www.artfacts.org/). The only type of naturally acid-free mat board is rag mat board that is made from cotton. One benefit of rag board is that it is natural, environmentally friendly, and easily renewable. Standard rag mat board is made with a 100% cotton core and backing, and an acid-free, bleed-resistant colored facing paper. It is more expensive than plain decorative mats, but there are several color and texture options to choose from, such as suede and linen. Standard rag board is recommended when framing fine art prints, valuable documents and photos. When framing important historical, valuable, rare or antique artwork or documents, many conservators choose 100% rag board in which the face, core and backing are all made of cotton and are one color. There are a limited range of white and neutral colors available in this 100% rag board.
The second conservation matting option is alpha cellulose mat board, produced using virgin alpha cellulose purified wood pulp. The virgin alpha cellulose has been chemically treated to eliminate the acids and lignins that can degrade the mat board and the artwork. Available in over 300 colors, this face color on this type of board is created with fade and bleed resistant organic pigments. Research has shown that alpha cellulose boards with MicroChamber technology and zeolite counteract the effects of pollutants over time, including acidic gases such as sulfur dioxide and nitrogen. Bainbridge’s alpha cellulose Artcare mat boards (http://www.nielsen-bainbridge.com/Bainbridge/NB-TechCenter.html) claim to proactively trap and neutralize pollutants and acid by-products that damage artwork. Alpha cellulose mat boards are appropriate for framing valuable art, important or historical documents, and photos or collectibles.
For important documents and valuable artwork, you should always use conservation-quality mat boards as well as conservation quality backing and mounting materials. These materials will not only give your piece a decorative look, but will also keep your work safe and well-preserved for years to come.
For more information and to find conservation framing materials please visit:
www.liframehobby.com/Framer's+Corner/Mat
www.mosgallery.com
www.articledashboard.com/Article/To-Mat-or-Not-to-Mat/103903
www.artandframingsolutions.com
www.audubonart.com/tstrestle.asp
www.dickblick.com
www.framing4yourself.com/equipment-supplies/conservation-archiving.htm
www.crescent-cardboard.com
NOVEMBER 30, 2006
Below are a few guidelines that if followed will help you maintain the beauty and value of your framed artwork or document:
To prevent light damage, expose the art to the least amount of light possible, as direct light can cause colors to fade, change, darken or to disappear. Light damage takes away from the beauty of a piece and can lessen its monetary value significantly if the conditions are not controlled.
Steps to prevent light damage include: never aiming artificial lights directly at paper art, not only will they cause light damage, but heat damage as well. In areas with fluorescent lighting, you can purchase ultraviolet sleeves to place over the bulbs. Also, never place art in areas where it will be exposed to direct sunlight, particularly morning and afternoon sunshine. Another way to protect your artwork from light damage is to insist on the use of UV glass when having a piece framed. UV Glass will help block harmful rays from damaging your art by delaying fading and deterioration, if it is placed in direct sunlight.
Artwork is ideally kept in a climate controlled environment, where the temperature is approximately 70 degrees Fahrenheit, and there is 50% relative humidity. Never hang art in areas of high humidity, or areas with extreme temperature fluctuations, for example, on a boat. Finally, valuable art and documents should not be placed in bathrooms, damp basements, or above regularly used fireplaces or radiators. The humidity in these areas can encourage insect attack and mold growth. The best ways to keep the environment around your artwork at a constant temperature are to use an air conditioner, fans or by running a dehumidifier on a regular basis.
In addition to protecting your artwork from light and environmental damage, have fine artwork inspected by a professional framer every five to ten years to prevent or detect any long-term damage. In addition, all artwork should be occasionally checked by the owner for mold or insect infestation, and if found, both should be treated by a professional framer or conservator.
More more information check out:
http://www.artfacts.org/index.html
http://www.preview-art.com/conservation.html
http://www.archives.gov.on.ca/english/exhibits/preservation/history.htm#pests
http://www.librarydesigns.com/UVBlockingGlass.htm
http://www.the-creative-home.com/displaying-artwork.html
http://www.sheffield.edu/htmlsrc/displayingartwork0506.html
NOVEMBER 03, 2006
What are the most damaging elements to a framed document?
Your artwork is vulnerable to damage from many different sources, below are the descriptions of some of the most pervasive causes of deterioration, which include: moisture, insects, acids and light.
