Detailed Refitting Instructions

1. Remove original backboards, place pastel, mat and glass on separate rigid boards.

We took digital image records to document each step of the unframing process. These records show the history of each pastel and contain information that will be lost as the pastel frame package is taken apart.

2. Label "top front" of glass and mat.

This step is important as the historic glass has often warped and will fit the frame better in the original position.

3. Clean frame, including rebate (or rabbet).

We cleaned the frames superficially using dry cleaning sponges and cotton swabs dampened with water or saliva.

4. Establish proper rebate depth.

We measured the total depth needed using stacks of 4 ply rag board. Our rag board stacks were made with small 2-inch by 3-inch  size rag boards. In measuring we aimed for a snug fit. It is important that the components are not squeezed, as the mat will distort since it is only held along its outer edge by the balsa wood spacers and is not held overall by the glass.

5. Build out frame.

Usually we needed to add 3/8 to 5/8 inches additional depth. The new sections were stained to match the tone of the gold, but found that using gold paint was more obtrusive. We did make the new sections the same width as the original frame. We attached the new sections with screws only, so the frames could be returned to their original size.

6. Attach framer's tape to rebate.

We placed the framer's tape on the sidewalls of the rebate (or rabbet). As the framer's tape is 1-1/4 inches wide the tape could be creased and folded over to cover the comer back. This provided a clean smooth surface in which to place the mat and pastel. The framer's tape isolates the wood.

7. Attach Volara adhesive backed strips to rebate.

We placed the Volara strip 1/16- inch from the sight edge. It is important the Volara strip is attached only to the inside top of the frame rebate (the underside of the "lip" of the frame), not the sides. The glass will rest more uniformly on the Volara cushion/seal. The glass was often very small for the frame opening size and could shift and pop out of the rebate. To keep the glass from shifting we placed 1/8-inch wide rag board strips between the glass edges and the rebate wall. These rag board strips were secured in position with 3M 415 adhesive tape holding the rag board strip to the Volara strip.

8. Clean glass and replace in frame.

We consulted Katherine Eirk for advice about how to clean the original wavy glass. She noted that glass is more porous than one would think. "Crizzled" or "weeping" glass should not be placed in contact with other art objects.

Katherine Eirk's advice was to use washed clean cotton cloth, cloth diapers or cheesecloth and a mixture of deionized or distilled water and "grain alcohol". Do not use "laboratory" ethanol because it is not purely ethyl alcohol but has additives. The mixture may be 50/50 or whatever works best. If there is a stubborn accretion use precipitated calcium carbonate in solution with the mixture. Put a small amount on the tip of a cotton swab and work only the problem area. Katherine also suggested that one could rub and buff the glass. She advised against tap water as it may contain chlorine. She said paper towels might contain formaldehyde. Also do not use antistatic cleaning cloths. We found that washed t‑shirt cotton knit cloths worked very well. We used 200 proof ethyl alcohol ACS/USP grade in our cleaning solution.

9. Attach balsa wood spacers with headless pins.

We used a variety of dimensions, and aimed to have the spacer flush or slightly narrower than the frame "lip". The balsa spacers were stained to match the tone and darkness value of the frames. We attached a thin strip of double‑sided tape (3M 415 tape) to the balsa wood spacer and placed headless pins approximately 5 inches apart. We then positioned the spacer and attached it to the sidewall with the 415 tape. We inserted the headless pins by pressing with a small rectangle of metal and the Fletcher brand "Frame Mate" tool. We did not countersink the pins. The balsa wood spacers should hold the glass firmly but not pinch or press if the glass is warped. Note that the glass is positioned with rag board strips to keep from shifting. See Step 7 on attaching Volara.

10. Measure and cut Coroplast back board.

We aimed to have the Coroplast sheet overlap the frame opening by 1/4 inch.  We positioned the Coroplast and held it in place with weights to drill the holes.

11. Pre‑drill screw holes to attach backboard.

We predrilled holes spaced approximately 3 inches apart. We used a 1/16‑inch bit with a hand drill. This "overlap" Coroplast backboard protects the pastel from dust and is still easily removable (no adhesive tapes). Also the Coroplast backboard can be attached in the final steps without jarring the pastel. The standard frame sealing method of inserting framers points or brads would cause vibrations damaging to the pastel. We chose Coroplast as a backboard material because it is inert and non‑hydroscopic.

12. Attach hanging hardware.

We used "OZ clips". OZ clips are fold out hanging devices that enable the framed art to be attached to a horizontal or vertical metal screen. The pastels were transported in "The General System" - a Universal Storage, Handling and Transport System manufactured by Archival Matters, Inc. Pastels should never be hung on rolling screens.

13. Place frame and attached glass on tabletop easel.

14. Measure and cut grey corrugated board or rag board for sink mat or back mount.

15. Position pastel and attach grey corrugated board to create sink mat.

The components were attached with 3M 415 double sided adhesive tape.

16. Attach Mylar "L" shaped corners to hold pastel into sink mat.

The Mylar corners were attached with 3M 415 adhesive tape. We positioned the tape under the edges of the Mylar "L" corners by 1/16 inch to allow for acrylic adhesive "creep".

17. Clean original mat and attach interleaf mat.

The mats were cleaned with dust brushes and Absorene brand Print and Book cleaner. This product worked well as it does not abrade but does remove much more offset pastel and soil than just dusting.

The interleaf chosen was often a tan color 4 ply mat. The original mats were usually too small for the frame opening, and could shift and damage the pastel. The interleaf mat was cut to fit the frame without shifting. The interleaf mat was attached to the original mat with 3M 415 tape. If necessary  thin strips of mat board were attached to the interleaf mat to fill the empty space at outer edges where the smaller original mat did not extend. This step ensured that the too small original mat would remain in plane behind the balsa wood spacers. Other original mats were lined with Microclimate intercept film. The Microclimate intercept film was attached to the mats by heat setting. Some mats and pastels were glued together and were not interleafed.

18. Replace mat and pastel into upright frame.

19. Attach Coroplast back board with screws.

20. Attach labels and Unframing Instructions.

The unframing instructions outline how to remove the pastel. The refitting was designed so that the frame package could be taken apart safely. A hallmark of conservation framing is the ability to dismantle and reassemble the frame package. We recommend including unframing instructions to help insure safe handling of the pastel.

21. Attach "glass skin".

We feel this insurance is necessary. The glass skin ideally should not stay on for long periods of time. Pastels should not be transported without this protective system.