Question how to mount oil painting on mylar

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wilton,ct
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The oil painting measuring 39" x 39" is painted on mylar (thin sheet- frosted) and we are going to frame without glass as dictated by the artist. We are using a fabric wrapped mat liner with a capstem frame. I would like advice as to how to archivally mount mylar; recommendations on which mounting board and how to attach art to the mounting board.

Thank you in advance for your expertise and time. Pat
 
Encapsulate it in Mylar. :smiley:


I have my doubts as to whether the paint will stick to the artist's chosen substrate on a long term basis so archival methods may be totally irrelevant.
 
Assuming art is not transparent, I would build strainer (with some cross braces) and glue art to crossbraces.
Corner Weld would probably work. Test it first.
Get customer's permission.
 
Assuming art is not transparent, I would build strainer (with some cross braces) and glue art to crossbraces.
Corner Weld would probably work. Test it first.
Get customer's permission.


...cause nothing says archival like Corner Weld glue!!:thumbsup:
 
The oil painting measuring 39" x 39" is painted on mylar (thin sheet- frosted) and we are going to frame without glass as dictated by the artist. We are using a fabric wrapped mat liner with a capstem frame. I would like advice as to how to archivally mount mylar; recommendations on which mounting board and how to attach art to the mounting board.

Thank you in advance for your expertise and time. Pat


With no glazing what would keep the fabric clean? Regardless of the artist's advice, I would strong advise glazing just because it is matted. Using museum glass would be an easy sell in this case, I think. For mounting it, I would test wheat paste and Japanese hinges on like material, mounted to a rag mat backing. I am sure others will chime in with actual advice.
 
I doubt that mylar is archival

Mylar, a Dupont polyester product, is very archival. How well oil paints adhere to it is extremely questionable... No, I take that back... They won't.

I would so walk away from this as you will inherit the problems of creation.
 
Dave I can't believe it took me 15 minutes to respond LOL
I agree with Dave somewhat. However, oils will adhere to glass. Under good conditions will hold up for centuries.

Now with the Mylar in about 1980 a group of watercolour artists came up with the idea of painting on frosted mylar. I can verify that it does work. I framed a bunch between 1980 and 1984. I used linco corners to attach them. I have several hanging at home. Most are faded now. I have watercolors by the same artists on rag papers hanging next to them which are fine. Not sure if this proves anything. Except creativity in the use of unknown materials is at best iffy. Good today scrap in a decade or two.

From reading some of the replies I think some don't really know the structure of mylar.
Here is some info. the rest can be obtained by doing a little research..
Water base adhesives will probably not be a good solution.

Mylar
Manufacture and properties
Chemical structure of polyethylene terephthalate
The manufacturing process begins with a film of molten polyethylene terephthalate (PET) being extruded onto a chill roll, which quenches it into the amorphous state.[2] It is then biaxially oriented by drawing. The most common way of doing this is the sequential process, in which the film is first drawn in the machine direction using heated rollers and subsequently drawn in the transverse direction, i.e. orthogonally to the direction of travel, in a heated oven. It is also possible to draw the film in both directions simultaneously, although the equipment required for this is somewhat more elaborate. Draw ratios are typically around 3 to 4 in each direction.

Once the drawing is completed, the film is "heat set" or crystallized under tension in the oven at temperatures typically above 200 °C (392 °F). The heat setting step prevents the film from shrinking back to its original unstretched shape and locks in the molecular orientation in the film plane. The orientation of the polymer chains is responsible for the high strength and stiffness of biaxially oriented PET film, which has a typical Young's modulus of about 4 GPa. Another important consequence of the molecular orientation is that it induces the formation of many crystal nuclei. The crystallites that grow rapidly reach the boundary of the neighboring crystallite and remain smaller than the wavelength of visible light. As a result, biaxially oriented PET film has excellent clarity, despite its semicrystalline structure.

If it were produced without any additives, the surface of the film would be so smooth that layers would adhere strongly to one another when the film is wound up, similar to the sticking of clean glass plates when stacked. To make handling possible, microscopic inert inorganic particles are usually embedded in the PET to roughen the surface of the film.

Biaxially oriented PET film can be metallized by vapor deposition of a thin film of evaporated aluminium, gold, or other metal onto it. The result is much less permeable to gases (important in food packaging) and reflects up to 99% of light, including much of the infrared spectrum. For some applications like food packaging, the aluminized boPET film can be laminated with a layer of polyethylene, which provides sealability and improves puncture resistance. The polyethylene side of such a laminate appears dull and the PET side shiny.

Other coatings, such as conductive indium tin oxide (ITO), can be applied to boPET film by sputter deposition.

Applications
Uses for boPET polyester films include, but are not limited to:

Flexible packaging and food contact applications[edit source | editbeta]Laminates containing metallized boPET foil (In technical language called printin or laminate web substrate) protect food against oxidation and aroma loss, achieving long shelf life. Examples are coffee "foil" packaging and pouches for convenience foods.
White boPET web substrate is used as lidding for dairy goods such as yogurt.
Clear boPET web substrate is used as lidding for fresh or frozen ready meals. Due to its excellent heat resistance, it can remain on the package during microwave or oven heating.
Roasting bags
Metallised films
Laminated sheet metal (aluminum or steel) used in the manufacture of cans (bisphenol A-free alternative to lacquers)

Covering over paper
A clear overlay on a map, on which notations, additional data, or copied data, can be drawn without damaging the map
Metallized boPET is used as a mirror-like decorative surface on some book covers, T-shirts, and other flexible cloths.
Protective covering over buttons/pins/badges
The glossy top layer of a Polaroid SX-70 photographic print
As a backing for very fine sandpaper
boPET film is used in bagging comic books, in order to best protect them during storage from environmental conditions (moisture, heat, and cold) that would otherwise cause paper to slowly deteriorate over time. This material is used for archival quality storage of documents by the Library of Congress and several major library comic book research collections, including the Comic Art Collection at Michigan State University. While boPET is widely (and effectively) used in this archival sense, it is not immune to the effects of fire and heat and could potentially melt, depending on the intensity of the heat source, causing further damage to the encased item.
For protecting the spine of important documents, such as medical records.


