This article will expand on mounting options for paper artwork beyond the method using paper hinges.  If you wish to mat and frame artwork for museum-quality, with the option to change it at a later date the mounting job must be reversible.  Here I will go over some methods that are reversible. The following information on Corner Pockets, Mounting Strips, and Sink Mounts are the preferred archival mounting methods.

Matted "Sunflower" HDR print ©Tanya Davis

Example of an undesirable yet common mounting practice.

Over time, the preservation of artwork has evolved.  Previously common practices have been shown to be harmful to artwork and are no longer recommended. For example: the use of masking tape which yellows artwork due to acid burn and covering of all the edges of the artwork with tape, providing no breathing room which causes the artwork to buckle.

An option to using hinges is applying acid-free linen tape to attach the cut mat to the mounting board. When trying to choose tape look for one that says Framer’s Tape on the label.  This is a strong cloth tape with a tactile nature similar to that of duct tape and was developed for pH neutral mounting, matting, and heavy frame work. As long as it is good quality is will not be predisposed to yellowing or cracking. This type of tape can be torn by hand in one direction; no knives or scissors needed. This tape is compatible with paper, board, and most porous surfaces. It's pliable, and is ideal for use.

Matting is more than just reduction of white space around a painting giving the artwork appropriate presentation. It is also key in preservation.

Matting example, artwork by permission of T. Davis

A mat is a border used to enhance and protect artwork.  If you are framing a work on paper (watercolor, pastel, drawing, etc.) you need to protect the front of the artwork with a piece of glass. Oil and acrylic paintings do not need glass in front of them.  It is these framed works that should also be matted so as to not end up sticking to the glass.

Humidity always has an effect on paper, causing it to expand and contract. If paper comes in contact with too much moisture, tide lines or even mold can develop.  On the other hand, if paper becomes too dry, the fibers become brittle and could crack and tear. Matboard separates the artwork from the glass and protects it from direct contact with moisture. When matting, it is important to use acid-free matboard to prevent acid-burn which can cause yellowing in artwork.  You should only use a mat window and back board made of 100% rag board or the lignin-free, alkaline-buffered mat board especially for art preservation.

Over time due to UV light and pollutants in the air, both standard and neutralized matboard will return to its acidic state, turning yellow to brown. It should not be used with any work of monetary or sentimental value.  Museum quality matboards are:

• 100% rag board is made from cotton and therefore contains no acidic wood lignin. Use for fine art, signed prints and needle art.
• 100% Alpha Cellulose is matboard made from wood fibers that have been pulped extensively and chemically purified to remove lignins and other acid-causing materials to make it acid-free, then buffered for an alkaline reserve to protect against airborne contaminants.  Safe for fine art and signed prints.