How to... Choose Archival Mat Board?
When choosing an archival mat board you want it to enhance the longevity and overall appearance of your artwork. There are many products available today that promote themselves as archival but not all are equal in quality. Three basic requirements; the board should not cause staining or fading nor accelerate deterioration of the artwork, the long term stability of the mat board should be at least equal to the expected life span of the piece, and the brightness of the board should not alter over time. There are two types of archival board to consider; one is more economical than the other, but both meet or exceed current archival standards and have passed the P.A.T.
100% Cotton Rag Board also referred to as Museum Board
Boards are acid- and lignin- free and use alkaline or neutral sizing. All boards are buffered with calcium carbonate; which ensures protection from the destructive effects of elements such as sun, light, dust, temperature, etc. that will cause the pH of paper to decrease with age.
Conservation Board
Boards are made using alpha-cellulose pulp from purified wood fiber, making it more economical to manufacture than the cotton alternative. It does however maintain the same stable and long-lasting properties.
Additional specifications are available on each product’s page at www.archivalmethods.com.
Once you’ve decided on the board the next step is choosing the thickness or ply. The most common recommendation for matting artwork is the 4 ply which is 1/16" thick. It creates sufficient separation between the artwork and glazing (Acrylite OP-3). As prints or artwork grow in size it is recommended to use an 8 ply board (1/8" thick). The additional thickness helps support the piece and creates more air space to compensate any bowing in that may occur. For smaller prints or for use as interleaving material between prints 2 ply boards work well, since their thickness is only 1/32".
Both the 100% Cotton Rag or Purified Wood Pulp boards are great options for matting your photographs or artwork.
Issue #5 Tip: Cutting Window Mats
Prior to cutting your window mat, be sure your work surface is prepared, your mat board is cut to size, the blade is properly positioned and the width of the borders have been calculated and marked.
The cutting surface should be about 4 to 6 inches longer and wider than the mat being cut. The overall size of the piece to be matted should determine the size of the mat. Never cut down artwork to fit a mat or frame. Use a pencil to mark the outside edges of the mat (write on the back of the mat).
A general rule of thumb to follow when it comes to boarder dimensions is 2 inches. Many professionals prefer a weighted bottom (1/4" or 1" larger bottom border than top). Always make the window slightly smaller (1/8") than the image. This will keep the print or document from popping out of the mat.
Prepare to begin cutting the mat by inserting the (mat) cutter blade on the marked line just outside of the corners. Align the ruler (or other straightedge) outside the guideline and hold it down firmly. Push the cutter along the guideline, approach corners carefully. Cut slightly past the corner for the bevel but avoid cutting too far. Knowing where to stop comes with practice. Repeat for each side of the mat going in a clockwise direction. Remove the center of the window mat.
Remember, cutting your own window mats takes patience, practice and time to perfect. Below are a few key tips:
- Change blades often – they produce the smoothest cut
- Run a burnishing bone along the inside edge of cuts to smooth any rough edges
- Erase guidelines – pencil marks can transfer to artwork
- Change cutting surface – little grooves from previous cuts could change the direction of the blade
- If the mat cutter is difficult to push or flares out at corners – the blade is too deep & if it is hard to set the blade might be broken
- The window mat should overlap the artwork slightly (1/8")
- Always position the straightedge to the left of the cutting line
Issue #5 Term: Alpha Cellulose
A form of cellulose derived from cotton. The presence of high percentages (87%+) of alpha cellulose in paper or board is one indication of its stability or longevity. Non-cellulosic components of wood are believed to contribute to the degradation of paper and board.
Questions & Answers
If you have any questions, please feel free to e-mail them to [email protected] or visit us on Twitter, FaceBook or LinkedIn.
Q: We have a valuable glass negative of a photograph taken during the early 1900s which needs to be stored properly. The glass negative is: 4-3/4" x 3-1/2" and approximately 1/8" thick. What do you recommend?
A: Our recommendation provides museum quality protection and would be use an Onyx Portfolio box (8-1/2" x 11”x 1-3/8") to hold a custom sized sink mat to hold the glass plate. The mat should be 1/8" (8 Ply Board) thick, slightly larger than the glass plate negative. The window mat would be cut 1/2" smaller then the negative and hinged to a backing board. A sheet of archival paper would be used to create a cradle so the glass plate can be removed safely from the mat. Additional protection can be provided by placing the mat in a Crystal Clear Bag.
We accept requests for custom sizes of archival paper and mat board. Min. quantities may be required. |
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