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Animation art has its own particular requirements
when it comes to framing. Most framers are
unfamiliar with it and some even refuse to handle
it. As the popularity of animation art continues to
grow, uncertainty will gradually be replaced by
knowledge, and this will cease to be as much of a
problem as it is today. But for now, here are some
you take your art to a framer.
MUSEUM FRAMING is a much-heard term
requiring some clarification. Simply, it means a
dust-free and acid-free enclosure with a slow
deterioration rate. It should not be air-tight, as
the air inside must be allowed to exchange with
the environment. Standard Crescent® brand mat
board has buffered core and backing paper,
providing satisfactory protection without the need
for expensive non-acid rag board. But it does little
good to use acid-free materials if the art itself is
contaminated. Almost all fine art is produced using
materials of high permanence. Animation art,
however, was not intended to be long-lasting, and
backgrounds, drawings, sketches, etc. suffer from
inherent acid content. To gain any permanence at
all, they must be de acidified to neutralize their pH
level. Only then can museum techniques be of real
value. Please note that most framers will not use
museum framing unless you specify it.
MOUNTING OF CELS (celluloid) should stabilize
and prevent them from moving or flexing while
allowing them freedom to breathe. Because both
the cel and the board on which it is mounted
expand and contract with changes in humidity, but
at different rates, the cel should not be held in
place on all four sides. It is best to tape it at its top
edge, permitting it to hang or lie against the
mounting board, which will support it securely.
ACRYLIC GLASS is the most protective and
practical glazing material available for framing
animation art. With standard glass there is the
danger of breakage, which almost always
damages the art it was intended to protect. Acrylic
glass is 10 to 20 times stronger than glass and
about one-third the weight. Art framed under
acrylic is not only more secure, it is astonishingly
lightweight, eliminating the need for special wall
bolts or brackets for hanging. It is fair to note that
some purists believe acrylic is not as clear as
standard glass, although the difference is not
perceptible to most people and, in our opinion, far
outweighed by the advantages. UV acrylic is also
available, and will filter out ultra-violet light, which
can cause fading, without markedly altering the
color and tone of the art. Be sure to specify
"acrylic glazing material," as there are other
materials that are not the same. And be aware
that acrylic glass is not always easy to find, though
well worth the trouble and investment. If you
cannot find a source in your area, S/R Labs can
supply it cut to your specifications.
SECURITY HANGERS are an excellent solution
for those who do not wish to go to the expense of
replacing the glass with acrylic in a large, already
framed collection. Breakage from falling is the
greatest danger with glass, and these hangers use
a three-pronged system to hold the art securely to
the wall. Most framers should be able to get them
for you, or you can order them from S/R Labs.
CERTIFICATES, LABELS AND OTHER
NOTICES, whether new or old, should not be
permanently affixed to the rear of your framed
art. Chances are you will remove and replace the
back support several times in the course of owning
your art, and will find removing a label difficult or
impossible. Notices of all kinds should be stored in
a safe place, along with your bills of sale,
appraisals, and other pertinent documentation. If
it is important to you to have the labels with the
art so they can be shown, they can be placed in an
expendable polyester or acetate pocket mounted
on the rear of the framed art. These documents,
which attest to the pedigree of your art, are prone
to the same acid deterioration as drawings, and
can be treated in the same way to assure their
longevity.
Whatever method or style of frame you choose,
you will want to remove your art every 12 to 18
months to air it, clean the glass, and check for
mold, mildew, or insects. Animation art requires
periodic cleaning, although the frequency depends
on the climate and conditions of its environment,
as well as its age. Your own judgement can tell
you when cleaning is needed.
One last point: Chose your framer carefully. As
with every profession, there are degrees of
craftsmanship and care. Once you have someone
you're comfortable with, remember that you can
be part of the education process. Work with your
framer, explaining not only your own preferences,
but the special needs of animation art as well, and
you can end up with someone who is an active
partner in your collecting experience.
when it comes to framing. Most framers are
unfamiliar with it and some even refuse to handle
it. As the popularity of animation art continues to
grow, uncertainty will gradually be replaced by
knowledge, and this will cease to be as much of a
problem as it is today. But for now, here are some
you take your art to a framer.
