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Articles
by Chris A. Paschke, CPF GCF CMG
"Mounting Digital Reproductions"
June 2006
In today's framing
world of digital headaches it is a sincere pleasure to occasional find happiness
in that same frustrating technology. Recently my favorite client uncovered a
set of 30 year old, fiber-base photographs of her baby brother and herself (photo 1). She wanted to have these originals framed for
her mother; and two sets of digitally reproduced copies: one for her brother;
one for her.
Photo
1 Aged Old Photos
This
set of 30 year old, fiber-base photographs was discovered
stuffed
in an old box of family papers in a garage.
They appeared to
have been taken by a professional portrait studio; circa 1970, but since there
were no identifying stickers, labels, or imprints on the back, no copyright
permission could be sought prior to digital reproduction. Fortunately we were
able to have them professionally scanned and reprinted with no problems or
questions over copyright.
The Challenge
The photos had
been badly treated having been loosely thrown into an old cardboard box in the
garage with assorted other papers to fend for themselves for at least the last
fifteen years. Their only saving grace
was they live in Southern California where the temperatures and weather are not
too cold, too hot, too wet or too humid...so they looked pretty good over all.
Each was printed in
oval format, with three different childhood poses in a horizontal presentation,
measuring 7"x15-1/4". Tiffany
loved the aged character of these originals so she opted not to have the
originals touched up or restored, but rather framed in all their deteriorating
glory. The photos were curled at all the
edges and required dry mounting to flatten them for best visual presentation (photo 2). There was some yellowing of the emulsion and
there were numerous cracks, tiny tears, and a few age and dirt spots, most of
which were in the surrounding creme colored background (photo 3). Most of the
damage was around the exterior and would be covered by the bottom mat so repair
was not required.
Photo
2 Badly Curled
The
original photos were badly curled at all the edges and
required
dry mounting to flatten for best visual presentation.
Photo
3 Cracked and Torn
The
cracks, tiny tears and age spots, seen here were mostly
to
be covered by the oval mat so did not require touch up.
A few of the
emulsion cracks crossed down into the portraits which needed to be digitally
touched up when reproduced (photo 4).
Neither Tiffany nor I were bothered by
the cracks on the originals, because they were actual three dimensional broken
paper fibers, which actually gave the photos real life intrigue. However, the thought of these same cracks
showing up as flat, photographic replicas of damaged photos seemed just too
artificial, so we opted to have them lightly retouched after they were scanned.
Photo
4 Touch ups
The
cracked line down the center of the Matthew's head was
visually
distracting and needed to be digitally touched up when reproduced.
The Reproductions
Roy Hermann, CPF
turned me on to a fabulous company in Los Angeles, California called A&I
Digital who was eventually selected to scan and reproduce the two additional sets
of portraits. Digital reproductions and retouching encompass many alternatives.
Softening, fuzzing out, deletion, addition, correction, color tinting, color
enhancing, cropping, enlarging, the possibilities are endless. But sometimes changing the history or trying
to improve on reality just doesn't feel right, so less was more in this case.
A Hi-Res Scitex
Scan of the originals produced working image reproductions which when digitized
could be touched up to repair the white damage creases. The digital technician was asked only to do minimal
touching up, just enough to cover the white creases in the dark hair and remove
a few visible brown blotches on Tiffany's face, she was also instructed to
match the output size exactly of the oval portraits and the aged color of the
originals as closely as possible. The
new images were printed as 10" x20", with ovals perfectly matching the
original size, using RA-4 chemicals on traditional photo paper (photo 5).
Photo
5 Digitized
Reproductions
The
digitized copies were scanned, touched up and printed as
10"x20"
photos using RA-4 chemicals on traditional photo paper.
The image shown has already been dry mounted.
The Colors and
Mats
Though I was
promised they would copy these photos as closely as digitally possible in both
size and color, I waited for the reproductions to be completed prior to
ordering my mat boards and moulding. In previous projects I have experienced
the color variations that can occur with digital duplications of originals. The inner three oval opening mat was to be cut
on a Wizard and I also needed to verify the actual oval dimensions prior to
cutting the six matching mats. When the
reproductions and originals finally arrived, the sizes were perfect and the
ovals matched exactly, but the colors were slightly shifted as predicted. The originals required Artcare Alpharag
Natural White #8656 for the bottom oval triptych, with Alpharag Antique White
#8640 used to pick up the highlights; while the new digital reproductions
needed Crescent Rag Mat Inverness #1121 Alpharag Natural White to match the
highlights. Though subtle variations
these color differences were very visible.
The Mounting
Since they were to
be dry mounted Artcare Restore was chosen for both for its preservation reversibility
and the short dwell time/low temperature. The photos were mounted in a 210M-X mechanical
press for 15 seconds at 150F, and then cooled under a weight. The mounted images looked great and all the
curl was removed from the warped originals.
The reproduction photos
were printed using real photo paper and RA-4 chemicals making them safe to
mount as any traditional photo, but the gloss surface still needed to be
protected. A thin sheet of Drytac
Glazing Foil was laid over the photo to protect it from any possible surface
damage or emulsion reaction to the silicone release materials (photo 6). Even though this is called "foil" it
is a thin sheet of clear acetate film. The
glazing foil should not be used as a release paper substitute, but rather an
additional sheet to protect the photo surface from coming in contact with the
silicone coated release material. Release
paper in the mounting package is always required to protect the platen above the
mount and sponge pad beneath the mount
(photo 7). The glazing foil will appear to have adhered itself to any exposed
adhesive that extends beyond the edges of the photo, but will easily roll off that
adhesive once cooled (photo 8).
