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I am new to the grumble and am sure this has been covered at length before but.......
Can it briefly be explained to me about what to mount (in whatever appropriate manner) and what not to mount (hinging in some manner).
I basically was told that you don't permanetly mount something that could appreciate in value. I primarily frame original watercolors and know the proper methods with that type of art. But, for instance, I am framing a beautiful signed and numbered print. The finished piece will be about 40 x 48. Customer paid about $1000 and we will charge about $800 to frame. Should something like this be hinged or dry mounted. I beleive hinging...
Thanks for any insight.....I love this forum. I have learned so much my brain hurts!!!!
The customer paid $1000 for the print. (Lord knows why.) There is no guarantee that it'll appreciate, but you can be **** sure it'll depreciate instantly if you dry mount, cut, fold, spindle or otherwise mutiliate it.
Here are my personal guidelines for what to dry mount:
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If it doesn't need to be mounted, don't. If it's laying reasonably flat behind a mat, I don't mount it regardless of what it is.</font>
If I couldn't afford to replace it, I won't dry mount it. There is an element of risk involved in dry mounting. I can't afford to replace a $2 piece of tourist art if it was purchased in Japan, so I wouldn't risk mounting it.</font>
If I'm not certain it won't melt in my heat press or stick to the release paper of my Perfect Mount, I won't mount it. You'd be amazed what will melt at 180 degrees.</font>
If it has any sentimental value to my customer, or might gain in sentimental value with any of the next five generations, I won't mount it.</font>
If it has any current - or potential for future - monetary value beyond the paper it's printed on, I won't mount it. (This includes Thomas Kincade prints.)</font>
If it is original one-of-a-kind art, I won't mount it. This includes Tommie's drawing that he brought home from first grade.</font>
With few exceptions, most paper art that isn't matted needs to be mounted, which is a good reason to mat all of the above - unless you're going to float it with Japanese hinges and use spacers.
Soooo... If I had "run of the mill" inexpensive poster and just wanted to put it in a frame, with no mat it should be mounted, correct? And if it gets a mat it can be hinged?
Thanks for the info Ron...it's basically what I suspected.
As for the Vacuseal...maybe in the future....I'm still making payments on my Logan SimplexPlus mat cutter!!! (yes, I do everything by hand...and love it, but a CMC is in the far future)
But only if that poster was something you could actually replace if the press eats it.
With a good press (the Vacuseal is a GREAT press) and an experienced operator, the failure rate is very low. I figure about .1%, or one-in-a-thousand. But that one can suddenly take on a tremendous value to the customer if the mounting goes wrong.
"Goes wrong" might mean a speck of dirt under the print or on top of it, which will look like Mt Everest or the Grand Canyon when it comes out of the press. It might mean a corner that folds over just as you close the cover. Maybe the shiny coated surface gets all mottled when you heat it. Or the cover sheet has some residue of adhesive on it that transfers to the next print.
Despite reversible mounting tissues, dry mounting is the one thing you can't usually do over if it goes badly. There are a thousand reasons NOT to mount something (I only listed my six favorites) and - most of the time - no good reason to take the chance.
(Did I mention my Vacuseal press is only used on Saturdays to make grilled cheese sandwiches and do t-shirt transfers?)
