Headlines
Making the most of moutboard
10 August 2021
In 2003 the Fine Art Trade Guild launched its standards for mountboards, distinguishing between three different qualities, and using the terms Cotton Museum, Conservation and Standard. These quality standards were internationally accepted and have served the framing and conservation industries’ needs well. As with all Guild standards, they are subject to revision as technology evolves. A review in 2019 took account of some changes in manufacturing and in the market. The most significant of the changes has been the evolution of different qualities of white core boards. Distinguishing these different qualities has been achieved by a separation of the previous Standard level into two quality levels.
The new standards will gradually be introduced by manufacturers and suppliers, with full compliance by 2024.
Simultaneously, the Framing Standards and Qualifications Committee (FSQC) undertook a reviewof the Guild’s Framing Standards - the Five Levels of Framing – and have now aligned the framing levels directly with the mountboard quality standards. Previously known as Museum, Conservation, Commended, Budget, and Minimum, the levels have been decreased to Four Levels of Framing. They will be known by Level numbers with Level 1 being highest and Level 4 the lowest. Level 1 framing will require Level 1 mountboard, and so on.
The Fine Art Trade Guild Quality Standards for Mountboard lay down specifications for:
The standards comprise:
• Mountboard Quality Level 1 (was Cotton Museum). Often used names: Museum, Cotton, 100% Cotton, Rag
Mountboards with all parts made from 100% cotton fibres. Facing papers must be lightfast to BWS 5 or equivalent specified lightfastness test. Must not bleed. May not contain OBAs.
Best for Levels 1 and 2 framing but can be used for all levels of framing.
The quality standards for Level 1 mountboards have not changed from the original specification.
• Mountboard Quality Level 2 (was Conservation) Often used names: Conservation, alpha, alpha cellulose
Mountboards with all parts made from 84% or higher alpha cellulose, lignin content < 0.65%, and/ or cotton. Facing paper must be lightfast to BWS4 or equivalent specified lightfastness test. Must not bleed. May not contain OBAs.
Best for Level 2 framing but can be used in any framing except Level 1.
There has been one significant change to the Level 2 quality standard; facing papers must now be lightfast to at least BWS 4 or equivalent specified lightfastness test.
• Mountboard Quality Level 3 (new level; was part of Standard) Often used names: White Core, White Core Plus
Mountboards where all parts are made from 84% or higher alpha cellulose, lignin content
< 0.65%, and/or cotton. Facing paper may be <4 on BWS, or equivalent specified lightfastness test. Presence of OBAs in facing and backing papers should be indicated. Colour may bleed.
May not be used for Levels 1 or 2 framing. Can be used for Level 3 framing and below.
• Mountboard Quality Level 4 (was Standard) Often used names: Standard, Cream Core
Mountboards where all parts can be made from wood pulp containing lignin. There are no specifications for lightfastness or bleed, and they may contain OBAs.
May only be used for Level 4 framing.
Any boards that do not meet Level 4 as a minimum specification are considered unsuitable for use within the Guild’s Levels of Framing.
For more information go to fineart.co.uk
To me, the Guild’s four levels of framing are about protection. It’s logical that items of higher intrinsic or sentimental value should be framed in a way that offers them better long term protection than those of lower value. For example, an inexpensive print with no sentimental value probably doesn’t require much long term protection. Whereas an original work by a sought after artist, or something with immense sentimental value, is likely to require a high level of long term protection. That’s just common sense, isn’t it? What the Guild’s four levels of framing do is divide this concept up into something tangible: No long term protection, up to 5 years protection, 20 plus years protection & 35 plus years protection. They also specify the materials and techniques that need to be utilised to provide those levels of protection.
There are, however, a number of other advantages to the four Levels of framing. As a business owner there’s the ability to be able offer my customers the ‘high’ and ‘ultimate’ levels of framing, which are not offered by my competitors. As the person at the shop sales counter, there’s the opportunity to ‘up sell’ from one level of framing to another: If you are only upselling on design, you’re definitely missing a trick! Finally, there’s the comfort and satisfaction of knowing that I’m offering my customers a choice of framing levels, so that they can choose how well they want to protect each item they have framed.
