perfect mount and frame combination?

dottad · Post by **dottad** » Tue 24 Apr, 2007 2:52 pm

As a novice framer and part time artist, I have a question on what would be the perfect colour combination for graphite drawings.

This came up on an artist's forum. The general advice was to keep away from black frames and white mounts and the paper used for the drawings isn't always white. Another suggestion was double mount with green or grey as undermount.

What would your professional opinion be?

Dot

Merlin · Post by **Merlin** » Tue 24 Apr, 2007 3:35 pm

Far from being a professional, we go with what works and has worked very well as a starting point.

I have taught 'Mounting techniques and problems' at the local College to the A level and Gity & Guilds photographic courses. Unfortunately and due to standardising Marking schedules, they insist on either White mounts or Black mounts for the B/W photographs. Hence the student leaves with some sort of qualification yet thinking that this colour coding is the norm and must be adhered to in the future.

Yet as we all know there is NO Black and NO white in these photos neither is there in graphite drawings. It is just a lot of shades of grey!

We find that a Grey/black core (Arqadia 7664 or 7666) works extremely well, combined with a flat black moulding.

One major problem with Black core mountboard is that the 'black' of the backing paper leaves its mark on the picture. To that end we always put a barrier paper between the work and the mount. With pastels or heavy graphite use we use a 'reverse bevel' mount in between.

Bill Henry · Post by **Bill Henry** » Tue 24 Apr, 2007 4:10 pm

Unless the sketch has true blacks (not too common) and the paper substrate is pure white (also, not too common), we believe that a white mat (mount) may make the framing look dull and lifeless and a black mat may make the job look muddy and lifeless.

We usually opt for a mid shade of gray, but, in our opinion, a black bevel sometimes makes the art look too “harsh”.

Also, because we feel that the pure white exposed bevel of an alpha-cellulose mat might be distracting, we sometimes “downgrade” the mat to an “acid-free” variety. The bevel on those mats are more commonly off-white or cream.

Not your average framer · Tue 24 Apr, 2007 8:31 pm

If the budget will go to it, how about a Larson Jhul "Ferrosa" range moulding in pewter with an Alpharag mount in "Earth", "Tumbleweed", or "Garden".

We often have some pieces of these mountboards left over other jobs. Always popular and look very classy!

If you don't already know this moulding, don't judge it by the illustration of this moulding in the Arqadia catalogue, but get your local rep to show you it! It's a good'un!

osgood · Post by **osgood** » Tue 24 Apr, 2007 8:58 pm

Merlin Framers wrote: One major problem with Black core mountboard is that the 'black' of the backing paper leaves its mark on the picture. To that end we always put a barrier paper between the work and the mount. With pastels or heavy graphite use we use a 'reverse bevel' mount in between.

Wow, I've never seen that happen with Alphamat black core mat!

The biggest problem that I have found in the last couple of years is the changing of the "colour" of black and white photos. The grey Alphamats that were excellent before, now do not go with them. Some large prints now have a purplish hue and nothing goes with them!

Roboframer · Post by **Roboframer** » Tue 24 Apr, 2007 9:13 pm

The alphamat black core mountboards always came packed face to face and (therefore) back to back.

The reason was that the black does indeed leave a mark, so even though I have never had a problem with this on artwork, I can imagine how it could be one.

However, the latest batches of black core are different, the core/backing is a different black - almost very very dark green, and the problem has gone.

They must have had complaints and have acted.

There is also a solution to the crisp white bevel in the artcare range - a selection of colours come with a cream core, mimicking standard mountboard but still offering artcare protection.

Another solution I like is a deep wrapped bevel (usually artcare bevelled accents - already wrapped), then a fillet on top of that with a reverse bevel mount. Not cheap!

Alphamat 'Luna Grotto' looks for all the world like slate and is a good choice for a lot of B&W stuff.

kev@frames · Post by **kev@frames** » Tue 24 Apr, 2007 9:44 pm

Merlin Framers wrote:Far from being a professional, we go with what works and has worked very well as a starting point.

I have taught 'Mounting techniques and problems' at the local College to the A level and Gity & Guilds photographic courses. ........

aha! I've just cliked why (as i mentioned in an earlier post) why some art students who come in for frames or mounts manage to specify what they want propely! Keep up the good work John!

ps. my youngest sits the first part of his art exam tomorrow. Then off to college with a weird combination of art, history, business and either law or photography....

ross · Post by **ross** » Wed 25 Apr, 2007 10:24 am

I agree with the other comments that there will be a range of off whites, greys, as well as white and black to be considered with a particular art piece - generally find the selection will be from these rather than specific colours eg green etc

Ross

markw · Post by **markw** » Wed 25 Apr, 2007 2:57 pm

Mounts can only be judged against the work but the general comment that too harsh a contrast can take something away from the image is normally true. A moulding I love with any black and white work is Ashworth & Thompson 223.04 - but you really have to ask your customer how he perceives the perfect combination - they have to live with it.

kaptain.kopter · Post by **kaptain.kopter** » Thu 26 Apr, 2007 1:54 pm

Osgood said

The biggest problem that I have found in the last couple of years is the changing of the "colour" of black and white photos. The grey Alphamats that were excellent before, now do not go with them. Some large prints now have a purplish hue and nothing goes with them!

That's probably because prints are done in minilabs or inkjet printers that are designed for colour prints. You have to pay a lot extra for quality B&W hand printing or even using specialist sets of black inks.
Most people think it's an extravagant expense until you show the same image printed through a minilab and hand printed for comparison.