Presentation and Care of Digital Prints

Presentation

The level of investment in care and craftsmanship expressed in the art should follow through to the matting and framing. The intent of the matting and framing is to present the work as significant and represented in it own space. The matte separates the artwork from the background allowing visual neutral space as a transition from the surroundings into the artwork. The color or texture of the matte is usually left neutral as not to compete with the artwork. This also allows a collection to be presented and not have an overly busy environment detracting from the individual pieces. This lets the artwork stand on its own strength. Similarly the framing is usually balanced subtly allowing only enough moulding weight, color, and texture to define the extent of the work and hold the hanging eyes and wire.

The Certificate of Authenticity (Pdf) should mention both the artwork and framing materials for methodology and archivability. This expresses the artist's intent that this is a work of value and is intended as an endurable work of art.

Threats to Artwork

• Light. The UV component of sunlight can cause pigments and dye inks to fade and/or shift color tones and can cause paper and cloth substrates to discolor and become brittle. Light damage is cumulative and permanent. The best display conditions are those with low light levels and no daylight. Certain artificial lights, such as most fluorescent and metal halogen lamps emit UV as well. Ordinary household bulbs (tungsten lights) contain negligible UV. Special filters are available to screen out UV radiation. Inexpensive plastic sleeves can be purchased for fluorescent tubes.
• Humidity. High humidity such as that found in many areas of Hawai'i hastens the degradation of cloth and paper and promotes the growth of molds and mildew. Ideally, relative humidity should not exceed 60%.
• Acid Transference. Normal matteboard, as well as cardboard, frequently used as a backing material may have an extremely high acid content which can literally burn the framed work. Archival materials are important in all works of art expecting to endure normal environments.
• High Temperatures. Attic, garage, or many storage units are excessively hot. The increased temperature speeds up the rate of acid degradation. In fact, every 50 degrees Fahrenheit increase in temperature doubles the rate of acid burn. Ideally, temperature should not exceed 70 degrees Fahrenheit.

Conservation Framing

• Conservation framing implies that only museum quality products are used. This means that only acid free and lignin free products are used in the mounting, matting, and framing process. 100%cotton rag mat is manufactured to Library of Congress standards. It is bleed/fade resistant and both acid and lignin free. As lignin, a natural component of paper pulp and ordinary paper mattes, grows old and breaks down, a secondary acidification occurs. Mattes are also alkaline pH buffered,offering extended protection from environmental pollutants (the air has a slightly acidic pH). Matting keeps the artwork away from the glazing.

• Conservation mounting utilizes archival quality mounting and backing materials combined with conservation mounting techniques. All materials must be stable, completely reversible, and minimize exposure of the work to adhesives. The backing, or sealing material, provides protection from damage by insects, dust, and other environmental hazards.

• Conservation Glass and Acrylic (Plexiglas) safeguards works against physical damaging. Ultraviolet filtering glazing is available blocking up to 97% of the harmful ultraviolet spectrum, significantly reducing fading due to light exposure. For comparison, regular glass blocks approximately 47% of the ultraviolet spectrum. The artwork must not come in contact with the glazing. Breathing space discourages mold and mildew damage.

• Hanging provision allowing flexibility in hanging is best so the artwork can be hung in a variety of environments. Plain eye screws set as a distance 25% to 30% of the overall height from the top. Wire running between the two screw eyes allowing enough slack for the hanging point to be 4" to 6" from the top of the frame (reduce figures for smaller pieces).