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Articles by Chris A. Paschke, CPF GCF CMG
"Mat Cutting Basics"
August 1993
Mat cutting could very
well be considered the backbone of a framing department. Good quality, well
executed mats can set you apart from the competition as a professional just as
a ragged edge or hooked corner can set you up for failure. There are many styles and levels of mat
cutter on the market from small hand held craft and hobby versions to large
stationary heavy based professional cutters. Regardless of the brand or type of
mat cutter you are currently working with, it is imperative you demand
precision and predictability from your equipment. Good quality, clean cut
corners may be achieved by both the hand held AND the professional level
cutter, for very often the lack of repetitive precision can be traced back to
something as simple as not changing your blade often enough.
We never want to admit
operator error when there is an inconsistency in our mat cutting, which is
human nature. It would be nice to always be able to trace the problems of
ragged edges or hooked corners back to the equipment, but unfortunately the bad
news is...you can't always blame the tools. The good news is...there are a
simple set of standards that will enable you to work more readily towards the
perfection you should be requiring in all of your work.
PREPARATION
Before cutting your
first mat there are two things that should have been done to set the stage for
the best possible product to be achieved. First, make certain your cutter
base is level and well supported at all corners. A poorly supported unit
can twist the base putting uneven pressure on the bar and often not allow the
head to glide smoothly along it.
Second, by initiating
a non-slip surface for the cutter you will limit your struggling to keep
the cutter on the work table and can better concentrate on pressure consistency
and arm position. A carpet or rubber covered table works well as a base for the
cutter. Small rubber bumpers at various balanced points beneath the cutter will
also stabilize it and prevent slipping.
Supporting the entire
mat board being cut is also extremely high on the list of preparatory
considerations, for it eliminates unnecessary stresses on the board and cutter
assembly. By recessing the cutter itself into the actual work table (so the
cutter surface is flush to the table) it not only supports the boards being cut
but is yet another solution to stabilizing the cutter itself from slipping. A
flush cutting surface eliminates the mat board (especially oversized boards)
from twisting or falling away from the bar and head during cutting. This
solution however often remains a luxury that many of us haven't achieved as
yet.
BLADES
Using the correct
blade for the board being cut is also extremely important. I'm not actually
referring to manufacturers blade suggestions as much as I am the proper
thickness and type designed specifically for the board being cut. Regular
two-sided 1200 blades are generally best for most basic mat cutting of a
standard 4ply mat board whether paper core, white core, black core or solid
color core. I do however, prefer to use two-sided 1500 blades for certain dense
4-ply color and museum rag boards and single-sided 1500 blades for cutting 6
and 8-ply museum rag and creatively mounted tiered mats, because of the increased
control over the torque or blade twist of the thinner two-sided blades.
It is also vitally
important to routinely change your blades whether using both ends on a
two-sided or just one. Most double-edged blades will cut 3-5 mats per side or
6-10 per blade. All blades should be strapped prior to insertion into
the cutter head, which is a simple process of deburring by stroking the full
edge of the blade lightly on both sides (on the back of the mat blank) the way
a barber used to sharpen his shaving razor. A new blade should penetrate a
board like a hot knife cuts through butter and if it doesn't feel that
smooth discard the new blade and begin again...it most likely has a burr on the
edge or a broken tip. The blade is the cheapest part of the equation yet most
able to cause trouble by overuse. Adjust the blade depth according to
the individual mats being cut. It should only extend into the mat the necessary
length to cut through the mat plus slightly score into the slip sheet below it.
SLIP SHEETS
Many manufacturers
suggest using a slip sheet which is a piece of 6-8" wide mat board
the length of the cutter bar to help stabilize the tip of the blade since
blades are very thin and prone to twisting. As it cuts through the actual mat
they only need to barely score into the base slip sheet about 1/4 the board
thickness. Sheets need to be changed regularly to prevent the blade from
inadvertently slipping into the same track as a previous cut. Overly scored
slip sheets are yet another culprit of problem mat cutting equally as bad as a
dull blade!
STANCE
One all of the proper
preparation has been achieved and verified you are ready to cut. Your stance at
the cutter is extremely important too. Assuming a heavy professional-type
cutter (complete with attached head and bar assembly) is the one used in
production, they are designed to be used from the bottom end and not the
side of the cutter. Your table should be high enough to allow a fairly
straight back, not one too low where you are hunched over or you will be doomed
to back problems. Obviously using a 60" cutter does not often allow the
full reach of the bar and walking down the side of the cutter will be
required.
Your forearm should
remain parallel to the bar of the cutter from the time you depress the
blade, through the draw of the cut to the removal of the blade at the end of
the cut. The hand and finger pressure exerted to depress the blade into the
board MUST remain constant from the first blade penetration to blade removal. Meaning,
if you press on the upper left corner of the head assembly at the beginning of
the cut as you depress the blade you must be pressing equally on the same upper
left corner at the end of the cut. Your index and middle fingers should be
placed directly over the line of cut and your hand, wrist and arm remain in
alignment as though locked into position. Even if walking down the side of an
over-sized cutter, even pressure on the cutter head must remain consistent and
not vary from blade entry to cut completion.
The movement of blade
depression is pushing the blade tip down into the mat, NOT pulling up
with your thumb from the
back of the head to
depress the blade, or rocking the head forward pushing the blade into the mat. I
recently noticed that along with locking my wrist and arm for the draw down the
bar, I also hold my breath as I cut, but the jury is still out on that one.
THE LIST
Establishing a daily
routine of basic equipment maintenance and exacting execution steps will help
you create predictable mats and reinforce your quality control. In fact, by regularly
referring to this list you can often troubleshoot mat cutting errors and
therefore correct recurring problems.
·
Level cutter prior to use and
prevent slipping
·
Keep cutter covered when not
in use
·
Remove dust and lint with
soft rag or brush
·
Clean and lubricate as
required (see owner's manuals)
·
Sharp, clean blades routinely
changed
·
Check blade depth and adjust
to just score slip sheet
·
Use clean, unscored slip
sheets
·
Support the entire mat board
while cutting
·
Stand at the end of the
cutter
·
Arm placement parallel to the
slideway
·
Consistent hand pressure on
the cutter head
·
Holding your breath of course
is optional
If all of the list
items are consciously paid attention to, eventually they will become the
natural way of achieving repetitive perfection. If a problem should arise, go
back to your basics and verify you are doing everything right...clean cutter,
unscored slip sheet, new strapped blade with proper depth adjustment. If
everything appears correct, including proper stance, better check the calibrations
on your cutter itself. If the head is wobbly or the alignment is out of square
even doing everything right can produce something very wrong! Good polished
technique with a clean, calibrated cutter will allow you perfection, and you
really don't need to hold your breath either. Now go conquer those mats!
You may want to use
the masthead photo as an into to me. The
bio has been expanded to reflect my involvement in the craft market.
END
For more articles on
design see the Design Series under Articles by Subject.
Additional information
on mounting basics 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.
For live consultations
with Chris Paschke, CPF GCF call Designs Ink, 661.821.2188. A flat fee of $25 will
be charged for each new technical problem. Unlimited calls or emails are
allowed for each established mounting problem.
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