DIY frame - keeping inkjet prints flat

optimystery

True Grumbler
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Hi,

I am an artist doing my own basic framing, using eFRAME (here in UK).
I can assemble the frames fine and have perfected a dust-free technique reasonably well (wiping the edge of the perspex with a damp microfibre cloth before peeling one face very slowly).
The one thing I noticed after hinge-mounting prints inside barrier board and front mount, is that the print appears to 'bulge' towards the center.
This may be due to thin mdf backing, which is held in place by Nielsen-type springy metal in between the metal frame and mdf backing board.

Should I be putting in a layer of foamcore as well? Thicker mdf?
Or is this something that happens when you don't dry-mount?
The inkjet paper is Oyster 271.

It would be difficult to capture in a photo I think, as it's quite subtle, but still noticeable, especially from the side.
 
It sounds like the print is restricted somewhere. Paper will expand/contract and you can't prevent this so you
have to allow it freedom. If it can't move sideways it will go~~~~~~.
How are you placing the hinges?
Mounting is a quite complicated process. Forget trying to hold paper flat by force. It will always win.
 
It's a small frame, 30x30cm, and the print is around 21x21cm.
I attached hinges in 2 places, with roughly equidistant space in between and to either side.
So in theory it shouldn't be restricted, other than by the force of the spring clamps.

Would you normally be fine with 2mm mdf backing board, barrier board, mount and 2mm perspex?
I wondered if the mdf was too thin to hold itself flat..
 
The springs exert pressure that contain the contents of a metal frame into the picture frame. This pressure can be adjusted to reduce or increase this pressure by forcefully bending the springs prior to insertion. Metal picture frame springs can be seen as a strip of sheet metal that is pre-bent into at least one arc. To reduce the pressure the radius of the arc, to appear flatter, should be increased, either by hand or with the use of pliers. Some spring designs also hav e secondary arcs at each end. Flattening these arcs flat will also reduce the pressure.
 
The springs exert pressure that contain the contents of a metal frame into the picture frame. This pressure can be adjusted to reduce or increase this pressure by forcefully bending the springs prior to insertion. Metal picture frame springs can be seen as a strip of sheet metal that is pre-bent into at least one arc. To reduce the pressure the radius of the arc, to appear flatter, should be increased, either by hand or with the use of pliers. Some spring designs also hav e secondary arcs at each end. Flattening these arcs flat will also reduce the pressure.
This is exactly what I do. I adjust the tension of the springs by carefully bending them flatter.

Some time ago I noticed that with many older aluminium frames I had coming in for re-framing, repairing glass or what ever, many times the spring clips are broken in half. Almost always at the center, or top of the arc of the spring. Sometimes offset somewhat.

I wondered about that for a while. Then I had a suspicion it could be because they have been under tension for decades.
Eventually the thin spring metal fatigues and fractures.
It seemed to make sense to me that by flattening the spring, it would reduce the tension and possibly reduce the chances of that happening.

I'm no rocket surgeon, I have no idea if there's any engineering sense to my thinking in this.
 
Hm that does make senes, though the springs are only at the edges and corners. Not sure why that would cause the center to bulge outwards.
Will try taking some of the tension out of them next time and see if it makes a difference.
I suppose I should try slightly thicker backing board, and then foamcore.

By the way does anyone use corri-cor around here?
 
one thing not mentioned it how dry are your prints?
are they retaining moisture and when hinged it constricts??
Others maybe able to talk more about the drying time needed....before trying to mount them
 
We use spring clips with metal frames, only with a mat (or as you would say, 'mount') that's up against glass.
When using acrylic and/or spacers, we skip the clips and fill back to depth with foam core.
 
