Questions about mounting tapes.

[Janne Aavasalo]

Hey all,

I've been a bit quiet for a while since I've been really busy, but now it seems to be toning down a bit. So that means that I can get back to making pictures again.

I'll start by saying that archival mounting techniques are known here in Finland, but the demand for mounting products is really low due to the small amount of people doing this. This has led to a situation where there is no stores specializing in archival products and the only two ways to get them is to order them abroad or try to hunt them down from office supply stores and from places that sell art supplies.

I print with the Epson 3880 (A3-A2), so T-hinges are my preferred mounting method.

I've been using this acid-free tape (both sides of the hinge) which is made by Sekisui (Japanese brand), but I'm not sure if it's the right way to go.

I haven't sold any prints yet, so if there's damage it's something that I can fix with ease.

Today I managed to find a place which sells Filmoplast P90, so I think I'll have to order a few rolls of that. I guess the main purpose of the Filmoplast is that it's removable from the back of the print. Correct me if I'm wrong.

Before I go on and order the tape, I also noticed they have P90 Plus available. Are there any pros/cons with this Plus tape?

The other tape used on these hinges is the Tyvek tape, but all I managed to find from Finland is Tyvek tape which is used to seal wind barrier boards on houses.

Do you think that I could use either the Filmoplast P90 or the tape I already have on the other part of the hinge?

Help, comments and suggestions are much appreciated.

Janne

[davidh202]

I am a custom framer I have used Filmoplast P and P90 for years with no problems except one that rears up occasionally.
I have had some situations where the customers returned for a repair of the tape adhesive letting go and the print slipping if the frame is hung in an area that gets high humidity or temp changes such as the inside of an exterior wall that is not well insulated.
These tapes are moisture sensative and can possibly loose their grip. They are meant to be able to be reversed and removed by lightly moistenening.
I will also say that despite the manufacturers claims of "archival", pressure sensative tapes can in time leave residue on the art which negates the archival qualities.
I really wouldn't worry so much about that though.
 P90 as long as you burnish it on well is a good tape if easily obtainable.

[neile]

Given your comments regarding tyvek + filmoplast, I'm guessing you watched the LL video with Bill Atkinson

I just use filmoplast. The tyvek is just an extra roll of junk to keep around the studio.

Neil

[Sven W]

Janne,
Just across the small pond (Baltic sea) you will find more options.
One in Umea and a couple in Malmoe, and here.
(only in swedish)

/Sven

[framah]

Agree with Neil..Tyvek is a waste of tape as well as not being archival in any way, shape or form. The whole idea of the materials used in hinging is that it has to be weaker than the item being hinged. This means that if for some reason the framed piece gets banged or falls from the wall, the tape will tear and not the art. If you use Tyvek or any plastic based tape it will be strong enough to resist tearing and then the next weakest link is the paper of the art.

If one is only using the Tyvek for the cross hinge and not the part attached to the art, then the question is.. why?? I still have no idea why Bill A. would think Tyvek is something to use in any archival setup. Wonder who taught him that little gem.

As for P90 or P90 plus, I use it for most things in my store but when it comes to a museum level mount, I will use a rice paste with mulberry paper hinges. This is completely archival and reversible, leaving no chemical residue in the art.

[Janne Aavasalo]

Hey and thanks for the replies.

First off, yes the hinging technique was taken from the video journal and from the "From camera to print" - tutorial as well. Michael seems to be using the same supplies in his video also.

I also found a website where these supplies and techniques were recommended. I guess the website could derive from these videos as well, but I'm not sure about it.

Like Davidh202 mentioned, the P90 being somewhat sensitive to moisture is the only thing that comes to my mind why one would use two different kind of tape for the hinges.

For the tape leaving behind some residue doesn't concern me too much since there's always some kind of margin where the tape sticks in my case.

Thanks for the links Swen, I think they'll come in handy in the near future. Och jag kan prata och förstå lite Svenska också. Rusty as hell though

On Light Impressions website the Tyvek tape is under "Archival tapes and adhesives", but like framah said, there's no mention about it being archival when you look at the specs. Although this probably is way different from the "normal" Tyvek tape produced by 3M and DuPont and which is used for insulating houses.

