Mounting Inkjet Prints

[John R Smith]

Fellow printers

Is it possible to dry-mount inkjet prints, or are the high temperatures involved going to have an adverse effect on the ink and paper? If dry-mounting doesn't work, what mounting methods do people here use to mount fine-art prints?

Many thanks

John

[Bob Walters]

Fellow printers

Is it possible to dry-mount inkjet prints, or are the high temperatures involved going to have an adverse effect on the ink and paper? If dry-mounting doesn't work, what mounting methods do people here use to mount fine-art prints?

Many thanks

John
[a href=\"index.php?act=findpost&pid=129951\"][{POST_SNAPBACK}][/a]

I'm sure plenty of people will argue that it it's "Art", then it can't be dry mounted.  However, I have a dry mount press and I sometimes mount photographs; including mounting a number of prints using HP Premium Plus Satin paper.  That's their swell-able media made especially for their dye printers like the HP 130.  

It has a beautiful finish and an odd, slick, bumpy plastic backing which would appear to be a challenge for any adhesive.  However, I've not had any problems with either surface damage or delamination using temps of around 175f degrees for 90 seconds.

Bob

[John R Smith]

I'm sure plenty of people will argue that it it's "Art", then it can't be dry mounted.  [a href=\"index.php?act=findpost&pid=129969\"][{POST_SNAPBACK}][/a]

Yes, well in that case none of Ansel Adam's finished work was "Art". Daft, isn't it.

John

[SeanPuckett]

Drymounting is fine for inkjet prints.  Seek a low temperature adhesive, set your press temperature accordingly, follow all typical precautions about dust, pre-heat the mountboard to drive out moisture, and clamp the work after it leaves the press to prevent curl.  You'll be just fine.  

Is it art?  Sure it's art.  Pretend it's really, really thick art once it's been mounted.

BTW, if you're mounting to a fiber-based product (matboard, masonite, etc), consider sealing or shellacking the back of the mountboard or humidity changes can warp the final product due to differences in moisture diffusion through the front/back of the finished piece.

[T_om]

Fellow printers

Is it possible to dry-mount inkjet prints, or are the high temperatures involved going to have an adverse effect on the ink and paper? If dry-mounting doesn't work, what mounting methods do people here use to mount fine-art prints?

Many thanks

John
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Go here: [a href=\"https://www.shop.competitiveedgeonline.com/categoryNavigationDocument.hg?categoryId=21]https://www.shop.competitiveedgeonline.com/...g?categoryId=21[/url]

ColorTAC is a low-temperature drymount adhesive and works a treat.  

Tom

[KenS]

Fellow printers

Is it possible to dry-mount inkjet prints, or are the high temperatures involved going to have an adverse effect on the ink and paper? ...
John
[{POST_SNAPBACK}][/a]

I've found Bainbridge Artcare Restore to work really well at low temperatures.  I use it with Glossy prints from an Epson 7800.  I've mounted prints as large as 24 x 32 inches so far.  Much easier to work with than messing around with dry mounting tissue and tacking irons.  Fewer surfaces mean less chance of dirt or dust causing small bumps in the mounted print.

[a href=\"http://www.nielsen-bainbridge.com/bainbridge/NB-ArtcareRestore.html]http://www.nielsen-bainbridge.com/bainbrid...areRestore.html[/url]

Ken

[John R Smith]

Thank you all for your very helpful advice. I will give it a go!

Best regards

John

[michael]

There's nothing wrong with dry mounting inkjet prints. Just so long as it's done properly.

Be aware though that the gallery / museum community will reject anything that's either dry or adhesive mounted. The reason for this is the concern about longevity and conservation characteristics. Removing a print from its mount, and cleaning off the adhesive can prove to be either difficult or impossible.

The qualities of the adhesive or substrate may be unknown, and therefore the entire archival characteristics of the print are compromised.

If you're not interested in having your work considered by galleries, museums or purchasers who are conservation minded, then mount away. Otherwise be aware of the concerns.

Michael

Ps: In Ansel's day the understanding in the photographic community of the dangers of acidic boards and adhesives was much less sophisticated than it is today. I would venture a guess that if Ansel were working today he'd likely not be dry mounting.

[dkeyes]

There's nothing wrong with dry mounting inkjet prints. Just so long as it's done properly.

Be aware though that the gallery / museum community will reject anything that's either dry or adhesive mounted. The reason for this is the concern about longevity and conservation characteristics. Removing a print from its mount, and cleaning off the adhesive can prove to be either difficult or impossible.

The qualities of the adhesive or substrate may be unknown, and therefore the entire archival characteristics of the print are compromised.

If you're not interested in having your work considered by galleries, museums or purchasers who are conservation minded, then mount away. Otherwise be aware of the concerns.

Michael

Ps: In Ansel's day the understanding in the photographic community of the dangers of acidic boards and adhesives was much less sophisticated than it is today. I would venture a guess that if Ansel were working today he'd likely not be dry mounting.
[a href=\"index.php?act=findpost&pid=130128\"][{POST_SNAPBACK}][/a]

There is a difference between cold mounting and heat/dry mounting. The heat can damage a color print if it's too hot. As far as mounting in general goes, galleries, both big and small, show and sell mounted work, I and many others have been doing it for years. I just saw a Gursky show in NYC, the photos were definitely mounted. Museums collect work that is mounted but prefer it unmounted, they won't reject it if it's only available mounted. Some museums purchase the mounted print and ask for an additional unmounted print they can store in their archive. Again, I have first hand experience with this. I tend to use cold/pressure mounting since I do color work.

- Doug

[madmanchan]

Hi Doug,

Do you use your own equipment/methods to perform the cold/pressure mount or do you have it performed by a local framer? If the former is the case, can you describe your methods?

Thanks,
Eric

[dkeyes]

Hi Doug,

Do you use your own equipment/methods to perform the cold/pressure mount or do you have it performed by a local framer? If the former is the case, can you describe your methods?

Thanks,
Eric
[a href=\"index.php?act=findpost&pid=130460\"][{POST_SNAPBACK}][/a]

I have a local framer do it since dust and bubbles are the main issue when doing this. I do mostly large (40x50") work and would need to invest in a large roller to sandwich the print to the backing material. Light Impressions sells rolls of backing material (up to 24" wide) and you can use a hand roller or plastic squeegee with a slip sheet to adhere the material. I have done this in the past on smaller prints. The trick is to get the material on without bubbles. One of the adhesive rolls (at Light Impressions) is repositionable, which may solve this problem. Never tried it though. Another solution is to try the foamcore or polystyrene boards that have adhesive already applied. Both are neutral ph although some people are wary of foamcore for long term stability and off-gassing.
Regarding heat activated dry-mounting, there are some low-heat adhesives out there now that are supposed to be OK for mounting color prints. Haven't tried them. The advantage of this type of mounting is that one can reheat and unmount the print in the future if needed. This requires an expensive dry-mounting press.
Good luck,
Doug