Float mount for any orientation?

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jim_p

jim_p

SGF, Supreme Grumble Framer
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Apr 8, 2007
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Natick, MA
Last week a customer left us a piece that was to be float-mounted in the frame. The piece was abstract with no clear up or down. We asked her to come back to show us which end is up. Taking a look at it she decided that it could go in any orientation, and she'd like to be able to turn it 90 or even 180 from time to time. Trouble is, my typical float-mount with S-hinges really only works in one orientation; turning it 90 could torque the hinges and turning it 180 could have the art fall away from the backer.

So: any suggestions for float-mounting a piece so it can be shown in any orientation without undue buckling? S-hinges on all four sides, perhaps?
 
I would probably cut a rag board about 1/4" smaller than the art and use rice paper passover hinges on all four sides making them fairly snug but with a little play room and then mount the rag board to the backer board.
 
Dave said:
I would probably cut a rag board about 1/4" smaller than the art and use rice paper passover hinges on all four sides making them fairly snug but with a little play room and then mount the rag board to the backer board.
Click to expand...

Thanks for the tip, but can you clarify just what a "passover hinge" is? I take it it has little to do with keeping kosher...
 
Jim, the hinge would wrap around the edge of the rag board that is just smaller than the art. By putting these on all four side it will be supported no matter what direction the are is oriented.
 
Yep... like Dave said.

First attach all eight hinges (two per side) to the print. After they are secure, turn the print face down and put your rag board centered over the back of the print. Fold the hinges over the back and attach to the back of the rag board. I'd leave just a little play in the hinges. Not enough to let the print hang down and expose the backing board, but enough that the print has a bit of space for expansion and contraction with changes in temperature and humidity.

I'd then put a about four dollops of Lascaux adhesive or another archival adhesive on the rag backer. Do not put the adhesives too close to the hinges and use just a little glue. Position the rag float backer on your backing board in the frame and weight until dry.
 
Omni orientational

As Dave, suggested, you could wrap hinges around a smaller support board, or you coule do pass through hinges that extend through the back mat and out onto its back side, beyond the edges of the art, which would mean that the upper most hinges would always be in the pendant mode.



Hugh
 
Jim, something that really helped me was to look at the illustrations
on the Frametek website. They show how to hinge things with the
right amount of connection so that the piece can A) be turned in any
direction and B) not come up warped from being too tightly hinged.
I used to be in the same boat you're in, telling people, 'Don't turn
this upside down or on it's side!' I still tell them it's good to avoid
that, but so nice to know that it's hinged all around.
 
Dave said:
Yep... like Dave said.

First attach all eight hinges (two per side) to the print. After they are secure, turn the print face down and put your rag board centered over the back of the print. Fold the hinges over the back and attach to the back of the rag board. I'd leave just a little play in the hinges. Not enough to let the print hang down and expose the backing board, but enough that the print has a bit of space for expansion and contraction with changes in temperature and humidity.

I'd then put a about four dollops of Lascaux adhesive or another archival adhesive on the rag backer. Do not put the adhesives too close to the hinges and use just a little glue. Position the rag float backer on your backing board in the frame and weight until dry.
Click to expand...

a MAJOR thank you for such detailed how-to. been wanting to figure out float mounting, and just having serious brain-farts and couldnt' get it!! ahHA!! now I can see it, and will go and do likewise!!

what tho., are you using as/for hinging tape?? and where do I find this lascaux adhesive? is there any substitutes avail., and just how much is a 'dollop'?? I fear I use way too much stuff, scared of a piece falling in a frame so I just about weld it in place!!

I would like to float some of my own pastel work in this manner, possibly using foam board to raise it a bit off the backer board. is this ok?? any more minute details anyone cares to share about floating artwork will be read eagerly!! thanks!
 
I use various weights of rice paper depending on the weight of the art being hinged. You want the hinge to be the weakest link so that if the art experiences any physical trauma the hinge will break before the paper rips or is damaged.

The hinges should be adhered to the art with either wheat starch (Lineco #L615-1002) or methyl cellulose.

To attach the hinge to the backing board you can use either the same adhesives listed above or I usually use just a bit of Lacaux 360 adhesive and then T the hinge with Lineco Linen tape (Lineco #L533-1055) being sure to burnish the tape down for good adhesion. I find it easier and quicker than using rice paper and starch hinges for the T cross base of the hinge.

All of these supplies are available from University Products or Talas

http://www.universityproducts.com/

http://www.talasonline.com/

Many suppliers (such as LJ) carry the Lineco products and rice paper too. You do not have to use the Lascaux adhesive, but it is worth having for other projects. It will last you a very long time. You could also use Lineco's white archival glue or any number of other glues.

Like Shayla suggested, the Frametek site has tons of invaluable information and will explain much to you.
 
A dollop to me is a very miniscule amount. I use the least amount of adhesive it takes to do the job. That comes with experience, but for float mounting something of nominal weight using a rag or AF fom-cor backer a couple well placed BB size (or smaller) drops of glue will hold quite well. I also use Frank's Fabric Adhesive for such purposes unless the highest degree of preservation is required. It is better to err, IMO, to the side of using less rather than more glue. If disassembly is ever required it is much easier.

I use glue to attach mats together too. A few drops around the perimeter holds it in place yet allows for repositioning before it sets up... hard to do that with ATG tape. Also mats will separate easily if you ever need to replace a top mat and reuse the bottom mat or vice versa. ATG rarely lets you separate the mats without damage to one or both. Again, the less glue the better. It doesn't take much. I've also seen ATG tape slip too.

I also use Frank's Fabric Glue to apply my dust covers. Lay down a thin line and dab it with your finger to spread to the edge. I run a small cordless hand iron over it because the glue is heat activated and it sets well that way and also dries off the backing paper which I mist so that it tightens. Some framer's think misting the paper lightly adds mositure to the art, but I find that to be a bit ridiculous as the moisture is minimal and it dries very quickly. The excess paper is then just cut with a sharp razor blade or sanded off with a sanding block. ATG may be a bit quicker, but it also is fairly expensive stuff. Glue is cheap. Each his or her own.
 
did not know there are different weights of rice paper. remember, I am very wet behind the ears at this!!

I went to frametek some time ago, and he sent me a kit of paper and powder to cook in the micro. tell you honest, I'm scared to use it. I know, :nuts: but there it is.

scared cuz it seems soooo thin, to hold up this heavy sanded pastel paper??? ease my trouble mind, anyone??

and oh, your dollop and mine are a bit...off. hehe. but I'll adjust mine. I have lineco pva glue, elmers', atg tape and 'framer's II" tape on hand, besides this kit sent by frametek. (and I apologize to him for not using it yet!) just never seen it done IRL, so it makes me edgy. :shrug:

I'll go back and re-read his site again. more photos would help, very visual here.

thank you much!
 
Hinging

Hinging is the most dangerous thing one can do in paper preservation. It should be practiced extensively and studied in a class, before one tries to use it on anything valuable.




Hugh
 
Dave said:
I use various weights of rice paper depending on the weight of the art being hinged. You want the hinge to be the weakest link so that if the art experiences any physical trauma the hinge will break before the paper rips or is damaged.
Click to expand...

The big failing in this is the print usually falls down and a corner gets crumpled, seriously how often do you see the paper rip? Not that I advocate doing otherwise, I just see the established logic as being rather weak, it's a Catch 22 for sure.
 
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