Acid Migration through hinging tape?

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Acid Migration through hinging tape?

Post by artyst »

Hello everyone.

Was just wondering, if I hinge tape a photograph onto a conservation mounting board but use the pass through hinge method, would that create a passage for acid migration from the backing board if the latter was not within conservation standards? I am assuming the cotton would create a barrier, but if the hinges were made of linen tape or kozo fiber would that prevent acid from the back migrating to the art?

This is the method I will be using : https://www.youtube.com/watch?v=r-duhP7okr8

It is very hard finding conservation boards in my country, but assuming I find a 100% cotton rag board and use this technique, would I be able to get away with a poorer quality backing board? I am trying my best to find mdf alternatives. So far I can find regular foam board (not the buffered type), and I might be able to get regular corrugated plastic boards (not the archival coroplast ones either)

Not sure if I need to create a separate thread for this second question , but what do you think of the hinging technique in the above video? He has good credentials, but I couldn't find any other source with the same technique. Generally they suggest two hinges at the top.

(PS: Framers where I live seem completely clueless so I am forced to frame my art myself, so trying my best to do it right. I am grateful for any advice! )
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Re: Acid Migration through hinging tape?

Post by Steve N »

Hi
If you are using conservation mounting board , then using pass through hinges, if you have enough room in the frame, just use another conservation mounting board behind the board you have used the pass through hinges, that should protection from the frames backing board
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Re: Acid Migration through hinging tape?

Post by Justintime »

What Steve said!
And yes the Rinaldin set of videos on youtube are very good. Mal uses Fine Art Trade Guild accepted standards.
You would find this book very useful. "Conservation Framing" by Annabelle Rushton, published by the Fine Art Trade Guild.
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Re: Acid Migration through hinging tape?

Post by JFeig »

The project would not be a "conservation project" if the backing board is not of a conservation grade as well, or has a proper conservation barrier between the two boards.
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Re: Acid Migration through hinging tape?

Post by artyst »

Thank you for all your replies!
If I use corrugated plastic board as backing,given I would place another ph neutral paper or board in between, would that still not be within conservation standards?

And also can I use the pass through method on foam board or would puncturing the core part of the foam board make it less archival?
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Re: Acid Migration through hinging tape?

Post by Justintime »

Tudor Rose would be a good person to answer about foam core.
In terms of backing, if it has a barrier paper/conservation mountboard between the art and the back board then it is conservation.
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Re: Acid Migration through hinging tape?

Post by JFeig »

Using fluted poly sheet used as a backing board is an excellent idea.
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Re: Acid Migration through hinging tape?

Post by artyst »

JFeig wrote:Using fluted poly sheet used as a backing board is an excellent idea.
Even if it's not the archival Coroplast one? Coz not sure I can find it here.
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Re: Acid Migration through hinging tape?

Post by Justintime »

If you are backing the work with a conservation quality board then you can use mdf backing if you like, whatever is readily available. I prefer to sandwich/tape the glass, art and undermount to encapsulate it before fitting the backboard.
As long as the work has a layer between it. I'm happy to be corrected.
Materials available in the US and Europe are very different.
You have to use what is available where you are, but follow the conservation principles.
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Re: Acid Migration through hinging tape?

Post by span2iels »

Thanks for watching the video.

A couple of points that you might consider.

You need to be careful when mounting photographs especially if they are either printed in a lab or on photographic papers. If using either of these papers it is likely that you will see the point of hinging through the photographic paper, if not initially then eventually it will show through. The same may occur if you print or use this type of hinge on a light weight paper. I have seen the photographers labels placed on the back of photos eventually leave an impression on the front.

I might suggest a minimum weight of paper to be 240gsm to use this technique and consider a photo-rag paper rather than a matt or glossy photo paper.

You mention a linen tape for the hinge, this would be too strong and certainly leave a mark. The key is that if the picture was dropped it is the hinge that would tear and not the artwork.

I am not sure that there would be acid migration from a backboard as you have an extra tab across the back of the hinge keeping the hinge in place. But as mentioned in the previous posts one could add an extra piece of conservation mountboard or alternatively a piece of Melinex/Mylar should you have access to this.

I hope this helps

Mal
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Re: Acid Migration through hinging tape?

Post by artyst »

span2iels wrote:Thanks for watching the video.

A couple of points that you might consider.

You need to be careful when mounting photographs especially if they are either printed in a lab or on photographic papers. If using either of these papers it is likely that you will see the point of hinging through the photographic paper, if not initially then eventually it will show through. The same may occur if you print or use this type of hinge on a light weight paper. I have seen the photographers labels placed on the back of photos eventually leave an impression on the front.

I might suggest a minimum weight of paper to be 240gsm to use this technique and consider a photo-rag paper rather than a matt or glossy photo paper.

You mention a linen tape for the hinge, this would be too strong and certainly leave a mark. The key is that if the picture was dropped it is the hinge that would tear and not the artwork.

