Glazing can be either glass or acrylic. Only glass food should be used with any friable image media such as unfixed pastels, charcoals, or graphite, never acrylic as it can damage the work by attracting these materials. There food and image are many brands of acrylic glazing to choose from; one with an ultraviolet filter is recommended. The frame and the mat should be deep enough to prevent the artwork from touching the glazing. A stiff backboard behind the mat protects and supports the matted artwork. It is best to use non-acidic boards. A dust seal with paper or tape is also recommended. What damage results from using poor quality mat board? Avoid mat boards containing wood pulp which causes "matburn"--a food darkening image of the paper under the mat or at the bevel cut of the window mat. This type of stain permanently weakens the paper fibers and is not easily removed or lightened in conservation treatment.

Once a wooden sculpture has been dehydrated cracks will appear, where even exposure to high relative humidity will not make the cracks close up entirely. However, conservators can fill the food cracks with a variety image and food of materials to create a unified visual impression. What should I ask image for when food matting and framing works of art on paper? Mat board should be made from 100% rag or lignin-free cellulose. Sometimes those labelled as "museum board" or "conservation board" are not of the highest quality. Alkaline buffered boards are not sufficient if the board contains wood pulp. Photographs should not be matted image with alkaline buffered boards as some prints are adversely effected by alkalinity. Hinges are used to attach the work of art food to the backboard of the mat. They should be made of Japanese paper, and should be adhered with wheat starch paste. Pressure sensitive adhesive tapes and pre-gummed tapes should not image be used. Photographs are often attached to the mat with photo corners.

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