DIP Online
Designs Ink Publishing Article Archive and
Reference Library
Articles by Chris A. Paschke, CPF GCF CMG
"Dry Mount Work Station"
July 1992
Regardless of individual talent, expertise,
education and professionalism...we all should have learned by now that we are
only as good as our equipment and materials. As already discussed in April and
May, the four key elements to predictably successful dry mountings include
controlling the ratios of TIME, TEMPERATURE, PRESSURE and MOISTURE. Although
these elements need also be considered when both wet and spray mounting,
careful thought and planning should be paid to the work area, work space or
mounting station where all of these vital elements are to be controlled.
As a second generation picture framer who not only
followed in her father's perfectionist footsteps, I also inherited the tight
quarters and lack of the luxury of a spacious framing workroom. This seems to
be a common scenario when it comes to most framers' facilities, nonetheless it
is extremely important to stress the need for a mandatory clean, well lit work
place with the proper tools and materials within reach to execute your craft. Remember
that time lost locating misplaced or buried tools, fighting with rolls
of mounting tissue in a cluttered environment, or attempting to reflatten
warped mounting boards due to improper storage can never be replaced. This lost
time directly translates into burned up profits, if for no other reason than by
limiting the projects achievable in any given day!
CLEAN
AREA...CLEAN PROCESS
Organization often (but not always) lends itself
to a clean work space. You must organize the mounting area to accommodate your
specific requirements. If dealing with sprays, a well ventilated and masked spray
booth is required, in addition to the space requirements necessary for any given
mounting frame or press. Most other needs will remain the same regardless of
the mounting procedure being used. A clean area equates with a clean process,
for the cleanliness, or lack of, will often transfer directly to the art. Dust
and debris circulating in the air may become trapped under the mounted art or
fabric. Fortunately some mounting adhesives are removable and that Matterhorn
dust particle beneath the black background of the newly mounted poster may be
removable.
If at all possible, do not set up your mounting
station near any other dust creating framing process. A miter saw will throw
metal and wood chips into the air, a heavily used wall cutter may create paper
dust and particles and even glass particles could be a problem. I've mentioned
before...use common sense. Eliminate the problem prior to it being one, you
will save time, money and create a much more professional and efficient
environment within which to work.
LIGHTING
Dust and fibers will never be detected if they
cannot be seen. Working in a dark basement environment will not only be a
potential humidity headache, but could create frustration and eye strain if the
lighting is inadequate. A fluorescent tube light fixture may not give you the
color reference of natural light, but it can efficiently illuminate the work
area. Shadows are not your friend! Release materials need light to be examined
for adhesive residue, wrinkles, folds and potential problem troubleshooting
prior to each mounting. Laminates create static electricity when the peel-off
backing is removed often attracting lint...always use the manufacturers
suggested preparation methods and good light!
MATERIALS
STORAGE
There are a number of important elements here,
ones that may effect other steps in your mounting process. Board (substrate)
storage is best when kept clean, dry and flat, though most storage facilities
stand board on end. By standing them up, they are encouraged to warp during
storage, which only adds to the warping frustration which can be created upon
mounting large pieces on lightweight boards. If boards are stored in a
basement, warehouse or other room subject to extremes of temperature and
humidity, the issue of predrying these boards prior to mounting may carry over
into vacuum mounting systems where predrying is generally not required. Most
vacuum frames and presses are set up with an optional lower shelf which makes
an ideal storage space for boxes of foam and mount board.
Adhesives should also be stored in a clean, dry
and accessible locale. They should be well labeled to avoid mix-up and should
also be stored away from release papers for the same reason. A convenient
storage or dispensing rack to the side of your mounting press is ideal. This way dry adhesive can be pulled to the
desired length, cut, positioned, tacked and mounted with no confusion or
clutter. Also, through repetition and systematic placement, the correct
adhesive will generally be sized for mounting thus reducing error potential.
PLACEMENT
The actual placement or location of the equipment
will vary as to whether you have a vacuum, mechanical or hand application
system as well as your space limitations. It could also matter as to whether
the dominant user is right or left handed, but this is strictly am optional
matter of preference and convenience. If setting up a mechanical press, the
ideal situation is to recess it into the work table so the sponge pad is even
with the table surface. This will allow easy level insertion into and out of
the press.
Since many removable dry mount adhesives as well
as wet and spray glues need to be weighted as they cool or dry,
the mounting work table should have a cover sheet
of clear plate glass. This glass should be large enough to accommodate most of
the anticipated mountings, but still small enough to handle. It is an extremely
good practice to always place any newly mounted item beneath a weight, it will
aid in flattening any potential bow and encourages consistent pressure while bonding.
Although not the only choice, glass is excellent as a weight because it is
cool, may be seen through so you don't misplace a project, and may be used as a
cutting surface.
In an ideal space environment, the
cutting/preparation table will be to one side of the press with the
weighting/cooling table to the exit side of the press. Since space limitations
are common, the cutting/application/cooling glass space may be combined as the
same table along side the press. In the worst possible scenario I've heard of
the level top of a vacuum frame or press being used as the entire work station,
but this often creates frustration when attempting to prepare, mount and cool
projects all at the same time...so framer beware.
To recap the requirements of an efficient mounting
work space you must consider and address the following
elements:
* Organization for efficiency
* Clean area...clean process
* Lighting adequacy
* Storage of adhesives and substrate
* Cutting/preparation table
* Placement and height of equipment
* Cooling table and glass
Don't lose sight of the need for water for clean
up if using wet glues and electricity for tacking irons. Drawers for small
tools and miscellaneous materials would be an asset in the preparation table. Maintain
adequate space around a mechanical press to allow the benefits of oversized
mounting in bites. When designing a new work space try to imagine all of the
extremes, such as multiple production mountings, oversized mountings,
laminating, and creative applications.
Keep materials handy yet out of the way and be efficiently as productive
as possible.
END
For additional information on this topic and many
more are found in Chris Paschke's books, all available this website.
The
Mounting And Laminating Handbook, Third Edition, 2008
The
Mounting And Laminating Handbook, Second Edition, 2002
Creative
Mounting, Wrapping And Laminating, by Chris A Paschke, 2000
Designs Ink Publishing
phone 661.821.2188
fax 661.821.2180
info@designsinkart.com