i am about to mat and frame about 30) 20" x 55" horizontal photographs/prints that are printed on epson professional inkjet photo paper for an artist. The back of these prints are fairly slick. how would you go about hinging these? what product would you use? this needs to be fairly archival and these photographs are part of a traveling exhibit that will go to 3 or more venues.
Question mounting inkjet photos
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I would suggest using folded edge supports on all sides. You could make them out of Japanese paper. Attach the supports to the mounting board under the art, folded to overlap the edges all around by about 3/16".
Hugh Phibbs teaches a convenient method of folding and slitting the supports so that they interlock, making a very sturdy mount, which is completely non-invasive and reversible. Check his Preservation Supplements in PFM.
You could also make similar mounts out of clear film. They would be darn near indestructible, but could abrade or deboss the photos' edges. Paper supports have softer edges.
Hugh Phibbs teaches a convenient method of folding and slitting the supports so that they interlock, making a very sturdy mount, which is completely non-invasive and reversible. Check his Preservation Supplements in PFM.
You could also make similar mounts out of clear film. They would be darn near indestructible, but could abrade or deboss the photos' edges. Paper supports have softer edges.
Sounds good. maybe i am misunderstanding though, i would be afraid that gravity and the weight of the paper will cause the print to sag and bunch up at the bottom.
I am not opposed to a regular type of hinge, using some sort of adhesive/glue type product. i was just curious what other people would do in this situation.
I am not opposed to a regular type of hinge, using some sort of adhesive/glue type product. i was just curious what other people would do in this situation.
surferbill
SGF, Supreme Grumble Framer
What are you going to tell them when the photos start rippling really bad, because of humidity getting into the frame?
Hinging is not going to stop that, only mounting will.
Hinging is not going to stop that, only mounting will.
i am going to tell them that it is rippling because they made a huge print and didn't want it permanently mounted to a substrate.
PaulSF
PFG, Picture Framing God
These might be candidates for Artcare Restore, if you want them to lay flat but still have a reversible process with low heat.
more_so
SGF, Supreme Grumble Framer
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Be sure you get in writing that your artist did not want them mounted on a substrate.
When he brings them back because of ripple, dry mount them using ProMount which is by far the best stuff for dry mounting resin coated papers. "Slick back" sounds like RC paper, lucky you!
I have mounted hundreds of RC and paper prints that size using a 500T-X in sections. Be sure you pre-press the prints (even the RC's) so they are perfectly flat, and pre-press the substrate and 1/16" cover sheet (a smooth thin matte so as not add texture) so they perfectly moisture free. Tack at one end only. Starting with the tacked end work your way to the other end of the print. The cover sheet should stick outside the press over the print at least 2 inches to prevent creases. 180-190F, 2 minutes per press, 25% overlap. Temperatures of 220F will de-laminate the emulsion, you don't want that, but you could press one of those RC prints for at least 1/2 hour at 190F with no damage.
PS I like ProMount for RC papers since it can be used with a thick cover sheet for mounting in sections. ColorMount works for RC too, but you must use a very thin piece of paper or release sheet with it since ColorMount fails to give a good bond if the temperature rise is not almost instantaneous. The slow temperature rise you get with a thick cover sheet does not give good bonds with ColorMount, but is OK for ProMount.
When he brings them back because of ripple, dry mount them using ProMount which is by far the best stuff for dry mounting resin coated papers. "Slick back" sounds like RC paper, lucky you!
I have mounted hundreds of RC and paper prints that size using a 500T-X in sections. Be sure you pre-press the prints (even the RC's) so they are perfectly flat, and pre-press the substrate and 1/16" cover sheet (a smooth thin matte so as not add texture) so they perfectly moisture free. Tack at one end only. Starting with the tacked end work your way to the other end of the print. The cover sheet should stick outside the press over the print at least 2 inches to prevent creases. 180-190F, 2 minutes per press, 25% overlap. Temperatures of 220F will de-laminate the emulsion, you don't want that, but you could press one of those RC prints for at least 1/2 hour at 190F with no damage.
