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Matting Prints, by Street Art Fan on Jun 13, 2016 22:40:43 GMT 1, About to get a few prints framed. One is a large Bast that I'm thinking about getting matted. I've heard that there are issues over time with uneven fading and am wondering if anyone has first hand experience with this? Should I swear off matting for good if this is the outcome?
About to get a few prints framed. One is a large Bast that I'm thinking about getting matted. I've heard that there are issues over time with uneven fading and am wondering if anyone has first hand experience with this? Should I swear off matting for good if this is the outcome?
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iamzero
Full Member
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Matting Prints, by iamzero on Jun 13, 2016 22:55:43 GMT 1, Speak to people that had early Banksy prints. Probably more due to the paper used.
Speak to people that had early Banksy prints. Probably more due to the paper used.
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met
Junior Member
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June 2009
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Matting Prints, by met on Jun 14, 2016 1:13:56 GMT 1, About to get a few prints framed. One is a large Bast that I'm thinking about getting matted. I've heard that there are issues over time with uneven fading and am wondering if anyone has first hand experience with this? Should I swear off matting for good if this is the outcome?
Not first-hand experience in that it affected my own collection, but I've witnessed this consequence of matting first-hand on a few occasions. It results from light damage, non-archival matting, or a combination of the two.
Regarding bleaching from exposure to artificial light and sunlight, this can be more or less severe depending on:
(i) the relevant paper;
(ii) length of light exposure and whether the light was direct or indirect; and
(iii) glazing (anti-UV or regular glass/acrylic).
NB: Even with anti-UV glazing, the risk of light damage remains. It's never 100% anti-UV. Separately, although UV light is the most harmful to works on paper, it certainly isn't the only kind of light that's harmful — a point which framers usually fail to consider or mention.
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Matting is a stylistic and a practical choice. My own view is that it's best avoided. Not just because of the risk of uneven fading, but for aesthetic and perception reasons. It's a personal preference, partly based on snobbery. I find framing with a mat "old fashioned" (to use an old-fashioned term). And it becomes downright embarrassing for me when collectors take the novelty-framing route of double- or triple-matting.
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Rather than seeking advice on this forum, you may be better off having a five-minute chat with a paper restorer. The impression I have is that you're New York-based. If so, then give one or both of these professionals a quick ring:
www.alvarezfas.com
paperconservationstudio.com
About to get a few prints framed. One is a large Bast that I'm thinking about getting matted. I've heard that there are issues over time with uneven fading and am wondering if anyone has first hand experience with this? Should I swear off matting for good if this is the outcome? Not first-hand experience in that it affected my own collection, but I've witnessed this consequence of matting first-hand on a few occasions. It results from light damage, non-archival matting, or a combination of the two. Regarding bleaching from exposure to artificial light and sunlight, this can be more or less severe depending on: (i) the relevant paper; (ii) length of light exposure and whether the light was direct or indirect; and (iii) glazing (anti-UV or regular glass/acrylic). NB: Even with anti-UV glazing, the risk of light damage remains. It's never 100% anti-UV. Separately, although UV light is the most harmful to works on paper, it certainly isn't the only kind of light that's harmful — a point which framers usually fail to consider or mention. --------- Matting is a stylistic and a practical choice. My own view is that it's best avoided. Not just because of the risk of uneven fading, but for aesthetic and perception reasons. It's a personal preference, partly based on snobbery. I find framing with a mat "old fashioned" (to use an old-fashioned term). And it becomes downright embarrassing for me when collectors take the novelty-framing route of double- or triple-matting. --------- Rather than seeking advice on this forum, you may be better off having a five-minute chat with a paper restorer. The impression I have is that you're New York-based. If so, then give one or both of these professionals a quick ring: www.alvarezfas.compaperconservationstudio.com |
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Matting Prints, by Black Apple Art on Jun 14, 2016 2:06:38 GMT 1, Aside from the usual cautions when framing, I highly recommend having your framer use a secondary mat, or archival board, underneath your top matting that is offset well outside the print area. This will then lift your primary mat up off the print's surface leaving zero contact with the top mat and print. Even with the best archival matting, after time it is very likely the mat will leave an impression where it has had contact with the print and in many cases discoloration as well, especially with black or colored mats.
As aside note, be very diligent with your choice of glass or plexi even if you have a great relationship with your framer. I have seen countless cases of framers actually using different materials then agreed to by the customer and in some cases the framer even being duped by their distributor. Many times pre-cut materials no longer have their designated tagging or stickers from the manufacturer and can easily be mistaken for a higher grade material. These mistakes and or deceptions are true tragedies because most of the time you will never know until the irreversible damage has already been done.
Stay sharp people!
Aside from the usual cautions when framing, I highly recommend having your framer use a secondary mat, or archival board, underneath your top matting that is offset well outside the print area. This will then lift your primary mat up off the print's surface leaving zero contact with the top mat and print. Even with the best archival matting, after time it is very likely the mat will leave an impression where it has had contact with the print and in many cases discoloration as well, especially with black or colored mats.
As aside note, be very diligent with your choice of glass or plexi even if you have a great relationship with your framer. I have seen countless cases of framers actually using different materials then agreed to by the customer and in some cases the framer even being duped by their distributor. Many times pre-cut materials no longer have their designated tagging or stickers from the manufacturer and can easily be mistaken for a higher grade material. These mistakes and or deceptions are true tragedies because most of the time you will never know until the irreversible damage has already been done.
Stay sharp people!
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