Archival-Quality Framing: UV Glass, Acid-Free Mounts and Lifespan

Keeping an artwork or racket case as it was on day one for years depends largely on details you do not see. What we call archival-quality framing is about how the glass filters light, which board sits behind the work, and how well everything is protected from humidity. Here we explain these three elements in plain terms.

What does archival-quality framing mean?

Archival quality means the materials inside the frame do not damage the work over time. Ordinary boards contain acid; over the years they yellow and can yellow the paper or print they touch. Ordinary glass lets through most of the ultraviolet (UV) in sunlight, and colours slowly fade. The archival approach aims to minimise both effects.

UV glass: protecting colours from fading

UV-protective glass filters a significant share of ultraviolet light. It varies by manufacturer and product, but such glass typically blocks the great majority of UV. This makes a difference especially for vivid prints, signed objects and sunlit walls.

There is also the matter of reflection. Anti-reflective glass reduces the glare of room light on the surface; the work appears to sit in the room rather than behind glass. In pieces with depth, such as racket cases, the effect is even more noticeable.

Acid-free mount: the quiet protection around the work

A mount leaves a gap between the work and the glass and stops the work sticking to it. An acid-free mount does not yellow over time and passes no acid to the work. Colour matters too: white and off-white bring the work forward, while dark tones make a more dramatic frame. In tennis-themed pieces, a mount that echoes the white of the court lines usually works well.

Other factors that determine lifespan

However good the materials, the surrounding conditions directly affect lifespan. A few simple rules make a big difference:

• Avoid walls in direct sunlight; even UV glass does not stop the sun entirely.
• Humid areas such as bathrooms and kitchens are unsuitable for paper and wood.
• Directly above a radiator is risky because of temperature swings.
• When cleaning the glass, spray the cloth, not the glass; this stops liquid seeping into the frame.

For racket cases and objects

The same logic applies to three-dimensional objects such as a racket, a ball or a signed shirt, with depth added. The object must not touch the glass, the back panel must be stable and the box must be protected from dust. In the Aurecort workshop we make cases to measure and calculate from the start the depth at which the object will not touch the glass.

Quick summary

For a long-lasting frame, ask three questions: What does the glass offer against UV and reflection? Are the materials behind and around the work acid-free? Where, in what light and in what humidity will the work hang? With the right answers to all three, the piece on the wall looks the same years later.

For your own artwork or display-case idea you can write to us via our contact page. For signage, canvas and acrylic print work, take a look at our sister brand Aurecort Reklam.

Aurecort workshop, Kadıköy