I am not sure that there would be acid migration from a backboard as you have an extra tab across the back of the hinge keeping the hinge in place. But as mentioned in the previous posts one could add an extra piece of conservation mountboard or alternatively a piece of Melinex/Mylar should you have access to this.

I hope this helps

Mal
The real Mal Reynolds? Wow I am honored, didn't know you were here on this forum haha. It was hard getting comments through to you on youtube since the channel owners were playing intermediaries, now I can harass you directly ;) (sorry, oups)

Yeah I will use the thickest rag photo paper I can find here and it will be a matte inkjet pigment ink print (not glossy etc). I ordered the hinging paper you used in that video, the lineco gummed paper hinging tape that is water activated. I also ordered their self adhesive abaca.sa hinging tape. It is marketed as specifically for injket prints and giclees, and it avoids the step of putting water on the art. It also seems thinner than the paper.
Your opinion on this would be much appreciated.

I also noticed in the video when you used the paper hinges to tape the matboard and backboard together, you had to burnish it with your artist bone. But when you hinged the art to the mountboard you simply placed weights over the art and didn't burnish. So is burnishing not necessary? The abaca.sa is self adhesive and most probably will need burnishing, so was wondering how that could be possible if doing the passthrough hinging method. Would I do it from the back or over the art.

Someone had asked on youtube about float mounting using the traditional way 2 hinges at the top versus 4 hinges the way you did it, and you had answered them that for float mounting without a mat on top this was the way to do it. So I will do it your way and hope for the best. I am trying not to dry mount, so I hope it won't cockle.

Last question I promise: was the foamboard you used to make the spacers archival or regular one? Can regular foamboard be used if it is covered with a rag mat strip like in the video or would it outgas? Would such spacers work in an aluminium frame?

Thank you for your time. Much love xoxo
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Re: Acid Migration through hinging tape?

Post by span2iels »

A couple of points regarding the tapes. The Lineco range of tapes provide a very good selection of tapes that can be used for the majority of hinging solutions. The Fine Art Trade Guild(FATG) stipulates that pressure sensitive tapes should not be used at Conservation level framing, I believe the reason for which is that the longevity of the acrylic adhesive is not proven. Link https://www.fineart.co.uk/Tapes_Adhesives.aspx unfortunately one has to be a member to download the document.
Furthermore, the Institute of Conservation guidance on ‘Conservation mounting & framing of works of art on paper’ link: http://www.conservationregister.com/PIcon-Mounting.asp suggests that pressure sensitive tapes have no place in conservation framing. I am sure that this subject may generate some discussion but I suggest that one should have an open mind using the best cost effective materials and techniques possible. To quote Douglas Bader: ‘Rules are for the obedience of fools and the guidance of wise men.’

I have moved away from using tapes with photographs rather using corner pockets with a paper tray along the bottom edge for extra support when supporting larger photographs.

Turning to burnishing, I only burnish the the hinge between the window mount and undermount. When using a T-Hinge there is no reason why one should not burnish the cross-tab. I use the weights when hinging with Japanese papers and starch paste.

I always make my own spacers using foamboard and mountboard. Wherever possible I will use conservation grade materials and I am not sure that standard grade foamboard would cause a serious problem when covered with conservation mountboard especially as the spacers tend to be narrow.
Finally, I have used spacers in an aluminium frame, a little fiddly but achievable.

Regards

Mal
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Re: Acid Migration through hinging tape?

Post by poliopete »

Mal, like artyst I would like to thank you for taking the time to reply.

I am sure I'm not the only member who appreciates such a detailed and informative reply and the way you share your hard-won knowledge so generously.

Peter.
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Re: Acid Migration through hinging tape?

Post by span2iels »

Thanks for your comments Pete - much appreciated.

Kind Regards
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Re: Acid Migration through hinging tape?

Post by artyst »

span2iels wrote:A couple of points regarding the tapes. The Lineco range of tapes provide a very good selection of tapes that can be used for the majority of hinging solutions. The Fine Art Trade Guild(FATG) stipulates that pressure sensitive tapes should not be used at Conservation level framing, I believe the reason for which is that the longevity of the acrylic adhesive is not proven. Link https://www.fineart.co.uk/Tapes_Adhesives.aspx unfortunately one has to be a member to download the document.
Furthermore, the Institute of Conservation guidance on ‘Conservation mounting & framing of works of art on paper’ link: http://www.conservationregister.com/PIcon-Mounting.asp suggests that pressure sensitive tapes have no place in conservation framing. I am sure that this subject may generate some discussion but I suggest that one should have an open mind using the best cost effective materials and techniques possible. To quote Douglas Bader: ‘Rules are for the obedience of fools and the guidance of wise men.’

I have moved away from using tapes with photographs rather using corner pockets with a paper tray along the bottom edge for extra support when supporting larger photographs.

