Andrews Powerpoint Sealed Packagefor Linked In
- 1. Sealed Packages Presented by Kimberly Andrews Preservation Services Officer Conservation Center for Art and Historic Artifacts Philadelphia, PA
- 2. Features of a Sealed Package Mitigates against changes in humidity Protects from environmental pollutants Prevents insect and mold infestation Continues to condition sealed micro-climate to preserve object
- 3. Contents of a sealed package Glazing (UV-filtering glass or acrylic) Window mat/spacer with Bainbridge Artcare matboard Object Artcare mat board or Tycore backboard Buffered, rigid corrugated backing board Marvelseal laminate and #415 adhesive
- 4. Cross section of a picture frame
- 5. Glass vs. Acrylic Glass Can break and damage art Easy care, scratch resistant Heavy Color distortion with extra coatings Excludes all humidity Acrylic Shatter-proof Needs special cleaner and soft cloth Light weight Truer color Moisture can migrate through
- 6. Glazing Glazing Material Light Transmission Light Reflection UV Blocking Capacity Optium Museum Acrylic (UV-F, antireflective and antistatic) 96% <1% 98% Museum Glass (UV-F and anti-reflective) 96% <1% 98% Conservation Clear Acrylite Acrylic (UV-F) 92% 8% >98% Conservation Glass (UV-F) >89% 8% 98% Clear Acrylite Acrylic (no coating) 92% 8% 66% Picture Glass (no coating) >90% 8% 45%
- 7. Window mat function Holds the glazing away from the surface of the object (prevent object’s touching the glass or acrylic) Helps to secure the object with light pressure on its edges (assist the hinges or edge supports to restrain the object) In a sealed package, continues to maintain micro environment with ideal humidity conditioning and off-gas adsorption (Bainbridge Artcare with zeolites)
- 8. Matboard thickness or ply Archival grade matboard for window mats is available as 4 ply, 6 ply and 8 ply. 4 ply is traditional thickness but is inadequate for keeping object away from glazing. 8 ply is the preferred depth
- 9. Bainbridge Artcare Matboard Microchamber technology Proprietary SPZ zeolite molecular trap Alkaline buffer with calcium carbonate to pH 8.5 100% cotton fiber paper
- 10. Backboard The object is attached to a 4 ply or 8ply archival backboard or Tycore. An object is never attached to the window mat. Gummed linen tape is used to hinge the window mat to the backboard so the window mat is attached on the long edge like a book or from the top. Backboard provides an acid-free, rigid surface to support the entire object.
- 11. Rigid Backing Board A rigid backing board should provide another layer of protection behind the backboard. Alkaline buffered corrugated board (blue board) single or double wall, acid-free foam core board, or archival Coroplast are preferred.
- 12. Attaching or mounting the object to the backboard Hinges Japanese paper (mulberry paper) and wheat starch paste – can be T-hinges or V-hinges Edge/corner supports Mylar photo corners Archival paper corners/edge supports made from Microchamber buffered paper or Renaissance unbuffered paper
- 13. Mounting and hinging options Mat or spacer Mounting options Window mat over the edge of the object T-hinges, edge supports or corners Float object in window sink mat or with spacers V-hinges at top and sides, slip hinges
- 14. Hinging Options
- 16. Marvelseal 360 Composed of laminated nylon, aluminum, polyethylene Vapor barrier Bonds to self with heat Bonds to acrylic or glass glazing with adhesive
- 17. Bonding Marvelseal to Glazing Less than 1/8” 3M #415 neutral, double stick adhesive tape is attached by hand to the face and over the edge of the glazing
- 18. Bonding Marvelseal to Glazing Marvelseal is pulled taut over the adhesive Marvelseal is boned flat Tacking iron creates air-tight bond Corners are folded and heat-bonded
- 19. Bonding Marvelseal to Glazing Marvelseal is trimmed to 1/8” on face of glazing Edges are covered with clear Permacel/J-Lar tape to protect against puncture
- 20. Features of a Sealed Package Mitigates against changes in humidity Protects from environmental pollutants Prevents insect and mold infestation Continues to condition sealed micro-climate to preserve object
- 21. Thanks to: Hugh Phibbs, National Gallery of Art, Washington, D.C. American Institute for Conservation of Historic & Artistic Works (AIC) www.aic.stanford.edu Picture Framing Magazine www.pictureframingmagazine.com Australian Museums and Galleries Online www.amol.org.au Nielsen Bainbridge www.nbframing.com Cyro Industries www.tru-vue.com Northeast Document Conservation Center FrameTek Solutions