Re: Masonite replacement

[Jenny Barnett <andelos@xxxxxxxxx>]

"Mary W. Ballard" wrote:

> To replace masonite as a textile framing backboard, what are you recommending? I am concerned about the ability of the air (i.e. relative humidity) to be exchanged and am thinking in terms of the new napped cotton flannel from testfabrics against an outside perforated aluminum screen. Any other ideas? Am I inventing a square wheel? Suggestions would be appreciated! Mary

Masonite is not a reliable product as far as I know. Some release damaging gasses. It is also quite heavy. I prefer to use acid free cardboard; 2000g/m2 for larger textiles (say  35cm x 45cm) and 800g/m2 for smaller sizes. For even larger pieces I use Fome-Cor (made with acid free card) because it is light weight and dimensionally stable (does not warp or bend when in a
frame).

"The ability of the air (ie relative humidity) to be exchanged."
Do you want to ensure that diffusion of moisture remains possible? If so, then moisture can also enter as well as escaping. Is that what you want?
Perforations allow airborne soiling to enter and also, it is not desirable to allow a rapid change in RH within the frame. One of the functions of the use of organic mounting materials is to slow down the effect of  any sudden changes in external RH.

Aluminium sheeting without the perforations should be fine. In this function it is inert. Its thinness and dimensional stabilty in large sizes would be advantageous. The disadvantage is the lack of moisture content exchange. But then again, under controlled conditions, this could  also be an advantage.....

As I mentioned in a previous discussion (bread bag theory), it would be interesting to research into what the critical amount of moisture regulating material is in a glazed framed system. It is desirable to reduce the amount of layers in a frame as much as possible to avoid weight and also the need for a very deep frame. With small or long textiles, a deep frame can become
a clumsy looking box which is out of proportion to the scale of the textile itself.

I have the impression that if you could frame a textile in a  environment of a perfect RH (on the dry side?), using materials that have been conditioned at the same RH and sealing the back with a material which is impermeable to air and moisture, then you could perhaps use a minimal of moisture regulating materials. If this theory works, when the temperature rises, there
would be too little moisture to be released to cause condensation on the inside of the glass. The risk of water damage caused by damp or wet walls would also be reduced considerably.

Once again, the article by Stephen Hackney, "Framing for conservation at the Tate Gallery", The Conservator, nr. 14, UKIC, 1990 is very useful for this topic.


Jenny Barnett
Andelos Textielrestauratie
Oude Looiersstraat 65-67
1016 VH Amsterdam
NETHERLANDS
tel/fax 00 31 (0)20 427 18 27
andelos@xxxxxxxxx