Edgartown Sparrow Giclee Print by Rachel Paxton

Direct sun, heat extremes, and moist air all pose threats to framed works of art. Avoid hanging framed artwork in direct sunlight or in unventilated bathrooms or other spaces prone to fluctuating heat and humidity.

Works on Canvas
Works on canvas are usually framed without glass. In the case of oil paintings, glass can actually cause damage. Oil paints emit fumes for years; the ventilation afforded by an exposed surface keeps the fumes from harming the painting.

Paintings in oil and acrylic – the mediums most commonly used on canvas – have durable surfaces that can be cleaned directly, with care. Use a soft, clean brush and a gentle motion to dust your paintings (including painted frames), working your way down from the top. At the same time, check for cracks, punctures, and fading. If you notice a problem, consult your local picture framer for advice on what action to take. Be careful not to touch the painted surface, as oils from your skin can actually cause it to deteriorate.

Works on Paper
Watercolors, prints, and other works on paper are generally more delicate than works on canvas, and should be framed under glass. Store unframed works on paper flat (horizontally), in large, acid-free folders cushioned with acid-free tissue. Avoid storing works on paper in cardboard tubes for any length of time. Although sturdy tubes are often a good choice for shipping works on paper, the acid in the cardboard – as well as the curved surface of the tube – can harm the artwork within a matter of weeks.

Photography
The general guidelines outlined above are particularly important in the case of photographs. Avoiding direct sunlight and extreme heat is absolutely necessary with the light-sensitive paper and chemical emulsions used in photography.

Glass and Plexiglass
It’s worth the small additional cost to protect photographs and works on paper from fading by using glass and plexiglass with ultraviolet protection. Conservation glass is the best option for most works, but consider plexiglass – which is both lighter and less fragile – for large framed works.

Storage
When not on display, framed artwork should be stored in a cool, dry area. Avoid stacking pieces on top of one another. Instead, stand them on end separated with sheets of acid-free board, available through art supply stores or frame shops. Don’t use standard cardboard, which is highly acidic and can ruin artwork.

Pony Beach Pigment Print by Charles Munch

The last structural layer in a framed artwork is the backing, which is usually made of pH-neutral foam core. Tyvek, which is waterproof as well as tear- and puncture-resistant, is also used as a backing material; the extra expense is worth considering for important artwork purchases. A sheet of nonacid paper adhered to the back of the frame seals the framing components against dust.

I hope you’ve enjoyed this series of posts on framing.

Tone Giclée Print by Maeve Harris

Mats are made of heavy paper stock (called “board”) or fabric, and are used to separate the artwork from the frame and glass both physically and visually. Mats come in a variety of finishes, including smooth, textured, and linen. Conservators recommend using four-ply, 100 percent rag board or acid-free fabric. Matting materials of a lesser quality contain acid and will damage artwork.

Mats have an important functional purpose in that they create a protective space between the glass and the art. They can also dramatically enhance the presentation of two-dimensional artwork. A wide mat adds presence to any size painting, print, or photograph, while double mats lend a refined quality to a framed work. Although mats are available in many colors, most artworks look best against neutral grays, blacks, and off-whites; these colors are unobtrusive and they wear well over time. In any case, your eye should never be drawn to the mat, instead, the mat should help to focus attention on the art.

Always be sure there is enough matting around the artwork to enable the work to breathe. Three or four inches is standard, but discuss this with your framer, as his or her experience is invaluable.

A “floating mount” is an interesting alternative to a typical mat – especially when the perimeter of the artwork is asymmetrical. Instead of cutting the mat as a rectangular “window” frame around the artwork, the framer uses cushioning strips to attach the work to the top of a solid mat, so that the art appears to float. This technique is most often used with small pieces. “Close framing,” another option, eliminates the mat completely, so that the artwork extends to the frame; this treatment can make an image feel clean and fresh. Professional framers will introduce you to a range of matting techniques to suit a particular piece of work.