Our framing overview page mentions conservation standards in framing. Here, we explain these in more detail.

You may think that beyond aesthetics, a frame is just a frame and there's nothing to worry about apart from the cost.

This is far from true!

In addition to enhancing appearance, a frame should protect and ensure the longest possible life of the work within.

It is possible to frame in such a way that the work is immediately damaged by the construction method, attacked by the framing materials over time, or both. And yes, it happens now, even in professional work.

Although some framers are excellent, remember that in this is not a regulated industry. Anyone can set up as a framer. It is a relatively cheap and easy business to make a start in. 'Professional' tells you nothing more than that they get paid for their work. It does not guarantee integrity or competence.

Until recent years, the issues addressed by conservation framing standards were not widely appreciated. Good framers have taken them on board. There are plenty of framing businesses that have not, and they get away with because of public ignorance.

When you approach a framer, ask what they can tell you about conservation framing. A blank look or dismissive or confused answer is a strong hint that you should look elsewhere.

If you are in the UK, you may like to mention the Fine Art Trade Guild (FATG), a trade association whose web site is at www.fineart.co.uk.

The FATG specifies five levels of framing which customers should be offered and advised on.

A work may not justify particular attention to conservation methods. If it has little value and can be replaced or dispensed with, then a lesser standard of framing may be suitable. For example, the third FATG level, Commended.

If, however, the work has monetary or personal value, cannot be replaced, or needs to be preserved long-term, then it requires conservation-grade framing to one of the upper two FATG standards, Conservation and Museum.

The following is not a complete guide to conservation framing but covers the main points. You will learn why this is so important and be able to detect framers likely to perform sub-standard work.

Acidity

Unless specially treated, wood products are acidic. Acidity causes damage such as browning or yellowing of paper and changes to the colours of some pigments.

Acidity can migrate through materials and may take a few years to show its effects. Once visible, however, they are difficult and expensive to correct.

A framing package should use acid-free materials.

MDF, plywood, hardboard (masonite in the US) and thick card should not be used to back a frame, unless a special barrier membrane is used to prevent acidity leaching through to the art.

Mounts/mats should be acid-free. These may be made of cotton, which is inherently safe, or from wood pulp treated to make it neutral.

It usually isn't possible to tell normal from acid-free just by looking it, though a pH test could be done. However, the framer should know what he or she is using because acid-free products are sold as such. Anything not labelled as acid-free, neutral or conservation or museum grade probably isn't right.

All other materials in contact with the art or close to it should also be acid-free and be designed to stay that way.

To protect the edges of the art from the wood moulding, there should be a good gap, or the edges of the package protected with barrier tape.

Acid-free materials cost a little more but the difference is small in relation to the overall cost of the frame.

Movement

Materials expand and contract due to changes in temperature and humidity, and they do so at different rates. The frame construction should allow these differing movements.

Glazing

We covered this in the framing overview. To recap briefly, normal glass offers no protection against the most damaging ultra-violet rays present in sunlight and some artificial light sources. If glass or alternative glazing material is fitted, it should have UV filtering.

Glass should not be in contact with the work. An air gap must be left, and providing this is one of the functions of the mount/mat.

There are several reasons for the gap: the surface of the glass may have harmful chemical deposits; it may attract condensation; trapped moisture needs to dissipate; some mediums such as chalk, charcoal and pastels are easily dislodged, and the work must be allowed to move.

Conservation

It is likely that the frame will be opened in the future. This may be to check everything is OK (professional inspection is recommended every five years), to perform maintenance on the frame or the work, or to transfer the work to a new frame.

For this reason, the framing process should be entirely reversible. For example, the work should not be attached by a method that cannot be undone without damage. So gluing the work to its backing, or holding it down with Sellotape, are unacceptable.

Proper attachment methods include acid-free corner mounts similar to photo mounts, and hinges made with a special paper or conservation-grade tape that uses a water-soluble adhesive.

Often there will be just two small attachments (hinges) at the top of the work, though additional fixings may be used if the work is heavy.

And you too

Good framing does not remove the need for proper care of the work. It should be hung securely, kept away from direct sunlight and sources of damp, and professionally inspected from time to time.

More information

Further information on framing standards can be seen at the Fine Art Trade Guild's standards page. Although this is sufficient information to enable clients to buy wisely, the framer needs to undertake training and/or read professional publications dealing with conservation techniques.

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