Matting material should be 100% cotton rag.
Of the many types of mat boards available, I use only 100% cotton rag mat board in my studio. Cotton fiber is 99% acid-free; it is then buffered to pH 8.2 with an alkaline reserve of 2-3% to counteract environmental acids and air pollution which may come in contact with the art.
The most deceptively named boards are "acid-free" boards. While the acid content of these boards has been reduced from the raw pulp, it has not been eliminated. The buffering agents used on the surfaces are only effective against airborne compounds, and do not protect against heat and light activation of acidic elements.
If there is no mat between the glass and the artwork, a spacer should be used.
A spacer is used to keep the artwork away from the glazing. This procedure is important because high or changing humidity can cause microscopic condensation to form on the interior of the glazing surface. Without the use of spacers, the condensation will come in contact with the artwork. Which can lead to mold, mildew and/or water spots to develop on the artwork. Or worse, can even cause the artwork to stick to the glazing directly.
Hinges should be made of Japanese paper, with natural wheat or rice paste used as an adhesive.
Hinges are the invisible attachments between your artwork and the backing board. It is important that they do not have any acidic content and are easily removable without damage to the artwork.
I recommend the use of conservation quality glass or acrylic.
Manufactured to filter out 97 to 99% of ultraviolet rays, conservation quality glazing will dramatically slow fading due to sunlight, bright fluorescent or incandescent light.
The advantages of acrylic is the material is physically lighter and safer, especially when art work is to be shipped.
All frames should have a paper dustcover stretched across the back.
A paper dustcover prevents particles and tiny insects from gaining access to the artwork from behind. The porous quality of the paper also allows the artwork to breathe within the frame.
Try to maintain a stable environment for your artwork.
Consistent 70 degree Fahrenheit and 50% humidity are optimal conditions for artwork. Slow variations in these factors is acceptable over a period of time, but any sudden changes can be harmful. It is advisable not to hang, or store, artwork on a damp wall, a wall that has been recently plastered, over a working fireplace, or in any area subject to excessive sunlight.
When cleaning the glass, great care should be taken.
First be sure to take the framed piece off the wall.
In order to prevent the moisture of the cleaner from seeping into the frame and onto your artwork, it is best to clean the glazing in a horizontal position. Use a non-abrasive cleaning product, spraying onto a soft, lint-free cloth, rather than directly onto glazing. Never use glass cleaner on acrylic.
While the frame is off the wall, check the dustcover on the back of the frame. If it is missing or has been ruptured in some way, the frame should be taken to a frame shop to determine whether any damage has occurred and to replace the cover.
It is advisable to have your framed artwork evaluated every five to seven years.
Over time, acids and dirt in the environment can have a harmful effect upon your artwork. So by keeping tabs on framed items, you can ensure they will retain their value and integrity for many years.
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