Moisture Damage
Any framed document or piece of work is vulnerable to damage if moisture from the air is absorbed into the paper causing the paper to warp, or encourage the growth of mold. A mild effect of moisture damage is cockling, which causes a sheet of paper to expand more in one direction than another, creating a wavy appearance inside the frame rather than lying flat. Conservators recommend leaving the artwork or document alone rather than stopping it by stretching or mounting the piece (if the effects are not severe, and not detracting from the piece). The reason for this is, artwork will change according to the weather, appearing wavy in hot, humid months, and more flat at cooler times during the year, stretching the piece could ultimately damage the piece more than letting the paper react naturally.
Humidity is a large factor in moisture damage. When humidity is high, it may cause chemicals and acids within the paper to break down, making the paper weak and brittle and the higher the humidity, the faster the process. Humidity is also responsible for the growth of mold and mildew, and can attract insects. Mildew is the beginning stage of mold growth, and is typically smelled before it is seen. Once it matures into the mold fungus, it appears green or black, and attacks by digesting the cellulose fibers within the paper, breaking it down and leaving stains. To treat mold, take the piece out of the humid environment to dry out. This will not kill the mold spores, but will stop further growth. In order to kill the spores, it is necessary to fumigate, and should be handled only by a professional conservator.
The best way to avoid damage from moisture is to keep artwork in a well ventilated area, away from humidity. It is recommended that humidity by kept below 60% in the frame, and this constant temperature can be kept by running an air conditioner, fan or dehumidifier.
Insect Damage
There are many insects that will attack and can completely destroy artwork, the most common of these insects are silverfish, book lice, wood worms, termites and cockroaches. Insect attacks may go unnoticed until there is extensive damage, or complete infestation. Damage caused by insects will appear as holes in the paper, or stains left by the insects’ excrement. If infestation has occurred, the artwork must be brought to a professional conservator or be treated by a certified exterminator.
Different insects will affect artwork in different ways, the insects listed above will each attack the piece in a unique way. Silverfish will feed on starch, cellulose, animal sizing and bleached wood pulp paper, and they will completely destroy and devour the art. Book lice live in damp areas and feed on mold, starch, organic glues, cloth, silk and leather. Wood worms and termites will both eat through wood and paper, however, wood worms will tunnel through the artwork for up to five years. Finally, cockroaches will cause mainly surface damage to paper, fabric and adhesives that contain sugar.
Acid Damage
Acids are found in certain matboards and in paper itself, and over time they will eat away at the cellulose in paper, making it brittle and causing it to turn yellow. Although mats and products may be listed as “acid-free” over time artwork can absorb pollutants and airborne acids, which will have these same effects. As paper and mats become more acidic over time, it is important to control the environment around the artwork to slow down the process.
Light Damage
Light damage on artwork is the most pervasive and difficult to avoid. Light causes fading, color changes, chemical alterations in paper and paint, and degrading cellulose. The speed and degree of damage to artwork depends on the intensity of the light source and the duration of exposure. To avoid damage, paper should be displayed under the lowest practical light levels, and spotlights and picture lights should never be aimed directly at the art. Also, avoid placing artwork in places where it will be exposed to direct morning and afternoon sunlight
Other causes of damage to art are air pollution, heat and improper handling and storage. All of these factors may increase the chances of airborne pollutants and acids attacking the piece and causing significant damage. These elements also may lead to damage from moisture and insects as well.
Also check out:
http://www.loc.gov/preserv/care/paper.html
http://www.loc.gov/preserv/care/mat.html
OCTOBER 13, 2006
If you are planning to store your artwork, there are several ways to safely store and preserve the work. Instead of rolling up your document or print and placing it in a poster tube, valuable pieces should be kept flat to avoid causing wrinkles, folds, deterioration, and other types of damage that can occur while storing a rolled piece for a long period. Listed below are some ways to properly protect your artwork for long- or short-term storage.
Appropriate Storage:
Encapsulation: When you encapsulate a document or piece of art, the work is encased in polyester film, and when properly sealed, your document lives in a permanent microclimate. While encased, you can handle and inspect the work without causing any damage. Encapsulation is best used for double-sided art, which has previously been deacidified, so both sides can be viewed and inspected.
Matboard with a Wrapped Face Cover: Similar to encapsulation, this method is used for one-sided pieces of art, and involves placing the art between a sheet of polyester film and a sheet of rag or conservation matboard. The film should be a half-inch larger than the matboard on all sides and taped to the back. Do not tightly wrap the art as some air should be allowed to circulate through it.
