Storing painted art 0

[Flambit]

 

Hi all,

Wondering about recommendations on storing painted art.  I use Itoya binders for my published standard DC/Marvel art, but I don't know if that's necessarily a good idea for painted pieces.  

One collector mentioned using mylars with backing boards in their Itoyas. I don't do this. Would this step be recommended in general?

sorry - I meant to post in the topic on storing art but couldn't find it!  I've recently discovered this amazing forum from someone who mentioned it on the yahoo group and I've been having a ball going back and reading all the previous posts!  Can't believe I'd not seen it before!

sam

Edited March 17, 2017 by Flambit

[wurstisart]

I put paintings and such in archival boxes. 

[pemart1966]

In what medium are they?

[wurstisart]

The paintings ? For example Savage Sword Covers by Beekman or this one by Norem are I guess oil ?

 

[vodou]

If you're stacking them in any way, use sheets of wax paper or similar to separate the pieces and protect the image area from scratches. After that you can just throw a big garbage bag over a stack to protect against moisture and pipe bursts etc (depending on what you've got them near!) If you think you need to flip through them regularly like you would an Itoya, just find a really big Itoya or substitute from an art supply store (Michael's, Blick, Hobby Lobby). There are plenty of big solutions, but they do start getting pricey larger than 18x24. Or maybe frame the keepers? Some people do that too

[pemart1966]

3 hours ago, wurstisart said:

The paintings ? For example Savage Sword Covers by Beekman or this one by Norem are I guess oil ?

 

Looks like an acrylic/watercolour to me but I stand to be corrected...

[pemart1966]

3 hours ago, vodou said:

If you're stacking them in any way, use sheets of wax paper or similar to separate the pieces and protect the image area from scratches. After that you can just throw a big garbage bag over a stack to protect against moisture and pipe bursts etc (depending on what you've got them near!) If you think you need to flip through them regularly like you would an Itoya, just find a really big Itoya or substitute from an art supply store (Michael's, Blick, Hobby Lobby). There are plenty of big solutions, but they do start getting pricey larger than 18x24. Or maybe frame the keepers? Some people do that too

Be VERY careful when framing.  Make sure that only museum quality materials are used.  As well, make absolutely certain that the paintings are out of any light whatsoever.  Acrylic/watercolour paints can fade very quickly when exposed to light...

[Bronty]

wax paper, or glassine (I prefer, I know Michael doesn't) is a must.   Cut the sheet three inches longer than the work.    You can then fold the excess over the back, and tape it down.      The full surface will then be protected from the front, and the glassine can be lifted when needed.

what I have seen many illustrators do as well is affix heavy black drawing paper, in the same way, over the glassine.    Now the light can't pass, you have a better protection for the surface.     You still want the glassine or wax because it won't stick and is smooth and won't cause abrasion.

Here are some sample product codes.     I then take stacks like this and put them in large archival boxes.

 

 

[Bronty]

7 minutes ago, pemart1966 said:

Looks like an acrylic/watercolour to me but I stand to be corrected...

its definitely not oil, that's for sure. 

[delekkerste]

6 minutes ago, Bronty said:

its definitely not oil, that's for sure. 

I would guess gouache & watercolor. 

[Taylor G]

1 hour ago, pemart1966 said:

Be VERY careful when framing.  Make sure that only museum quality materials are used.  

I assume this only refers to watercolor, since my understanding is that oil-based should be allowed to "breathe."

Nevertheless, I'm not sure what the point is of "museum quality".  Even with UV glass, light is going to destroy art.  There is a reason that museum display rooms are gloomy.  I would have thought that best practice would be to only display a good scan of the OA, keeping the original hidden from light, and then spending $$$ on "museum-quality" glass just seems like a waste of resources (where the framing and glass may cost more than the OA).

