Mounting 48x68 HEAVY screen print on 600gm watercolor paper

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Nicoo

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Hey Grumble,

I have a client that would like his artwork mounted in a frame (no glass). It’s a very large 48x68 print on 600gm Lanaquarelle, I believe. There are about a dozen screens on it so the ink also adds a bit of weight to it.

Method I’m considering:
- “Hedgehog” Float Method as per Roy Lowland GCF
- Rising Museum Rag Matboard White 48x96 4 ply (cut to size)
- Acid Free Buffered Foam Core 3/16 Backing Board behind the mat for stability

I have also seen a mounting method to cut slits in the mat and thread hinges thru to adhere to then back of the mat and the back of the artwork, if that makes sense.

SO what I would like to know- what you all think?
- Which method would you recommend?
- If I use Hedgehog should I overdo the hinges just to make sure there is no failure? Like I said this thing is HEAVY.

THANKS!
 
Prospero said:
For a start, any artwork on paper and any matboard needs some sort of glazing.
Both for protection from atmospheric dirt and physical assault. There really isn't
any way around this. 🤔
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Right, my client was adamant about not having it under glass and I want the business so not going to argue with him 😄
 
With all due respect Nocoo:
I hope you have general liability insurance as well as a good legal defense team. You will not survive the "generally accepted industry practices standards". A signed release might not be enough to protect you from loss of value of the clients art.
 
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Not being a lawyer (and some would say even a framer), but wouldn’t a signed (by client) work order stating client has refused/declined recommendations following such generally acceptable industry practices suffice?
 
Love all the banter guys but I’m really just looking for some feedback on the actual subject of my post. Please keep all other opinions and non related discussions to yourself thanks
 
If I were doing this piece I would adhere the matboard to the foamboard so that there is no risk of the matboard bowing out. I would use a really good number of fairly heavy (i.e. large gram weight) kozo hinges on all four sides. I would put the hinges through slits in the backing making sure to slightly sand the edges of the slits to eliminate any sharp edges. I would leave a little area of hinge closest to the slits with no adhesive to account for expansion (although paper that heavy shouldn't expand too much).
 
I would use the hedgehog mount but make sure that the fall out does not have sharp edges. Use enough hinges (I'd say at least every inch if it is that heavy). I would use 8 ply matboard and glue that to double layered (and glued together) coroplast (with the flutes going opposite directions for more stability. I don't think foamboard would work in the end, especially in a non enclosed framing package.


I would definitely have your customer sign something that you will not be held responsible and that he was advised of the way it should be framed.
As for legal purposes, it will have no legal standing, but it might help if this ever comes back to haunt you. I know you didn't ask for this kind of advice. Ignore it. But it should be addressed for anyone reading this thread now and in the future.
 
I agree with Ylva. I might use gatorboard instead of coroplast just because I think it is a bit more robust from bending in the center.

I know you don't want this part, but have them sign something because these will always come back to bite you. I would not take this job for any amount of money.
 
Ylva said:
Eric, I use 6mm coroplast. Doubled up with flutes crosswise it is extremely sturdy and light weight. (have to admit am not a fan of gatorboard. Just my personal dislike)
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I never thought about doubling it crosshatch like that. I am not a fan of gator either, it is so sharp until it is sanded.
 
I have taken jobs like that. I do request them to sign a disclaimer. One copy stays with me, one goes under the dustcover.
When customers see I am serious about it, they sometimes do reconsider. And some don't.

I know that disclaimer does not prevent a lawsuit, but at least it's something.
 
Nicoo said:
Love all the banter guys but I’m really just looking for some feedback on the actual subject of my post. Please keep all other opinions and non related discussions to yourself thanks
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With due respect, you asked a question and you got answers.

If you ran a restaurant and a customer asked for their chicken to be served uncooked, would you accede
to their wishes? OK, no one is going to die from damaged artwork but the principle is the same.
It's called Duty of Care. 🙂
 
The advantage to the Coroplast support is that it is non-donor (neutral). Any foam centered board is a downgrade because of the styrene foam center, and Gator is doubly so due to the adhesives used in bonding the surface composite (urea-formaldehyde).

Mylar straps can be used to help hold the mount to the support in the center of the field to help avoid bowing. They are laced through slits in the mount and support and attached to the back of the support. They can be cut from the back if there is a need.
 
Hey thanks everyone for your feedback and comments. I understand this is a huge undertaking both in mounting and liability. I am reconsidering the job at this point and at the very least will present a disclaimer to my client. @Ylva thanks for the 8 ply and coroplast suggestion that make a lot of sense.

TBC…

Thanks Grumble!
 
Keep us updated, Nicoo!

I frame for an artist who also does not want glass on most of the pieces. Artist is aware of all the downfalls. We have become very good friends over the year. Neither of us are all too concerned about the no glass. Some extremely special pieces get glass. We always discuss what is likely going to happen. She is one of my favorite customers and we both enjoy our discussions.
 
Ylva said:
Keep us updated, Nicoo!

I frame for an artist who also does not want glass on most of the pieces. Artist is aware of all the downfalls. We have become very good friends over the year. Neither of us are all too concerned about the no glass. Some extremely special pieces get glass. We always discuss what is likely going to happen. She is one of my favorite customers and we both enjoy our discussions.
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Yeah I would really like to start working with this artist as I love his work and he would be a great consistent client.

Is your overall concern with a piece of this size just the fact that it’s exposed not being under glass? Or also the weight of the piece and mounting method?

Thanks
 
Paper being exposed directly to the environment is always a concern. Think really thick paper towel.
Weight is also a concern, but it can be dealt with if you use the proper materials and technique.
 
Nicoo said:
Yeah I would really like to start working with this artist as I love his work and he would be a great consistent client.

Is your overall concern with a piece of this size just the fact that it’s exposed not being under glass? Or also the weight of the piece and mounting method?

Thanks
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I am not very concerned about the weight. Mounting method is very important. Although I love using the hedgehog mount, I always feel that it doesn't support a piece properly. Over-matting and using just top hinges is, to me, the better conservation method. By using all perimeter hinges, you do restrict the art more than with just top hinges. It could result in rippling. Especially on thinner paper (I know your piece is heavier so less of a concern).

Pieces on paper not under glass would be the main concern though. It is near impossible to keep it clean and safe from the environment. Think cooking oils, smoke and so on. My first question when someone requests 'no glass' is "how are you going to keep this clean"

The artist I frame for has no concern about that. She feels that she could always restore the piece, or add on if needed.

The most important thing is informing your customer. Point things out, ask questions, bring up concerns. I have a better understanding of 'my' artist and there is always a lot of back and forth conversation. We both feel that we are creating something together which is awesome.

Let us know how it goes for you and your artist.
 
The thing is, certain types of paintings stand up without glass. Typically oils. Applied to a
well-prepared canvas or board substrate they are very tough. They evolved in a time when
huge sheets of glass were just not available. Oils on canvas were usually given coats of varnish
in lieu of glass. This coating could be stripped/reapplied when it got very dirty or discolored.
Also, oils are easily patched and repaired if damaged. Not the case with paper.
 
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