PS I like ProMount for RC papers since it can be used with a thick cover sheet for mounting in sections. ColorMount works for RC too, but you must use a very thin piece of paper or release sheet with it since ColorMount fails to give a good bond if the temperature rise is not almost instantaneous. The slow temperature rise you get with a thick cover sheet does not give good bonds with ColorMount, but is OK for ProMount.
i really appreciate all the suggestions, i miss spoke when i posted this thread, and i shouldn't have used a headline like "mounting inkjet photos"
......but there is no way these prints are going to be any sort of wet, dry or cold mounted to a board. i really wish i could, believe me- but they won't, for various reasons.
Now,
the paper i suppose could be considered an RC paper.
i need to hinge it.
what would you use?
......but there is no way these prints are going to be any sort of wet, dry or cold mounted to a board. i really wish i could, believe me- but they won't, for various reasons.
Now,
the paper i suppose could be considered an RC paper.
i need to hinge it.
what would you use?
Jerry Ervin
PFG, Picture Framing God
Joseph Allen Popp
Grumbler in Training
bummer
all self adhesive tape products damage art. there is no good adhesive answer to your question.
do the prints have much of a blank border that will be concealed under a mat? when I mount my own prints, I sometimes create a fold along the top edge facing backwards and attach a piece of archival rag paper to the substrate and hook the print over that. then use rag paper photo corners on all corners. of course, you need to discuss even folding the print with your customer.
all self adhesive tape products damage art. there is no good adhesive answer to your question.
do the prints have much of a blank border that will be concealed under a mat? when I mount my own prints, I sometimes create a fold along the top edge facing backwards and attach a piece of archival rag paper to the substrate and hook the print over that. then use rag paper photo corners on all corners. of course, you need to discuss even folding the print with your customer.
If you want to hinge the photos, starch paste usually will adhere. If you want stronger hinging adhesive, use a Lascaux emulsion or acrylic medium.
Hinging generally will not cause a photo to wrinkle, cockle, or buckle. The usual cause of that is a frame that's fitted too tightly. If the overlap of the mat on the perimeter of the paper restricts its ability to expand and contract. That will cause the paper to wrinkle. A tell-tale symptom is when the paper ruffles at its restricted edges. Or, if the frame is never exposed to environmental changes that would cause it to expand or contract, it might stay flat even in a too-tight frame.
If these large photos have been rolled, the "memory" of the paper's fibers probably would cause wrinkles or waves. Permanent, overall mounting is the only way I know of to stop that, but it is caused before the framing, and isn't due to anything that happens after the framing.
I suggested edge supports because I believe a 20" tall photo on RC (or similar) paper would not buckle under its own weight, so long as the entire bottom edge is supported and all edges are covered by the window mat. I would not recommend using corner pockets, as they support only the corners, and with the bottom edge unsupported, the paper probably would sag in the middle.
Hinging generally will not cause a photo to wrinkle, cockle, or buckle. The usual cause of that is a frame that's fitted too tightly. If the overlap of the mat on the perimeter of the paper restricts its ability to expand and contract. That will cause the paper to wrinkle. A tell-tale symptom is when the paper ruffles at its restricted edges. Or, if the frame is never exposed to environmental changes that would cause it to expand or contract, it might stay flat even in a too-tight frame.
If these large photos have been rolled, the "memory" of the paper's fibers probably would cause wrinkles or waves. Permanent, overall mounting is the only way I know of to stop that, but it is caused before the framing, and isn't due to anything that happens after the framing.
I suggested edge supports because I believe a 20" tall photo on RC (or similar) paper would not buckle under its own weight, so long as the entire bottom edge is supported and all edges are covered by the window mat. I would not recommend using corner pockets, as they support only the corners, and with the bottom edge unsupported, the paper probably would sag in the middle.
Lascaux 360 and Japanese paper hinges. The Lascaux will create a reversible non-aqueous bond with the back of the non-porous R/C paper. I prepare hinges by masking off sections of the Japanese paper and painting the Lascaux on the exposed area. The Lascaux is allowed to cure, then the hinges are cut to the desired size and applied with a very low (140F) heat to assure a good bond. Heating is not always necessary, depending on the tooth of the paper.
I would certainly get a sample of the paper to experiment with. You may well be able to hinge with the more traditional rice starch paste.
edit: sorry to be redundant, didn't realise Jim covered the Lascaux.
I would certainly get a sample of the paper to experiment with. You may well be able to hinge with the more traditional rice starch paste.
edit: sorry to be redundant, didn't realise Jim covered the Lascaux.
