Thoughts about non acid free DRY MOUNTING

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FrameArt

FrameArt

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Mar 18, 2008
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I have an artist concerned about products like kool tack for mounting C-prints, silver gelatin type works. I want to use it for the safe operating temp.. How long will it take for these non ph neutral materials to harm the photos vs. the lifetime of the print. What do you suggest using.
 
Artcare Restore is an archival heat-activated foamboard that, if required, allows art to be reversed to its pre-mounting condition. Requires just 150° to activate.
 
If dry mounting is appropriate, Kool Tack's boards and low-temperature adhesives are good choices. Kool Tack Preserve or ArtCare Restore are especially effective when used with the Perma-Lon Release Board.

The heat of dry mounting, and the possibility of chemical instability of the board or adhesive may not be the main issues. If the art/photo is expected to endure as a collectible, then any sort of dry mounting would represent a permanent change of its condition, which could diminish its long-term value. In that case, and if the substrate is in good condition, then a non-invasive, reversible mounting method may be preferred (not to mention less costly); such as hinges or edge supports.
 
Thanks for replies. I think restore has way to much tooth for this, and I'm not happy about its sticking power lately (maybe a bad box). Kool tack seems very reversible. Will the non acid free material damage the photos in the next ...10-30+yrs? They are 22 x 28 for a gallery show, would you recommend dry mounting?
 
IMHO, if its determined to be something that can be drymounted... I go with non-acid free.

Drymounting, regardless of materials used, is considered to be a permanent process. I would never in a million years use dry mounting (even with using materials considered to be reversible) on anything of value.

If it deserves something acid free, it shouldn't be dry mounted at all.
 
Dry Mounting Photos

Thanks to Ansel Adams photo conservators over the years have been split 50/50 in whether dry mounting was the best solution for photos.

Ansel Adams dry mounted and countermounted all of his completed photos for best preservation because he felt that once attached to a mount board their edges would be protected from tearing and the photo from being bent. Display photos were never considered the actual original but the print, the negative was the original. Today things are a little different in that we have digitals.

Mounting at the 150F temperatures may seem gentler but over the years the ColorMount tissue has fared far better than the acid buffered tissue ArchivalMount (now known as BufferMount). The reversible heat activated boards are a perfect solution to not wanting to use traditional dry mounting while still bonding the photo to a backing board for smooth display.

Chris
 
lastboat said:
ColorMount tissue -- Is it okay to overlap a little of the film? I was wondering as to decide which size to get, as when I have cut offs I like to reuse.
Click to expand...

It is not OK to overlap pieces of any dry mounting adhesive that has a tissue carrier, because the edges of the tissue would be permanently embossed in the art paper.

It is OK to slightly overlap pieces of dry mounting film, which is 100% adhesive, with no carrier of tissue. The film can melt and flow freely between the art paper and the substrate, leaving no trace of the original pieces.
 
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