Fine art prints require care specific to the material on which they are produced. Cleaning methods appropriate for one medium can permanently damage another, and understanding these differences is essential to preserving the work.
I print my paper editions in-house and work with specialist printmakers on metal and acrylic. What follows reflects that production experience alongside the published care guidance of the manufacturers whose materials I use.
What Actually Damages a Print
Cleaning represents a small portion of long-term print care. Two common sources of preventable damage are prolonged light exposure and direct contact with skin.
Prolonged exposure to direct sunlight can contribute to irreversible fading and deterioration over time.
Skin oils present the second concern. They are mildly acidic, they transfer on contact, and on uncoated paper the resulting marks are effectively permanent.
Addressing both of these reduces the cleaning question to routine maintenance.
How to Clean a Lumachrome TruLife Acrylic Print
For routine cleaning, dust a TruLife acrylic print with a clean, dry microfiber cloth using gentle circular motions. Do not use glass cleaner, acrylic cleaner, polishing agents, acetone, or lacquer thinner on the coated viewing surface. If dry cleaning isn't enough, use the manufacturer-recommended mild detergent and distilled-water method described below.
TruLife acrylic carries an anti-reflective, abrasion-resistant coating on the viewing surface. This coating produces the material's characteristic clarity and depth. It is also the element most vulnerable to improper cleaning.
Tru Vue, the manufacturer, provides explicit guidance. Glass cleaning sprays should not be used. Products marketed as acrylic cleaners should not be used. Polishing agents should not be used. Solvents including acetone and lacquer thinner must be avoided entirely.
Recommended method
- Dust with a clean, dry microfiber cloth using gentle circular motions. TruLife is anti-static and resists dust accumulation, so this addresses most routine maintenance.
- Where dry cleaning proves insufficient, prepare a solution of one drop of fragrance-free, dye-free mild dish detergent in 32 ounces of distilled water. Apply the solution to the cloth rather than to the print surface.
- Rinse with distilled water using a second clean cloth to remove any detergent residue, then dry with a third.
- Use distilled water rather than tap water. Mineral deposits from tap water are highly visible on a surface this reflective.
To be avoided
- Paper towels, which are wood-based and will produce micro-scratches in the coating.
- Dry or abrasive cloths, which risk scratching and generate a static charge that attracts further dust.
- Any attempt to buff or polish a scratch. Tru Vue advises against this, as the coating is a discrete layer and polishing removes it.
I recommend handling these pieces with cotton or nitrile gloves, particularly for works above 30 inches, where the face must be gripped in order to control the piece.
How to Clean a ChromaLuxe Metal Print
To clean a ChromaLuxe metal print, remove loose dust with a clean microfiber cloth, then wipe the surface with a standard all-purpose household cleaner. ChromaLuxe's published guidance allows the cleaner to be sprayed directly onto the print surface. Avoid abrasives, scouring compounds, and metal polish.
Metal requires the opposite approach. ChromaLuxe is produced by dye sublimation into a multi-layer polymer coating bonded to aluminum, which places the image within a sealed, non-porous surface containing no open pores.
ChromaLuxe's published guidance is correspondingly straightforward: a cloth and a standard all-purpose household cleaner, applied by spraying directly onto the print surface. This durability is the reason I recommend metal for kitchens, bathrooms, and commercial and high-traffic environments where artwork is likely to be handled.
Practical considerations
- Remove dust before wiping. Drawing a cloth across a dusty gloss surface grinds particles into the coating. A brief pass with a dry microfiber cloth prevents this.
- Avoid abrasives, scouring compounds, and metal polish. Polishing compounds are formulated to remove a surface layer, which is precisely the outcome to be avoided.
- I also advise against acetone and denatured alcohol, both of which appear in some print laboratory recommendations. The manufacturer does not call for them, and aggressive solvents applied to a polymer coating introduce risk without corresponding benefit.
- Gloss finishes show fingerprints and dust more readily than matte. This is a consideration worth weighing at the point of purchase.
On longevity, ChromaLuxe cites testing by Wilhelm Imaging Research indicating display permanence in excess of 60 years, substantially exceeding that of traditional silver-halide photographic paper. These ratings assume indoor display without direct sunlight exposure.
How to Clean an Archival Cotton Rag Paper Print
Cotton rag prints should not be cleaned under any circumstances.
Rag paper has no protective coating and no sealed surface. Pigment sits within and upon a fiber substrate, and every method appropriate to the other two materials will cause damage. Water cockles the sheet. Solvents displace pigment. A dry cloth abrades the surface and burnishes the texture that distinguishes the paper.
On framed paper work, the glazing receives the cleaning. The print itself is never touched.
Handling
- Handle by the edges only, using cotton gloves where possible. Skin oils on rag paper produce marks that darken with age and cannot be removed.
- Support the full sheet with both hands. A large print will crease under its own weight if lifted from a single edge, and creases in rag paper are permanent.
- Never make contact with the image area, regardless of how clean the hands appear.
Framing
- Frame under UV-protective glazing and keep the artwork out of direct sunlight. Together, appropriate glazing and careful placement help reduce light-related deterioration over time.
- Specify a mat or spacer so the glazing does not rest against the print surface. Direct contact can cause adhesion over time, particularly in humid conditions.
- Require acid-free, archival mat board and backing. Non-archival board yellows, and that discoloration migrates into the print.
- Specify a reversible hinge mount rather than dry mounting or pressure-sensitive tape. Dry mounting is irreversible and diminishes the value of a limited edition work.
A qualified framer will be familiar with each of these requirements.
