With the recent changes to the standards of mount-boards that compliment your memories, display your prints, photos at home, at an exhibition or just to give the most appropriate level of protection.
It may become an overwhelming and complicated choice to make.
An experienced framer with knowledge of these reviews will be able to offer you suitable advice and guidance on the differing types of mounting available.
The ageing of work can occur due to the UV lighting it is exposed to and can also result from the use of acidic tapes, art paper, mount and backing board choices. This often sees the ‘browning’ of the artwork surfaces after a period of time.
Some of you may have already heard about the varying levels of framing and the use of either, Museum, Conservation, or standard mount boards with the increased protection levels they offer.
Your picture mount is there to preserve & protect, in addition to decorate and enhance your piece. The consideration of acid free tapes, papers, glazing and backboards are also worthy of careful choice when presenting your work.
The recent changes in mountboard standards have simplified the classification of those expected by the Fine art guild. Let me try to explain…………..
and for further information head to http://www.fineart.co.uk
Level 1 Protection
For framing any valuable and original artworks. Made from 100% cotton fibres, containing no post-consumer waste. (i.e no recycled fibres) Proven to be stable for hundreds of years. Naturally acid free and buffered with calcium carbonate.
Level 2 Protection
For framing original artworks. Made with chemically purified wood pulp and buffered with alkaline. The core of the board and facia must meet certain criteria for example, light fastness, pH ranging and lamination quality.
Level 3 Protection
Not recommended for conservation work, and often known as ‘White Core’. Made of chemically purified wood pulp. The core and face starts white and remains white.
Level 4 Protection
Often known as ‘Cream Core’ or ‘Standard’ mountboard. Made of untreated wood pulp, contains Lignin and this will eventually cause it to break down, release acidity and cause damage to your items, potentially causing the brown discolouration over time.
It is clear that the choices for mounting are extensive and more complex than just selecting a mass produced product. The detail and skill that goes into protecting your work is so in-depth and constantly under review.
So, how do we present your work once all these choices have been made?
If you are a photographer who provides images to your clients following a shoot, or an artist displaying work at an exhibition or pop-up shop, here are my thoughts……
Think long term.
If you are giving clients the option of a framed print as part of your package, or commissioned for a painting, its good to do some background work on your client preferences (Black, White, Wood, Bespoke colouring?). As a fellow creative supplier, I want to work with you to enhance the look, overall quality & feel to your imagery work. There is lots of things here to consider…..for example, Is it a large frame?, will it be hung? or free standing?, does it need special features, is it going to be glazed?, what type of glazing? Float, Specialist, Styrene?.
A carefully chosen framing solution which protects your work and is future proof, will ensure that your clients work will be of the highest quality possible, enhancing its longevity.