Greg Fremstad
SGF, Supreme Grumble Framer
I agree with both Jim Miller and Wally. However, I would wet tear the Japanese papers to get feathered edges befor applying the adhesive - just like traditional wheat/rice starch hinging. This will help prevent embossing the photo when heating the adhesive. I would go with the wheat starch paste rather than the risk of heating a photo in a localized area. Waaaay strong and reversible. The big problem with hinging the traditional museum method with T-hinges is that the art (and or backing) will expand with changes in humidity at a different rate than the photo. Putting T-hinges close to the edge of the photo (Museum like) will cause these different expansion rates to buckle the photo. Put one T-hinge close to the edge and the rest at the top (or ends) of the hinges to allow for the free expansion and contraction. Also, to help prevent the primary (top) hinges from peeling off when somebody turns the frame sideways or up side down, attach loose hinges along the bottom and even sides to act as safety hinges. Also T'd only at the tips of long pendant hinges. I know, I know, we've never done it that way before and the museum folks gasp at the thought - they're in a different business than we are. Check out this instruction sheet from our defunkt Nori paste days. http://www.frametek.com/HTML/Articles/Hinging.html Call if you wanna chat about this.
surferbill
SGF, Supreme Grumble Framer
He doesn't say where he is located, but if it's along the East Coast, Gulf Coast, NC, SC, Georgia, Florida, etc, I can guarantee you that a 20 x 55 inch photo that is not mounted will wrinkle, cockle and buckle.
Here in Va. Beach the humidity is so high an 11 x 14 photo will buckle if it's not mounted, let alone a 20x55 inch photo.
now we're talkin!
Thank you to all of you who read my posts and realized what my concerns were!
Like i said, i would love to just drymount these and forget about them---but i simply cant do that. I was just curious about what everyone else would do in this situation.
I am actually not in the retail business, and conservation is my main concern. I am based in Western NY and the photographs in this exhibit will be shown here first, then traveling to North Carolina and then Arizona and possibly a few other locations. I know that strikes fear into some of you, but on the plus side, all the venues are climate controlled. we will mainly only have to worry about humidity while in transit, and we will pack and wrap these so there is a thermal buffer zone to minimize all of your fears.
thanks again everybody!
Thank you to all of you who read my posts and realized what my concerns were!
Like i said, i would love to just drymount these and forget about them---but i simply cant do that. I was just curious about what everyone else would do in this situation.
I am actually not in the retail business, and conservation is my main concern. I am based in Western NY and the photographs in this exhibit will be shown here first, then traveling to North Carolina and then Arizona and possibly a few other locations. I know that strikes fear into some of you, but on the plus side, all the venues are climate controlled. we will mainly only have to worry about humidity while in transit, and we will pack and wrap these so there is a thermal buffer zone to minimize all of your fears.
thanks again everybody!
These are really good comments. Thanks for sharing your
ideas, guys. Jim, you mentioned the possibility that the mat
could be too tight and restrict the paper from expanding and
contracting. What do you do to avoid this? Do you float all your
mats a bit off the art? Do you not stick them down to the
foam core backing out around the art? Do you put your
fletcher points or flex points or whatever in loosely so that
there's wiggle room for everything?
ideas, guys. Jim, you mentioned the possibility that the mat
could be too tight and restrict the paper from expanding and
contracting. What do you do to avoid this? Do you float all your
mats a bit off the art? Do you not stick them down to the
foam core backing out around the art? Do you put your
fletcher points or flex points or whatever in loosely so that
there's wiggle room for everything?
SportShots
CGF II, Certified Grumble Framer Level 2
Check with the photographer and find out what specific paper he used. Then you can check with the maker or supplier and find out their recommendations for display/mounting in frames.
Legion, Ilford, Hahnemule(sp?) and others all have their own requirements and many of the fine art papers are difficult to work with. Checking with the makers for specifics may save you some headaches as you move forward.
Legion, Ilford, Hahnemule(sp?) and others all have their own requirements and many of the fine art papers are difficult to work with. Checking with the makers for specifics may save you some headaches as you move forward.
PaulSF
PFG, Picture Framing God
You may want to take another look at Artcare Restore. It's designed specifically to provide a reversible, low-heat mounting process.