Covered Window Mat: A covered window mat is recommended for use with works which need special protection while in storage, including pastels, graphites, charcoals and other fragile documents and pieces of art. The work is matted, and then another sheet of matboard is placed on top and hinged on one side with pressure-sensitive linen tape. The cover mat will protect the fragile piece, yet the hinge will allow you easy access to the piece for inspection.
Solander Boxes: A solander box is a special, acid-free, airtight box with hinged front panels. These boxes are ideal for storing unframed art, as the hinge allows you to easily add and remove pieces, but once closed the box will protect the work inside. You can purchase Solander boxes from conservation suppliers.
Deep-Sided Storage Boxes: These storage boxes are made from acid-free or rag matboard. The board is scored, and then the sides are folded up and taped at the corners with pressure-sensitive tape. The top is made in the same way only slightly larger. The box does not create an airtight seal like a Solander box, but it will help protect the works inside from dust, heat, light and humidity when kept in a safe environment.
Good Storage Location:
Storing Unmatted, Loose Art: Ideally, loose artwork is kept in shallow drawers and cabinets where there is a small chance of scuffing, and very little weight build-up. It is recommended that similar sized pieces be stored together, but keep acidic works- such as news clippings- separated, as the acids in the paper can be transferred to other documents and cause damage. Also, always place slip sheets between your pieces for better protection.
Storing Framed Art: Framed prints and documents should always be stored vertically and preferably in cabinets, separated by foam or felt covered separators. For long term storage, all hanging devices and wires should be removed to prevent damage to other pieces.
All artwork, framed or loose needs to be kept in a safe environment, preferably climate controlled, and away from mold and mildew, dust, insects, air pollutants, and out of damp and/or humid areas. It is important to periodically examine your stored artwork to be sure no damage has occurred.
View the following sites for other preservation/storage tips:
http://www.bl.uk/services/npo/journal/2/wallpaper.html
www.conservationresources.com
http://www.collectioncare.org/cci/ccisb.html
Other Source:
Kistler, Vivian C. Conservation Framing. Columbia Publishing Company. 2004. pp 85-88.
OCTOBER 05, 2006
What generally comes to mind during the hot months of summer are beaches, swimming, barbeques, picnics, vacation ... what we don't like to think about are the tropical storms, flooding, mud slides, hurricanes, earthquakes and other various catastrophic events that happen throughout the world. I, myself, have been fortunate enough to never have gone through such an occurrence, but those who have seem to explain that their heartache is not specifically because of their car, their house, their ravaged property…but rather, they lost their daughters baby pictures, their wedding photos, military documents, their son's first finger painting, as well as high school and college diplomas.
The good news is, these precious keepsakes may still be salvageable! Even if a photograph or important document is completely soaked, as long as the area is not contaminated, it can be saved, according to Heritage Preservation (http://www.heritagepreservation.org). If a flood results in damage of irreplacemable photography, such as pictures from a wedding, anniversary, graduation, or vacation, it may be possible to reproduce them from negatives or digital files. But if not, what can you do to salvage the damaged image?
10 steps to care for damaged photos and documents:
1) Be careful not to touch the fragile surface of wet photographs
2) If the photograph or document is in a frame, remove them immediately to dry on its own
3) Rinse the surface of the photo or document with clean water
4) If photos need to be transferred, you may stack them, but only after putting a sheet of wax paper between each photo. Then place them in a ventilated bag
5) Place them in a freezer of refrigerator if you can not attend to them right away
6) Do not place them in a plastic bag if you can not get them into a freezer right away. Sealing damp items cause mold to grow and deteriorate your piece
7) When ready, separate each photo and dry them, face up on a clean/dry surface. Be sure to open a window, or increase air circulation with a fan, air conditional or dehumidifier to reduce risk of mold or mildew
8) Make sure not to put them in direct sunlight since it may dry the photo or document too quickly causing splits, buckling or other irreversible damage
9) If you are concerned about your photo curling, or the extent of the damage, take it to your local conservator, or framing specialist
10) Please note that if the photographs have dried while stuck together or have become moldy, it may not be possible to save them
With a little patience and care, your fond memories may still be salvageable in the event of a natural disaster. For more information on taking care of damaged keepsakes, I have found the following links to be great sources:
http://aic.stanford.edu/library/online/disaster/tentip.html
http://aic.stanford.edu/library/online/disaster/phsalv.html
http://www.loc.gov/preserv/care/paper.html
http://www.heritagepreservation.org/news/SaveTreasRight.htm
Here are a few resource links for locating a conservator:
http://www.wpamurals.com/conserv.htm,
http://www.ppfa.com/
|