Paper Quality & Methods for Flattening Unruly Prints

[Framewell]

Hello,

I’ve been framing some prints from a gallery recently which are described as 240gsm Satin paper using Epson Ultrachrome Archival inks.

A number of these prints have revealed both major and minor creases. Unfortunately, some of the minor ones are only visible when the framed print is hung in a different room / lighting aspect.

These prints arrive in tubes, so I think much of the damage is occurring when they are being rolled up. I have notified the manager but a replacement still had some of the same problems.

I follow conservation level framing standards, so these prints were being top-hinged.

As an experiment I pasted one of the more creased prints down onto mount board with a small amount of fish glue.

This did eliminate almost all of the visible creases, but, while the prints are of low value - £26 - pasting is not something I have ever considered or am familiar with as a practice.

My questions are:

- Can 240gsm prints be rolled up without causing some damage?

- Any tips on how to identify all minor damage in prints, prior, to mounting/framing?

- Is pasting low-value prints to eliminate creasing / movement when hinged from the top common?

- What are your thoughts on this practice? What is best practice?

Appreciate any feedback, thanks.

[JFeig]

The smaller the diameter the shipping tube the more likelihood that there will be some damage.

If the rolled art is rolled onto itself, the art surface should be facing outwards and should be protected with a layer of soft tissue paper or glassine paper. This will protect itself from possible damage to its own surfaces.

[Richard Photofusion]

I roll 340gsm baryta prints (fragiles as a fragile thing) on the outside of a 3" core, in the box the roll came in, or inside a 4+" tube. prints face out, tissue interleaved.
240gsm "resin coated prints" should be fine inside a 3" tube, prints face out, tissue interleaved.

For prints smaller than A2, being delivered (not couriered/posted) to local framers, I'll always try to flat pack between decent card.

Utrachrome inks are as durable as any of the aqueous pigment inksets.
Smaller than 3" tube, welcome to damage.

[Framewell]

Thanks very much for the feedback.

Artwork facing out when rolling, and glassine on top. Good advice.

Anyone have any guidance or tips about pasting down fine art prints - recommended methods or tips?

[Richard Photofusion]

I use an old* Drytac JM44 jet mounter (it should be prepping for its GCSE's now), using various mounting films also from Drytac. Mounting onto DiBond, Forex PVC, KapaMount, and museum board.

I flood mount the boards oversize (except for DiBond) with adhesive, mount the prints (I leave myself handling borders on the prints), then trim down with a Keencut Javelin. DiBond, the prints are trimmed on the substrate (2mm bleed).
Failure rate is less than 2%, but as I print the pictures, no-one ever needs to know.

I don't mount prints other than those I've produced.

There are some pretty good youtube vides from Hotpress/Drytac, as well as Neschen.

Practice, practice, practice, and practice again, before taking on a customer's work, and don't touch full bleed dark edged matt cotton rag prints, unless you really don't like yourself.

*Its optical safety sensor is throwing false positives, and it doesn't do roll to roll lamination, so soon to be replaced by a bigger Easymount unit

[Framewell]

Thanks Richard, interesting insight, but it's hand methods only for me. I have no plans to buy any machinery.