I don't do metal frames but I have hung picture's some. I hang them on the matt board if I remember right and foam core behind that. They don't always hang real flat but you have to be pretty critical to notice it. Just getting back recently, kind of like a rebirth! Haven't got all the stuff I'd like right now so cutting up cardboard box'a in place of foam core. These are all for myself. Seem's like stuff has gone up quite a bit since I last did this. Looking for ATG tape and it's over $6 a roll now! And if that isn't so bad, I'm about out! I use it to put dust cover's on the back of my frames and tape matts together!
 
one thing not mentioned it how dry are your prints?
are they retaining moisture and when hinged it constricts??
Others maybe able to talk more about the drying time needed....before trying to mount them
I've left the prints a range of times, from after 5-10 minutes to overnight. It doesnt seem to make a difference. I also have my printer set to a slower setting to aid drying time
 
We use spring clips with metal frames, only with a mat (or as you would say, 'mount') that's up against glass.
When using acrylic and/or spacers, we skip the clips and fill back to depth with foam core.
Interesting, that's a couple of votes for not using clips. So if I understand right the foamcore is under a bit of compression, which holds everything tight.
I guess that's what this is for?
https://www.lionpic.co.uk/p/33871/Foam-Board-3mm-White-Face-%2f-Brown-Back-1015mm-x-762mm-1-sheet Foam Board 3mm White Face / Brown Back 1015mm x 762mm 1 sheet (they have a 10 sheet minimum order, mix and match)

I had some stuff professionally framed, and I can see that's what was used rather than mdf, although some frames have foamcore and clips, while some are packed with just foamcore.
 
I've left the prints a range of times, from after 5-10 minutes to overnight. It doesnt seem to make a difference. I also have my printer set to a slower setting to aid drying time
Interesting comment.

This leads the discussion to the stabilization of the paper after the art is being printed on. The inkjet printing process adds ink to the surface of the paper. This addition might be a continuous or partial(not 100% coverage) application. This process adds moisture to the paper. It takes time for the paper to restabilize the humidity level throughout. In the traditional printing industry it is common standard practice to allow the unprinted paper sit in an environment for a length of time to allow for the humidity levels to level up to the room conditions where the printing is being done.
Can you explain under what conditions that you are working regarding climate control of the room or rooms and their contents versus where the framed art is being displayed? Variation of the different room conditions does make a difference.

Unless you have actually tested the humidity levels at each step with measuring devices one cannot say that the humidity levels are the same. Visual inspection is not sufficient for this determination.
 
I will toss my two cents in here for what it is worth. We are primarly a giclée printing shop that also does framing so 70% of what we frame is inkjet prints. I have never had this issue. Now that said I do not use a lot of metal frames. I usally use plexi then mat then print then 1/8" (Sorry in the US not sure on the mm size) foam core with spring clips. I feel like your issue may be coming from your mounting or attachment method. Are you just hinge mounting from the top only? I have not found that letting the prints dry more changes how they look in the frame however, if not left for a day or two they will outgas and over about six months a fog will start to form on the inside of the glazing. they do take about six months to completely off gas, per Epson at least, but most is gone in the first 48 hours.
 
Just dry mount the print down and they are flat.
 
Just dry mount the print down and they are flat.
Ah, this opens a whole area of discussion..
Ok, so they are not valuable work and are reproduceable ink jets, so dry mounting would be ok.
Would you still dry mount something like a monotype on 300gsm paper?
I don't have a dry mounting press. As I feel my way into gradually making frames, I may at some point feel ready to start a small home-based business, and would consider getting one then

Are there acceptable methods of dry-mounting without specialist equipment?
Any of these boards would be ok to simply press or mount only with contact?
 
Interesting comment.

This leads the discussion to the stabilization of the paper after the art is being printed on. The inkjet printing process adds ink to the surface of the paper. This addition might be a continuous or partial(not 100% coverage) application. This process adds moisture to the paper. It takes time for the paper to restabilize the humidity level throughout. In the traditional printing industry it is common standard practice to allow the unprinted paper sit in an environment for a length of time to allow for the humidity levels to level up to the room conditions where the printing is being done.
Can you explain under what conditions that you are working regarding climate control of the room or rooms and their contents versus where the framed art is being displayed? Variation of the different room conditions does make a difference.

Unless you have actually tested the humidity levels at each step with measuring devices one cannot say that the humidity levels are the same. Visual inspection is not sufficient for this determination.

