Reccd adhesives for mounting photo print directly on substrate ?

Create a Post
KumsaJack

KumsaJack

Grumbler in Training
Joined
Aug 14, 2019
Posts
13
Loc
Washington, DC
Any print-to-backing adhesive recommendations ?

Background: I do my own photo printing, framing and mounting. I prefer a floating frame w/o glass. Here's a link to one such finished print https://photos.app.goo.gl/Rw1CYKu2ZXjT7T2B7 New item by Jack Dausman

I have been using spray adhesives, but I'm not 100% happy with the final look. So, after a few deep dives on the subject, I'm going to start using a PVA adhesive, laid onto the substrate with a foam roller (usually Gatorboard, but I'm considering Falcon/Eagle Cell backing). I understand that my technique is not fully archival. My images are printed with pigment inks, and given a Premier Shield coating. Some of the papers are archival, others are resin coated.

I'm considering Lineco Neutral pH, Miracle Muck, and Jade 403.

Any shared experience is welcome !
 
There are some PVA glues, such as Miracle Muck (and other glues designed for application of fabrics to support boards) That can be heat reactivated. This is also true of Acrylic Gel Media.
My concern with using any water based adhesive with a foam centered board is that the asymmetric hydration of the board can cause cupping. That can also happen after mounting as the glue acts as a water barrier on one side of the panel, and in a situation of rapid humidity change the board could cup in the opposite direction.
The more stable backing would be ACM panels (DiBond).

As framers we can't really delve into recommending non-archival protocols. We deal mainly with other people's art and are pretty much bound up in the "First, do no harm" ideology.
 
The key to using PVA is keeping under even pressure while the glue dries. Foam blanket and silicon release
paper is the way. Sandwich it between two heavy boards and pile heavy stuff on top. It works with a few drawbacks...
It takes up a lot of horizontal space for 24+hrs and PVA is runny and whatever you do some will get on the face of the print.
(I've only done this with canvases).
If you do this on a regular basis then investment in a vacuum press will pay big dividends.

* The old hardbed presses are worth looking out for if you do small quantities. I still have mine on a bench in the corner.
I even use it sometimes as you can leave stuff in it 'cold' under pressure without having a vac pump running. 🙂

** Spray Glues are meant for temporary mounting and are best avoided. You have to allow the solvent to 'flash off' and
unite the print/board in the narrow window of time when it's touch dry but still active. To stand any chance of a good bond
you need to apply great pressure evenly. Using a hand roller will inevitably leave patches where the glue hasn't stuck firmly
enough and these patches will form bumps. The problem is that where it does stick it sticks very firmly so any attempt to
remove the print will be a colossal PITA.

*** I have in the past used spray glue to apply strips of marbled paper to mats. I have some that I did 30+ years ago and are
still sound. The difference is of course that with a ¼" strip you can burnish it down hard to get a good bond. 😉
 
From my experience, I’d recommend never using spray adhesives. Nothing but trouble.

I’ve been mounting prints and posters for 25 years using a Hot Press and HDF. The adhesive is Trimount, and the laminate is Drytac. Very, very few screwups. You may want to try finding a used Hot Press that still draws a good vacuum. Drytac has videos on YouTube if you want to check them out.
Mounting on foamcore is OK only with small subjects because of the cupping issue.
The Hot Press can also be used to flatten matboards and some cockled watercolours.
 
