To be archival or not?
The issue of archivalness comes up frequently when creating art, and I’m a HUGE proponent of using only the best archival (a term that suggests that the material or product is permanent, durable, chemically stable, and will last the test of time) materials that you can afford.
Archivalness is a complicated topic and has become a hot topic in today’s art world. The term is vague at best (a material of suitable quality to be used in the archives), but generally used to imply quality. To be archival the material should be acid-free, but not all professional art materials are acid-free. So, what gives?
Should an artist be concerned about using archival materials? Many mixed-media works contain materials that aren’t archival. And to add to the complexity of this issue, we are encasing these materials in beeswax, which we know to be one of the most archival products around. So, if it’s encased in beeswax and not exposed to the air, does it even matter?
Think of archivalness as a spectrum. There are materials that are clearly not archival (newspaper, dye-based inks, etc.) all the way up to the most archival possible (beeswax).
For example, there is some discussion online that Yes! Paste (used for mounting images to a substrate) isn’t archival. The manufacturers claim “Yes! paste is water-based, clear when dry, non-toxic, slow to set, recyclable, and acid free for archival work.” But google ‘archival qualities of yes paste’ and a lot of information to the contrary will pop up. So, who do you believe?
Archival is really an inconsistent term and can get rather complicated. On the spectrum, is Yes! paste the most archival? Probably not as it’s a wet paste. One might question if there is a preservative in the paste that allows it to stay moist over time and not mold. A more archival product would be PVA (used by bookmakers) which is a dry substance that is mixed for the immediate application at hand. On the continuum of ‘archivalness’, Yes! paste might not be at the top, but can be considered a benign product and isn’t going to produce any acid.
To be higher on the archivalness continuum a glue should be reversible. But for the application of mounting and encapsulating an image in wax is there really a need for the glue to be reversible?
Confusing, isn’t it?
Here’s another example: I’ve been working with birch panels for years. Recently I was asked about the acid in the wood panels and are they archival. I have to admit my first thought was that the Fayum portraits are painted on wood panels and I’m not sure the ancient Romans were thinking about the archivalness of the panel, yet these portraits have certainly stood the test of time.
But, I did some research. Wood is indeed slightly acidic yet falls somewhere towards the top of the spectrum of archivalness…but not completely at the top. If you are mounting your image to the board, this doesn’t matter since the paper becomes your new ground and presumably is archival. When working as I do, where I put wax directly on my panel and build up layers before adding my image, I may want to consider putting a layer of an archival product between the wood and the encaustic.
At the end of the day, I don’t think anyone wants their beautiful creation to dissolve into a mess. We want our work to be durable……to stick around for a while. And maybe someday go into a public or private collection.
As a learning artist, my suggestion to you is……don’t worry about the durability of your work until you become proficient with the techniques and define your unique vision.
As you become more advanced, when choosing your materials (paints, glues, inks, papers), research their archivalness. Museum-grade materials are intended to last…..pigments are lightfast, papers have a neutral PH and are alkaline-buffered, etc. Be concerned with your technique. And make sure you use your materials properly, as this will also add to the stability of your work. (For instance, getting too high an oil to wax ratio will make the piece unstable and won’t allow it to cure properly.)
Most importantly though, at the end of the day you have to be comfortable with the products you are using so I encourage you to choose the products and the level of archivalness that works best for you.
Would love to hear any comments you may have about your work and if you think it’s important to use archival materials.
Be well….be creative,
A really great and very helpful post. Thank you Clare!
You are very welcome Ann! So glad it is helpful.
Clare. This is an excellent and fair discussion. I very much like your perspective on this. I learned some new information here but mainly I really appreciate your perspective.
Nancy Shaffer
Thanks Nancy. It’s a concept I think a lot of artists grapple with and can be very confusing. When I was asked about the wood panels not being archival, I just sunk into this thought that I was doing something terrible by using wood panels…..that I was somehow doing it ‘wrong’…..and how could I have not known or thought it through. Even though working directly on wood panels is an extremely common practice amongst professional encaustic artists.
It’s a lot to wrap my head around! Great info and questions, but I’m glad you said at the end that I shouldn’t worry about it yet. I love using wallboard as my substrate: it’s cheap, easy to cut to size, and the chalk edges are so evocative to me. But I’m still trying to figure out how to safely hang it on the wall without it crumbling away! I can guarantee I’m not archival. I appreciate your suggestion that the artist should come first. I’ll get “writer’s block” for art if I think too much about what I’m doing at this stage.