The new standards will gradually be introduced by manufacturers and suppliers, with full compliance by 2024.
Simultaneously, the Framing Standards and Qualifications Committee (FSQC) undertook a reviewof the Guild’s Framing Standards - the Five Levels of Framing – and have now aligned the framing levels directly with the mountboard quality standards. Previously known as Museum, Conservation, Commended, Budget, and Minimum, the levels have been decreased to Four Levels of Framing. They will be known by Level numbers with Level 1 being highest and Level 4 the lowest. Level 1 framing will require Level 1 mountboard, and so on.
The Fine Art Trade Guild Quality Standards for Mountboard lay down specifications for:
- Pulp composition and purity, testing methods, pH value, alkaline reserves and fillers
- Facing paper colourants, bleed, lightfastness, abrasion resistance, testing methods; sizing
- Lamination adhesives
- Moisture content
- Board markings
- Thickness and Board Dimensions
- Quality Control
- Packaging
The standards comprise:
• Mountboard Quality Level 1 (was Cotton Museum). Often used names: Museum, Cotton, 100% Cotton, Rag
Mountboards with all parts made from 100% cotton fibres. Facing papers must be lightfast to BWS 5 or equivalent specified lightfastness test. Must not bleed. May not contain OBAs.
Best for Levels 1 and 2 framing but can be used for all levels of framing.
The quality standards for Level 1 mountboards have not changed from the original specification.
• Mountboard Quality Level 2 (was Conservation) Often used names: Conservation, alpha, alpha cellulose
Mountboards with all parts made from 84% or higher alpha cellulose, lignin content < 0.65%, and/ or cotton. Facing paper must be lightfast to BWS4 or equivalent specified lightfastness test. Must not bleed. May not contain OBAs.
Best for Level 2 framing but can be used in any framing except Level 1.
There has been one significant change to the Level 2 quality standard; facing papers must now be lightfast to at least BWS 4 or equivalent specified lightfastness test.
• Mountboard Quality Level 3 (new level; was part of Standard) Often used names: White Core, White Core Plus
Mountboards where all parts are made from 84% or higher alpha cellulose, lignin content
< 0.65%, and/or cotton. Facing paper may be <4 on BWS, or equivalent specified lightfastness test. Presence of OBAs in facing and backing papers should be indicated. Colour may bleed.
May not be used for Levels 1 or 2 framing. Can be used for Level 3 framing and below.
• Mountboard Quality Level 4 (was Standard) Often used names: Standard, Cream Core
Mountboards where all parts can be made from wood pulp containing lignin. There are no specifications for lightfastness or bleed, and they may contain OBAs.
May only be used for Level 4 framing.
Any boards that do not meet Level 4 as a minimum specification are considered unsuitable for use within the Guild’s Levels of Framing.
For more information go to fineart.co.uk
The framer’s viewpoint – Jon Price GCF(APF)
To me, the Guild’s four levels of framing are about protection. It’s logical that items of higher intrinsic or sentimental value should be framed in a way that offers them better long term protection than those of lower value. For example, an inexpensive print with no sentimental value probably doesn’t require much long term protection. Whereas an original work by a sought after artist, or something with immense sentimental value, is likely to require a high level of long term protection. That’s just common sense, isn’t it? What the Guild’s four levels of framing do is divide this concept up into something tangible: No long term protection, up to 5 years protection, 20 plus years protection & 35 plus years protection. They also specify the materials and techniques that need to be utilised to provide those levels of protection.
There are, however, a number of other advantages to the four Levels of framing. As a business owner there’s the ability to be able offer my customers the ‘high’ and ‘ultimate’ levels of framing, which are not offered by my competitors. As the person at the shop sales counter, there’s the opportunity to ‘up sell’ from one level of framing to another: If you are only upselling on design, you’re definitely missing a trick! Finally, there’s the comfort and satisfaction of knowing that I’m offering my customers a choice of framing levels, so that they can choose how well they want to protect each item they have framed.
