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	Matting and Framing Works of Art on Paper Works of art on paper are commonly matted and framed as a means of both display and protection. Paper is a fragile material and vulnerable to damage from handling and environmental agents such as light, temperature, humidity, dust, air pollution and exposure to poor quality matting and framing materials. There are many considerations in proper matting and framing of which the collector of paper objects should be aware. Presentation is the usual priority of commercial framers and it is unfortunate that more often than not matting and framing methods used by them do more harm than good. However, some framers will use acceptable methods when properly instructed by the client. The Mat A mat in its simplest form consists of two boards; the backing board and the window board. The board used must be of good quality as the decomposition products in poor quality boards will eventually migrate to the artwork causing discolouration and embrittlement. There are many good quality mat boards on the market but the consumer must be wary of certain jargon that is used. Unfortunately terms such as "acid-free" or "museum quality" do not ensure quality. The board must be made from a good quality fibre such as cotton or if it is wood fibre only alpha cellulose pulp is acceptable. The board can be slightly alkaline or have a neutral pH. The latter is recommended for matting photographic materials. A reliable supplier should be able to supply the technical specifications for the board. Mat board is generally available in two, four, and eight ply weights. As the work of art is attached to the backing board, the board needs to be of sufficient thickness to adequately support it. Four-ply is the minimum that should be used to provide adequate support to an average size work of art on paper. Museums generally choose white or cream coloured boards. Coloured boards of acceptable quality are available but the board chosen should be lightfast and not bleed in the case of accidental water damage. The purpose of the window board is to provide a space between the artwork and the glazing material. The window opening is usually cut with a 45° bevel to reduce shadows being cast. The window can be cut to either cover the margins of the artwork (overmat) or to reveal all the edges (float mat). In the case of an overmat the edges of the mat must cover the edges of the work by at least 0.5 cm to ensure that the mat will adequately hold down the work. For a float mat a similar distance of at least 0.5 cm should be left between the beveled edge of the window and the outer edge of the artwork. The borders of the window mat must be wide enough to adequately accommodate the edges of the work that it is supposed to cover. Generally speaking the borders should be at least 5 cm. However if the edges of the artwork that are under the window board are wider than this, the borders of the window board will need to be wider as it is unacceptable to trim or fold the edges of a work of art. It is sometimes necessary to incorporate an additional spacer in the frame rebate to prevent the matted work from coming into contact with the glazing material. Spacers are used for works of art that do not lay flat, those that have thick media layers and for oversize works. They are also used when a window board is not aesthetically pleasing such as with some contemporary works. The backing board and window board should be hinged together on the top or left edge (whichever is the longest) with gummed linen tape. Gummed linen tape is not, however, a suitable material for attaching the work of art to the backing board. Attaching the Work of Art The purpose of a hinge is to provide a means of securely attaching the artwork to the backing board. The best way of doing this is with paper hinges adhered with starch paste. A work of art should never be adhered directly to a window or backing board. The hinge should be made from a material that will not damage the artwork through transfer of acidity and be of a suitable weight to support the work but not so heavy that it causes embossing. Good quality Japanese paper is an ideal material to use for hinges as it is strong and comes in a variety of weights. The paper chosen for the hinge should be of a similar weight and thickness to the artwork, never heavier. It should be noted that not all Japanese paper is of a suitable quality. As with mat board the fibre content of the paper should be checked and a reliable supplier can provide this information. A two-piece hinge commonly known as a T-hinge is normally used as it is strong and the mechanics of it allow for some expansion and contraction of the artwork in response to changes in relative humidity. The edges of the Japanese paper hinge should be feathered to avoid any hard edges that may cause ridges in the artwork. The hinges are applied on the top corners of the reverse side of the work. Depending on the size and weight of the artwork, additional hinges are also placed at equal intervals on the top edge. The size of the hinges is also dependent on the needs of the artwork but they are generally 1.5 to 3 cm wide. The portion of the hinge that is actually adhered to the artwork is minimal (approximately 0.5 cm). The hinge when attached to the artwork must be allowed sufficient drying time under restraint to avoid distortion of the artwork. The adhesive used to attach the hinge should be starch paste. Unfortunately, commercial preparations of a suitable paste are not available and paste must be prepared freshly for the purpose. It is however an easy process and can be done in a double boiler or more quickly in a microwave oven. Most commercial framers use tape (either gummed linen or a variety of pressure sensitive) to hinge the work. Even when sold as "acid-free" or "archival quality", these tapes are not suitable as they can cause irreversible damage to the paper. The second component of the hinge is a strip of Japanese paper that secures the first hinge to the backing board. This part of the hinge is cut (in this instance it is not necessary to feather the edges as this part of the hinge does not come into direct contact with the artwork) approximately 3 cm longer than the width of the first hinge and 1 cm wider than the height that the hinge extends about the top of the work. It is coated with paste, centred over the first hinge and stuck onto the backing board just above the edge of the work of art. This type of hinge is used for an overmat style of window mat but can be adapted as a V-hinge to use in a float mat situation. Again this second hinge needs to dry under restraint in the same way as the first hinge. The Frame Frames can be made of wood, plastic, or metal and come in a great variety of styles and finishes. The frame needs to be adequately strong and well secured at the corners. In addition the rebate needs to be deep enough to accommodate the artwork in its mat spacer (if any), glazing and frame backing board with space for securely fastening the frame backing board to the frame. A frame backing board should be placed behind the backing board of the mat to provide additional support for the framed object. This backing board should be of a good quality rigid material such as foam-core, Coroplast or acid free corrugated board. It should be secured to the frame with non-corrosive nails, framer’s points, a backing insert, or spring clips in the case of metal frames. A dust seal comprised of a good quality, acid free paper can be attached to the back of the frame with double-sided pressure sensitive adhesive tape or a water based adhesive. It is also a good idea to provide a seal between the glazing and the frame and this can be done by the application of a tape such as Filmoplast P91 around the edges of the glazing and mat package. The glazing material can be glass (either plain picture glass or a non-reflective variety) or acrylic sheeting (e.g., Plexiglas). Acrylic sheeting that incorporates an ultraviolet filter can be used if ultraviolet light levels cannot be controlled in other ways but it has a yellow cast and does not reduce the amount of visible light reaching the work of art. If there is friable media (e.g. soft pencil, charcoal, pastel) present on the artwork then glass should be used as the static charge present on acrylic sheet could attract loose particles of media. Aside from the obvious disadvantage of glass being breakable, it is heavy and can be problematic when framing a large work. Acrylic sheeting is generally more expensive and has the disadvantage of easily scratching. Any labels that are found on the back of frames or backing boards should be saved and kept in files or secured to new frames. A reliable framer should make a note of the materials used. Finding a reliable framer can be difficult and it is advisable to consult with a professional conservator who can either make a recommendation or prepare the artwork in a mat so that it can be safely taken to a framer.