Mounting
Mounting is the means by which artwork is attached to a surface allowing for proper support of the piece prior to framing. This process is most critical for the successful presentation of the framed piece. Choosing the best mounting method for your artwork is very important.
There are many different methods of mounting, each involving different mounting boards, adhesives and equipment. When discussing this topic with your framer, make sure you are clear on the positives and negatives of each mounting method. Below are brief descriptions of the most common mounting methods used at Hope Framing along with some of the pros and cons of each method.
Conservation Mounting is the only method that should be used when mounting fine paper art and documents. The mounting board should be cotton "rag" mat and the adhesive used should be wheat paste mixed only with distilled water. Thin strips of white linen tape or Japanese paper should be coated with the paste and adhered only to the top backside of the artwork. Once dry, the thin strips are then adhered to the mounting board allowing the artwork to hang within the framing presentation that is chosen. This method is commonly known as a "hinge" of which there are many different types. In some cases, the hinge may be attached to the top matting boards instead of the mounting boards to create the allusion that the artwork is floating between the mounting board and the glazing.
Corner pockets in conjunction with linen tape are another commonly used mounting method used primarily with smaller works of art and photographs. The corner pockets and linen tape are bonded to the cotton mounting board with wheat paste. Sometimes a single mounting hinge may be placed in the center of the top corner pockets to provide greater stability (prevent sagging) of the artwork.
These are the best methods for the preservation of artwork. Also, all materials used in these mounting methods are acid free and reversible by distilled water, with no damage to the original artwork. However, because the paper artwork is free to move in its suspended mount, times of high humidity will swell the paper and cause cockling (the artwork will not lay flat within the framed presentation.) This is considered acceptable by museums but may cause concern for you if you wish to see the artwork maintain a consistent smooth and flat surface.
Dry mounting is very popular for the mounting of prints, posters and photographs. This method involves a thin sheet of adhesive placed between the artwork and the mounting board. The layers (paper artwork, adhesive film, mounting board) are placed within a heated press which activates the adhesive sheet and bonds the artwork to the mounting board. The mounting board itself may be any of a selection of mat boards or regular mounting board with acid buffered surfaces. After the proper bonding time has occurred, the layers are removed from the press and placed between two large sheets of plate glass to cool and flatten which concludes the bonding process.
This mounting method provides for a very smooth, flat and stable mount as the entire artwork piece is bonded to a mounting board. If the artwork is wrinkled or creased from folding, this method can smooth out most wrinkles and leave creases only slightly visible. This method should never be considered for any artwork requiring conservation mounting. In most cases the finished mounting is irreversible.
These mounting boards are commonly used for the mounting of posters, prints and for artwork (not requiring conservation mounting) which is heat sensitive and moisture sensitive. The board, usually acid buffered white foam core, has a thin layer of adhesive on one side, covered by a release paper. The release paper is slowly removed as the artwork is positioned onto the board. Once the positioning is completed and all wrinkles and air bubbles have been removed, the positional mounting board and artwork are often placed within a cold press and firmly adhered. This completes the mounting procedure leaving the artwork smooth, flat and very stable for matting and framing. This method also should never be considered for any artwork requiring conservation framing and in almost all cases is irreversible.
Wet mounting is the application of paste or glue by brush, roller or sponge to the mounting board followed by the placing of the cloth or paper artwork onto the prepared mounting board surface. In this method, the back surface of the artwork is usually dampened before being positioned. The artwork is then rolled out from the center to avoid wrinkles and air bubbles. After the artwork is positioned on the mounting board, it is placed under thick plate glass to flatten and to dry slowly. The drying time for this process may require up to a day depending upon humidity. Due to the long drying process, a vacuum press is often used in place of the plate glass as it removes all air and moisture resulting in more rapid drying. In recent years, many new types of adhesive sprays have been developed for vacuum presses decreasing the drying time to only seconds. This method should never be considered for any artwork requiring conservation mounting. In most cases the finished mounting is irreversible.
Sewing is a method often used when mounting delicate cloth artwork. Pure cotton thread is sewn through a series of holes, predrilled into the cotton mounting board. The thread is passed through the mounting board, then through the top of the cloth artwork and returned through a corresponding hole to the back of the mounting board. A square knot is then tied to complete this process. The number of knots required for the cloth artwork is totally dependent upon the width, length and weight of the piece. This allows the cloth artwork to hang securely, being touched only by cotton. This mounting method is a conservation approved method.
The mounting methods that have been presented here are those methods most commonly used with fine paper art and cloth. These methods are by no means a comprehensive overview of all mounting techniques. The key thing to keep in mind when framing your artwork is reversibility. If in time you decide, or someone else decides to remount and reframe a piece, can this be done with no damage to the artwork? Conservation mounting will always give you this option whereas many of the other methods do not. At Hope Framing our policy is; when in doubt, choose conservation.
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