Dry mount: Hot vs. Cold mount

[bill t.]

Those are very handsome looking presentations that would make any framer proud, but they do not conform to museum standards.

The main museum relevant issues are the inclusion of foam and wood materials within the frame, the use of even the most benign tape attachments, and in one case hard contact between the print and the glazing.  A picky conservator could name a few more.  While I understand those issues are relatively harmless, they are out of bounds by widely accepted museum display conventions.  I personally spend a lot of time out of bounds, and make no claims to the contrary.

Of course we are all guilty of the most fundamental museum preservation violation by implying that our prints can be continuously exposed to light of any wavelength, rather than for brief periods at widely spaced intervals which is how museums do it.  Art fair and gallery customers would have trouble with that concept.

My own observations over the past 10 years is that in continuous display situations, coated and mounted prints that mock preservation standards somehow manage to degrade slower than bare prints framed to archival or museum standards.  I have a test case in the form of large, old installation containing both types of presentations, and those archival pieces are starting to worry me.  So don't take any of this very seriously.

[disneytoy]

Hi Bill,

"  For underpinning-free framing use polystyrene and Loctite Ultra Gel Super Glue, buy some extra of each for practice which will be needed.  TCG saw blades, that's all you need to know."

So do you mean polystyrene sheet behind the PVC? or to use strips?

Do you have any preferences on TCG blades? I have two Miter saws, one is a compound slide the other stationary, Both with the the starter blade.

For a larger size piece say a frame 40x60" Do you add any bracing to the rear so the frame molding does not sag? Is that even an issue? i have some large DIY wooden frames which have a bit of a sag at the bottom.

Finally, any preferences on finishing the backs? Brown craft paper (glue or doublesided tape)? D-rings and braided wire?

thanks

Maxi

[bill t.]

If I was going to use polystyrene moulding, I would buy actual moulding probably from Omega, and not use cutting scraps. The reason I mentioned polystyrene is because you can must join it without an underpinner, because underpinning hugely subverts the strength of poly miters, which are basically chemical welds rather than glued joints.  Properly made poly miters far outlive wood miters.  But keep in mind that the price difference between poly and wood moulding for those sizes is negligible.  The reason for poly in this discussion is because you don't need to buy an underpinner.  With wood it's also a little tricky to drive either long or multiple nails up into tall moulding, some underpinners may not even be strong enough.

For poly I like the Freud LU92M012 12-Inch 72 Tooth Modified TCG Ultimate Laminate Cutting Saw Blade with 1-Inch Arbor.  90 bucks a pop.  10 inch models are cheaper.  There are cheaper ones that I am sure will work OK.  The Freuds can be re-sharpened around 15 to 20 times.  No matter what anybody tells you, the normal ATB and similar blades that come with saws absolutely positively stink for cutting poly, no matter how slow or how fast you make the cut.  TCG only, anything else is BS, and that includes some professional BS TCV blades said to be "for poly." Those "professional" blades are designed for continuously running saws, not for chop saws.  Learn to make the required karate-chop cuts without fear, but as the blade ages you may need to slow down just a tad.  It's all in the sensuous feel of blade-through-foam.

For such thin moulding in either poly or wood you would need to brace the back of the frame to something.  Figure out a way to make your stiff backing board the real structural core of the frame.  Otherwise I buy 1/2 inch by 72 inch aluminum strip from Lowes for a single cross brace on 6 foot frames, and two of those strips on 8 foot frames.  I have a 1/8 inch hole punch designed for metal working, can't remember where I got it or what brand it is.

There is no technical reason to put paper on the back, the rear mounting board (or the gator on a normal treatment) is plenty to protect the artwork package.  Backings are a pita because right away people punch there damned fingers through them, so why bother?  The answer: because some people expect it.  In my case, those people are SOL.

I would use two single hole d-rings on either side, and include a little note telling the buyer how to install the appropriate nails or screws in the wall, giving measurements and moral guidance.  Any framed piece bigger than 6 foot wide should use that technique, whether poly or wood, but especially for poly which is more bend prone.  The single hole d-rings allow the d-rings to swivel to compensate for less-than-optimal placement of the wall supports.

[disneytoy]

Bill!

"Backings are a pita because right away people punch there damned fingers through them, so why bother?  The answer: because some people expect it.  In my case, those people are SOL."

I like that answer:-)

Maxi

[Peter McLennan]

Is it absolutely impossible to adhere a large (say 30X40) print to self adhesive gator by hand?  ie with cotton gloves?

