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Works of art on paper include a range of items:
watercolour paintings, prints, posters, and
drawings, including your child's artwork. There
are a variety of media used: watercolour,
charcoal, pastels, coloured inks, graphite or
pencil, and even crayons and markers.
Whether these works of art adorn your walls or
are stored away, it is important to take basic
precautions to preserve them. Doing so will not
only prolong your enjoyment of them, but will
also help ensure their longevity.
Damage and how to prevent it
Paper is made from fibrous material, such as
rags, straw, bark, or wood. All these fibre
types contain cellulose, the basic component of
paper. In general, plant types that yield the
highest cellulose content and the fewest
impurities make the best quality paper. All
paper, however, is vulnerable to damage from a
variety of sources.
Handling is probably the most common
cause of damage. Paper is easily torn, creased,
or stained. The best handling method is to
handle paper as little as possible. To prevent
damage from oils and salts on hands, it is
advisable to wear white cotton gloves. When
lifting your artwork, slide a stiff paper or
matboard below it before moving it. Avoid
eating, drinking, or smoking near the paper and
keep pens and markers away.
Exposure to light (natural as well as
artificial) causes colours to fade and the paper
to discolour and, in some cases, become brittle.
Works of art on paper, are susceptible to
fading. Light damage cannot be reversed. Avoid
hanging your artwork where it may be exposed to
sunlight from windows or skylights. Use
curtains, blinds, or shutters in rooms where you
hang your artwork. Consider framing artwork
behind glazing material (glass or plastic) that
filters ultraviolet light.
Also avoid displaying or storing your works of
art on paper in either basements or attics where
temperatures and humidity levels fluctuate.
Paper absorbs moisture quickly. High relative
humidity causes paper to swell and expand. The
paper will appear wavy or, in the worst cases,
wrinkled. When works on paper are exposed to
prolonged periods of high relative humidity,
they are vulnerable to increased rates of
chemical degradation and to mould growth.
Certain conditions, such as foxing (reddish
brown spots on the surface of the paper), may
become more pronounced. Low and fluctuating
levels of relative humidity may be harmful to
vulnerable media. Archival-quality matting,
framing, and protective enclosures will protect
works on paper from the effects of increased
relative humidity for a short period of time.
Heat speeds up chemical reactions that lead to
the degradation of paper. Avoid spotlights, and
hang prints and drawing away from radiators or
heating ducts.
Paper is absorbent, taking in any liquid or gas
that surrounds it. Air pollutants are sources of
acidity and will have a negative effect on paper
and pigments. Acids from outside sources, such
as poor-quality framing materials, can migrate
to paper, leading to its discoloration and
degradation. Paper is also harmed by contact
with glue, rubber cement, pressure-sensitive
tape, and masking tape. Paper clips can leave
rust marks and self-adhesive, removable paper
notes leave a bit of residue on the surface that
can attract dirt and grime. Avoid materials that
are sources of contaminants.
Some artworks are composed of materials that,
due to their chemical composition, are
inherently unstable and will degrade rapidly.
Conservators refer to this as "inherent vice."
Wood-based papers and iron gall ink are two
examples of materials with inherent vice.
Wood-pulp paper degrades because of lignin, a
component of the woody tissue of plants. It
forms acidic compounds that break down paper
fibres. Iron gall ink is made from oak galls and
ferrous sulphate that, over time, emits
sulphuric acid and destroys the paper on which
the ink is printed. Storage or display in low
temperature and relative humidity may reduce the
rate of degradation.
Certain insects and rodents like to feed on
paper. The most common insect enemies of paper
are silverfish, book lice, and bookworms. They
are attracted not only to the paper but also to
certain media such as pastels. If the surface of
your artwork looks abraded, it is likely you
will find evidence of silverfish. Occasionally,
squashed insect bodies may be found on the
surface of the paper or in the frame itself.
Insects prefer a cool, dark, moist environment,
which is another reason you should avoid storing
works of art on paper in either basements or
attics. The best defence against these pests is
good housekeeping.
Matting and storage
Matting provides both support and protection for
works of art on paper. Window mats offer space
between the image and the glazing in a frame.
Use four-ply archival matboard (acid-free or
buffered). Japanese paper hinges are recommended
for attaching the artwork to the matboard. Small
to medium size works of art need only two "T"-
shaped hinges at the top. Avoid using glue or
tape to attach the hinges to the artwork.
Some unframed artwork on paper can be stored in
acid-free paper folders. If acid-free protective
enclosures are not possible, the artwork may be
interleaved with acid-free tissue. Cut acid-free
tissue to fit the inside dimension of the
storage container and place a sheet between each
piece of art.
Pastel, chalk, or charcoal artworks in good
condition should be matted and framed. These
works can be stored horizontally on shelves or
in drawers. Do not use Mylar or plastic folders,
sleeves, or protective slip sheets on artworks
with media that could be easily crumbled or
rubbed off. A static charge can build up that
may lead to the charcoal or pastel being
"pulled" from the surface.
Archival storage boxes are available in
acid-free lightweight card stock with reinforced
corners. Professionals often use what is known
as a Solander box. Made with a plywood frame,
these boxes have acid-free archival boxboard
tops, bottoms, and shoulders. They are covered
in cloth, lined throughout with acid-free paper,
and incorporate a polythene barrier between the
plywood frame and the acid-free shoulder. Avoid
using everyday cardboard boxes for storage —
these are made from wood pulp and, because they
are acidic, may damage the artwork.
Cleaning and repairs
Cleaning and repairs are best left to a paper
conservator. It is far too easy to damage works
of art on paper through inexpert treatment. If
your artwork has signs of mould, consult a paper
conservator. Mould not only poses a hazard to
the art, but it can also be very harmful to
people
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2008
Art N Frame Corporation