60 year old Newspaper-other ideas beyond encapsulation?

[LeMieuxGalleries]

Good Morning! I have a client who wants to frame a very brittle complete Wall Street Journal from 1950. I have read the previous threads on the topic already, I am aware of the mylar encapsulation method if I were to mat over the taped down edges, and I have finally just order a copy of Jim's Complete Guide to Shadowboxing...BUT in the mean time:

Can anyone offer any other suggestions besides the mylar encapsulation (I said I would ask) and also until I get the book, would someone explain to me how to encapsulate the whole paper and still show the entirety of the paper floating on the backing instead of matting over the edges and hiding the edges of the mylar as well??

THANK YOU!

 

[05]

It the client really wants to save the newspaper -besides the fact that it should not be exposed to light in a frame- the newspaper probably ought to get washed.

Find a conservator in your area at the American Institute for the Conservation of Artistic and Historic Works:
http://www.conservation-us.org/index.cfm?fuseaction=Page.viewPage&pageId=495&parentID=472

 

[Cliff Wilson]

Let's start with the idea that you want to see the sides ...

1) cut a Rag board the size of the paper

2) put paper on board

3) cover paper with either mylar, or fine mesh fabric (like Stabletex)

4) wrap overlay choice around back of rag board. (with mylar, you may have to fold to give shape and thickness.)

5) attach overlay choice to back of Rag board.

6) attach rag board to choice of mat to be mounted to.

done.

 

[Jim Miller]

Since the newspaper is brittle, I suggest following 05's advice and seeking conservation treatment before doing anything else with it.

For the framing, I would probably make a Direct Contact Overlay (DCO) mount using clear polyester film and Museum Optium Acrylic, and frame it to show the entire front page, unfolded. This design would provide sturdy support for the whole newspaper and overall support for the front page. Point-supports, such as hinges or clips for example, would probably destroy the fragile newspaper.

Similar to Cliff's instructions, I would start by cutting a rag or alpha cellulose board slightly smaller than the unfolded newspaper, and place it behind the front page. In order to minimize bleed-through-view of the print on the back of the sheet, use a dark-colored mat. Also with the board, place a sheet of clear polyester film under the front page, trimmed slightly less than the newspaper's width and about twice as long as the newspaper.

Prepare a sturdy backer, also slightly smaller than the unfolded newspaper, such as aluminum composite material (ACM) or 8 mm or 10 mm fluted polypropylene. Line it with alpha cellulose board. Center the newspaper on it, including the aforementioned board insert and sheet of clear film under the front page. Attach the ends of the clear film sheet to the back of the prepared backing board using a good double-sided tape, such as 3M #889 or the older-technology 3M #415.

Trim several layers of needle-punched polyester batting about 2" smaller than the newspaper and stack them in the center of a very rigid, frame-sized backing board covered with decorative board or fabric. ACM would be my choice for the frame-sized backing board.

Center the mounted newspaper on the batting/backing board, then center the Museum Optium on the stack. Fit this assembly into the frame and apply considerable pressure when fitting, to compress the batting, which holds the front page of the newspaper in place.

Note that the weight of the newspaper is supported by the clear film wrap, and only the front page is supported by the direct contact of the glazing.

Condensation inside the frame could be a serious problem, so instruct the customer to keep this frame in a temperate environment, avoiding rapid or radical changes of temperature, especially when relative humidity is high.

For reference, here is a web page with photos of a newspaper framed this way.

 

[Mitre]

Brittle Newsprint

I had a piece about 10 years ago that was salvaged from an attic ... with the same issues.

I sandwiched it in between a layer of regular ole glass on the back, and museum glass on the front. Then I installed spacers on top of the museum glass, installed a mat or two and covered it with conservation clear.

True, it was heavy. The frame was massive, as were the hangers and the hanging technique.

It hangs there today, not a crumb is missing and everyone is orgasmic.

The extra layers of glass created, essentially, a thermal window; no condensation; no harm; no foul.

 

[Jim Miller]

I sandwiched it in between a layer of regular ole glass on the back, and museum glass on the front. Then I installed spacers on top of the museum glass, installed a mat or two and covered it with conservation clear...The extra layers of glass created, essentially, a thermal window; no condensation; no harm; no foul.

If you used Conservation Clear spaced above the Museum Glass, wouldn't that defeat its anti-reflection quality?

Yes, the 'thermal window' design would discourage achieving dew point and condensation, and like you, I have built frames like that. A single layer of acrylic might be almost as good in defeating condensation, and I've found that the frame weighs a lot less.

 

[Mitre]

Sandwiching etc etc

True, acrylic would have been lighter, but it's not unusual to have it not lie as flat as glass .... and a constant contact makes the whole thing work. As far as the anti-glare properties of the Museum Glass being negated by the inclusion of CC, ..... I've been using this technique for years on rare maps and, as far as the viewer is concerned, there IS no Museum Glass there.