Yes, by all means Kathleen…..keep experimenting and creating…..don’t let archivalness block you from creating!
Through the years and doing much ‘scrapbooking’, I’ve learned to always go to the archival-ready side. Looking back even 10 years, so much had changed and it’s gotten easier and easier to think-and-do with archival in mind. Then…. we move into more mixed media, which presents a whole new level and dimension to my thinking. Whatever I work on, my first thought is now to thinknin terms of archival. Why not!!! There are no guarantees but why not try.
I agree Carol, I tend to think in terms of archivalness……but sometimes, it limits people when they are experimenting.
Great article and a subject that all artists are continuously thinking about. I think we should just try our best as you stated but who really knows.
Thanks for your comment Michele:)
Interesting post, Clare. I have used either Yes! Paste or acid-free double-sided adhesive sheets because they were promoted as archival. Have you used PVA for mounting? I have a nice supply of that on hand for bookmaking, but have never used it for mounting prints to panels. Pros, cons, tips for using it?
I haven’t used PVA Lee Anne as I rarely mount an image to the substrate. Here is some advice from a previous comment on my blog about printing and mounting an image to boards. Francesca Fuller has a lot more experience at this than I do…..here is what she said. “I use PVA and add methocellos, (50% each), when mixed together it leaves a window for moving your image around and/or taking it off and re-doing. I got this information from my bookmaking friends. Dick Blick has PVA and just google for the meth cellcos it’s a dry powder you mix with warm water. I mix a large batch of this and just cover the extra so I always have some made up and handy. It really is very simple to make. Also, I don’t use the gesso, I cover the board and the back of the image with 2 coats of the glue drying overnight, so the glue can be soaked into each. The next day I coat again the board and back of the image and then place the photo carefully on the board at a corner and slowly smooth down the image with my hand sweeping across in order to get the bubbles out, (yes they can be a bitch). Then use wax paper or release paper over top and using a roller roll from the inside out firmly but gently.
My paper is a 300gsm weight so it can stand up to all of this. Plus my images are very large so if I can I get someone to help it does make it easy (30×40″). This formula is great for large pieces due to the open window.”
Methylcellulose.
Interesting information, and my goal is to always have the archival qualities of the materials I am working with be a factor in what I am an creating.
You suggested that when putting wax directly on the birch panel before adding layers you might consider applying a layer of archival product between the wood and encaustic. I was curious as to what that layer might consist of.
Thank you for sharing your knowledge and expertise!
Encaustic Gesso would be one option Julie. There might be others as well that I don’t know about as I haven’t done the research yet.
Hello, I found your article very interesting and helpful. When I first started working with encaustic, I did paste my images to a substrate, having beeswax medium over them, I hated the scraping of the wax and didn’t like the final images. So I started experimenting on transferring my printed images onto poured beeswax medium. The pouring gives me the smooth surface I was looking for and burnishing the images onto the wax using techniques of water and such gave me the images I was looking for. They become very translucent and vibrant which I love. This process takes much longer and a lot of patience but I love the process and especially the end results.
So glad you found the article helpful Jan….and super glad that you’ve found your process with photo transfers.
Coming from a career back ground in preservation via museum specimens in the National Park Service, “archivalness” has always been on my mind. Also, as a long-time photographer, archival inks and papers have been critical in my work. I feel that the more our clients know about the detrimental effects of acidic materials in artwork the more they will “demand” archival qualities and understand the price points when using these materials—pigment based inks are much more expensive than dye based
I always label my work as “archival photo encaustic”….this offers a conversation starting point to go into more detail about pigment based inks and acid free adhesive and paper….something I have found at numerous art shows that many people are not aware of!
I can see that in some cases when using mixed media materials they might not all be acid free, but the question as Clare presents is if when coated with encaustic medium they then are protected? We need a test lab somewhere where this could be tested!!!
I like that you label your work ‘archival photo encaustic’ Andrea, and agree with you wholeheartedly that if you are selling your work it should be archival. I cringe when I see artists using materials that are not archival and selling them. The buyer may or may not know anything about the topic. I’m a huge proponent of valuing the work, and in my opinion, that means using archival materials and best practices in technique.
