Question japanese hinging tape?

trix400

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I'd like to frame a 30x40 photo that was printed on a 300 gm watercolor paper. i want to show the edge of the paper so i don't want to put a mat on it and do not want to float it. want it to look like it is just hanging.will japanese hinging tape be strong enough. anybody have any better ideas.
hope i explained myself ok. Thanks
 
Trix... I think you mean you do want to float it. I do this all the time because I love the look of the deckle edge on a watercolor or the battered edges of an old document.

With a 300 lb. paper of that size it is imperative that you use a heavy enough rice paper that it can support the weight of the photo's substrate. Hinging is a little tricky because you must make sure each hinge is applied properly and doesn't fail of it's own accord.

I'd recommend three pass through S-hinges on the top surface and two slightly loose hinges on each lower side especially if it is a landscape (horizontal) configuration.

Also, when completed I would explain the float mount to the customer and make sure they know to keep the piece right side up or face up with a slight top elevation during transportation such that the hinges don't fail.

Once it is on the wall it will be fine.
 
Welcome to the grumble!
 
Dave,
You know exactly what i'm going for. I am the customer. I will try to frame it, than hopefully sell it. I'm not sure what pass through s- hinges are though. i'll try to google that. Thank you very much for the advice.
 
Trix... do a search on "s-hinge" here on the Grumble and there are many threads.

:thumbsup:
 
Some of these newfangled inkjet prints on watercolor paper are very suseptable to moisture from hinges. It is important to learn just how long to wait from the time you paste up the hinge until you actually apply it to your artwork. This goes for ANY paper art, not just WC or photos. Do not practice on your art. Get some samples from the printer on the same paper and practice on those.

The easy way to find out how long to wait is to paste up 6-7 hinges all at once. Apply the first hinge to some flimsy paper (like a magazine page because they pucker like crazy when dampened) right away. Set an egg timer for 2 min. then apply the 2nd hinge, another 2 min, the next hinge, etc.

You should not press hard when doing the initial blot as you will force dampness right out of the hinge and into the art paper. Blot gently, apply a weight (about a tablespoon of bb's or shot in a babys sock is perfect) and wait about 15-20 minutes from when you applied the last hinge.

Now you will be able to see that the first 2-3 hinges puckered the art - the last ones were so dry that you didn't get a good bond. Test each hinge in "Shear" to test for bond strength.

It is important that hinges ONLY be used in "shear" as they are very weak in "peal". Shear is tape test talk. For example you stick some tape to the edge of the table top and pull straight out. Very strong because you're attempting to break the bond all at once. Peel is when you take that same tape and fold it bock over on itself and pull towards the center of the table. Very weak because you're breaking the bond a little at a time.

This is why you should not do "V" hinges because even if T'd they are still in the peel mode.

It is also very inportant to have loose "Safety hinges" at the bottom and maybe even along the sides. these will become the primary hinges when some idiot turns the frame sideways or up-side-down.
 
What would you guys do with one of those Asian pieces
on paper so think it's see through? I can make mulberry
hinges, but don't know what I'd do with a truly transparent
paper. I suppose one could do an Invisimount rap over
a plexi backing and float that, but is there a way you would
float hinge such a piece?

Or is this where adding extra layers of rice paper comes
in? I've read a couple articles on that, but so far, it's beyond
my ken.
 
What would you guys do with one of those Asian pieces on paper so think it's see through?

1. Crepeline wrapped-overlay on a slightly oversized alpha callulose backer.

2. Acrylic direct-contact overlay, tensioned by a layer or two of needle-punch polyester batting.
 
The needle punch batting is more springy and, if you buy it from the archival material suppliers, perhaps better quality plastic (sans contaminants) is used to make it.
 
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