Le,
I think that the advice that Ron gives in conjunction with the FACTS guidelines should be discussed with your client before continuing with the addition of a fillet.
If the fillet is to be joined to the opening of the frame, you didn't specify if you are using any mats, then I would consider section 10.02 of the FACTS guidelines which states:
"10.02 All artwork shall be a minimum of 1" (25 mm) away from wood surfaces, including wood frames, fillets and liners."
That is easy to accomplish if you are using a matboard as a spacer between the print and the glass AND you are not using a fillet on the matboard itself.
If you want to use a fillet on the matboard, then there is a rather shady area to contend with:
"5.05 Artwork shall be completely separated and isolated from any potentially damaging materials by an impermeable barrier such as glass or metal."
This could be accomplished by using the metallized tape such as Erin mentioned. But, if you take both articles at their <u>printed face value</u>, there seems to be a conflict in that 10.02 says there shall be a "minimum of 1" away from wood surfaces such as frames, fillets, and liners". This, in the purest sense of the article, is impossible unless you build the matboard up from behind with no less than 1" of spacers above the surface of the artwork. The proximity of the wood to the artwork in both articles is the subject of contention, in my opinion.
Now, I admit, it is a nitpick and there isn't a logical method to follow to adhere to both articles of that portion of FACTS. But, I also admit that, to many framers, the FACTS standards are taken to be "guidelines" and not final rules to follow under all conditions. That has been hashed around in another recent thread.
So I would discuss it with your client and the two of you come to a conclusion as to how far into the "preservation" aspect of the framing the client wishes you to go. I personally feel that, for most normal treatments, the barrier tape seems to be the logical step to use to protect the surface of the artwork from acid migration from the fillet. The effort by you to protect the client's artwork is backed by guidelines that are proven and have been checked out for long term applications.
It is much better than pressing the raw wood surface of the fillet directly against the surface of the artwork, in my opinion. One other thought, if you want to further ensure that there is an adequate barrier against acid migration, you may want to seal the back side of the fillet prior to installing it with a varnish or other clear finish.
Framerguy