Thank you so much for your shared experience. Some random comments:
  • The experience I've had with 17x22 gatorboard hasn't shown any cupping issue. It may be because I've been using a solvent spray adhesive and not a water based PVA. And, yes, I'm not found of spray adhesive and will be trying a PVA (thus, the initial question). Also, the gatorboard is usually glued to a floating frame, so it's reinforced.
  • I'll be using PVA on my next print mount. The learning curve is terribly slow, but when I saw how smoothly PVA can be applied with a foam roller (after spreading it over the surface), I'm convinced it's worth a retry. Cloth and canvas prints can be more forgiving with even/uneven-ness of the underlying adhesion, as it is being smoothed out with a brayer. Gloss prints (especially metallic paper) are unforgiving. I'll need to clean everything with a silicon roller (clean-room style) before starting.
  • One option is something like a DryTac laminator with an adhesive film. However, there isn't anything that matches a 17" width print ("Honey, can I buy a 24" printer ?).
  • A hot press doesn't work for my needs, as the prints (6' length) are larger than available equipment.
  • I've never heard of using an acrylic gel for adhering a print to a backboard. I'll have to learn more.
The information everyone has shared has been very useful. I didn't hear any consensus on which PVA, so I'll start my next attempt with Lineco Neutral pH Adhesive.

Finally, I was thinking about what it means to be archival and follow museum conservation guidelines. In my instance, I'm not really only mounting a print. I actually cut my own floating frame molding and then build the frame. I commonly use poplar, as I give it a carbon india ink wash, dark but the grain shows and its a very matte finish. The images are my own, I'm the photographer. I then process the raw image (I use Capture One Professional) and then print onto an 17' Epson pigment that accepts roll media. So, my finished project is exactly what I had designed it to be. I think those are too many words to say, I'm ok with the finished project being entirely original art, just as if I was making a paper Mache object knowing it would degrade under less than optimal conditions.

Again, thank you so much

mynameisjack.photography

My Name is Jack

PHOTOGRAPHY & PRINTING
mynameisjack.photography mynameisjack.photography
 
A word of caution after reading your post from yesterday. "Also, the gatorboard is usually glued to a floating frame, so it's reinforced" and "Finally, I was thinking about what it means to be archival and follow museum conservation guidelines"

Those two quotes do not co-mingle. We do not know the thickness of the board you are using. In most cases mechanical fasteners are recommended as they are reversable.
 
Thanks for your guidance.

I'm not sure if there are means to attach mechanical fasteners to hold a backboard (1/4 " gatorboard) in a floating frame.

1714233996222.png
 
KumsaJack said:
Thanks for your guidance.

I'm not sure if there are means to attach mechanical fasteners to hold a backboard (1/4 " gatorboard) in a floating frame.

View attachment 48787
Click to expand...
In a case like that I would make a 'cradle' from square timber to fix to the back of the board (glued).
This gives you enough 'meat' to take a screw through the back of the frame. Also strengthens the board
and makes it easy to remove. The edge can be blacked out.
 
As the artist, you are unencumbered by archival constraints. With knowledge of the shortcomings of whatever method you use, and disclosure of same, you are good to go. As I mentioned earlier, framers don't have those freedoms when working on other people's possessions.

Mechanical presses can be used to dry mount oversized items in bites. My Seal TX-500 with a 26" X 34" platen can mount items up to about 52" wide X however long, whatever the limitation on the size of the mount board is, just in smaller bites.

On highly glossy images, the texture of the surface of the mount can be projected through the image. That's why I encourage you to look into mounting to ACM panel (DiBond). This is done with a cold roller press and the mount is permanent. Many of the professional photographers showing in high end galleries prefer this method for their work.

Since the roller press is not enclosed, the only limitation on size is the width of the press. I have one that will accommodate 42" material.

Vacuum presses are made to handle larger items. Mine has a 40" X 60" capacity, but there are those with 48" X 96" capacity.

Dry mounting is an option.

I'm also seeing more large scale photos (one 48" X 48" last week) that are printed directly to the aluminum and are being framed with no glazing.
 
Thank you so much. I will think hard about some of the alternatives that have been presented, I may have been a little lazy on the finished product and I'm always looking for improvements and this is good information.
 
Hi All, I want to lay the paper on the canvas and glue it. I've tried all kinds of glue: wheat-based glue, PVA glue, and spray glue. But the glue cracks after pressing, and I can't get a completely smooth result. I need suggestions. Did you solve the problem ?
Thanks
 
Create a Post
Back
Top