Turning to burnishing, I only burnish the the hinge between the window mount and undermount. When using a T-Hinge there is no reason why one should not burnish the cross-tab. I use the weights when hinging with Japanese papers and starch paste.

I always make my own spacers using foamboard and mountboard. Wherever possible I will use conservation grade materials and I am not sure that standard grade foamboard would cause a serious problem when covered with conservation mountboard especially as the spacers tend to be narrow.
Finally, I have used spacers in an aluminium frame, a little fiddly but achievable.

Regards

Mal
Thank you for answering back :)
For aesthetic reasons I can't use the corner pockets, so I will try the water activated hinges first when I receive them to float mount the photographs and if I feel the humidity is affecting the art then will try the self adhesive
ones. Not sure how long I need to test the final artwork before I can sell it to potential clients though.
It's hard getting archival anything here, so I will try ordering conservation foam boards from abroad and if that fails then I guess I will just use the regular ones glue them onto mat boards to make those spacers. I just hope they will stick to the aluminium moulding and not come off! Would I still be able to sell my art as "conservation" framed?
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Re: Acid Migration through hinging tape?

Post by prospero »

One thing that isn't mentioned is the actual nature of the photographs themselves. :roll:

If the paper/inks are not 'archivally sound' then no amount of conservation materials/methods will preserve them.

I feel this aspect is frequently left unconsidered.
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Re: Acid Migration through hinging tape?

Post by artyst »

prospero wrote:One thing that isn't mentioned is the actual nature of the photographs themselves. :roll:

If the paper/inks are not 'archivally sound' then no amount of conservation materials/methods will preserve them.

I feel this aspect is frequently left unconsidered.
Yeah that is a given, ofcourse the photographs would be pigment ink prints on archival cotton rag paper :)
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Re: Acid Migration through hinging tape?

Post by JohnMcafee »

>If the paper/inks are not 'archivally sound'
>then no amount of conservation materials/methods
>will preserve them.


Not wanting to be controversial for the sake of it, but a bit of a discussion on this topic might be of interest.

For years I've been telling folk that, even if the paper/dyes/inks of their artwork isn't particularly archival, framing with conservation methods is worthwhile and will preserve the work considerably compared to using materials such as cardboard backing, masking tape, gum tape, spray adhesive, wallpaper paste, non-uv glass, etc

In an ideal world there might even be an argument for the opposite view:- If the material that you are framing is of such good quality that it is impervious to acid and other pollutants to a degree and the colours are super light-fast, then conservation framing materials will be of little benefit.
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Re: Acid Migration through hinging tape?

Post by prospero »

Thanks for that clarification. The term 'photograph' can cover a vast area. :)

They should therefore be regarded as fine art prints. I would be quite happy to use a pressure-sensitive tape such as Filmoplast P-90.
I have been using this tape for a long time and have had the opportunity here ad there to examine prints that I hinged more than 30+ years
ago. No ill effects to report. This tape is nice to use as it does allow for repositioning. Once you are satisfied you should rub it down (gently)
with an agate burnisher (or similar). The adhesive increases it's bond over a few days.

Wet hinges using starch paste are arguably more desirable, but this technique requires a bit of practice. The amount of 'wetness' is quite
critical. Too wet and you risk raising a bump on the surface of the print. Too dry and the bond can fail.

IMHO P-90 would be better for your purposes. If you are not experienced in mixing/applying wet hinges then you are risking damage to the print
in trying to achieve a fine point of conservation practice - which defeats the object of the exercise.
Learn this technique on something disposable until you can execute it reliably and consistently on many types of paper. :wink:
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Re: Acid Migration through hinging tape?

Post by artyst »

prospero wrote:Thanks for that clarification. The term 'photograph' can cover a vast area. :)

They should therefore be regarded as fine art prints. I would be quite happy to use a pressure-sensitive tape such as Filmoplast P-90.
I have been using this tape for a long time and have had the opportunity here ad there to examine prints that I hinged more than 30+ years
ago. No ill effects to report. This tape is nice to use as it does allow for repositioning. Once you are satisfied you should rub it down (gently)
with an agate burnisher (or similar). The adhesive increases it's bond over a few days.

Wet hinges using starch paste are arguably more desirable, but this technique requires a bit of practice. The amount of 'wetness' is quite
critical. Too wet and you risk raising a bump on the surface of the print. Too dry and the bond can fail.

IMHO P-90 would be better for your purposes. If you are not experienced in mixing/applying wet hinges then you are risking damage to the print
in trying to achieve a fine point of conservation practice - which defeats the object of the exercise.
Learn this technique on something disposable until you can execute it reliably and consistently on many types of paper. :wink:
My bad, yes fine art print I guess would be a more descriptive name even though the art itself is taken with a camera and generally referred to as photograph.
I have no prior experience with hinging tapes so I will experiment first a bit with the water activated ones and if I feel I am screwing things up then will revert to the adhesive types. I am just trying to keep things as conservation as possible and follow the general guidelines. Thanks.
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