I don't know about Bill Atkinsons motives for using two different kind of tapes for the hinges, but if I had to venture a guess, it would be that hes had a problem with the P90 by itself. If I recall right, he is only matting the prints he sells and not mounting them. In the video he also used large mounting corners to keep the print in place when handled and shipped, so maybe that is what contributed to the Tyvek tape. It could also be so that the P90 sticks well to the print itself, but for some reason it doesn't stick to the backing board he is using...much speculation going on here though

Thanks again for the answers and I think I'll put in an order for a few rolls of the P90 for myself.

Feel free to continue this thread still, it's always interesting to learn new things and there's also the unsolved mystery of the dual-tape hinge...

Janne

[neile]

Bill explains his rationale in the video: he was taught that way.

Neil

[tim wolcott]

MOunting tapes work but they still will never hold your prints flat.  On display you will see waves in your papers.  You will see more on coated papers but less on watercolor papers.  T

[davidh202]

Just thought I'd mention one more issue with tapes and adhesives.

As already stated the use of the appropriate weight rice paper and starch paste is the only really acceptable "truly archival" mounting method for fine and valuable art. I also use acetate or mylar corners but again the pressure sensative adhesive can outgass in the framing package and not be "truly archival" over time.
There is one other issue if one is using Bainbridge Artcare products for the mounting substrate it has a tendancy to repel any adhesive due to the very nature of the ingredients used in the production of the boards, which counteract and neutralize other outgassing materials.

I really don't sweat the issue of archival longevity too much unless I am dealing with a very serious piece of art!

[Janne Aavasalo]

Bill explains his rationale in the video: he was taught that way.

Is that the video journal 15, because I don't remember him saying much about that?

And what Tim says is something I've encountered myself, especially during summer when the moisture levels are much higher than during winter. It isn't too bad with A2 sized prints, but at least Epson Premium luster does wave a bit.

What would be the method that doesn't allow the print to wave when mounted? Are there any methods that are viable if you're not a framer yourself?

And as davidh202 sums it up, at this level I'm not looking for a museum quality mounting methods, nor my prints require them. What I do need is simply a good, solid method that doesn't harm the prints as I have the intention of selling them in the future.

Thanks goes out to the people of this forum for their help and the amazing amount of talent that has accumulated here.

Janne

[davidh202]

Janne,
 The easiest and safest mounting method is mylar or acetate corners, especially if you print with white borders on the prints and you dont have to worry about the corner covering any part of the image.They also make corners that are cut in an L shape to reduce the amount of area the corner would cover if it were a full 45 angle.They are relatively inexpensive,come in various sizes, are fast to apply, support the photos from all sides, and the prints can be readily removed with no lasting detrimental effects.
 The primary reason for prints (or any art), to buckle or get wavy in the mat-frame package is constraining the print too tightly around the edges and not allowing for the natural expansion of the paper due to humidity and temp changes.
This applies no matter what method of attachment you choose.
If you use corners do not push them totally into the corner of the paper but leave a slight space to allow for expansion. When hinging it is best to place the hinges roughly 1/4 distance in from each side of the paper dimension.
-----T-----------T-----
When matting never tightly adhere the mat to the backerboard close to the print, and when placing the mat package into a frame never fasten mat package tightly with staples or whatever method, but allow the mats and backing to shift slightly.
If you use Aluminum frames that come with those flat spring clips always flex and bend the spring clips to decrease the tension of the spring on the backer board, but just tight enough to keep the package (glass) from rattling around.
 In metal frames it is even better to fit full lengths of foam core or matting scraps as spacers between the backing and metal channel so that the pressure is even along all four sides. Again not tight but just snug enough to hold everything together.
Hope this helps .
David

 

[Alan Goldhammer]

I think the problem comes when you go to larger sized prints.  I've mounted several dozen 13x19 prints (that is the paper size, the image size is smaller as I leave 1 inch borders for framing purposes) with Mylar photo corners and an overmat covering the borders as the previous poster noted.  Twelve have been hanging in an office corridor for over a year with no sign of print buckling or waviness being present.  I mount on archival foamboard with 4 ply rag mat overlay in a Nielsen frame under plexi.