Display Conditions and Placement
In my experience, placement accounts for considerably more print damage than maintenance does. Several locations warrant caution regardless of material.
Direct sunlight
South- and west-facing walls that receive prolonged direct afternoon sunlight can increase the risk of fading and deterioration. Every permanence rating available assumes display without direct sun exposure. I recommend observing how light moves through a room across a full day before committing to a wall.
Above a working fireplace
This location introduces heat cycling, soot, and temperature variation that can exceed twenty degrees between an active fire and a cold morning. Paper responds to such fluctuation by expanding and contracting within the frame. Where a mantel placement is required, metal performs best.
Bathrooms and kitchens
Humidity is the primary concern in a bathroom, airborne cooking oil in a kitchen. Aerosolized oil settles on nearby surfaces and accumulates as a film that yellows over time. Metal resists both conditions and cleans readily. Metal is generally the most forgiving option for bathrooms and kitchens because its sealed surface handles humidity and routine cleaning well. Framed paper requires substantially more caution in either environment, particularly where humidity or airborne cooking residue is persistent.
Uninsulated exterior walls
This consideration is frequently overlooked in the Pacific Northwest. A cold exterior wall within a heated interior can fall below the dew point behind a frame, producing condensation between the glazing and the print. A quarter-inch spacer behind the frame permits air circulation, though an interior wall remains preferable.
General conditions
I recommend maintaining approximately 70 degrees with relative humidity between 40 and 50 percent. Stability matters more than any specific figure. Gradual seasonal variation is manageable. Rapid fluctuation is where problems develop.
Transport and Storage
Where a piece must be removed for relocation or renovation, the following measures prevent avoidable damage.
- Wrap acrylic and metal in soft material with a rigid sheet protecting the face. Corners and edges sustain the majority of transit damage.
- Transport large works upright and on edge rather than flat.
- Store paper flat, interleaved with acid-free tissue, within an archival box. Short-term rolling during shipment is acceptable. Extended rolled storage sets a memory in the sheet, and flattening a curled print requires professional conservation.
- Do not store artwork in a garage, attic, or basement. These present the least stable temperature and humidity conditions in a typical home.
- Retain the Certificate of Authenticity separately from the print. In the event of sale or insurance appraisal, this document establishes provenance.
In the Event of Damage
If a piece arrives damaged, photograph the exterior packaging and the artwork and contact me within 48 hours of delivery. All shipments are insured, and a replacement will be placed into production at no cost.
Where damage occurs later through relocation, water intrusion, or accident, please contact me regardless. Professional conservation addresses a wider range of problems than most collectors expect, and I can provide a referral.
I would ask that no repair be attempted before consultation. In my experience, the majority of permanent damage begins as minor damage compounded by an inappropriate remedy.
Summary
Three items address the care requirements of every piece I produce: clean microfiber cloths, distilled water, and cotton gloves.
Metal accepts a sprayed cleaner and a wipe. Acrylic requires a dry cloth and nothing further unless a mark demands it. Paper is never cleaned. All three benefit most from placement away from direct sunlight.
For questions regarding a specific piece or a difficult installation, please get in touch.
Frequently Asked Questions
Can I use glass cleaner on an acrylic print?
No. Tru Vue, who manufacture TruLife acrylic, advise against glass cleaning sprays on the coated surface, along with acrylic cleaners and polishing agents. Use a dry microfiber cloth. Where a mark will not lift, apply one drop of fragrance-free, dye-free mild dish detergent in 32 ounces of distilled water to the cloth, then rinse with distilled water and dry.
How should a ChromaLuxe metal print be cleaned?
Remove dust with a dry microfiber cloth, then wipe with a standard all-purpose or glass cleaner. ChromaLuxe confirms the cleaner may be sprayed directly onto the surface. Avoid abrasives, scouring compounds, and metal polish, each of which removes the protective coating.
How should a cotton rag paper print be cleaned?
It should not be. Rag paper has no protective coating, and water, solvents, and dry cloths all cause damage. Clean the glazing on the frame instead. Where a problem develops behind the glass, the appropriate remedy is professional conservation.
Will my print fade over time?
Archival materials are designed for long-term display, but no print should be considered completely immune to environmental change. Keeping artwork away from direct sunlight and maintaining reasonably stable indoor conditions helps reduce the risk of fading and deterioration over time. ChromaLuxe cites Wilhelm Imaging Research testing for its published display-permanence estimates, which assume appropriate indoor display conditions.
Can a print be displayed in a bathroom or kitchen?
Metal is generally the most forgiving option for bathrooms and kitchens because its sealed surface handles humidity and routine cleaning well. Framed paper requires substantially more caution, particularly where humidity or airborne cooking residue is persistent. Acrylic falls between the two, and I would want to assess the specific room first.
Can a print be hung above a fireplace?
It can, and metal performs best in that position. A working fireplace produces heat cycling and soot, and paper responds to temperature variation by expanding and contracting within the frame. Where a paper piece must occupy that location, ensure the mantel is deep enough to deflect heat.
What temperature and humidity should artwork be kept in?
Approximately 70 degrees with relative humidity between 40 and 50 percent is a reasonable target, though stability matters more than any exact figure. Gradual seasonal variation is manageable. Rapid fluctuation causes problems.
Are gloves necessary when handling a print?
For paper, yes. Skin oils leave permanent marks on rag paper. For acrylic, gloves prevent fingerprints on the viewing surface. Metal may be handled without gloves and wiped afterward.
What should I do if a print arrives damaged?
Photograph the exterior packaging and the artwork within 48 hours of delivery and contact me. All shipments are insured, and a replacement will be placed into production at no cost.