Removing and Inspecting and moving Your Print

Care of your art print should begin when you remove it from the cylinder in which it is shipped. Remember, you are handling a paper product, and mishandling can lead to ugly dents or creases.
Remove your rolled print from the shipping tube, place it on a flat surface and gently unroll it. Placing a hand on the bottom surface and one hand or a flat heavy object, such as a book, one on the surface of the top portion of the print, and another on the surface of the bottom portion will allow it to stay flat so you can view and inspect it. (It may not remain flat, but left alone, it will gradually flatten).
Always handle prints with clean and dry hands. To lift a print, hold the top corners, each with one hand and allow the print to dangle. Never hold along the sides.

Storing Your Print

If possible, lay your unframed print flat and store in a dry place away from sunlight. When re-rolling your print to store or take it to the framer, roll gently and smoothly and avoid applying any pressure or rolling too tightly as these may result in dents. Unframed prints may remain stored in the shipping tubes for a few weeks or longer. It is easier to flatten out a curled print than to eliminate dents and creases.
If you are storing valuable original prints, it is best to store them between sheets of acid-free foam core or mat boards.
Prints may also be stored in clear plastic sleeves.

Framing Your Art Print

Unless you do it yourself, an experienced framer will be able to offer a wide range of frame choices and framing options and will be able to guide you in combining the right elements. A professionally framed print will generally look better and last longer.

Choosing a Frame
The type of framing selected for a work should be compatible with, and dependent upon, the work itself, not with the surrounding decoration of a room. If the artwork goes well in a room and the frame goes well with the artwork, then the frame will go well with the room.
The frame should never be more important than the picture it surrounds. When you look at a framed picture, the art should attract your attention before the frame does. Remember, the art is the star of the show. The frame should complement the subject matter, tonal value and size of the picture. Consider these points when selecting framing for your art:

• Consider first the color scheme of the art.
• Consider next the style, subject, and era of the art.
• Choose frame colors and style that best suit what the art is.
• Study the art to determine the most appropriate finish. 
• Select appropriate choice of the mat- to back inside the frame.
• Art should be framed primarily to enhance itself and secondarily its surroundings.

Matting
Matting is recommended in framing most prints. Technically speaking a mat ia a protective housing for works of art on paper. It comprises of a multi-ply paper board that overlays the artwork with a window cut out of it that allows the art to be seen. The primary function of a mat is a practical one. It protects the print by separating the print from the glass. If there is condensation, the print might stick to the inside of the glass if they are touching. But a mat has a decorative quality too, adding dimension, color, texture and shape that greatly enhances the artwork. Indeed, matting has become an art in itself. Choose matting that complement the picture. The rule of thumb is to choose a mat color that picks up on  the a color in the art. Sometimes it is best to avoid picking up on the dominant color since the preponderance of that color may overwhelm. A single mat may suffice in most cases, but adding a second mat (double matting) can add depth to the framing and allow the addition of a second color. For artwork where the background is white, try a dark colored mat. For a print with dark tones, try lightening it up with a light mat. Experiment!

Mounting
Dry mounting or any other form of permanent bonding is recommended for prints that do not require matting, such as posters or for prints on thin flimsy paper. Dry mounting or permanent mounting will prevent buckling or warping of your framed print over time. The print will hold its form permanently.
Note: Original prints or limited edition prints should never be permanently mounted as they will lose some of their value.

Top | Caring for your art | Art terms Glossary

Fitting and Backing
A custom frame is a neatly sealed ""package"". It has been designed so that every part fits perfectly, so that nothing is loose. Fitting involves cleaning the glass to perfection, without dust or foggy areas. It involves securing materials behind the artwork so that it doesn't rattle within the frame. It involves placing a protective ""dust cover"" on the back. To do this correctly may take considerable time. Fitting is a very important - although hidden - part of custom framing.

Hanging Art
Use frame hangers to hang your framed print. They will do the least damage to your wall and they are designed to safely hold up framed art. Be sure that the hanger will bear the weight of the particular framed print. If the frame to be hanged is large and heavy, use two hangers spaced about 6"" apart and distribute the weight evenly. Avoid hanging artwork too high or too low. Art should be placed at a level where it is comfortable to see.


