Many encapsulation questions...

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Julie-Tulie

Julie-Tulie

MGF, Master Grumble Framer
Joined
Feb 15, 2005
Posts
797
Location
Western Wisconsin
I have quite a few questions on this subject, so here goes...

Melinex 516 and Mylar...are they the same thing with the exception that they don't make Mylar anymore?

Best thickness and what are the approx. size limits for them...

What kind of ATG do you use for encapsulating the Melinex 516/Mylar together.

Do you use the squeegie method for removing the air...if not what do you use or are there other tricks of the trade...

How do you price for something like this...so much per U/I, and if so what...?

I went on google and found a site: http--www3baylor.edu-library/BCPM/Students/workshop/encapsulation.htm and am wondering if this is the way it is done. It is very informative and may be a good source for other first-timers like me, but want input as well.

Where do you get 3M's 889 Double sided tape?

Thank-you for your help in advance...

Julie
 
1 Same thing --- Yes

2 Thickness -- depends, but .003 (I think I have the decimals right??) v.s 5 (also available) seems to be the most useful.
3 ATG -- 3M 889
4 I don't use a squeegie, but I do smooth it done with a "blue wipe" ... remember to put the curvature toward each othe like two 'C's back to back.
5 Pricing --(by size and yes, my POS makes it easiet to use UI.

I will go look at that site.

I think I got my 889 at United.

I am sure others will jump in...
 
Well, looked at the site. Quite good.

Very close to what I do, main difference ... When placing the top sheet down I usually take the bottom tape cover off first and burnish top layer smoothly to it. Then, I either (depending on size ) peel all of the two sides or, soem of the two sides near the bottom. Then I smooth the top layer down from the bottom so it lays down tightly as I go. Then do the top tape last. This may be why I almost never need to "Squeeze the air out."
 
The squeegie method...I would think it would scratch or mark the Mylar/Melinex...am I wrong here?
Is there a glare issue also or is that taken care of with your N/G glass?
 
889 is also available from Larson

Lineco sells Mylar, but strangely do not have 889 or 888 tape. 888 is the single sided version. Lineco still sells 415.

We prefer 889 over 415, as it has less immediate tackiness.

We too like the 3 mil.

As Cliff says, make sure you use the natural curve of the roll to your advantage. Remove the tape backing in stages as you smooth the top sheet of Mylar into position

Cut and assemble on a sheet of glass. We find it best to handle Mylar early in the day before too much dust has been kicked up.

And a plug for Jim Miller ... take his class and you will learn a bunch.
 
Cliff and Andrew have said it all correctly, but maybe a thought or two could be added...

ATG refers to adhesive tape with no carrier, and all ATG tapes are too thick and gummy to work in clear film mounts. It is necessary to have a strong, very thin tape with a non-migrating, chemically stable, acrylic adhesive. That would be 3M #889. 3M #415 is a tape of similar quality, but older technology. It is a bit thicker than #889, but has been popular among conservators for a long time. It's OK for clear film mounts.

To avoid scratching clear film, use an overlay of scrap film or release paper to protect it when burnishing your tape lines. Always burnish pressure sensitive tapes thoroughly.

Squeegeeing (is that a real word?) should not be necessary if you do as Cliff said. That is, place the curvature of the two sheets convex-to-convex, so bringing the edges together makes the film lie flat. If you assemble the sheets upside down, the mount will appear loose and bubbled, which amplifies reflections.

Yes, clear film mounts are glossy and no, there is no non-glossy clear film. The gloss is inherent to its high clarity. Non-glare glass will not help, but Museum Glass (optically coated anti-reflection) makes everything look its best. Framers are generally more concerned about gloss of the film than customers are.
 
Thank you Jim...and where do you purchase these things and can you please give me an approx. U/I cost that I could charge? Would it be close to conservation mat charges? More? Less?
 
I buy Melinex 516 and 3M #889 tape from our Grumble sponsor, United Mfrs Suppliers.

You could also buy the clear film in sheets from archival material suppliers (Light Impressions, University Products, Gaylord Bros., etc.) But it is more costly that way. I suggest buying the roll -- you'll find lots of uses for it and wonder how you lived without it.

About pricing, my advice is to charge for time and materials. Material cost is easy to calculate, and it probably amounts to less than a dollar for a typical clear film mount. But your labor is the main cost, so charge fairly for it. In my shop we charge $1 per minute.

Keep in mind that you might spend two hours on your first clear film mount, one hour on your second one, and continue improving with practice until you can make one in less than fifteen minutes.

I suggest gathering up the right materials and making a few practice mounts before tackling a "real" job. When you are satisfied with youre results, hang your practice work on display as an example for customers, and then proceed with confidence.
 
Note: for reference purposes --- anything I said correctly came from Jim Miller originally. Anything I said incorrectly I made up myself.