[disneytoy]

Peter,

I was looking into a manual "inexpensive" cold laminator for this. I would not attempt hand rolling this out.

[bill t.]

Is it absolutely impossible to adhere a large (say 30X40) print to self adhesive gator by hand?  ie with cotton gloves?

A few art fairs ago I got involved in a big discussion about adhesive mounting with some of the regulars.  A long time veteran said he routinely adhesive mounts large prints by applying double release adhesive first to the substrate, then heating the backing and print for several minutes in direct sun, then hand rolling the print onto the adhesive prepped backing as his wife pulled back the second liner.  The heat helps the adhesive flow, and makes the print more supple.  Sounds logical to me and I know many workers who think heat is important for a long lasting bond.  But I never tried it.  I don't think he was using Gator, because that definitely warps in direct sunlight.

Way back when I applied several 24 x 60 range prints by hand and thought it was rather difficult, and on several prints I got bubbles developing long afterward.  So there's a strike against glove pat downs.  But I was also struggling with single release liner rolls that are aggressively hostile to hand application.  However, 5 years earlier I adhesive mounted several prints using a high quality roller machine, it was easy, and they apparently stayed down just fine over time.

I'm wonder if it might be a good idea to heat up an applied print a little outside, then bring it inside for a second round of patting.  Ooooh!  Or maybe use a hair dryer gun.

In any case, you would want to use double release adhesive, which has a release liner on both sides of the adhesive.  That gives you the advantage of cutting the adhesive sheets to convenient sizes using your normal cutting system, and of then positioning them accurately in relation to the substrate and print before exposing any adhesive.  It's a big deal for hand mounters and might also be a good idea when using laminators in cramped or dusty conditions.    Most double release products don't have a white shield in the adhesive, so if your media is thin use hard to cut white Gator instead of easier to cut black Gator, that's to avoid pulling down your highlights from transparency.

BTW Coda will cut down any of their adhesive rolls to exact sizes to fit whatever size of laminator one has.  Extremely nice people there.

[disneytoy]

Bill, so much great info. I'm not using Gator, but your knowledge of white vs. black gator will be put down in my notebook.

M~

[petercorb]

Thank you for the compliments bill t.

Of course you are partially correct regarding the somewhat nebulous subject of "museum" standard; without sealing in a vacuum away from light there is no such thing as absolute conservation.

However given the materials I have to work with and the likely conditions with regards to exposure these framed prints will end up in, I am happy that my framing standards will be more than adequate and I am happy to continue to use the term museum standard.

With regards to the original question of this topic, some of my clients prefer to have a completely flat print within the frame.

I am not a general framer and only frame for customers who buy one of my images so I did not want to go to the expense of buying a vac press or large dry mounting device.

Some time ago I discovered this simple device http://www.clubframeco.com/store/product_details.php?pd_id=2063

Initially I thought it was a somewhat "Micky-Mouse" contraption but I can assure you it is very effective, albeit limited in size.

I also use this method of adhesion http://www.breathingcolor.com/blog/mounting-prints-with-glamour-ii-giclee-varnish/

Used together I find this method simple, clean and very effective giving no bubbles whatsoever with whatever substrate used and have experienced no longer term problems - up to now!

[disneytoy]

Peter!

That is an interesting option.  How is the open time on the adhesive? I'd be concerned spots drying before everything is in place.  Once in the vacuum, how long do you need for it to set-up?

I'm using RC paper and PVC Sintra. How well does the adhesive work on such materials?

I actually have a vacuum pump. Was getting involved in vacuum molding carbon fiber. Same technique. In fact you really can create a bag any size. In Vacuum infusion you often have 3 dimensional pieces.

Thanks!

[petercorb]

There is lots of time, more than enough,one doesn't need to worry too much about fussing with the adhesive as long as its even, it takes seconds to apply.

I have used masonite, black fomecore, PVC and 4 ply mountboard, then just slip into the bag and with a domestic vac the air is out very quickly.

I leave it for about 10-15 mins and result is perfect, flat bubble free.

I never used RC paper always matte and Canson Platine, which is a rag base, but I am pretty sure it will work on RC. You could always ask breathing colour for an opinion.

I was never happy even in the old days of a hot press, this method applies less stress than the paper going through the printer.

Hope tis helps.

[disneytoy]

Since I'm low volume, this technique could work. I think Glamour II is essentuall gel medium. I have some Golden Gel medium I could try. Need one of those rollers.