Good information! Question – I get that archival is a spectrum but is there an industry standard or rating system so you can compare the different media?
Not that I’m aware of Cynthia. Maybe someone else knows more about this than I do and will chime in.
Living in Florida, I worry more about heat and shipping than I do 200 year sustainability. I have stopped encaustic work because my ventilation was not good enough, bit I have bought a good window fan for that. I do nor want any of my works melting though.
I’m glad that you are not working in an environment that isn’t safe John. Make sure you look at my post on ‘workspace safety’ to get your fan set up properly.
Really interesting points made, Clare.
Thanks Jac!
Just reading all the posts, I try for archival with my supplies as much as possible, but use mixed media. In selling some of my encoustic paper collages in Texas heat, the wax has gotten hot and melted the the sleeve covering the matted picture. Not sure just keepiing out of direct sun is good enough. Any thoughts???
Linda, you might consider changing the ratio of beeswax to damar for your encaustic medium. Adding more damar will raise the melting point and may help. The Texas heat does indeed cause some issues, but with care, it shouldn’t be detrimental to your work.
Great information, thank you. As a relative newbie I wonder about my process of using encaustic gesso to ‘glue’ my photos printed on Japanese Washi paper onto panels prepared with 2 coats of the gesso. I paint the gesso onto the back of the photo, place the panel on top, turn it over, smooth it down, cover with waxed paper, weigh down evenly and wait patiently until fully dry. My concern is (a) that this may not be the best process and (b) that over time that the photo will lift away from the panel. Comments welcomed.
Hi Lorraine, there are numerous ways to attach an image to the substrate, gesso being one of them. I’m not sure there is a ‘best process’…..that would depend on who you ask. If you have worries about the photo delaminating over time…..google the process so you can become comfortable with it. Because ultimately, you need to be confident about the materials you are using in your work.
I know that many encaustic-photo artists use ink jet prints made on their home printers. It’s my experience that standard printer inks are not archival. Even my prints held in the dark will fade within 10 years. Those that are in indirect light will fade sooner. Do you use ink jet prints? Special inks that are not light sensitive? Any thoughts on this aspect of archivalness?
Liz, you’ll want to use archival ink jet prints. Most professional photo printers use these inks. Yes, I do use ink jet prints and either print with my Epson R2880 or my Epson P6000. Both use archival inks. There are so many printers out there, and you are correct many of them do not use archival inks. You have to know your printer and the inks that it uses.
One standard for archival is that nothing is applied to the original art work that either does damage, or can not be removed should some form of restoration be required. ie:In ones efforts to present, do no harm. Since the term “archival” helps sell products, buyer beware. Beyond listed ingredients, one can lie very well by omission of effects, or ineffective percentages of ingredients… or in ways only experience prohibits.
Yes indeed. Many don’t understand what archival is and what it means!
Thanks, Clare. I agree completely that if we are selling works, they need to be as lightfast and durable (archival) as possible so that we can maintain professional standards. Many galleries and museums are suspicious of encaustic art already. I agree also that it can be confusing trying to track down information about materials!
You are so very welcome.
Hi Clare! I just read thru all the comments, as well as some of your blog posts… so much great info., greatly appreciate your ‘non-selfishness’ in sharing with everyone!
I took a photo encaustic course years ago, but took it no further. I now want to ‘dive in’ fully and start experimenting, using my photography.
As far as the wood panels used for mounting, where do you recommend sourcing these?
Referring to your post above, why would you need the layer of archival medium between your board and the wax medium, if coating the board with wax first?
Thank you for the inspiration!!
Glad you are diving back in.
I have my boards made locally so don’t know a great place to source panels other than good old google. I don’t use medium between my board and the wax, I just work straight onto the board. As mentioned in the post though wood is not completely acid free and may deteriorate over hundreds and hundreds of years. Others use encaustic gesso because they want a nice white ground to work on or are using material that is more acidic and might deteriorate.
The hot thing now is to print on metal. But I don’t think they are archival. Any thoughts on using them?
The archivalness is going to be determined by the materials involved. I’ve never looked into printing on metal so I don’t know what is being used, what coatings it might have, nor the inks they are applying. You’d want to know all that before making a determination if it’s archival.
If it’s not obvious on a website, call the company and inquire what materials they are using.