MUSEUM FRAMING is a much-heard term
requiring some clarification. Simply, it means a
dust-free and acid-free enclosure with a slow
deterioration rate. It should not be air-tight, as
the air inside must be allowed to exchange with
the environment. Standard Crescent® brand mat
board has buffered core and backing paper,
providing satisfactory protection without the need
for expensive non-acid rag board. But it does little
good to use acid-free materials if the art itself is
contaminated. Almost all fine art is produced using
materials of high permanence. Animation art,
however, was not intended to be long-lasting, and
backgrounds, drawings, sketches, etc. suffer from
inherent acid content. To gain any permanence at
all, they must be de acidified to neutralize their pH
level. Only then can museum techniques be of real
value. Please note that most framers will not use
museum framing unless you specify it.
MOUNTING OF CELS (celluloid) should stabilize
and prevent them from moving or flexing while
allowing them freedom to breathe. Because both
the cel and the board on which it is mounted
expand and contract with changes in humidity, but
at different rates, the cel should not be held in
place on all four sides. It is best to tape it at its top
edge, permitting it to hang or lie against the
mounting board, which will support it securely.
ACRYLIC GLASS is the most protective and
practical glazing material available for framing
animation art. With standard glass there is the
danger of breakage, which almost always
damages the art it was intended to protect. Acrylic
glass is 10 to 20 times stronger than glass and
about one-third the weight. Art framed under
acrylic is not only more secure, it is astonishingly
lightweight, eliminating the need for special wall
bolts or brackets for hanging. It is fair to note that
some purists believe acrylic is not as clear as
standard glass, although the difference is not
perceptible to most people and, in our opinion, far
outweighed by the advantages. UV acrylic is also
available, and will filter out ultra-violet light, which
can cause fading, without markedly altering the
color and tone of the art. Be sure to specify
"acrylic glazing material," as there are other
materials that are not the same. And be aware
that acrylic glass is not always easy to find, though
well worth the trouble and investment. If you
cannot find a source in your area, S/R Labs can
supply it cut to your specifications.
SECURITY HANGERS are an excellent solution
for those who do not wish to go to the expense of
replacing the glass with acrylic in a large, already
framed collection. Breakage from falling is the
greatest danger with glass, and these hangers use
a three-pronged system to hold the art securely to
the wall. Most framers should be able to get them
for you, or you can order them from S/R Labs.
CERTIFICATES, LABELS AND OTHER
NOTICES, whether new or old, should not be
permanently affixed to the rear of your framed
art. Chances are you will remove and replace the
back support several times in the course of owning
your art, and will find removing a label difficult or
impossible. Notices of all kinds should be stored in
a safe place, along with your bills of sale,
appraisals, and other pertinent documentation. If
it is important to you to have the labels with the
art so they can be shown, they can be placed in an
expendable polyester or acetate pocket mounted
on the rear of the framed art. These documents,
which attest to the pedigree of your art, are prone
to the same acid deterioration as drawings, and
can be treated in the same way to assure their
longevity.
Whatever method or style of frame you choose,
you will want to remove your art every 12 to 18
months to air it, clean the glass, and check for
mold, mildew, or insects. Animation art requires
periodic cleaning, although the frequency depends
on the climate and conditions of its environment,
as well as its age. Your own judgement can tell
you when cleaning is needed.
One last point: Chose your framer carefully. As
with every profession, there are degrees of
craftsmanship and care. Once you have someone
you're comfortable with, remember that you can
be part of the education process. Work with your
framer, explaining not only your own preferences,
but the special needs of animation art as well, and
you can end up with someone who is an active
partner in your collecting experience.
| About FRAMING |
| Much of this information about care and framing is from the experts at S/R Laboratories Animation Art Conservation Center © 2008 S/R Laboratories, Inc. All Rights Reserved. |
PEToons! and the "Pawsome" logo are © & ™ 2008 Petoons!, Ltd. All Rights Reserved. |
