Custom Archival Framing

In framing, the materials that directly contact your art are of the greatest importance. Using non-archival (acidic) or inappropriate materials to adhere or support artwork can result in unnecessary damage and possible decrease in the artwork's monetary value.  Reversibility is essential when adhesives are used to hinge artworks to their supports.  Following are a few basics about our archival process:

Museum Boards:  Materials used at Great Pacific—such as museum quality rag mat boards and conservation quality alpha cellulose mat boards in a variety of widths and natural tones—are designed to protect and preserve your artwork. They are not only acid free but are designed to absorb acid from the art as well as the environment. Photographic work, for example, requires a specially treated museum board, formulated specifically for its photochemical make-up.

Backing Boards:  A matted or floated piece of art is backed for further protection with an acid free foam board or a corrugated plastic board when drastic humidity changes are a concern. It is then sealed with a paper/aluminum tape, which protects the artwork while allowing an exchange of air.

Hinging:  Hinging is the process of attaching works on paper to a backing board, or support, often for the purpose of "floating" the artwork. This is done as an alternative to "over-matting" in which the mat is placed over the artwork. As with the selection of matting and frames, hinging must be tailored to the artwork in question. Depending on the weight of the paper on which the artwork is made, an appropriate hinge is chosen that will support the piece without restricting its natural movement over time. All museum hinges are made from acid free Japanese papers. Our adhesives are also acid free and reversible.

Glazing:  Glazing refers to the use of either glass or acrylic (plexiglass) as a practical barrier between your art and the atmosphere in which it is hung. This is necessary because of moisture, smoke, acidic fumes and a host of threatening conditions artwork often faces. Typically, we recommend the use of plexiglass over glass, as it is clear and visually indistinguishable from glass, yet will not break and pose a threat to your safety or that of your artwork. Museum quality UV-filtering plexiglass and glass are available and recommended for valuable artwork on paper, historical or sentimental pieces and color photography to protect them over time from the color-fading UV-rays of natural and electrical light. These products also offer anti-reflective and anti-static properties.