Archival Frame?

[see_r]

I do custom frame jobs with inkjet prints. In this particular, the edges of

the print may come into contact with wood.

 

The first question is would the wood compramise the archivability of the print

at the point of contact, ie. could acids, etc from the wood leech into the

paper to compramise the ink?

 

Second, if yes to the above, then if the wood is coated with latex primer or

primer + paint, is that archival?

 

If I have to I'll make the slots out of acrylic.

 

Thanks for your answers.

[bruce levy]

It could possibly effect the archival quality of the print. It depends on several factors, one being whether urea-formaldehyde was used in the case of either adhesive or wood plys that are joined with the above adhesive types.

[frans_waterlander]

Wood is not an archival quality material and I doubt that any primer is. One sure way to avoid the issue is to add some mat area around the print, which looks better anyway in my opinion.

[mark_rogers]

<p>Wood is a naturally acid product, and yes it is harmful to the print. Glass or acrylic is also harmful to the print which is why an acid and lignin free mat comes in handy. In the case of a museum they will seal the wood in addition to using a mat. For most, a mat is considered sufficient. If you do not want to use a mat you can use frame sealing tape

[see_r]

Glass is a highly stable material that has no compounds to leach. As such, it CAN NOT be harmful to a print unless it is by way of letting light through it. Glass, in and of itself CAN NOT harm the print.

[mark_rogers]

As Chip has pointed out, I need to clarify my statement. Glass is a stable inert material, and it is generally considered a critical aspect of a conservation frame. Its purpose is to protect the print from airborne pollutants and provide UV protection. The problem I was refereeing to is not with the glass itself, but condensation that forms on the glass. When using glass it is critical that you have an air gap between the print and the glass otherwise the print will eventually become blotchy and permanently laminated to the glass. In addition to keeping the print from the acid in a wood frame, it will also provide the air gap between the print and the glass. If you are not using a mat, then you will need to use a spacer between the print and the glass.

 

Cheers,

Mark

[bruce levy]

In addition to the above, you don't want to seal off the print completely. Isolating the print with space is a good idea, however, sealing a print around the edges so it can't "breath" is harmful for several reasons, with the primary one being sealing does not allow volatile degradation products to migrate away from the print. It keeps them in and basically the print "stews" in the degradation products, whether its acidity, off-gassing etc. Lig-free board is a step, but almost any adhesive, short of wheat starch paste, will eventually produce degradation products. Also, an alkaline

"buffered" mat or support is not archival for several photographic processes such as albumin prints. You want to match the support, adhesive and mat to the specific process. In the old days, when a document was "encapsulated" all sides used to be sealed. Over the years it was found that the document degradation was accelerated by completely sealing. Now either one or two sides is left open and the results, as far as longevity, is superior.

[see_r]

Bruce, I'm not sure about this, but I should think that sealing the edges of a a matte inkjet print mounted to plexiglass would not prevent gas exchange of the print at the printed surface.

 

Nevertheless, your advice is at a perfect time as I will address this tomorrow...thanks.

[mark_rogers]

<p>I agree with Bruce's comments above. When I referred to the frame sealing tape, it is applied to the wood moulding and not to the mat, mount board and acrylic/glass. You do not want to seal those items together. They also expand and contract at different rates with temperature changes so they need to free or buckling will result. Bainbridge Artcare mat/mount board is also treated with Zeolite molecular traps which help to neutralize harmful components being produced within the frame or coming into the frame from the outside environment. </p>

 

<p>More information about conservation framing and print permanence is avaialbe at these two websites: <br/>

http://www.artfacts.org/index.html<br/>

http://www.wilhelm-research.com</p>

[bruce levy]

Hey Chip. You'd be surprised at the difference in gas exchange between what happens with a broad flat relatively closed surface (edges sealed) and the exchange allowed from open edges between support and mat. You won't be getting much degradation from the print itself, but rather from the board (archival or not) adhesive, or plastic corners or hinges. The more open, the better (within reason). But, you know, "archival" is still pretty variable and open to discussion. Things we called "archival" ten or fifteen years ago, we would never do today. That's why "relative" reversibility is as important as archival materials. Also, the tests that are done even today on materials are suspect themselves. Putting materials in a 100 degree oven for a certain amount of time only approximates "some" of the degradation, but doesn't really replicate "time" and different kinds of exposure. But it's the best we presently have.

[see_r]

Thanks Bruce and Mark...this has all been really helpful.