And ... a little practice and you can do them very quickly without scratching or bubbles.

I forgot to mention I DO put scrap on top when burnishing or flattening. As Jim pointed out!
 
This subject is of great interest to me. I can't seem to figure out how to pull up the noted website. I've tried a few different ways, and also a search. Can anyone help? Thx!
 
Thank you Bill, for posting that site. I don't know how to do that and probably never will...I'll leave it to the professionals! :D
 
Actually, Julie-Tulie, it's easy once you get the hang of it. Encapsulation and other clear film mounts are very useful for framers. Beg, borrow, or steal some clear film and 3M #889 tape, and practice before trying it with customers' property. You can get all the instructions you want from the Grumble archives.

The Baylor link above has good instructions. However, the writer missed a couple of points...

1. About tape -- my preference is #889, as 3M recommends. #415 is good, but older technology and thicker than #889. Thinner is better.

2. When assembling a mount, remember that all clear film has curvature. Place the convex sides of the sheets together, so that pulling the edges together makes the film lie flat on the document.

3. If the sheets are convex-side-out, the mount will look bubbly or loose, and that amplifies reflections. It also defeats the slight pressure of the mount and lessens the static cling.

4. Encapsulation mounts work in three ways:
A. Static cling
B. Pinching action at the tape lines
C. Slight pressure of the convex curvatures in contact.
 
Do you do a lot of these, Jim? It sounds like it. What is the largest you've done and how long did it take?
I am really interested in this whole process mainly because I had a gal bring in a poster from an old Cat Stevens album...we didn't want to v/m it, of course, but it is wrinkled and lifts where the folds were. I suggested putting it in the press to flatten, and then do small hinges to hold in place, with a mat over the top...but I really believe the encapsulation thing is the way to go, with the mat as well. I'm calling United tomorrow!
 
Oh, and what I meant in thanking Bill is for putting the Baylor site I posted earlier up so you could just click and go...I am clueless as to how to do that...and encapsulation, too, but I am going to learn THAT!!!
 
I looked at the Baylor site, and they mentioned that by encapsulating in mylar, you are speeding up the aging process, and that the paper should be dacidified, or backed with buffered paper to slow the process. Has anyone run into this? And what would be good to use as a buffered sheet of paper behind the artwork?
 
About accelerated deterioration --
Clear film encapsulation is a relatively tightly-closed mount. Accelerated deterioration can happen only to the degree that harmful contaminants, such as acid-bearing lignin or other reactive chemical elements, are trapped inside the mount.

Clear film encapsulated newsprint, for example, might discolor faster than if the same paper were mounted by a more open method and in contact with a buffered board.

A hybrid that avoids the accelerated deterioration of encapsulation -- when it is likely to be an issue -- is the "clear film overlay". It is made just like encapsulation and looks the same on the front, but uses a board (which may be buffered and/or Zeolite laden ArtCare) on the back instead of another clear film sheet. The clear film is overlaid on the board & taped as usual, holding the paper in place.

Julie-Tulie:
Do you do a lot of these, Jim? It sounds like it. What is the largest you've done and how long did it take?
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Yes, I make a lot of clear film mounts, using about two rolls of Melinex 516 per year. My class, "Clear Film Mounting with Mylar/Melinex" includes illustrated instructions for 13 different mounts made with clear film. I've considered publishing a booklet on the subject.

I think the biggest was an old, fragile map of a small town's water & sewer system. It was tattered, torn, and generally in poor condition, but the city wanted it framed to hang in their City Council Chambers. All of the city's founding fathers had made notes and signed it on the back, so that had to be visible by taking the frame off the wall. I guess the dimensions were about 30" x 40"; the mat margins would have been at least 3", and I rememeber that the sheet materials were oversized. As I recall, it was completed and hung within our usual two week delivery cycle. One unique feature was a pull-down blind (opaque), mounted behind the top rail, to cover the map & protect it from light damage when not being viewed. It's still hanging and looking good.
 
Where do you have these classes...in places like the Vegas Show? And are you having any in MY area? (Twin Cities/western Wisconsin)
 
Originally posted by Julie-Tulie:
Where do you have these classes...in places like the Vegas Show? And are you having any in MY area? (Twin Cities/western Wisconsin)
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Of all the classes I've developed, "Clear Film Mounting with Mylar/Melinex" is the one PPFA chapters most often select, with or without a hands-on session. I also present it at distributor events, and would have liked to offer it at WCAF, but the organizers chose other classes this year. And with 6 sessions in 3 days, the schedule was full.

Wisconsin is a lovely place to visit this time of year. Make me an offer I can't refuse.
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Thanks...I will watch for you or mention your name...whichever comes first!
 
Julie-Tulie you have good taste...Cat is the man. Encapsulation takes a bit to get used too, but it is extremely useful in many different areas of framing.

Patrick Leeland
 
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