Photo
6 Glazing Foil
A thin acetate sheet was placed over the photo
to insure its gloss finish
and
protect it from the silicone coated release paper during mounting.
Photo
7 Dry Mounted
The
hazy appearance of the photo is the glazing foil over the image
in
the release paper envelope ready for mounting.
It
was mounted with a 210M-X mechanical press.
Photo
8 Remove After Cooling
Glazing
foil sticks to adhesives briefly when first removed from
the
press, but after cooling under a weight will easily peel off.
The Sizing
Since there are
three portraits that required perfect mat placement, the most time effective
way to align this project was to mount the photo to a slightly oversized piece
of Restore, align the oval triptych mat into position and draw a pencil line
around the perimeter of the mat to determine the actual edges (photo 9). Since the completed four mat unit was going to
have a book hinged mat and not separate ATG applied mat layers, the pencil line
allows for the trim line to be visible (photo
10) for exact sizing with the square cut side of a straightline mat cutter,
or manually being trimmed with a cork backed ruler and straightedge (photo 11). If the mats were to be ATG taped together they
could have all been taped and aligned, then trimmed at the edges without the
pencil marks.
Photo
9 Substrate Sizing
Align
the tri-opening mat over the mounted oversized
Restore
and draw a pencil line to determine outer mat edges.
Photo
10 Pencil Line
The
pencil line allows for accurate trimming of the mount board
by
straight line cutter, wall cutter, or by hand.
Photo
11 Trim to Size
With
a sharp blade and straightedge, cut along pencil lines
to
trim away excess foam backing.
The Accent Strips
Four mats were
chosen for this project. The oval bottom
mat was necessary because of the portraiture shapes; the two different shades
of white were chosen to pick up the appropriate highlights and background
colors; and the black AlphaRag tiered mat picked up the dark hair color and
shadows in the kids portraits. The
rectangular overlay mat helps transition form lower oval opening to outer
rectangular frame (photo 12). In order to tie in the soft silvery gold tones
of the frame, a tiny accent strip of Maziarcyk Pastepaper was chosen to attach
to the back of the second mat window edge (photo
13). This would act as another
transitional element helping direct the eye both into the image while
integrating the metallic finish frame.
Photo
12 Oval and Rectangle Windows
The
inner oval mat surrounds the original oval portraits while the second
liner
mat will help visually make the transition to the outer rectangular frame.
Photo
13 Pastepaper Accent
Strips
There
are four total mats including the inner most oval trio.
Strips
of 1" gold pastepaper were cut as accent strips to be
placed
behind the second mat window.
The paper strips
were cut 1" wide on a straightline mat cutter so the small black marks
surrounded and pointing into the mat window. A strip of ATG tape was aligned at the very
inner edge of the back of the window in preparation for the accent strips (photo 14). The strips were stuck to the tape while
visually aligning them from the front of the window allowing only 1/8" to
be seen, then laid face down, and burnished with a bone for maximum p-s tape
activation (photo 15). Since only a tiny line of the gold strip is
visible the corners were not mitered, but simply overlapped (photo 16).
Photo
14 Tape to Back of Mat
A
strip of ½" ATG is applied along the back side inner window edge
of
the second mat, which is black AlphaRag with two
sheets of
Canson
MiTeintes paper surface tired using Fusion 4000.
Photo
15 Burnish to Activate
Tape
Align
the strips with the window face up, tack lightly to hold in place,
then
turn the window face down and rub firmly with a bone burnisher to
activate
the pressure-sensitive tape.
Photo
16 Completed Pastepaper
Accent
The
top mat and bottom oval trio mat are Crescent Inverness #1121.
Second
is surface tiered grey papers on Bainbridge Alpharag Black Shadow #8669.
The
accent strip of Maziarcyk #78 Gold Midnight Grain
pastepaper peeks out from
behind
the second mat and is crossed at the corners rather than mitered.
The Final Design
Review
From bottom to top
(diagram 1): the bottom oval
Crescent Inverness #1121 mat surrounds the original oval portraits as needed,
contrasting the actual photo background color while by picking up the
highlights. The next mat up is the
rectangular window of Alpharag Natural White #8656 which matches the photo
background color and draws the eye back in. The surface tiered mat is two sheets of Canson
MiTientes papers on Bainbridge Alpharag Black Shadow #8669 backed with
Maziarcyk #78 Gold Midnight Grain pastepaper. The top mat #1121 matches the bottom for
continuity and remained white for neutrality (photo 17).
Photo
17 Too Cute
A
delicate graphite calligraphy line was added centered on the wide reveal
of
the third mat with the name and birth date of each child, then framed with
Larson-Juhl
Silver Venezia #414892.
Once assembled a
faint line of calligraphy was added in graphite with the full name of each
child and their birth date, for personalization and that final warm and fuzzy
feeling. Too cute! I know that Tiffany was thrilled with the
project, and I have heard that little brother Matthew was warmly touched, and
that Mom cried. I love my job.
END
For more articles on
mounting basics look under the mounting section in Articles by Subject.
Additional information
on all types of mounting is found in
The Mounting and
Laminating Handbook, Second Edition, 2002, and
The Mounting And
Laminating Handbook, Third Edition, 2008.
Creative Mounting, Wrapping,
And Laminating, 2000 will teach you
everything you need to know
about getting the most
from your dry mount equipment and materials as an innovative frame designer.
All books are available
from Designs Ink Publishing through this website.
Chris A Paschke, CPF
GCF
Designs Ink
Designs Ink Publishing
785 Tucker Road, Suite
G-183
Tehachapi, CA
93561
661.821.2188
info@designsinkart.com