FRAMING AND HANGING LIMITED EDITION AND ORIGINAL PRINTS

Professional conservation framing is recommended for all limited edition and original prints (as well as for any other valuable paper items that you wish to preserve, such as certificates, letters etc.)
Conservation framing is a specialized type of framing which utilizes the highest grades of materials and forms of non-permanent mounting that preserve and will not alter the original properties of the artwork.
When paper comes in contact with regular matboards and backing, it will, in time, become stained with the acids present in the board. A professional framer will cut a mat from acid-free matboard. Your framer will also make hinges with acid-free material so that the artwork ""floats free"" on top of an acid-free backing. The matting and mounting are the two most important elements in conservation framing but there are others that make up the total ""conservation package"".
It is costly but it brings a special blend of craftsmanship, skill and patience which will bring out the best in your artwork and you will have the reassurance of having the finest quality conservation material to protect your 'investment'. 

There are special considerations when framing limited edition or original work. The objective should be to preserve the artwork in its original condition.

• Always handle prints with clean hands as natural body oils can do permanent damage to fine art paper 
• Always use two hands to lift paper so the edges do not get crimped or dented. 
• Never touch or drag anything across the image. A thumb print or scratch will leave a permanent mark that can't be repaired.
• If you are storing your print unframed for a long period of time, store it between acid-free papers and in some type of folder.
• Do not store print near heat or next to a radiator. Keep it in a dry, clean environment. 
• Never cut the margins of the print or fold the edges of the paper. 
• Do not permanently mount the print. Acid-free hinges should be used to secure the print against acid-free backing material.
• Glass or another form of transparent sheeting should be used to protect the face of the artwork from dust, moisture and insects. The artwork should not touch the surface of the glass, however, since moisture condensation inside could stain the artwork or cause mold growth.
• Separate the artwork from glass by an acid-free mat or some other form of separation.
  A dust cover attached to the back of the frame is necessary to protect the print from pollution and insects and to keep it clean. Kraft paper provides a suitable dust cover.
• Avoid hanging your valuable print in direct sunshine or over a radiator or frequently used fireplace. 
• Check your framed print every five years or so. Inspect for light damage, mold growth, insects, loose hinges etc. "

Decorating Tips

• Integrate art with home decor
• Be Conscious of Scale- art should "fit" the location not overwhelm it
• Height is a crucial- make art easy to see, at eye level generally
• Place art strategically in stairways and hallways

Top | Caring for your art | Art terms Glossary

art terms quick reference

Acid-free Paper: Paper product in which the acidic content of the fibers used to form the paper has been neutralized. It is the acid content in regular paper that over time causes yellowing and brittling. This more expensive paper is sometimes used in printing limited edition prints.

Artist's Proof: A print outside of the regular numbered edition but printed at the same time, or after the regular edition from the plate or screens, without changes. Usually about 10% of the edition total is reserved as Artist's Proof. These prints are identified by one of the following markings: 'Artist's Proof' (or A.P.); 'H.C.' for the French Hors de Commerce, literally, 'Out of Trade'. H.C.'s were usually used for entering shows, exhibits, etc. and as samples. Today, however, since people have begun to acquire and collect them, these prints now generally find their way to the market through regular channels and are sold at a premium.

Cancelled Plate: After an edition is printed, the plate is frequently scratched or otherwise defaced in order to prevent further printings.

Certificate of Authenticity: A piece of paper which sometimes accompany limited edition prints. It may contain information such as the printing process used, the edition size, the year of printing, the title, the artist's name and it is sometimes signed by the publisher or the artist.

Edition: The total number of prints made of a specific image.

Hand Signing and Numbering: Signing and numbering is a relatively modern practice. It is usually one way the artist authenticates a limited edition print. The most common method used today is to record on the left side of the print the size of the edition and the number of the particular print. For example, 11/150 means that there were 150 prints in the edition of which this number is 11. The signature usually appears at the right margin of the print.

Remarque: A small personalized drawing with the artist's initials usually near the penciled signature in the margin of the print.