Loose hinges

[MarkG1]

Just had a piece brought back in that the hinges came loose on.

The customer stores the work in a loft type apt. and it is sometimes very hot and humid.

The piece is floated and is made of some kind of hand made paper.

I have never used the Starch paste. Is it the best type of material I should use to redo this piece?

Any ideas or advice will be greatly appreciated.

Thanks,
Mark

[Shan Linde]

What type of hinges were the original?

Sometimes with handmade/pulpy papers a first layer is applied to the original artpaper to give the hinge something to adhere to.

Shan Linde

[MarkG1]

The original hinges were acid free framers tape.

The piece is good-sized,(37.5"x31") and really wavy. Really thin in spots.

Was hinged in three places with "T" hinges. Looks like the adhesive just wasn't good enough.

[Less]

Lineco makes a nice product called Kayaku.
They describe it as being a genuine Japanese paper with an acid-free polymer adhesive that is water activated and reversible.

I wonder how the Preservator or Rebecca feel about this product?

I don't like artist or linen tapes, not because the adhesive may break loose, but they are far too strong. The hinge needs to be weaker than the paper, or the print will tear first! That's a bad thing.

I also use filmoplast P90 for general hinging or filmoplast P for delicate paper. With the filmoplast you need to burnish the hinge well into the art and the mount to drive the adhesive into the paper or the hinges will release.

If I feel a hinge maybe too strong, I will weaken the hinge by starting to tear it from both edges.

The Purists will tell you only to use Japanese paper hinges with a starch paste.

Oh, one more thing. Please don’t hinge to the mat. This may cause damage when opening it. Hinge to the mounting board.

[MarkG1]

The piece I am talking about is A/F Foamboard with hand made paper dry mounted to it and the artwork is floated on this. The art is Very thin hand made paper.

I don't think that the P90 or the P have strong enough adhesive to support the piece and I really don't want to burnish it either. So, I'm guessing that something water activated is the way to go.

I understand about the hinge being weaker than the artwork, but also need something that the adhesive is not going to let loose.

[Rebecca]

Hi Mark

Here are some thoughts anyway.

Do you think the hinge tape failed because heat caused the adhesive to soften too much?

If the acid free framer's tape that failed is the one I'm thinking of - plastic carrier, with white "pigmented" layer next to the plastic so that the tape looks white - that could well have been the case. That adhesive is real "goopy" and I don't think it's designed to be used on the art. I think that the adhesive soaks into paper very easily.

I also have mixed feelings about P-90/Framer's Delight etc. On the one hand I totally understand why framers want a quick, pressure sensitive tape, but, on the other hand they do have a bad rap. Les's idea about burnishing the tape onto the artwork probably makes it stick better, but it also makes it difficult/impossible to remove. My own test samples are still reversible with ethanol after about 5 years, but the burnished pieces I get in...forget it.

It would be very nice if some picture framing lobby group could convince CCI and/or CAL to test some of the pressure sensitive tapes on the market, or better yet, to do some product development of their own. Maybe the BEVA adhesives (used for lining paintings) guys could come up with something. It's a specialized, but very large market, so there is certainly some profit for someone in there.

This isn't helping you right now though, is it Mark? Wheat starch paste and Japanese paper is probably the way to go. Is there another framer, or a conservator in your area who could give you a lesson? If you type "wheat starch paste" into the search function, you'll find some tips, but "seeing" is always a better teacher.

In a pinch, sure go for the Lineco "Kayaku" - the samples I've tried work ok, but I find the adhesive a bit goopy upon removal for my taste, and I noticed that the Japanese paper developed some spots. Probably a "B" material, rather than an "A", but certainly better than a lot of other alternatives.

Rebecca

[MarkG1]

Wheat starch paste and Japanese paper is probably the way to go. Is there another framer, or a conservator in your area who could give you a lesson? Rebecca,

Thanks for the advice. I'm not sure if Framerguy uses the this method, but if he does, I know he will give me a lesson.

Do you recommend this method for most hinging?

Thanks again,

Mark

[Rebecca]

Hi Mark,

For most pieces yes Mark, I do think wheat starch paste/Japanese tissue is the way to go. I also use methylcellulose, but would be interested to hear experiences of people in hot, humid areas with this adhesive, as my understanding is that it might re-gell under conditions of prolonged humidity. Not a problem in my area, but...

Nothing is 100% though. Once, during a demonstration for framers, I used wsp to apply hinges to an etching on soft/unsized paper (my own piece, that I dredged up in a hurry). To my horror and embarrassement the moisture content fluffed up the paper! I coula died! Well, it was a good lesson. And this is a problem we all face. 99 times out of 100, it's fine, and then there's the time that it isn't. So I do understand the attractions of pressure sensitive.

The thing to do is to practice with lots of paper types, and don't let yourself get rushed or act without thinking (like I did!). It takes a bit longer, so charge accordingly.

Have fun!

Rebecca

[Framerguy]

Hi Mark,

Actually, I have used hinging and WSP in the past and still do use it occasionally. But, as you know, we get very little real art here in So. IL and most of our mounting consists of prints, posters, and photos. I have gone to Mylar D strips and mounting corners for mounting these reproductions and have used them for the past 4 years or more with no comebacks to date.

I did have 2 comebacks when I was using the hinging method of mounting, both were found to be owner error but both had hinges that failed rather than tear as they should when under stress.

If this piece you are working with has deckled edges, I would not recommend using the corners or the strips as they will damage the deckling across the bottom of the art piece. Rather, I would follow Rebecca's instructions and use either WSP or Methylcellulose and mulberry paper hinges all of which can be had from UMS.

Framerguy

[Mel]

Rebecca,

Would you explain the difference between rice starch and wheat starch? I have a note (who knows the source :rolleyes: ) on my mounting kit that wheat starch is stronger than rice. And that Zen Paste is recommended for very large pieces.

I know this was discussed way back in the past century, but I seem to have forgotten and would much appreciate your confirmation.

Thanks.

Oh, to whom it may concern, I believe it has been proved that P90 will, over time discolor, through to the front of the print, certain art inks. That too is a last century discussion, but may be of interest to those who use it.

[Rebecca]

Hi Mel,

I don't know the difference between rice and wheat starch pastes from first hand experience, but the Carr McLean catalogue says the wheat starch is stronger. So rice starches might be useful for overall backings, and wheat starch for hinges and mends. As far as I know, the N. American paper conservators of my generation and younger have only been trained to use wheat starch pastes, a la the Japanese. Rice starch pastes might be more of a European thing, and maybe Chinese. Anyone out there know?

I don't know what Zen paste is. Is it a pre-cooked starch paste? The question for any of the "ready to go" pastes is ingredients - i.e. what's in em?

Rebecca