This is a special section that will discuss the materials and techniques used in "Conservation Framing".
The entire premise behind Conservation Framing is to basically make the damn thing last forever.

To understand conservation techniques you must first understand the "layers" of a frame job.
We will list the layers & potential "Problems" (p) and "Solutions" (s) for each,from front to back of frame:

1). Frame
P- Wood contains acids and staining dyes.
S- Sides of your frame should be lined with a "barrier" tape or some other "sealing" agent.

2). Glazing

P- Regular "non-UV" glazing whether glass or acrylic lets harmful rays of ultra-violet light into your frame and onto your art.
S- Use a UV filtering glazing of some type. This will eliminate 99.7% of your fading (from light) problems.
See photo #1 below.
See our section on GLAZING for more detailed information.

3). Mat(s)

P- Regular mats contain acids that can (and will) discolor your art. This tends to "burn" your paper much like a newspaper yellows with age as the acids take over.
S- Always use an "acid-free" mats on your art AT LEAST on the layer that actually comes in contact with your piece.
See photo #2 below.
See our section on MATTING for more detailed information.


P- Fillets are usually made of wood and can release acids and other discoloring agents much like the frame.
S- These wood fillets should be lined with some form of barrier (tape, paper or other sealing substance) to ensure stability.
See our section on FILLETS for more detailed information.

5). ART // This is what all these steps are trying to protect.

P- The backing of artwork is as, or more important than what touches the front.  Acids can dis-color your piece through from the back as well as through from the front.
S- Always use an "acid-free" backboard or some form of 'barrier paper" (a thin layer of acid-free stock that goes between your art & the backing).
 This, coupled with the correct matting and glazing options,  will ensure you many years of enjoyment from your art.  
See photo #3 below.
See our section on MOUNTING for more detailed information.

Here's a photo showing an example of what regular glass can do to your art over an extended period of time.

The left side was protected with "UV" glass while the right side was not.  The ultra-violet light rays basically stole the print's vibrancy and
dis-colored the image.

This photo shows 2 acid-free mats being used on a floral piece.  Notice their bright white bevel color.  These mats are specially designed to protect your art and never cause discoloring.

Their are many variations of these boards, and as many or more "degrees of quality" of each involved which we will not bore you with (yet).  

Here is a etching that had a cardboard backing before we re-framed it.
You can see the "acid-burn" markings on the back.
This had not seeped through to the front yet, but it was just a matter of time.

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