 

[Jim Miller]

As far as the anti-glare properties of the Museum Glass being negated by the inclusion of CC, ..... I've been using this technique for years on rare maps and, as far as the viewer is concerned, there IS no Museum Glass there.

That seems like a terrible waste of money. You could use the less costly AR Glass or UltraVue and achieve the same effect. Since you are also using Conservation Clear on the outside, you do not need to have UV filtering on the inner glazing.

 

[Mitre]

Newspaper encapsulation

Yes, there are many ways to skin a cat. Invariably, we wind up using the way that our customers, not to mention experience, have proven to to be the Best Solution.

My suggestion is to follow the course that seems to work for you, and I will pursue the avenue that seems to work best for my trade.

It's unfortunate that your solution does not meet my standards. Best of luck to you.

 

[Cliff Wilson]

... It's unfortunate that your solution does not meet my standards.

Not to argue, but Jim was trying to point out that two lites of UV filtered glass only filter what the "best" one does. Two doesn't increase the filtering properties at all.

So, in fact, the AR glass suggestion is equally "good" from ANY point of view and would save you and your customer some money.

Jim, I submit that the use of water white like Ultra View under CC would probably negate the benefit of the lack of color cast? No?

 

[Mitre]

Encapulation

Oh, and I have no arguement with what you're saying.

My position is that why not use some overkill and make sure it is addressed appropriately.

That added expense of Museum glass does seem to augment the concept of using the Best Materials For The Best Job.... yes?

None the less, the concept is a good one, and I will stand by the years of my success as opposed to those of use who attempt to take a more money-grubing attitude to what's beneficial to our trade, in the name of "We Are The Master Framers" ....Do Not Question Us."

 

[Cliff Wilson]

... That added expense of Museum glass does seem to augment the concept of using the Best Materials For The Best Job.... Yes? ...

Well, no.
I tend to be a belt and suspenders guy myself. Use a fifty pound wire when a thirty would do, a Rag mat with a Mylar encapsulation, ...

But in this case, scientifically, using Museum ( or any UV filtered glass ) under ConClear does not improve the UV filtering properties at all.

That really has nothing to do with credentials.

 

[GUMBY GCF]

There are many ways to do some things.
Some are correct or at least acceptable. Then some are obviously misguided or misapplied..

 

[Jim Miller]

That added expense of Museum glass does seem to augment the concept of using the Best Materials For The Best Job.... yes?

The second UV-filtering layer augments nothing in the frame design, but adds cost. One layer of UV filtering would do everything that UV filtering can do. So, using Museum Glass with Premium Clear, or using AR Glass with Conservation Clear, would provide exactly the same benefits as using Museum Glass with Conservation Clear, but the cost would be lower.

None the less, the concept is a good one, and I will stand by the years of my success...

The tag-line (below) comes to mind.

 

[David Hewitt]

"That added expense of Museum glass does seem to augment the concept of using the Best Materials For The Best Job... Yes"


No... Not in my humble opinion. There are better ways and better materials depending on which procedure is used... Yes.

Live and learn and pass it on.

Tomorrow there could be other options. I have been framing for more than 30 years and I learn something new everyday, Thanks to all of you.

 

[Jim Miller]

Jim, I submit that the use of water white like Ultra View under CC would probably negate the benefit of the lack of color cast? No?

The green tint of plain glass could affect the view of some artworks, and acrylic or water white glass once were the only alternatives. Today, color-correcting coatings on glass provide an economical alternative. Clear acrylic and water white glass are still clearer, but not by much.

The unpredictable factors of illumination in nearly all display environments account for more variances of color rendition than any differences in the glazing. The unpredictable factors include not only the light sources, but also reflected colors from walls, ceilings, and objects in the room. Perfect color rendition can happen only in perfect illumination, which could only be an accidental condition outside of a room prepared to be color-neutral, with a professionally engineered, carefully controlled lighting system. No natural light would be allowed, because it changes color from dawn to dusk, and its intensity is difficult to control.

Some big-budget museums try to achieve that sort of perfect illumination, but few casual observers would be able to perceive the difference between 50% success, 75% success, or 100% success toward perfect color rendition.

 

[RoboFramer]

I use two (UV AR) water white types of glass - Flabeg & Artglass. Side-by-side there's no difference, but either, side-by-side with absolutely any other type of glass, the difference is instantly obvious, over any colour background.

 

[Mitre]

Encapsulation

..... and, as I mentioned, it still hangs (intact) today ..... with a very happy customer.

I appreciate all the input ..... sometimes ya gotta wing it and it turns out great.

