Framing a Print Full-Bleed without mat

imawheel

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Hi, I'm wondering if you could help me with my specific framing conundrum.

I have a pretty large frame (1150x420mm) and a print that is full-bleed (the same size as the frame). I feel like I might be stuck with a few less-than-perfect options and I'm hoping for some help to decide which one is the best.

For info, there's no mat, it is a satin 260gsm photographic print and the glazing is acrylic.

In the past I've always used a mat, which is fine, but now that I don't have one as far as I can see my two options are:

1) attach the print to the mount board (not sure how best to do this though as the mount board would be the same size as the print) and then use spacers around the edge to keep the print away from the glazing.
- Problem with this being the spacers will be on the print so won't allow it to 'breathe'. I might be able to trim a bit off the edge of the print, but the frame width isn't huge so not sure if this will be possible...?

2) just frame the print directly against the glazing and hope that it isn't too much of an issue due to it being acrylic and not glass.


Also, for next time I want to frame full-bleed, what would be the easier way of doing it? I feel like I probably should've printed the photo a bit smaller than the frame so that I can use spacers without them resting on the print. I'm still unsure of the best way of attaching the print to a mount board when there is very little (or no) room around the print though.


Thank you so much!
James
 
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Hi James, I think that you have the cart before the horse in terms of the frame that you already have.

The first thing to know is that acrylic will expand and contract with any change in temperature. Therefore you have to have an allowance of the rabbit(rebate).
To show a full bleed photo the mounting and backing boards have to be larger than the image by approximately double the width of the rabbit. This will allow for any spacer to be against the backing board vs the art; thus allowing it to expand and contract with the change in humidity. The print can either be hinged or glued(including dry mounted) to the mount board depending on your expected level of preservation for the print.

As a result of all of this it is recommended that the picture frame be sized for the larger mounting/backing boards and the acrylic glazing.
 
Hi James, I think that you have the cart before the horse in terms of the frame that you already have.

The first thing to know is that acrylic will expand and contract with any change in temperature. Therefore you have to have an allowance of the rabbit(rebate).
To show a full bleed photo the mounting and backing boards have to be larger than the image by approximately double the width of the rabbit. This will allow for any spacer to be against the backing board vs the art; thus allowing it to expand and contract with the change in humidity. The print can either be hinged or glued(including dry mounted) to the mount board depending on your expected level of preservation for the print.

As a result of all of this it is recommended that the picture frame be sized for the larger mounting/backing boards and the acrylic glazing.

Hi Jerome,
You're quite right, I realised my problem upon research, but I already have the print and frame sized the same, so in this situation I was hoping to get ideas/opinions on the best option possible (even if none of them are ideal!).

Good to know the following for future though "the mounting and backing boards have to be larger than the image by approximately double the width of the rabbit"! I will definitely not be making this mistake again 😄

Oh, I also wrote backing board, when I meant mount board, so have amended it in my post (although the backing board/mount board are the same size).

If you have any opinion on the two options I presented, or perhaps an alternative workaround it'd be most appreciated.

Or, if you can suggest how I'd hinge a print to a mount board when they're the same size it'd be great.

Thank you!
 
You should also be made aware that a direct placing of acrylic onto a print(DCO) can/might cause micro-scratches to the surface of the print as is expands and contracts. This action is directly related to the change in temperature from the changes daily or by season. This will be dependent on where the print is displayed over time. A way to minimize this affect is to not secure the materials in the frame too tight to the face of the rabbit allowing "free movement" of the contents.
 
You should also be made aware that a direct placing of acrylic onto a print(DCO) can/might cause micro-scratches to the surface of the print as is expands and contracts. This action is directly related to the change in temperature from the changes daily or by season. This will be dependent on where the print is displayed over time. A way to minimize this affect is to not secure the materials in the frame too tight to the face of the rabbit allowing "free movement" of the contents.
That is good to know, thank you.
 
Is this your own work?
If it is and you can easily replace it, I would consider mounting it to ACM panel (aluminum faced polypropylene panel).
Many photographers do this with their own work as the panels are very stable.
I would then use a minimal spacer faced with Volara foam on the side that contacts the art.
You do lose a bit of the image, but a small price to pay for a retro-engineered job.

If you want a full bleed in the future, you might want to consider mounting to ACM, then face mounting the acrylic. The piece can then be displayed in a floater style frame.

But, again, only if you are the artist.
 