I am printing and framing these in my home, so.. this is probably beyond what I can hope to control
 
I am printing and framing these in my home, so.. this is probably beyond what I can hope to control
can you post a photo of what the bowing looks like and a photo of how you are mounting them. I think we could help a bit more if we could see it.
 
I will toss my two cents in here for what it is worth. We are primarly a giclée printing shop that also does framing so 70% of what we frame is inkjet prints. I have never had this issue. Now that said I do not use a lot of metal frames. I usally use plexi then mat then print then 1/8" (Sorry in the US not sure on the mm size) foam core with spring clips. I feel like your issue may be coming from your mounting or attachment method. Are you just hinge mounting from the top only? I have not found that letting the prints dry more changes how they look in the frame however, if not left for a day or two they will outgas and over about six months a fog will start to form on the inside of the glazing. they do take about six months to completely off gas, per Epson at least, but most is gone in the first 48 hours.
I am hinge mounting from the top only. Backing board and mat are hinged, and then hinge-mounting to the back of the mat.
there is only a small overlap between edge of artwork and edge of mat

Ok, so print and leave for 48 hours - I will try that in future
 
I am hinge mounting from the top only. Backing board and mat are hinged, and then hinge-mounting to the back of the mat.
there is only a small overlap between edge of artwork and edge of mat

Ok, so print and leave for 48 hours - I will try that in future
what paper are you printing on?
 
can you post a photo of what the bowing looks like and a photo of how you are mounting them. I think we could help a bit more if we could see it.
I will try next time I'm in the gallery, though as I mentioned I'm not sure a photo will really capture it.

I will take photos next time I frame one, but when I do that I will ditch the mdf back and try foamcore instead
 
One more thought. If you are printing on roll paper, are you derolling the prints before you mount them?
 
Ah, this opens a whole area of discussion..
Ok, so they are not valuable work and are reproduceable ink jets, so dry mounting would be ok.
Would you still dry mount something like a monotype on 300gsm paper?
I don't have a dry mounting press. As I feel my way into gradually making frames, I may at some point feel ready to start a small home-based business, and would consider getting one then

Are there acceptable methods of dry-mounting without specialist equipment?
Any of these boards would be ok to simply press or mount only with contact?
I would say yes! I have a heatpress, and still opt to use self adhesive board most of the time. I've used Bainbridge self adhesive foamcore or Crescent Perfect Mount, but considering you were using MDF as a backer, anything will be perfectly fine, if not an improvement in terms of acidity. Again, if they are not items of value, it may not even be necessary to hinge the mat. Just center the print on the backboard with the help of the mat, put a couple little weights on it, start peeling the adhesive liner off, pulling it under the print and folding it down at first so you can stick down one side while the other is still weighted down so it doesn't move on you. Then remove the weights and pull the liner off the rest of the way, smoothing the print down as you go. The sticky perimeter will hold your mat down in place to keep from sliding around.
 
I would say yes! I have a heatpress, and still opt to use self adhesive board most of the time. I've used Bainbridge self adhesive foamcore or Crescent Perfect Mount, but considering you were using MDF as a backer, anything will be perfectly fine, if not an improvement in terms of acidity. Again, if they are not items of value, it may not even be necessary to hinge the mat. Just center the print on the backboard with the help of the mat, put a couple little weights on it, start peeling the adhesive liner off, pulling it under the print and folding it down at first so you can stick down one side while the other is still weighted down so it doesn't move on you. Then remove the weights and pull the liner off the rest of the way, smoothing the print down as you go. The sticky perimeter will hold your mat down in place to keep from sliding around.
I see Lion has Crescent and it's acid-free. Next time I make an order I will try this method, thanks 🙏🏼

So would you only use the heatpress for large posters and such?
Would you also drymount artwork on paper? The ones I'm looking to frame are on 300gsm paper, so should be ok if well sandwiched, though the monotype process I'm using is very raw, and so the paper may be a bit 'unflat' :)
 
I see Lion has Crescent and it's acid-free. Next time I make an order I will try this method, thanks 🙏🏼