 

[Mitre]

Encapsulation

The point of the Museum Glass was to eliminate any glare ..... and UV bennies would have been nice, but not the main objective. And I'm not aware of any other glass that has the glare-eliminating qualities of Museum Glass.

As far as cost, well, sure, it wasn't dirt cheap .... but this customer didn't expect it to be (Don't we all wish we had those??).

Anyway, he was happy and the art looks great; crumb free.





"Trying to open a closed mind is like trying to pry open a rosebud. Full bloom comes only from within, and only at the pleasure the rose. Giving it illumination is essential, but keeping it in the dark would defeat the purpose."

 

[wpfay]

The point of the Museum Glass was to eliminate any glare ..... and UV bennies would have been nice, but not the main objective. And I'm not aware of any other glass that has the glare-eliminating qualities of Museum Glass.

TruVue A/R is their Permium Clear product with the same anti-reflective coating as Museum Glass.

 

[Mitre]

Encapsulation

Cliff, I'm your kinda guy, in terms of Suspenders and overkill .... I do tend to ere in using too much of a good thing, but the additional cost is minimal and makes me sleep better at night.

Gumby, that's why there's more than one restaurant in the world (different Chefs, don't ya know).

WPFay, thanks for the info .... I'll use that in my next project; advice appreciated.

(Oh, and BTW .... I like Mylar as much as the next guy, but don't you get sick of the shiney waves that you cannot avoid???? Mylar is airtight; why not use glass?)

Thank you all for your suggestions ... they will all get mentally catagorized as to importance, and the really good ones will grace someone's wall...

It's nice to be back; and my thanks to the moderator for his forebearance, and to you all for being the Nice Folks you are.

Mitre (used to be FramingFool ... originally member #49 .... long time ago).


(I like this quote ... attributed to J. Miler .... hope ya don't mind if I borrow it for awhile)

"Trying to open a closed mind is like trying to pry open a rosebud. Full bloom comes only from within, and only at the pleasure the rose. Giving it illumination is essential, but keeping it in the dark would defeat the purpose."

 

[Shayla]

This thread has been an interesting read.
Thanks, all, for taking time to comment.

 

[Jim Miller]

I'm not aware of any other glass that has the glare-eliminating qualities of Museum Glass.

To my knowledge, there are four single-layer, optically coated, anti-reflection glass products, all available from framing distributors at lower prices than Museum Glass:

1. Tru Vue AR Glass is 2.5 mm color-corrected glass and identical to the appearance of Museum Glass. It has the same optical coatings, but it has no UV filtering coating.

2. Tru Vue Ultra Vue is 2 mm water white, optically coated, without UV filtering.

3. ArtGlass is 2 mm water white, optically coated, without UV filtering.

4. Claryl is 2 mm water white, optically coated, without UV filtering.

But of course, when you put Museum Glass or any of these other anti-reflection glass products behind Conservation Clear, you lose most of the clarity and anti-reflection benefits of the optical coatings.

 

[pwalters]

The point of the Museum Glass was to eliminate any glare

Mitre,

I'm just going to focus on this part and what Jim was saying.

Putting the MG in there to reduce glare is a good idea, but when you put the CC on the outside then you ended up with glare for the end user. No?
Would you have used clear against the piece and then MG at the face of the design? Probably not, right? Why not?

Also, if this was a no issue type of budget, why not MG for both front pieces?

 

[pwalters]

I sandwiched it in between a layer of regular ole glass on the back, and museum glass on the front.

So nothing between the paper and the glass? Essentially a glass sandwich? Nobody else here have a concern about this that they want to address?

 

[Jim Miller]

So nothing between the paper and the glass? Essentially a glass sandwich? Nobody else here have a concern about this that they want to address?

Paul, the concept described by Mitre works well, but as previosly noted, four layers of glass & spacers make for quite a thick, heavy assembly.

In a typical glass sandwich mount, condensation absolutely would occur in certain environmental conditions. The key to avoiding condensation is to slow the rate of temperature and humidity changes inside the frame. Enclosing the glass sandwich in a frame with outer layers of glazing provides insulation and slows the rate of change. It works like a double-pane thermal window. So, condensation inside the mount would not be likely, because the dew point condition, which causes the condensation, would be difficult to achieve there.

For similar framing these days, I generally prefer a DCO mount using acrylic, especially Museum Optium Acrylic on the front, which has the same optical coatings and UV protection as Museum Glass, and it is also treated for abrasion resistance.

Due to the acrylic's superior thermal insulation properties, it is less likely to foster condensation than a typical glass sandwich, which would never be recommended. I'm not sure an acrylic DCO would be quite as effective as using double-layer glass, as Mitre does, but it would take an extremely rapid & radical change of temperature, combined with high humidity, to create condensation inside a DCO mount using acrylic.

 

[Framing Goddess]

I would never even consider using glass, (museum or otherwise) on any irreplaceable or valuable piece.

