1. 909 0 Centre Undermount PEEL V Hinge Artwork Z Hinge V/Z Hinges CONSERVATION MOUNTING AND HINGING CONSERVATION FRAMING MYTHS Mal Reynolds GCF Adv EXPLAINEDEXPLAINED

2. This seminar is based on two ABT articles under the general heading FRAMING MYTHS EXPLAINED This seminar is based on two ABT articles under the general heading FRAMING MYTHS EXPLAINED Tapes and hinges Ref: Conservation Mounting by Joanna M Kosek Mount board FRAMING MYTHS EXPLAINED

3. ENEMIES OF ARTWORK Paper and fabrics are essentially organic by nature and such it will degrade over time Paper and fabrics are essentially organic by nature and such it will degrade over time The rate of degradation will depend upon the following factors: The rate of degradation will depend upon the following factors: Relative Humidity Light Heat Heat Acids and Alkalis Acids and Alkalis Biological Problems – Insects and Mould Biological Problems – Insects and Mould Techniques and Materials used in Framing Techniques and Materials used in Framing Relative Humidity Light Heat Heat Acids and Alkalis Acids and Alkalis Biological Problems – Insects and Mould Biological Problems – Insects and Mould Techniques and Materials used in Framing Techniques and Materials used in Framing The environmental factors initiate degradation mechanisms that include: hydrolysis, oxidation and cross linking The environmental factors initiate degradation mechanisms that include: hydrolysis, oxidation and cross linking

4. RELATIVE HUMIDITY Major problem that contributes, influences and triggers many of the factors FATGs Normal Conditions: Out of Direct Sunlight Temperature Range 10C - 25C Relative Humidity 40% - 60% FATGs Normal Conditions: Out of Direct Sunlight Temperature Range 10C - 25C Relative Humidity 40% - 60% Defined as the amount of moisture in the air compared to what the air can hold at a given temperature. 100,000ml100,000ml Cubic Metre = Equilibrium = 50% RH 20C 20C 8.56ml8.56ml Cubic Metre

5. COCKLINGCOCKLING If artwork is hinged in such a way that it restricts expansion and contraction -it will If artwork is hinged in such a way that it restricts expansion and contraction -it will COCKLE COCKLE

6. BUCKLINGBUCKLING Should the artwork be taped: at all four corners or around all four edges then it will Should the artwork be taped: at all four corners or around all four edges then it will BUCKLE BUCKLE

7. MOUNTBOARD STANDARDS Published in 2004 by the FATG Following extensive discussion between manufacturers and suppliers in Europe and the USA Following extensive discussion between manufacturers and suppliers in Europe and the USA Terms used are taken from both Textile and Paper-making industries Terms used are taken from both Textile and Paper-making industries Relate to the composition and characteristics of papers and boards used in framing Relate to the composition and characteristics of papers and boards used in framing Three categories Three categories Cotton Museum Cotton Museum Conservation Conservation Standard Standard

8. Mount Package

9. Conservation Hinging The Use of inappropriate Techniques and Materials Will damage artwork The Use of inappropriate Techniques and Materials Will damage artwork Under mount hinged to window mount along the longest side Under mount hinged to window mount along the longest side Artwork must NEVER be taped all along the top edge all along the top edge across all four corners along all four sides Artwork must NEVER be taped all along the top edge all along the top edge across all four corners along all four sides Artwork should be hinged to an undermount

10. Tapes and Adhesives Most methods of hinging involves the use of tapes and/or adhesives Classifies tapes and adhesives for mounting and framing artwork Links to the Guilds 5 levels of framing Highlights 6 key points when hinging Highlights 6 key points when hinging FATGs Tapes and Adhesives Document FATGs

