mounting

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drymounting
An effective method of removing wrinkles and creases from damaged artwork, this process flattens the artwork by bonding it to a substrate. Paper is vulnerable to changes in heat and humidity, and over time it can expand and contract causing unsightly bowing and rippling, even in a frame. A sheet of dry adhesive tissue is positioned between the artwork and the backing board. They are placed in a vacuum press together which heats the tissue to melting point, creating a permanent and irreversible bond.
This technique is suitable for low value posters and photographs, we would not recommend it for original artwork or limited edition prints, as it would reduce them in value. Also any artwork that melts above 180 degrees should not be drymounted such as waxed paper and colour photocopies. In these circumstances a cold mounting process can be used.

blockmounting
Posters or photographic prints can be given extra depth by drymounting onto 12mm MDF blocks. The edges are given a small 45 degree bevel and can be painted black, white, or any colour of your choice. The surface is coated with a matte laminate enabling it to be wiped clean. The addition of a single hole on the back will allow it to sit flush with the wall, or we can add mirror plates or the traditional d-rings and cord. Blockmounting is suitable for displaying items where it is not desirable to use glass for weight or safety reasons, for example in a child’s bedroom. 10mm foamex can be used instead of MDF which reduces the overall weight, however the cut edge is unsightly and would benefit from an edging with a thin moulding.

float mounting
Float mounting is the term used to describe work being supported solely by its backmount, in order to show fully the edges of the work, like the deckled edge of the Korean woodblock print to the right. A window mount could be cut to surround the piece, or fillets used to keep the glass away from the artwork as in this case. It is not advisable to lay the glass directly on the artwork.
The use of archival water activated linen tape is recommended for float mounting as it is non acidic, reversible and forms a stronger integral bond than any self adhesive tape. A minimal amount of tape should be used, preferably in two corners only so the artwork ‘hangs’ as sometimes if it is attached by four corners the paper can buckle due to changes in humidity.


	hinging The choice of hinging (attaching the artwork to the backboard) depends on the piece of work. For most jobs an archival self adhesive pressure sensitive tape will suffice to fix the artwork down. It is acid free, quick and easy to apply and doesn’t discolour but the disadvantage is that it can be difficult to remove, especially from thin paper. It is reversible with the right solvent but this must be done with patience. If the artwork is deemed important and valuable enough then it is more appropriate to use mulberry paper strips (torn not cut so as to be less likely to leave an impression through the artwork) and wheat starch paste, which is water soluble and reversible. Mulberry paper is a long fibred Japanese paper that is completely non acidic and benign to the artwork. These woodblock prints by Eric Ravilious below have been t-hinged to the backing board using this method, which is thoroughly time tested and has been used for generations by oriental mounters, and is the method of choice for museums and galleries throughout the world.


	bevel cut window mounting Glass is prone to condensation and moisture can build up on the inside of the frame where there is no ventilation and damage the artwork, either through the formation of mould or by physically sticking to the glass. The main purpose of a window mount (or mat in the U.S.A) is to separate the artwork from the glass, however as well as protecting the artwork it also has a cosmetic function. The ‘window’ that surrounds the artwork is cut at a 45 degree angle, and with careful choice can bring out the colours in an image and draw in the eye, as well as serving the purpose of increasing the overall size of the frame. Another method of creating an air gap without increasing the size of the frame is to use mountboard slips or wooden fillets which sit vertically around the edge of the frame. The box frame below utilises both window mounts and slips.



	There are assorted thicknesses of board available, from standard 4 ply (approx 1.5mm thick) to 8 ply (approx 3mm thick)and some even thicker boards. The choice is largely an aesthetic one, however sometimes it is desirable for the glass to be further away from the artwork when the choice of moulding (aluminium for example) prohibits box framing with slips. In these cases the depth of the mountboard can be increased by double (or triple) mounting,which means adding a second or third mount above the first, often in a different colour. The width of the inner mount showing can vary to great decorative effect. This should not be confused with a stacked mount, which is when two or three boards are cut together at the same time to create an extra deep mount.

mount decoration
To further enhance the mount, the bevel can be coloured, and also a series of lines and light semi transparent washes can be applied around the bevel cut window to complement the image. By increasing the distance between lines further away from the window,and changing their thickness, a sense of perspective is created that draws the eye in. Colours need to be carefully chosen and should never be darker than the artwork or they will overpower it.
If you wish to add type to the mount we can print onto a very thin self adhesive acetate called a saff matt, or it is also possible to laser engrave plaques or even the frame itself.

mountboard
Some cheap standard mountboards on the market are made using recycled pulp that contains acids(or lignins) that are detrimental to the artwork surrounding it. The core is made of wood pulp which dulls quickly to a brown/yellow. White core boards have a much higher specification than standard boards, and the Bainbridge white core range has a pure white non yellowing core and is buffered with calcium carbonate to maintain a mild alkaline PH.

There is a huge selection of colours to choose from in our mount specifier.

conservation board
If the artwork is of financial or sentimental value then it should be mounted using board conforming to conservation standard. The Bainbridge artcare range of boards are 100% alpha-cellulose fibre that is lignin free, lightfast and bleedproof. They also contain synthetic molecular traps (micro chamber technology) for the absorption of pollutants, to actively protect the artwork from ageing. Swatches are available to view instore.
Museum quality board is generally accepted to mean boards made from cotton, regarded as top of the range where protection of artwork is concerned. As the name implies, museums and galleries use this when mounting artwork.

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