Flat Mounting Advice

[Rabbie Side Burns]

Hello folks,

We recently framed a limited edition print that the customer wanted flat mounting on to mount board so that you could see the rough edges of the paper. Obviously we recommended a frame spacer to lift the glass off the print, but the customer has come to collect it and complained that the print is not flat enough compared to the ones that "The Gallery" had already framed. It was not possible to ascertain whether the previously framed items had been bonded down, or the glass was directly on the work from the photo that the customer showed us. We mounted this one by hinging the work at all four corners with Lion archival hinging paper through slits in the back of the mount board. Is there any safe method you folks know about that may rectify or improve the problem.

The print is relatively flat, as it has not been rolled, but is around 1 - 2 mm from the mount board at certain areas around the edge - giving a mild ripple effect with a long wave length. The paper conservator we use could probably starch paste it on to the board, but I was wondering if there are any other solutions.

Any suggestions greatly appreciated.

Cheers

Rob

[Jamesnkr]

Tell the customer that what he wants is impossible and that anyway, does he want the work of art to have life, or to be a dull flat thing?

The hedgehog method may work better.

Stick this into google and it will be the first hit.

hedgehog site:lionpic.co.uk

It links to a pdf download and the url is

https://www.lionpic.co.uk/infostore/get ... 43b57a67b3

[Rabbie Side Burns]

Thanks very much for that link Jamesnkr. We will try the Hedgehog method, and see if that improves things.

Thanks again.

[prospero]

This method of hinging can be a bit unpredictable no matter how you do it. The thing is to hinge as normal at the top, which forms the main support. Then add more hinges to stop it flopping forward.
The extra hinges need to have a bit of 'give' to go with any paper expansion but still hold it to the board. Not a good idea to put the hinges in the corners. They don't need to be in the corners and what you are doing is creating bigger restricted length of paper. Longer the space between the hinges the more the paper between will expand and the more it will lift. On a medium sized piece of paper, two hinges at the top, about a quarter way in - two looser ones at the bottom, same position and a single loose one either side should do the trick. Some folks get the notion that the more hinges you add the flatter the paper will stay. Exactly the reverse is true. When paper expands the forces involved are quite surprising. The hinges won't hold it flat. The idea is the hold it down in such places that it can wiggle about freely and stay flat.

btw. Rather than cut slits in the board to thread the hinges though, I find it a lot better to cut a window in the board, maybe an inch smaller than the art (depending on size) and place the dropout on the back of the paper and apply hinges - wrapping them around the dropout. (get the bevel the right way round). Easier to regulate the looseness of the hinges. When you're done, replace the dropout and tape it all round at the back.

Having said all that, there are some papers that never stay flat. Usually the heavier ones. Once a piece has gone wavy you would need to flatten it again. Sometimes sandwiching it between two sheets of board under weight for a day or two will do it. Most of the time you need to put it in a press under gentle heat for a short spell. This can be risky so best not to let it go wavy in the first place. Don't do this with hinges still attached. One reason why hinges should be totally reversible.

[Not your average framer]

You are of course assuming that the other prints have not been stuck down, or dry mounted. I would ask to see one of the other framed prints, so you can see if the others have been stuck down. In the circumstances, this is a unreasonable request. You will need to open the frame to see how it has been done.

If these print are open editions of little value, then dry mounting could be a option which you can discuss with your customer.

[Roboframer]

We recently framed a limited edition print that the customer wanted flat mounting

If a customer asked me to "flat mount" something I would immediately establish WTF his/her definition of that was, because there is no professional framing definition of it. I would assume they wanted it to be flat!

You only really have one option to achieve that and that is to stick it down. Discuss the pros and cons - do it or don't - you didn't, simple.

[IFGL]

Well John, I am surprised that you have not heard of flat mounting, you will be telling me next that you know nothing of wibbly wobbly mounting.

I read it as float mounting, from the rest of the content in his post.

[Rabbie Side Burns]

Yes - apologies for not using the correct term there! Unfortunately the term "flat mounting" is one that was used in our business decades ago, and I inadvertently used it - old habits etc.

We do actually advise customers that float mounting may not result in the work being perfectly flat against the board, but I was just after a method that would improve the situation. The hedgehog method did improve things to a certain degree, and the customer has now happy and has collected the work.

Thanks to all the folks that provided helpful advice.

[prospero]

At the end of the day when they cows have come home to roost you can only work with what you are given. If the paper has a propensity to curl it will do. Sometimes customer's ideas are just not practical. Stuff like this is better in a window mount.

As I have oft heard said - you are a framer, not a magician.

[Graysalchemy]

Not a magician? I thought you were a magician of the dark art of origami Peter

Oh that's folded paper isn't it, probably not appropriate for a picture framer.

[prospero]

I used to work at a cardboard box factory, but it folded soon afterwards.

[Graysalchemy]

Well your certainly not a comedian either with that joke

and before you start we don't want to here you singing either, its dry outside for a change and we don't want any more rain.

[prospero]

Then I worked in a dog-food factory, but they had to call in the official retriever.

[Graysalchemy]

I plucked turkeys once..................

That was a fowl job.

[prospero]

I'm a pheasant plucker's son.