Dario, JR, and "The Dude" (a phantom of the poster world, sometimes
played by Jeff Bridges)
I've seen a linen backed 1920 three sheet fade by 50% in just five days
of soft and indirect English sunlight when some idiot forgot to shut the
curtains during the day while they were out and the sun fell through a
lace curtain on it.
Due to the numerous factors involved in fading - such as inks used, the
printing process involved, the paper quality, the type of light involved
(natural sunlight, neon, etc, etc) absolutes are impossible. Far, far
better to be safe than sorry.
While I think Nathalie maybe doing a bit of a belts and braces job
there, when it comes to really valuable vintage paper (and value is in
the eye of the owner/beholder, not the VISA bill) I think it's
commendable to be too safe rather than extremely sorry.
Put one on the scoreboard for the Nathalie/Dario team from Down Under on
the subject.
Phil (not ph-ph-ph-phade away)
The idiot JR wrote:
Dario,
Sorry, Dude. Not buying it. They are trying to tell us that even a
lousy 50 lux for 100 days is going fade my posters? C'mon... I have a
running reasearch experiment involving dozens of posters hung on my
own walls, some of them for many, many years. None of them have faded
and they certainly have had a lot more long-term exposure to light
than 50 lux a day for 100 days. This lux stuff is pure
speculative museum-level theory -- put out by academicians looking to
justify their salaries and expensive facitilities and restoration
staff. Sure, in theory "any light damages artwork" but once you're out
of direct sunlight or high-intensity artificial light, the amount of
damage is negligible -- even for masterworks without millions of
dollars, as we can see paintings well over 500 years old that have
been exposed to some light for centuries and have not faded --
ususually they are covered with airborne grime instead. You clean that
off and the colors are still bright).
The same thing applies to paper-based artwork. There are art nouveau
posters going back well over 100 years that have had some light
exposure for decades and have not faded. I'm sorry, but paper and ink
on paper is just not as light-sensitive as the theory you are quoting
wants us to believe. Any poster collector can see that from their own
experience.
-- JR
----- Original Message -----
*From:* Dario Casadei <mailto:[EMAIL PROTECTED]>
*To:* [email protected] <mailto:[email protected]>
*Sent:* Wednesday, September 13, 2006 2:47
*Subject:* Re: [MOPO] Movie Posters in UV proctected Plexi
*_Light:_*
*Light is a hazard. Even small amounts of light can damage a poster
over time*. Be sure to use good quality light, and in as low of
intensity as possible. *Over time, meaning long tearm exposure!!*
*If all light is potentially damaging and the damage is cumulative,
any exposure is harmful, especially to a highly light sensitive
material like paper. Because works of art and cultural artifacts are
meant to be seen, however, guidelines for limiting exposure are
desirable. A limit of 50,000 lux hours has been suggested for very
light sensitive materials. Lux hours or lx.h are determined by
multiplying the level of light, numerically expressed in lux, by the
hours the object is exposed to that light (light can also be measured
in footcandles or lumens; one footcandle [lumen] equals approximately
11 lux). If an object is lit for 10 hours a day at 50 lux, the limit
of 50,000 lx.h is reached in 100 days (50 lux x 10 hours x 100 days).
At 100 lux the limit is reached in 50 days. The higher the light level
the shorter the exposure time. Some institutions have started to keep
exposure histories for their most valuable or light sensitive
materials. Rooms lit at 50 lux may seem very dim, especially to
someone who comes inside on a bright day. The eye does adjust,
however, and good lighting design helps a great deal. A sign
explaining the reason for the low levels usually mollifies the public.*
*Paper**
Light can cause darkening of paper and fading. Damage by light goes
beyond visual alteration by attacking the physical structure of paper,
causing weakening and embrittlement. All light is damaging. The higher
the light levels, the greater the potential danger. Sources rich in
ultraviolet (UV) radiation are especially hazardous. Because light
damage is cumulative, even low levels can degrade paper if the
exposure is long enough. Conservators therefore recommend that no
valuable artifact be permanently displayed.*
*
Even if ultraviolet filtering glazing is used, paper objects should be
hung in areas of subdued lighting. Because light at any level is
potentially damaging, conservators advise that no paper based work of
art be kept on permanent display. In addition, storage and display
areas should be cool and dry with minimal fluctuations of temperature
and relative humidity. Climatic fluctuations not only weaken paper
over time but can cause unsightly rippling or distortion of the sheet.
Proper framing will buffer a work of art against minor short-term
climate changes but will not protect against seasonal or long periods
of high humidity. As is the case with all works of art and historic
artifacts on paper, the environment surrounding framed objects is
crucial to their preservation.*
*Preventative Strategies*
*UV filters are available as plastic sheeting or as rigid panels. The
sheeting, usually acetate film, can be cut with scissors and applied
directly to windows or cases. Tinted UV films will reduce the
intensity of the light as well. Although film is less expensive than
rigid panels, it is less attractive and may be difficult to remove
later on. At present it is not known how long UV-filtering films
remain effective, although informal experiments suggest that they have
limited life. The only way to determine if the film is still filtering
is to measure the transmitted light with a UV meter. UV-filtering
panels can be used in windows, cases, or frames. They are available in
either glass or acrylic sheets. For several decades museums have used
an acrylic, UF-3 Plexiglas made by Rohm and Haas. More recently other
companies have introduced UV-filtering acrylics or glass. When
choosing such glazing, check the product information to make certain
the UV-filtering capacity is greater than 90%. Some acrylics and most
types of glass filter little or no UV. Ordinary non-glare glass is not
UV-filtering, although there are non-glare products with this feature.
Before using acrylic panels as window glazing, check that local fire
regulations are not being violated. Filtering panels can also be used
as secondary glazing on existing windows. If mounted inside in a
manner similar to interior storm windows, filters give thermal control
as well as UV filtration. If the budget does not permit this type of
installation, hanging the sheets inside the windows from hooks is
effective as long as the panels are larger than the window glass so
that all light from outside is filtered. White paint containing
titanium dioxide on the walls and ceiling of a room will absorb a
certain amount of ambient UV radiation. However, other measures to
control UV are still necessary.
Dario.
*
[EMAIL PROTECTED] wrote:
NOW, lets talk about this.....very interesting topic....I also feel
the same way...how can we really believe in that.....I do not let any
poster have any sun on the image of any art....so...can anyone else
tell us that UV plexiglass does protect the poster of UV
light....DOES ANYONE KNOW THAT ELECTRIC LIGHT BALLS ALSO has the same
impact as UV or sun light ????? After many year, maybe over 20 years
I have never received any answer.....what is really the impact of our
framed posters in house or from the "very sun".
Please let me know BECAUSE I am lost.....
Philipp
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