Is this your own work?
If it is and you can easily replace it, I would consider mounting it to ACM panel (aluminum faced polypropylene panel).
Many photographers do this with their own work as the panels are very stable.
I would then use a minimal spacer faced with Volara foam on the side that contacts the art.
You do lose a bit of the image, but a small price to pay for a retro-engineered job.

If you want a full bleed in the future, you might want to consider mounting to ACM, then face mounting the acrylic. The piece can then be displayed in a floater style frame.

But, again, only if you are the artist.
Hi, thanks for the reply.

Yep, it's my work.

I like the look of that Volara foam to contact the art and your workaround sounds great - unfortuantely I don't really have the means to face mount or attach to an ACM panel. I probably should've been clearer in my original post of my capabilities, as I'm pretty much limited to mounting with Acid-Free Tape, Mylar corners, or similar and don't have the equipment or experience to dry mount, face mount etc.

I guess those techniques would be the ideal solution when the print and mount board are the same size, but if there's an alternative method to mount a print to a board of the same size with tape or similar then that would be great.

I realise I've dug myself into a bit of a hole, but unfortunately I can't afford to spend more, so I'm just trying to see if there's a best way of doing it with what I have available to me. maybe not! Perhaps if it comes to it I'll just try trimming some off the edges of the print, although with the long edge I think I might struggle there too!
 
How would you mount a print with "acid free tape"? Water activated or acrylic adhesive backed? No special equipment, other than small hand tools such as a brush are needed for hinging art to a mount board with hand torn paper hinges and starch adhesives or Klucel(alcohol solvent based, thus no paper curling). I would definitely not recommend double sided self adhesive tapes.
 
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and for float mounting

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and for float mounting

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I've always used "Self Adhesive pH7-70 Conservation Mounting and Hinging Tape" and attached T-Hinges to a larger mount board with a mat in front.

The float mounting method you shared looks very useful, thanks for that.
 
I've always used "Self Adhesive pH7-70 Conservation Mounting and Hinging Tape" and attached T-Hinges to a larger mount board with a mat in front.

The float mounting method you shared looks very useful, thanks for that.
There are some different standards practiced in the UK than in the US. Self adhesive tape of any kind is not considered archival. The adhesive itself has a lifespan, and it isn't easily reversible. But, it's your art, so it's your choice.

If you have a sign company nearby, they may be able to help with cold mounting to ACM.
 
There are some different standards practiced in the UK than in the US. Self adhesive tape of any kind is not considered archival. The adhesive itself has a lifespan, and it isn't easily reversible. But, it's your art, so it's your choice.

If you have a sign company nearby, they may be able to help with cold mounting to ACM.
I never realised, thank you for letting me know.

I'll look into that!
 
Since this is your art, and can be reproduced, I would probably just put the plexiglass right on top and don't fit it too tightly.

The biggest concern is that there is no room for expansion and contraction, no matter what you do. This might cause rippling, unless you drymount this (which is not considered conservation method).

If this is for re-sale, I would probably advise to print it smaller and use a mat. Less risky.
 
Since this is your art, and can be reproduced, I would probably just put the plexiglass right on top and don't fit it too tightly.

The biggest concern is that there is no room for expansion and contraction, no matter what you do. This might cause rippling, unless you drymount this (which is not considered conservation method).

If this is for re-sale, I would probably advise to print it smaller and use a mat. Less risky.
Ok, thanks a lot for the advice, greatly appreciated!
 
Something that rarely gets addressed in displaying photographic prints is that there are options for having your images printed in ways that remove most of the "problems" created when having a print made and only after the fact trying to "figure out" how to deal with it.

You can have images printed on other substrates that make framing without a mat, floated, full bleed, or other display methods that can be difficult to perform with standard photographic prints or fine at paper, if you don't have the experience, tools, or materials required.

This doesn't help you with your current issue, but may be worth considering for future projects.
 
Something that rarely gets addressed in displaying photographic prints is that there are options for having your images printed in ways that remove most of the "problems" created when having a print made and only after the fact trying to "figure out" how to deal with it.

You can have images printed on other substrates that make framing without a mat, floated, full bleed, or other display methods that can be difficult to perform with standard photographic prints or fine at paper, if you don't have the experience, tools, or materials required.

This doesn't help you with your current issue, but may be worth considering for future projects.
You're right, I totally realised this the more I looked into it. As I've always used a mat in the past the problem didn't occur to me until the moment I had the print/frame and was ready to frame it - not my finest moment!

Thanks for the advice.
 
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