Archival museum grade conservation framing refers to the strict use of materials and techniques that provide protection to framed works of art on paper. Paper is sensitive to its surroundings, as it can be adversely affected by dampness, changes in temperature and humidity, restriction of movement, and exposure to light. Paper will also react to the materials it comes into contact with such as acidic support boards and self adhesive tapes, which archival museum grade conservation framing does not use.
Archival museum grade conservation framing uses 100% cotton rag as matting material, the colored space between the piece itself and the frame. Besides protecting the work from being close to the frame, cotton rag also protects the work from being too close to the Plexiglas, which can have adverse effects such as condensation. The mounting hinges (invisible attachments between your art work and the backing board) are made of Japanese paper with natural wheat or rice paste used as the adhesive, a material that is archival and acid-free.
We prefer to use conservation Plexiglas (rather than conservation glass) as it will not break and shatter the way that glass potentially will. Conservation Plexiglas filters out between 97 to 99% of ultraviolet rays, protecting the work from fading as well as scratching. In addition to possessing all of the above materials, the frame should have an acid-free paper dustcover stretched across the back. This prevents dust particles and tiny insects from gaining access to your art work.
For all of our framing needs, we consult our master framer Andy Yu of Image Design and Framing, as he frames our works to the highest archival standards and also has a wonderful eye for the aesthetics of framing a work of art.