Mats are used to hold the art secure and keep it from touching the glass or plexiglas. We use Rising 100% cotton Museum Board.
At Rising, they believe you should know the facts about the methods of manufacture, contents and permanency of the board you are buying.
Most paper manufacturers obtain their water from nearby rivers. As a result, whatever foreign matter contained in the water can wind up in their paper. Iron and copper minerals, organic chemicals and microorganisms can create a yellowish brown discoloration or stain in your print called foxing-exactly what Museum Board is meant to prevent. Adding to the problem, mills that use river water first usually add alum to the water. Alum is a flocculent, a settling agent for the silt and impurities in the water.
Rising 100% cotton rag Museum Board is made with artesian well water which contains no iron or copper traces. It has a high concentration of calcium and a pH 7.2-7.6. Alum is never used in the manufacturing process. www.legionpaper.com
It is difficult to predict the effects of aging on works on paper however, we do know papers that have survived throughout the centuries are all cotton rag papers, since cotton is naturally lignin-free.
The materials used to mount a work on paper are integral for its long term preservation. We use only Linen and Japanese Paper hinges or Mylar corners. These materials are reversible. We believe all work should be mounted using a reversible method. Spray adhesives and cheap tapes can cause significant damage to a piece on paper.
Large format photographs may be mounted to aluminum, plexiglas, sintra or Museum Board using special adhesives and presses designed for these processes. Because photographs are printed on a variety of papers, it is important to know which material will provide the best outcome. For more information on mounting photographs see General Graphics website www.gge.com.
Ultraviolet/Conservation Glass and UV Plexiglas should be used to prevent fading. All works on paper are subject to fading and deterioration from ultraviolet, incandescent and fluroescent light. Pastels, watercolors and color photographs are the most vulnerable. Both UV glass and UV plexiglas protect work from light damage. UV plexiglas is non-breakable and offers security against works being scratched by broken glass. It is also a safety precaution in seismicly active areas.
For non-reflective and uv protection, we recommend Museum Glass and Museum Plexiglas (Optium Acrylic) which are both clear and non-reflective. Unlike regular non-glare glass, which has a light sandblasting on the surface and fogs the image, Museum Glass has no sandblasting and is virtually see-through. Museum Plexiglas (Optium Acrylic) combines anti-reflective, anti-abrasive, ultraviolet protection. www.tru-vue.com.
We use only the highest grade of UV Plexiglas (Acrylite) available. It is manufactured by CYRO, an industry leader in manufacturing UV Plexiglas, Clear Plexiglas, UV/Matte Plexiglas (P99) and Scratch Resistant Plexiglas (AR). www.cyro.com.
Mirror can be made to many specifications including size, thickness, bevel width and color. Antique, blue and patterned mirrors can add period look. Fitting the mirror into the frame properly is important for safety. We use a special adhesive when fitting our mirrors to prevent them from shattering on impact. This is particularly important in seismicly active areas.