11. HINGING KEY Points Masking tape etc not suitable Upgrade to a better quality Attach hinge to back of artwork (5mm) no part of hinge to overlap onto the front no part of hinge to overlap onto the front Attach hinge to back of artwork (5mm) no part of hinge to overlap onto the front no part of hinge to overlap onto the front too much hinge takes longer to reverse increased likelihood of damage increased likelihood of damage too much hinge takes longer to reverse increased likelihood of damage increased likelihood of damage Hinge paper weaker than artwork At Conservation level any self adhesive tape must be 12mm from artwork

12. MOUNTINGMOUNTING Consider 4 different mount styles Shadow Float Mount Standard Overthrow Mount Clip Mounted Standard Overthrow Mount Clip Mounted Float Mount Inset Mount Clip Mounted Inset Mount Clip Mounted

13. HINGING - KEY POINTS Number and Location Dependent on size and weight of artwork Number and Location Dependent on size and weight of artwork Hinges placed at corners may result in cockling due to sideways stress Hinges placed at corners may result in cockling due to sideways stress 909 0 Centre 1/8 of total width 909 0 Centre 1/4 of total width

14. HINGING - KEY POINTS SHEAR AND PEEL Hinge in SHEAR is considerably stronger than one in PEEL Hinge in SHEAR is considerably stronger than one in PEEL Shear Artwork T Hinge Peel V/Z Hinge

15. T- HINGE Comprises two strips of paper Small gap on second hinge allows for movement Small gap on second hinge allows for movement Normally used when clip mounting Most Common hinge

16. T- hinge

17. T- HINGE IRREGULAR SHAPES Effective when hinging prints with irregular edges Effective when hinging prints with irregular edges Circular and semi-circular shapes Shape with irregular edges

18. V AND Z HINGES Weak hinge because in PEEL Thickness of hinge can indent artwork Thickness of hinge can indent artwork Can be used with Pass through hinge Can be used with Pass through hinge Most often used when float mounting Undermount PEEL V Hinge Artwork Z Hinge V/Z Hinges

19. V AND Z HINGES

20. Undermount Artwork Pass Through Hinge Hinge PASS THROUGH HINGE Excellent Hinge Strongandsecure Provides Strong Support Tape passes through slits in support board Hinge secured on back of support board support board Hinge secured on back of support board support board

21. PASS THROUGH HINGE

22. SHADOW FLOAT PASS THROUGH HINGE SHADOW FLOAT Foamboard Undermount Artwork Hinge Excellent Hinge Strongandsecure Provides Strong Support Tape passes through slits in foamboard Hinge secured on back of foamboard foamboard Hinge secured on back of foamboard foamboard Foamboard glued to under mount

23. PASS THROUGH HINGE SHADOW FLOAT PASS THROUGH HINGE SHADOW FLOAT

24. CONSERVATION HINGING Final Point to Remember Framers Role is to Preserve and Protect the Artwork Framers Role is to Preserve and Protect the Artwork Hence: the chosen method of mounting should not interfere with the original condition of the artwork Hence: the chosen method of mounting should not interfere with the original condition of the artwork

25. CONSERVATION HINGING MOUNTING WITHOUT ADHESIVES CONSERVATION HINGING MOUNTING WITHOUT ADHESIVES There are a variety of methods of mounting artwork that do not require the use of adhesives that do not require the use of adhesives There are a variety of methods of mounting artwork that do not require the use of adhesives that do not require the use of adhesives These might include: Corner pockets/strips mounting strips encapsulation These might include: Corner pockets/strips mounting strips encapsulation

26. Conservation Mounting and Hinging Conservation Mal Reynolds GCF Adv

27. FramingWorkshops Harlequin Frames, Lincolnshire Textile, conservation & 3D framing workshops Individually designed to meet your requirements Contact: Mal Reynolds GCF Adv 01673860249 mal@harlequin-frames.co.uk FramingWorkshops Harlequin Frames, Lincolnshire Textile, conservation & 3D framing workshops Individually designed to meet your requirements Contact: Mal Reynolds GCF Adv 01673860249 mal@harlequin-frames.co.uk