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. Conservation Framing

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. Conservation/Restoration

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

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. Programme of the Endorsement of Forest Certification of Forest Certification Forest Stewardship Council Arqadia products carrying these labels come from forests that are managed to meet social, economic and ecological needs of present and future generations. Sustainability

Paper and fabrics are fundamentally organic in nature and will degrade. The rate of degradation will depend upon the following factors: 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. Why Conservation Framing

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

 Will the rebate depth of the moulding accommodate the framing package? the framing package? When Conservation framing the framer should be able to answer ‘YES’ to the following able to answer ‘YES’ to the following Simple Basics   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?

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

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

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

 Will the rebate depth of the moulding accommodate the framing package? When Conservation framing the framer should be able to answer ‘YES’ to the following able to answer ‘YES’ to the following Simple Basics  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?

Standard – Suitable for ‘disposable’ artwork of no commercial or sentimental value. Arqadia Whitecore Range. 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. (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 future generations. Arqadia Conservation Range, Larson Juhl Artique and Timecare Solid Core Ranges. Artique and Timecare Solid Core Ranges. Cotton Museum – Suitable for museum quality and artwork to be preserved for future generations. Arqadia Timecare Heritage Museum. for future generations. Arqadia Timecare Heritage Museum. Mount Board Quality

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 in cotton 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

 Will the rebate depth of the moulding accommodate the framing package? When Conservation framing the framer should be able to answer ‘YES’ to the following able to answer ‘YES’ to the following Simple Basics   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? 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?

Unacceptable Practice  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. the artwork.  To glue or place tape at each of the four corners of the artwork. the artwork.

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

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

 Will the rebate depth of the moulding accommodate the framing package? When Conservation framing the framer should be able to answer ‘YES’ to the following able to answer ‘YES’ to the following Simple Basics   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? picture surface?  Will pH neutral Conservation backboard be used?   Will the frame be sealed with gummed paper tape and have secure fittings?

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

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

 Will the rebate depth of the moulding accommodate the framing package? When Conservation framing the framer should be able to answer ‘YES’ to the following able to answer ‘YES’ to the following Simple Basics   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 pH neutral Conservation backboard be used?   Will the frame be sealed with gummed paper tape and have secure fittings?

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 ) (Arqadia Aqua Conservation ) Extra protection from migrating acids can be achieved by the insertion of a barrier such as Melinex or Plastazote. (Arqadia Plastazote BDPLAG 003/005)

 Will the rebate depth of the moulding accommodate the framing package? When Conservation framing the framer should be able to answer ‘YES’ to the following able to answer ‘YES’ to the following Simple Basics   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? secure fittings?

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