So would you only use the heatpress for large posters and such?
Would you also drymount artwork on paper? The ones I'm looking to frame are on 300gsm paper, so should be ok if well sandwiched, though the monotype process I'm using is very raw, and so the paper may be a bit 'unflat' :)
Drymounting original artwork is frowned upon. Since it's a permanent mounting technique and can't be reversed typically, most framers won't do it. There is also the risk of something going wrong in the mounting process and it not being replaceable like an inkjet print. Thick paper like 300gsm will have a strong want to shrink/swell regardless of the substrate it is mounted to and has a higher risk of overcoming that adhesive and doing a spiteful wave. Those, I would mat and hinge to foamcore. I noticed you said you hinge to the back of the mat. It's more common practice to hinge to the backboard since it is a thicker substrate than the matting.
 
So would you only use the heatpress for large posters and such?
That's the idea. The heatpress can get a stronger bond than with self adhesive boards. The larger or thicker the paper, the more it want's to warp over time and exposure to changes in heat and humidity, so more drastic measures must be taken. For most small stuff, it's not worth the hassle of firing up the heatpress and wrestling with drymounting tissue, imo.
 
One more thought. If you are printing on roll paper, are you derolling the prints before you mount them?
The only roll printing I've done was with acetate pre-coated with an inkjet-receptive layer. It's meant to be used with a chemical goo that lifts the print and allows it to be transferred to various surfaces.
Check out Bonnie Lhotka's book Digital Alchemy for more on those techniques.

It was a total experiment really - I wanted to see what a lenticular print would look like, a layer of printed acetate, a layer of perspex, and another layer of printed acetate. On one of them I backed it with gold leaf as well.
I took this to a framing shop. On one of the pieces the acetate decided to bond with the perspex in random places (making the colours really intense), and on another frame using spacers, the acetate just wobbled and weaved under the perspex. Other than that, I haven't done any roll printing on the Epson P800
 
Drymounting original artwork is frowned upon. Since it's a permanent mounting technique and can't be reversed typically, most framers won't do it. There is also the risk of something going wrong in the mounting process and it not being replaceable like an inkjet print. Thick paper like 300gsm will have a strong want to shrink/swell regardless of the substrate it is mounted to and has a higher risk of overcoming that adhesive and doing a spiteful wave. Those, I would mat and hinge to foamcore. I noticed you said you hinge to the back of the mat. It's more common practice to hinge to the backboard since it is a thicker substrate than the matting.
Thanks, very useful tips!
 
Are you hinging to the mat opening?
I'm pretty sure that's what I did come to think of it. And I used painter's tape for the hinges. Now that I'm posting this in a framing forum I feel embarrassed to admit it.
I was in a rush to learn how to frame the pieces and get them into the shop.. and hadn't ordered proper hinging tape :eek:
 
I'm pretty sure that's what I did come to think of it. And I used painter's tape for the hinges. Now that I'm posting this in a framing forum I feel embarrassed to admit it.
I was in a rush to learn how to frame the pieces and get them into the shop.. and hadn't ordered proper hinging tape :eek:
That's called enthusiasm, don't be ashamed. But painter's tape certainly isn't going to last well in the long run.

Filmoplast P90 is a common adhesive hinging tape used in many framing shops. It's great for most lightweight projects. I even use it on larger stuff, but sometimes increase the number of hinges.
If I feel like I need something stronger but still don't want/need to make archival mulberry paper hinges, I'll use a self adhesive linen hinging tape like Filmoplast SH or Lineco Self Adhesive Linen.
For hinging the mat to the foamcore backboard, I prefer water activated linen tape or "gummed" linen tape. Weigh the hinge as it drys to make a good tight book hinge.
Once you've made a nice hinged package, you can slide the print around to center behind the mat, put a weight on it to keep from slipping, lift the mat up and then hinge the artwork to your backboard.
 
Thanks so much Mary, loads of useful information there 👍🏼⭐
Writing this post has taught me a lot that I needed to know!
 
I pretty much only use paper hinges, either the pre-gummed tape or Japanese paper and wheat paste. I don't use linen tape at all (except when I book mat)

You never hinge to the window opening. Hinge with 2 t-hinges to the back board
 
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