Hi Rob - let me post my original quote again:
Allow me to go back for a minute to my original query while also coming to terms that my idea in using acrylic polymer will have to be put on the sidelines until Rob tries it and gives me the thumbs up.
And of course you reply to this:
Never going to happen. I don't know what other experts you need to consult, but if you do not trust Hugh Phibbs there is noting more I can add. Acrylic Polymer will never be an acceptable vapor barrier.
Please believe me...it was a
J-O-K-E! After first reading your overwhelming disapproval of my idea, I would never expect for such strong convictions to be revised. When Baer described your personality he never mentioned you were this serious. I truly respect your opinion! There hasn’t been any insistence on my part for using polymer medium as a sealer. Nonetheless, when framers begin to lecture a season painter about the ins and outs of acrylic painting products, or how artists should be displaying their work without taking into consideration the legitimate intentions of those artists, it becomes awfully difficult to keep quiet.
Again, Gil - what is this "outgassing" you seem so concerned with and what is the effect you perceive it will have on your art? If your art is properly matted with sufficient space from the edge of the art to the interior of the frame, what is it that you are worried about?
Although my mat borders vary according to what I’m framing, on average the width is about 5.” Honestly Rob, I have no idea what you and the rest of the experts on this forum consider a safe distance. Probably due to my own ignorance on this subject, I figured the outgassing from the treated pine or eucalyptus would damage the art work in a sealed package if given enough time. Rick’s post (#8) - “
That's just as well, since the holes the staples put in the glass would spoil its function as a barrier,” also added to such belief. If I understand you correctly, it appears there is some sort of distance guideline between art work and frame to be safe from outgassing - what is that distance?
I find it ironic that you are using Rising 100% rag (which in the US is a premium product and far more expensive than many alternative mat products) yet "complain" that Lineco Tape (while available in Brazil) is too expensive?
Not ironic at all if you really knew me. When I moved to Brazil five years ago I brought with me sufficient Rising boards to last me a while, and they have. On the other hand, I never purchased Lineco Frame Sealing tape out of stupidity and shortsightedness. When my Rising boards run out I have no idea what I will do. Importing anything into Brazil is a nightmare, the only way around this is to open a corporation with a license to import. Even if this is successful, Brazil has the honor of having the highest import duties and taxes on the globe.
I you use a proper back mat and also adequate filler boards, I am not sure you need to worry about something getting out of the holes caused by fitting points or staples. Again, I am trying to understand your logic. Do you feel that the wood is somehow pressurized and by "puncturing" it with a fitting staple or framer's point that gas or some form of acid will leak out?
It was not a question originating from fear but instead curiosity. And yes, you are totally correct, I was under the impression gasses and acid could indeed penetrate through any tiny hole and contaminate the art work inside.
Are your rag boards buffered with CACO3? (Calcium Carbonate)
If you use Rising Museum 100% cotton rag, then you are much better qualified to know if these boards are buffered with calcium carbonate - I have no idea. In all likelihood Rob, my own home/studio environment is better prepared to handle the difficulties of humidity than 95% of the homes or galleries they will ultimately be going to. As I told you before, I’m now concentrating on framing my Epson Ultrachrome Ink prints. Basically just interested in creating the best frame package I could and with the best materials at my disposal before they go out to face ‘the inferno.’
You gave me no response to my suggestion for the use of mats that contain zeolites... What are you calling "non archival? Most fluted polypropylene would be perfectly adequate as a filler board even if it is not labeled as "archival grade."
Once again, I have no idea if Rising Museum contains zeolite, if Legion doesn’t incorporate zeolite into their boards, who does? Coroplast doesn’t export to Brazil, and as far as I know, there is only one company making this product here - Cartonale. The corrugated plastic they sell comes in a variety of colors as well as clear. I have been buying the clear, which could actually be the same as archival grade, but Cartonale has been rather reluctant in providing any info on this matter.
Re: Your test for the reactivation of acrylic medium with heat- I can assure you that I, Jim Miller and dozens of others have had excellent success with this process. Merely applying some to a piece of canvas and seeing if it will restick isn't a proper test.
O.K. - how did you and the others do this test? What materials and tools were used and under what conditions? I just want to duplicate exactly what you did to see why my tests did not yield the same results.
Same for trying to remove" foil from the adhesive. We are talking about the application of foil not the removal.
You had mentioned:
“Acrylic medium can be reactivated with heat. If it dries, the use of a warm tacking iron will cause any foil to stick to it,” So I simply heated up the foil sufficiently and for enough time, and there was no sign of any softening or reactivation of the polymer beneath. If you want me to try this again by placing my tacking iron directly on top of dry medium, I will do that, but only as long as you guarantee me the polymer will not get adhered to my tacking iron.
Have you actually tried "leafing" the interior of a rabbet (as Baer suggested) using the acrylic medium?
No I haven’t, have no idea where one would find ‘leafing’ in Brazil nor what it would be called. If anyone knows I would appreciate it.
I really think it is your technique of application that is causing you so much trouble.
Have no idea what you are actually referring to, I haven’t had any troubles, all I have done so far is exchange ideas to see if they are going to work before I try them. I have never lined any of my frames with foil, although I did apply foil with polymer to a throw away piece of moulding for the test. Do you remember me revealing that aluminum foil in Brazil is very very thin and likely to rip?
You should be applying the foil as one would do to "leaf" a frame - in small, overlapping sheets. Allow the pieces to overhang the top and lip of your frame and trim only after the medium has thoroughly dried.
If I’m forced to apply foil, I will certainly try this procedure even though it sounds a little risky to cut around the lip without leaving any tiny little shiny spots from the aluminum or even accidently cutting into the lip...thanks for the information, it is a good one. Needless to say Rob, the amount of time this would take, particularly when I’m trying to prepare 60-70 frames for several exhibitions, and the fact these frames are either 30” x 40” or 40” x 50”, simply would be too time consuming. Hope this clues you better of the task at hand.
Again - what is your time worth? Couldn't you be making one more print, creating one more painting or doing something revenue producing with your time that would more than offset the cost of a roll of Lineco tape that does what it is supposed to do?
ABSOLUTELY - but you are missing the gist of my problem. Not only is there just one company selling the Lineco tape, but they only sell the small roll and they rarely have it in stock. I was forced to order two large rolls from B&H in NYC. If these rolls were to ship directly from B&H, Brazilian customs would definitely open the box since it was shipped by a company. Once they open the box and see duplicate copies of the same item, they will consider it as illegal imported supplies, which they normally confiscate or penalize you with astronomical duties. To play it a little safer, I asked B&H to ship the tapes to my sister in Florida, who then has to remove those tapes from the box, place them inside zip-lock bags and send them out in an old ragged box. Regardless of this diversion, if customs decides to open the box I run the same exact risk. It has already been 5 weeks since the box left Florida and no idea where it is.
Really appreciate your time Rob.