Frame Destination, Inc. August ‘04Newsletter

Frame Destination, Inc. is proud to present you with its very first newsletter. I sincerely hope you find it useful. There are two main sections to this newsletter. “New Products” describes the new additions to our product line. “Mounting Techniques” is an article about a variety of different methods used to mount photographs.

I am thinking about offering some of the Lineco Inc. archival mounting products, mentioned in the “Mounting Techniques” section. If you feel they would be useful drop me a line and let me know which you prefer.

The website has been updated significantly and is still a significant work in progress. The current website is kind of “simple looking” since it is just a placeholder while I wait for the work to be completed on the new one.

New Products

I greatly appreciate the feedback many of you have provided about the products you would like to see. I hope many of you will be helped with what I have added the last couple of months.

Volume discounts – The website currently supports discount for volume purchasing of picture frames. Qty 5 – 5%, Qty 10- 7.5%, and Qty 20-10%

In addition to the 8-Ply Bainbridge rag mat we now offer white Bainbridge 4-Ply Alphamat. This mat is also treated with their Artcare process, which actively traps contaminants in the air providing additional protection for your artwork.

For those who do not need UV-filtered glazing we now offer Cyro standard framing quality glazing which is less expensive. It is still just as optically pure and translucent as the UV-filtered OP3 acrylic.

For those of you who prefer wood frames we have added our first wood profile, a classic smooth elegant black moulding from Nurre Caxton.

If you require the scratch resistance of glass on your picture frames you can now order your frames without any glazing. In addition, the metal picture frames for artwork sizes 11x14 and 10x15 can be ordered in a standard frame size of 16x20. This allows you to use precut glass which is less expensive than custom cut glass.

There are also several things in process that will be showing up in the weeks ahead. Custom mat cutting capability, frames for 8x10 prints, and some more wood profiles.

Keep checking in, and keep letting me know how I can help you!

Mounting Techniques

Mounting is the technique used to secure the photograph to a mount or display board. There are several different methods used. Selection is based on several factors such as cost, convenience, equipment availability, and conservation. If you are concerned about conservation your choices are severely limited. True conservation framing dictates that the mounting must be completely reversible with absolutely no harm done to the photograph. Museums must adhere to this because even if you use all acid free materials in your frame, acids and other pollutants will eventually penetrate the frame from the air and walls and contaminate the frame. At this point the artwork must be removed and reframed with fresh materials.

For most of us, especially those printing their own work, such extreme conservation rules are unnecessary. Care should be taken to ensure you do not go to far in the other extreme and use general household items such as rubber cement. These items may contain chemicals that will harm your artwork immediately.

Dry Mounting

This technique requires special equipment and is what many professional frame shops use. This is definitely a non-archival technique and over time bubbles can form in the artwork depending on environmental conditions, and the skill level of the person. It generally not recommended for Polaroid and Inkjet prints since both are sensitive to temperature.

Dry mounting works by placing a special adhesive tissue between the photograph and the mount board. It is then placed in a special press that will apply pressure either mechanically or with a vacuum to press the artwork against the mount board while applying a high temperature to activate the adhesive in the tissue.

Pressure-Sensitive (adhesive) mounting

Crescent makes a product called Perfect Mount. This mount board is pre-coated with a pressure sensitive adhesive. It allows you to get an effect very similar to the dry mounting technique discussed above without special equipment and temperature damage to the photograph. The adhesive side of the board is covered with a release paper. You remove the release paper and place the photograph on the board. The adhesive will not start to activate until pressure is applied so you can reposition the artwork. You will also need to make sure you remove any air from under the photograph. Once you are happy with the position you can place the release paper over the photograph to protect it and apply pressure using a squeegee or burnishing tool. The piece must be left alone for 24 hours while the adhesive cures. This technique is non-archival and since the adhesive is not real strong it might not work with thick heavy papers.

Wet-Mounting

Wet mounting is similar to pressure-sensitive mounting however; you must apply wet glue or paste to the mount board yourself. Once applied, you position your artwork on the board and then cover it with something like a sheet of glass to apply a steady even pressure and let it dry for 4-24 hours. This technique is non-archival and you have to be careful not get the glue on your print.

Spray Mounting

Scotch Photo Mount and other spray adhesives are a little cleaner and easier alternative to wet mounting. Place your photograph upside down and spray the adhesive on it. Be sure to overspray the sides, top, and bottom edges. Position the photograph on the mount board and smooth it down from the center to the edges using your hand or a brayer. Typically the spray adhesives are not as permanent as dry or wet mounting. When using spray adhesives you can cover your work area with freezer paper to catch the over spray. Aerosol-sprays require a well-ventilated work area and you should wear a respirator mask. Glue is not good for your lungs. Most of do not allow you to reposition your artwork so you only get one chance to get it right unless you get a version that does.

Hinge Mounting

Photographic paper and mount boards will expand and contract at different rates when the temperature changes. This can result in warping and bubbling of the artwork if it is permanently secured to the mount board. Hinge mounting avoids this problem since it leaves most of the photograph free to move. With this method the artwork is only secured in two or three (for large prints) points along the top with adhesive paper strips and allowed to freely hang down within the frame. This is the method most used by museums. Depending on the construction of the paper and type of adhesive this technique may qualify as a conservation method. For true conservation the Japanese paper is used with a water-soluble wheat or rice starch adhesive. The paper is more like a tissue and very weak. If tension is applied to the mount, the paper should tear before the print thereby protecting it. The adhesive is water-soluble so that it can be completely removed without damage to the print. Of course, this can be an issue with water sensitive inkjet prints. Lineco, Inc. ( http://www.lineco.com/) makes a variety of products for this style of mounting, everything from their “Museum Mounting Kit” with the Japanese paper and wheat starch to their self-adhesive Hinging Tissue (L533-0125). I prefer the later since you do not have to mix any paste. The hinging tissue is similar to regular masking tape except it has a cover over the adhesive side which must be pealed off. It is both acid-free and lignin-free.

The diagram shows the classic T-Hinge. Two strips are applied to the back of the print along the top edge. The print is then laid down on the mount board. Two additional strips are then used to fasten the first two strips down to the mount board. I often use a variation of this method where I use two strips instead of 4. In this method I will fasten the print directly to the mat instead of the mount board. The advantage to this method is I do not need to attach the mat to the mount board to keep it aligned over the print.

Mounting Strips and Corners

If you are concerned with being able to remove the print from the frame you can use mounting strips or corners. This method generally precludes “float” mounting since you need to use a mat to hide the mounts. You can get transparent corner mounts, however I would not use them for a float mount in piece that I was going to sell.

Both mounts come with adhesive backing, which you use to attach them to your mount board. The print is then inserted between them. The mounting strips will secure the edges of the print and the corners will secure the edges.