mouting process for handmade paper

kdvaldes

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I was asked to frame a water based ink paiting on handmade paper with a watermark. The picture sits in the middle of a debossed area and the paper is thick, rolling and textured. I need to mount this on a float and am not sure what to use to adhere this. This will sit in a shadow box like frame on the wall and the frame or the picture will be able to be rotated by the viewer.
Thanks in advance for any help.
 

Framing Goddess

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Wheat paste and mulberry paper hinges; lots of them. I would hinge the top like normal and hinge the sides and bottom loosely.

If you are concerned about a secure hinge on the back of the handmade paper, you can paste a 'patch' of the hinge paper on the back of the artwork. Let that dry under weight and stick your hinges to that.

Make any sense?

edie the getoutyournoriorwheatpaste goddess
 

Meghan MacMillan

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t-shaped hinges (like jumbo hinges, but not jumbo) on each side perhaps?

KD could you share a few more specifics about the 2 pieces of the art? are they square (or rectangular) or round? Or one of each?
 

Rebecca

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Pass through hinges would work. The free ends of the Japanese paper/wheat starch paste hinges are threaded through slots in the backboard (mount board???argh nomenclature) and pasted to the reverse of the board.

Rebecca
 

Cliff Wilson

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Rebecca,

Are you suggesting hinges on all four sides? THey want to "rotate" the art/frame. I assume that means it wil spend considerable time sideways or upside down. Traditional hinges whether passthrough or not would seem to have too much stress on them?

kdvaldes, could you elaborate on the "rotating" requirement? Do you have a rotating mechanism in mind? I might be more inclined to encasulate in mylar with a VERY small clearance around the art, say 1/8" or less.

To be clear, cut a rag board about 1/8" larger in each demension than the art, place art on rag, place "mylar" (I know Jim, but that's easier to type.) over art and wrap around all four sides. Then, mount the rag board to your backing. -- floated
 

Rebecca

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Ah, sorry I missed the rotated part. You're right, that would call for much stronger measures than hinges, pass through or not.

Fortunately, I've never had to deal with rotated art, and your way is much better.

Rebecca
 

Jim Miller

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Originally posted by Cliff Wilson:
...I might be more inclined to encasulate in mylar with a VERY small clearance around the art, say 1/8" or less...
Cliff, you're thinking in my direction. Like you, I'm inclined to encapsulate just about everything. I am learning to fight the urges, though.

In this case, the clear film (Melinex 516, that is) might not look good on a heavily textured paper.

Wrapping in Crepeline or Stabiltex might be better, using a slightly-undersized backing board. The fine mesh fabric would give it equal support regardless of rotation.

I like the idea of hinging all four sides, too. I suggest using one almost-full-length hinge on each side, left very slightly loose. That way the hinges would not inhibit expansion/contraction, but it should not be loose enough to move much when rotated, either. How about a pad of cotton batting or polyfill underneath, to snag some of the paper's fibers?
 

Framing Goddess

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If the paper was rigid enough, you could also use corner pockets of mylar or some kind of rag paper that blends in with the paper of the artwork. That would solve the rotating issue.

I find that if I have a framed sample hanging in the shop, customers are not as resistant to a mounting method that is not 'invisible.'

edie the cornerpocketsliketotallyrule goddess
 

Baer Charlton

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kdvaldes, [BTW Welcome to the G] you didn't say how big the artwork was but if it is under 16x16 I would Micro-dot perimeter hinge to a rag backer board that can then be glued down to the background.

If it is larger, then I would use macro-dot with a nail brush.

Make sure your drying cards are "fresh out of the oven" and bone dry. I would even go so far as hairdrier after the drying cards.

Make sure you carefully test all of your attachments before you mount to the backer.
 

Rebecca

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If the art is to be rotated (spun? gently turned?)Hugh's micro dot method might not be strong enough, especially if the paper is heavily textured.

The idea of testing is a good one, as this is an unusual problem, with lots of unknowns.

Rebecca
 

Baer Charlton

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Rebecca, that's why I recommended the "macro" dot [fingernail brush] if it was larger (or heavy).

Testing the micro or macro dots it imperative. And on the perimeter hinge, I never go longer than 4" at a time. That way, if a section fails, it doesn't take out the whole side.
 

Rebecca

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Hi Baer,

Finer aspects of techniqe that many of us adjust intuitively is always interesting to me. I can see the value of the macro-dot idea, but for me I'd just as soon paste out the entire hinge, place it on the paper and then stipple/tap it with a stiff dry brush (as for oil paints) to make sure good contact was made with all the irregularities of textured paper.

And I would also use a fairly thick paste for strength.

This is all angels dancing on the head of a pin, but as I say, I am always fascinated by the minutia of technique.


Rebecca
 
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