First time the dog gallops through the house and happens to bang into the end table which dumps the lamp which knocks into the 9000 year old framed newspaper sandwiched between two pieces of glass (museum or otherwise) and it bounces to the floor in a shower of sword like glass shards, that valuable and irreplaceable piece of very brittle newsprint just became trash.

I don't think glass (museum or otherwise...) is the "best" option for valuable pieces.

edie seenithappen goddess

 

[Jim Miller]

I would never even consider using glass, (museum or otherwise) on any irreplaceable or valuable piece.

Good point.

Most irreplaceable documents can be scanned or photographed, and a good quality digital reproduction can be framed after artificial aging. That way, the original can be placed in safe storage. Preservation of the reproduction would not be necessary, making for many more framing design options, and when the framing is done, most casual observers could not tell it is a reproduction.

In the case of a newspaper, only the front page would need to be reproduced. For purposes of framing, the inside pages could be from any newspaper of the same size. The discoloration and aging could be created by watercolors or sunlight exposure.

The color of an original newspaper would continue to change if it were framed for display in a normal environment, so getting the color exactly right would probably not be much of an issue.

Just last week we framed a reproduction of a document on parchment signed by President John Quincy Adams, dated May 20th, 1828. We also prepared a storage box made of alpha cellulose board to fit the original, which will be kept sealed up and in a controlled environment.

The total cost of scanning/photography, reproduction, framing of the copy, and packaging of the original can cost less than preservation framing of the original. Digital reproduction technology provides a win-win situation for the customer.

 

[pwalters]

In a typical glass sandwich mount, condensation absolutely would occur in certain environmental conditions. The key to avoiding condensation is to slow the rate of temperature and humidity changes inside the frame. Enclosing the glass sandwich in a frame with outer layers of glazing provides insulation and slows the rate of change. It works like a double-pane thermal window. So, condensation inside the mount would not be likely, because the dew point condition, which causes the condensation, would be difficult to achieve there.

Just enough variable that I'd not want to chance it. Plus, add in the potential breakage issue and just not worth the risk when plexi is so readily accesible. Plus, there are companies all around St. Louis that are build upon removing moisture from double paned windows. So it's not like it's uncommon that those fail. Plus, today in St. Louis it's 91 degrees. Thursday it's going to be 103. How long in those temperatures would a piece need to be closed up in a car before you start to have issues with Mitre's design? Your DCO with acrylic would be my preference if this is the design the cusatomer is looking for.

 

[Jim Miller]

Certainly, some frame designs are more susceptible to environmental changes and extremes than others. The purpose of preservation framing features is to minimize harm inside the frame. Here's that question again: How much preservation do you want?

Whether the framing includes preservation features or not, perhaps the best course of action is to edcuate customers about how to take care of their frames properly.

 

[Rick Granick]

...the dog gallops through the house and happens to bang into the end table which dumps the lamp which knocks into the 9000 year old framed newspaper...

C'mon, Edie, let's not exaggerate. You know newspapers have only been around for 8,000 years.
Rick

Other than that, your post makes a lot of sense.

 

[pwalters]

Whether the framing includes preservation features or not, perhaps the best course of action is to edcuate customers about how to take care of their frames properly.

Agreed, and we all know how well they listen.

 

[LeMieuxGalleries]

Awesome thread.

I like the idea of sandwiching the paper between glazing...i understand both the reasoning for using museum glass on the inside layer, as well as the reason for using acrylic...so my question really is: are y'all sure that an old newspaper sandwiched between either two pieces of acrylic or sandwiched between two pieces of glass will not slip over time??

 

[Jim Miller]

...so my question really is: are y'all sure that an old newspaper sandwiched between either two pieces of acrylic or sandwiched between two pieces of glass will not slip over time??

It could slip, which is why I wouldn't trust only the pressure of the glazings to hold a whole newspaper in position. Using a Mylar sling to support most of the newspaper, you can rely on a properly-constructed DCO to support only the front page.

 

[Mitre]

Encapsulation

Whatever.

One (or more) can argue this to distraction, and probably will (after all, gotta keep emphasizing one's Infalable Status).

Point is ....

Yep, it's heavy. (Don't use whimpy hangers, and if the dog causes problems, eat him ... try garlic and onions .... maybe shallots with a cream sauce..... but ya gotta marinate him/her first .... tough suckers)

Yep, it's protective.

Yep, the last layer of conservation-clear glass is not as anti-reflective as Museum, but the customer sees nothing past that front sheet .... and saves a coupla bucks.

Yep, it works.

Nope, I wouldn't use Plexi of any type for this .... cheesy.

Yep, the customer comes in and sucks my toes regularly. (Nice customer satisfaction technique .... wish more Angelina Jolie's would pick up on the concept and realize the obvious price reduction benefits)