I would like advice as to how to archivally mount mylar; recommendations on which mounting board and how to attach art to the mounting board.

Knowing what I know about boPET polyester films.
I would test an adhesive that sticks to polyester. Micro dot in just a couple places along the top edge only. Use a Rag Foam core with a Coroplast backing.
Micro dots of adhesive may not be removable but the rag foamcore could be scrapped of easily.
My recommendations.....
Frame then anti static Plexi then Liner then art then rag board then corplast then backing paper then wallbuddies.
After I have informed the Artist how it should be done and why.
Keeping in mind the Artist always has the right to tell me ho he wants it handled.....
 
Once again I am left bemused by the insanity of "clever" artists who mess around with exotic materials with little or no thought for the long-term survival of their artwork.:shrug:

I am inclined to agree with Dave and either shy away from this project or, at least, insist on glazing to protect the fabric wrapped mat.
 
Lascaux 360 might be a good adhesive for the hinges, and it is solvent-releasable. If there is at least 1/2" of perimeter margin for overlap of the mat window, and depending on the thickness of the sheet, I'd consider using a Platform Mount. Acrylic glazing would be my preference.

Frosted Mylar is among the most durable substrates for engineering drawings, and I used a lot of it as a draftsman back in the late 60s. Carbon (pencil) and drawing inks stick to it quite well. Mylar has been a friend of mine for many years, but I wouldn't want to paint artwork on it.
 
About 20 years ago, some 'artistic genius' (just ask his mom, who was paying the bill) did exactly that. Actually, it was worse, because it was painted in layers, so Sonny wanted a spaced 3-D effect. And it was big... like in the 40x60 range. And no glass.

I was young. I was dumb. I did essentially a giant recto verso mat, as for an animation cel. It turned out pretty well.

A year later it was back in the shop and -you won't believe it!- the mats had warped! We went around and around. Finally, I unframed the monstrosity and gave them their money back. I eventually cut the frame down to ready mades and probably made back my cost of goods on the frame.

But it taught me an important lesson. IF YOU KNOW IT WON'T WORK RIGHT, DON'T LET ANYONE'S MOTHER TALK YOU INTO DOING IT ANYWAY.
 
.... However, oils will adhere to glass. Under good conditions will hold up for centuries.

There was a craze in the early 20c for 'Opalines'. Photo images printed on glass and colored in with oil paints. I've had a few though my hands and in most cases the paint is flaking or has totally flaked off. A lot depends on the paint mixture - too much solvent in the mix makes matters worse. The b/w photo outlines appear very permanent though. I'd give most about 60 years before all the paint has detached. And this is glass. Mylar is slicker if I'm any judge. :icon11: Also glass is at least rigid.

So yes, oil paint will stick to glass (and Mylar), but it won't 'bond' like it will to a primed canvas or board. Even paintings done on well prepared grounds will start to crack after a while. Oil paint continues to cure over maybe 100 years. Cracked oils are not a problem usually as they all do it. The paint will curl up around the edges of the crack fragments, but will still adhere in the middle. As I mentioned, the paint mixture is crucial. Too high turps/oil ratio will reduce the stick factor. Unfortunately, artists tend to add more and more turps to improve flow and make finer detail easier. This drastically reduces the integrity of the paint adhesion long term.

If I were faced with a Mylar oil, I would treat it like a watercolor. Mat and glaze. At least the glass will catch the flakes. :p
 
This is a Most instructive thread. We can now see why sheet polyester film has such surface strength and dimensional stability. We can also see that supporting it with wood or paper based materials can result in problems, if the combination is subject to poor climate. It must be said, first, that the artist's wishes are not binding on the framer and do not require one's cutting standards short. If the oil paint covers all of the Mylar, then the plastic will not be exposed to damaging UV, by framing it without a UV filtering glazing sheet. In that instance, it may be possible to make a fabric covered window that will sit on top of paper edge supports that can hold the Mylar secure on a backing panel, without undue restraint. Since the Mylar will not respond to changes in climate, as the paper materials will, the edge support strips, can allow the two to function, independently, but a goodly portion of the edges of the Mylar will need to be covered.


Hugh
 
Folks; I spoke with someone in Denver who has framed oil paintings on mylar he has had success with the PVA (poly vinyl acetate) adhesive, Jade from Talas... make tabs with linen hinges, and use Jade to adher to the art.

If you want to know what I learned: mylar doesn't breathe therefore won't react like paper, but can stretch so it might sag. Obviously, you have to keep the oil painting flat otherwise it will crack and flake off. If you need to lift it, put hold 2 diagonal corners like a hammock.

I am using a fabric wrapped liner (wood not rag based) to prevent warping as my 'mat'. So thank you for the advice, we'll see how it goes.
 
...mylar doesn't breathe therefore won't react like paper, but can stretch so it might sag.
Mylar and Melinex polyester films might sag from deflection, but if the film actually stretches, it is not polyester. Stretch-resistance is one of the outstanding attributes of polyester film.

A clear film that stretches may be polyethylene or something else, but would not be Mylar.
 
Like Jim ND Hugh said, polyester film is a very dimensionally stable substrate.
 
I just wonder what the heck is wrong with painting on canvas:icon11:

Life is complicated enough, why make it more so?
 
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