Unfortunately, you are using an out of date browser which is not fully compatible. It may not display this or other websites correctly. You should upgrade or use an alternative browser.
I'm hoping that you folks here can help a mounting/framing newbie with some of my questions. It seems that every time I think I'm close to an answer, a whole new world of possibilities opens up.
I want to mount my 11x14 double-weight fibre black and white prints to 16x20 board but I'm having trouble picking out the supplies.
I'm thinking that I'll do this:
A Nielsen Bainbridge 4-ply white 16x20 matte with 11x14 window hinged to Westminster 2-ply 16x20 rag board. The print will be attached (mylar corners? P90? Gummed Japanese Hinging Paper [Lineco Hayaku]?) to the backboard.
Would you folks please comment on my choice of matte, backing board, and adhesives? I was planning to make T-hinges to attach the print to the back board with the Lineco product (Mulberry Tape) but I've seen other people here suggest using P90.
Is there a good resource for quality matte and backing board that you can direct me to?
The prints are archivally washed and Selenium toned if it matters.
(Weren't you a Senator from MO awhile back?? Or was that the other John D.??)
Welocme to the Grumble, Jon. I am a far cry from a photo mounting expert but I can assure you that there are good photographers on this forum who will be able to guide you in the right direction.
I just wanted to welcome you aboard and hope that you learn half as much as I have in the past few years on the Grumble.
Framerguy
P.S. I take selenium each morning so I am guessing THAT must be how I maintain my healthy "tone"!
I'd suggest using BB artcare 6 ply to give more depth and someting thicker than 2 ply for the back.
I visited your web site and maybe you should find a local framer who does work you like and strike a deal. How many frames can you get with your start up cost to frame. The time spent on framing might better be spent in the dark room.
I've talked with lots of framers around this town but I can't find anybody that even has the slightest CLUE what I'm talking about. I haven't found anyone yet that can name any of the conservation materials that they use or why. The best I can find is "uh... we us archival stuff."
Beef up the mount board to 4-ply. It is recommended that you use a minimum of 8-ply total matting (2 4-ply) (see artfacts.org for technical information).
Avoid attachment to artwork with pressure sensitive adhesives whenever possible. The adhesives change over time and can damage the work. The mylar corner mounts are good if they work for your art...not so good on borderless images. Otherwise Japanese paper hinges with starch paste (Nori).
A number of the photographer I frame for use the selenium toner. I like the effect and it is supposed to extend the life of the photograph.
I use pretty much Bainbridge Alphamat Artcare products, but all of the major suppliers make suitable boards for matting.
Originally posted by Jdanforth:
I've talked with lots of framers around this town but I can't find anybody that even has the slightest CLUE what I'm talking about.
Jon -- I sure hope that our shop is not one that you visted.... I would hope that we are a little better at explaining options, materials and techniques to an interested customer. At any rate, I would welcome the chance to talk with you and see if we can help you in any way. We're on Harbison Blvd, right next door to Outback Steakhouse
JD, not at all a jab at the art work. I thought it sounded like your first love is family and then photography. So why would you bog yourself down with yet another time consuming task?
B&W fiberbased is a rarity in our part of the country. I like it. Welcome to the grumble.
I used to work at a major museum in the dept. of photo collections and this is how our photo conservator requested that the collection be matted.
We used Rising 4 ply for the back and for the front. If the photograph had a border we would make paper corners out of permalife paper and filmoplast P90 over the corner to secure the photograph. For images that were floated or had no border in which to use corners we used japanese paper hinges with either methel cellulose or wheat paste. Glassine was used as an interleaving tissue.
