Drytac does not recommend applying an adhesive (permanent or "removable") to any print, photo, painting, drawing, image, etc. which one knows in advance will need to be removed at sometime in the future or which value is solely based on its original state.
DRY MOUNTING AND OVERLAMINATING FINE ART?
In general usage, most people probably associate the term archival with museums and fine artwork. Most limited edition prints, collectable posters and photos, heirlooms, etc. do not get dry mounted or laminated because it affects the potential resale value of the item which is based on it's "original state" Of course, the best way to ensure longevity is to place the subject piece in a light-proof, airtight drawer where light, pollution and moisture can't attack it and, of course, where no one can see it. For most people, this is neither desirable or practical.
However, most people want to see their artwork and want to have others see it as well. That often involves dry mounting and overlaminating with a protective clear film. This is where Drytac gets involved in archival issues. As manufacturers of mounting adhesives, overlaminating films and dry mounting equipment, our experience pretty much runs the gamut of art preparation, display and protection.
Drytac mounting adhesives are intended to be permanent. While Drytac Flobond and Drychival(1) are "removable" in most applications, prints mounted with these two products are usually only removed from a board in the event of a problem, only to be remounted to another surface. Removal is achieved by reheating the adhesive and carefully removing the print from the mount board which takes some skill and practice.
But since "removable" mounting adhesives, or products used to remove mounting adhesives (solvents), may leave behind some residue on the back of the print it would be incorrect to call them 100% reversible.
We can then make the following blanket statement: Drytac does not recommend applying an adhesive (permanent or "removable") to any print, photo, painting, drawing, image, etc. which one knows in advance will need to be removed at sometime in the future or which value is solely based on its original state.
Drytac Overlaminating Films are also intended to be permanent. There are currently no heat-activated or pressure-sensitive overlaminating films available that are removable from the print,or reversible, which means there are no "archival" overlaminates on the market.
Similar to dry-mounting (see above). laminating an original work of art, limited edition, collectable posters, etc. likely will decrease its value, but laminating increases the value of commercial posters, inkjet prints, photos for display purposes. Why this difference? Collector items are valued based on their "original state" and laminating changes the original state permanently. However, for most other items like posters, photos, inkjet giclee output, signs, etc. an overlaminating film with UV protection will increase longevity and enhance aesthetics, offer more display options, provide protection from moisture, fading and damage. In most cases other than archival, it will increase the perceived value by your customers.
How long will the overlaminating protection last?
Some of the new ink and inkjet paper match component systems (especially Epson brands) are claiming 50 year longevity. Naturally, we are now asked how long our laminates will last? In other words is there a point in time where the laminate is going to be detrimental to the life of a 50-year (inkjet) print?
We have posters in the Drytac office that have been on display continuously for 25 plus years and still look like the day they were first laminated. However, most laminates at some point will show some signs of aging. Generally, acrylic adhesives will outperform rubber based and hot melt adhesives and higher quality PVC vinyls incorporating UV stabilizers and absorbers will outlast some of the cheaper vinyls on the market. That being said, depending on the location and the exposure of the print output, we at Drytac are confident that most professionally mounted and laminated prints will last well in excess of 30 years and possibly many years longer than an un-mounted / laminated print. Of course, it can only be expected that prints displayed in 'extreme' conditions (direct sunlight, outside exposed to the elements, extremes of hot and / or cold and excessive humidity) will deteriorate more quickly.
A more practical question, then, is: what is the public's perception of what limited edition art is and how long term digitally printed image archival standards will evolve. If after 20 years the image does not look quite a good as it originally did, why not print a new copy using the same digital file and use the best printer, media and ink available at the time? You can't replace a Van Gogh painting, but you can reprint a Van Gogh Giclee.
(1) Note: While RemoTac and FloorTac are also marketed as removable pressure-sensitive adhesives, please bear in mind that in those cases the adhesives is removable from most non-porous surfaces such as glass, floors, Sintra, etc. The adhesive is not removable from the back of print image.