I'm basing a lot of this on Rune's excellent analysis of light levels and their deleterious effects on OA.  Perhaps this hobby is sorely in need of a code of best practices for displaying art (Starting with, don't display the original?).  Otherwise I worry that generations of OA is going to be lost to the actions of well-meaning amateurs.

Happy to be educated further on this.....

[vodou]

I think gouache as well. But there is at least one artist that thinned oils to point of them behaving (and looking) like watercolors...Jeffrey Jones.

[Bronty]

1 hour ago, delekkerste said:

I would guess gouache & watercolor. 

Yeah gouache is my defacto guess for this kind of stuff since its fast drying and translucent (deadline friendly..), and there does seem to be a watery stroke around the edges.    You're probably right. 

Edited March 17, 2017 by Bronty

[pemart1966]

2 hours ago, delekkerste said:

I would guess gouache & watercolor. 

Gouache is a form of watercolour is it not?

[Bronty]

54 minutes ago, pemart1966 said:

Gouache is a form of watercolour is it not?

They share ingredients

[Dick O.]

Here's an excerpt from a previous article, in response to a question about displaying OA:

https://comicbookinvest.com/2016/12/30/first-appearances/

As with comic books, OA should be stored and displayed away from UV light, in stable cool and dry conditions.

The black India ink used in OA is usually lightfast (doesn’t fade in UV light) and permanent (waterproof once dry). Grey pencil graphite is typically lightfast as well, but can be smudged via physical contact. Watercolour and acrylic paint can be affected by UV light. Marker ink generally discolours and fades over time. OA is normally done on Bristol board, which is a hardy thick paper, but should be kept away from UV light to prevent yellowing.

When framing OA (or any art), make sure the artwork is not in contact with the glass/acrylic cover. In order to do this, place a mat border on top of the artwork or “float” the glass/acrylic above the artwork. Also ensure that all framing methods and materials used are of archival standards, and that materials in direct contact with the artwork are acid-free. The glass/acrylic used should be UV-filtering to minimize UV damage to the art and paper.

 

[wurstisart]

11 hours ago, Taylor G said:

I assume this only refers to watercolor, since my understanding is that oil-based should be allowed to "breathe."

Nevertheless, I'm not sure what the point is of "museum quality".  Even with UV glass, light is going to destroy art.  There is a reason that museum display rooms are gloomy.  I would have thought that best practice would be to only display a good scan of the OA, keeping the original hidden from light, and then spending $$$ on "museum-quality" glass just seems like a waste of resources (where the framing and glass may cost more than the OA).

I'm basing a lot of this on Rune's excellent analysis of light levels and their deleterious effects on OA.  Perhaps this hobby is sorely in need of a code of best practices for displaying art (Starting with, don't display the original?).  Otherwise I worry that generations of OA is going to be lost to the actions of well-meaning amateurs.

Happy to be educated further on this.....

 

12 hours ago, delekkerste said:

I would guess gouache & watercolor. 

I had no idea. Thanks for clarifying.

[hippiecop]

 

Quote

I've had this Basil Gogos stored for almost 20 years in just a plain frame from Pat Catan's with no loss of color at all.  The glass is just a hair off the painting.  It's not in direct sun, but it's not hidden away in darkness either.  I guess I could take more caution, but what's art if you can't look at and enjoy it...

[hippiecop]

It seems to look as bright and colorful as it did the day I put it into the frame.

[vodou]

3 hours ago, hippiecop1 said:

It seems to look as bright and colorful as it did the day I put it into the frame.

Key word "seems". I too think the art should be out and enjoyed and let future generations deal with their issues in...the future. But the same way your kid grows a couple of inches a year, why you hardly notice, but then all of a sudden he's a foot taller than 'ol Dad, and only 16 too...twenty years is a long memory to "trust"! (Which means you can't!!) Open up the frame and find an area that was unexposed (under the frame), I'm sure it's noticeably brighter and deeper colors...most likely anyway, just the way it works. But you may also have gotten lucky