Mounting Matters
by Chris A. Paschke, CPF GCF
visit http://www.DesignsInkArt.com/library.htm
The LA Framer – GLAC Newsletter December 2011
"The Sensuous Bone"
Bone burnishers should be one of the most
indispensible tools in framing, but is often overlooked in day-to-day use. So
where is your bone anyway? You
remember....the one you bought way back when you were told you needed one, then
threw in a drawer waiting for when that time came. Or worse yet, you're one of
the number of framers who consider themselves top notch designers yet haven't
even invested in a bone at all. It's a small inexpensive addition that should
be part of every framers basic tool kit…for two huge reasons: smoothing window
mat edges (photo 1), and activating pressure-sensitive adhesives.
photo 1
Rough edges to any window
mat bevel
need to be lightly burnished
for a polished finish.
photo
2
Tape
should be applied and activated
on
all butt and bevel overlap joins.
All forms of pressure-sensitive tapes, met
embellishments, shipping tape and the like must all be burnished for proper
activation. It is the P (pressure) in TTPM for pressure-sensitive adhesives.
ATG tape is often used for holding mats together and applying dust covers to
the back of a closed frame, but without burnishing or placing in a vacuum frame
only about 25% of the activation occurs. To fully activate a P-S tape—such as
decorative bevel wraps, butt joins (photo 2), or linen book hinging (photo 3)—tapes
must be aggressively rubbed to activate to roughly 80%. The final 20% occurs
once fully cured.
photo 3
P-S linen tape makes a great
book hinge,
but it must be fully
activated with a bone.
photo
4
Burnishers
come in assorted
shapes
and materials.
Types
of Burnishers
Burnishers, also called bone folders, come in a
variety of sizes, shapes (photo 4) and materials and are used extensively in
the making and restoring hand sewn books and bookbinding. Burnishers are
available as horn, stone, metal, wood, and synthetic but some can actually transfer
a discoloration to mat board bevels. Bone is the best for framing by far. Some
materials may also resist sliding along a toothed surface not allowing them to
glide as smoothly as an aged or seasoned bone. Most alternative burnishers have
actually been developed for other technical uses—vinyl transfer designs,
gilding—and should only be used as a temporary substitute for bevel smoothing
while you search for your neglected bone.
Seasoning
A New Bone
A new burnisher should be seasoned with oil prior
to use, much like you would a new gourmet sauté' pan. Liberally apply a natural
oil, such as vegetable oil, to all sides of the bone and rub off any access
with a clean absorbent cotton rag. Let
the new bone sit overnight to completely absorb the oil. Natural materials--not synthetic--will
readily absorb the oil back into the dried bone. The original white color of
the newly ground and polished bone will now appear more yellowed. The darkening
of the bone is the direct result of oil absorption but will not leave the bone
oily in any way. Part of the reason for seasoning is to help seal it from the
dirt and oils found on human hands which can make dirty bones rather sticky.
The benefits of a burnisher are the smooth gliding way they slip along the edge
of cut paper or board. Older untreated bones will often take on the same
yellowed or aged look of a freshly seasoned one. This comes from natural hand
oils being transferred to the bone as it is used....along with dirt and other
alien substances. This may make the bone sticky.
Lightly burnished mat edges may not be the
solution to a hooked corner, but they most definitely should be the professional
framers finishing touch. So if that bone you bought last year is buried in the
back of a drawer somewhere, maybe it's time to dig it up and put it to some
good use. After all, a bone in the hand
is worth two in the drawer.
END
Copyright © Chris A
Paschke, 2011
Original editorial written for PFM, September 1995
For more articles on
mounting basics look under the mounting section in Articles by Subject.
Additional information
on all types of mounting and creative applications in:
The Mounting and
Laminating Handbook, Second Edition, 2002,
The Mounting And
Laminating Handbook, Third Edition, 2008,
Creative Mounting, Wrapping and Laminating, 1999.
Chris Paschke, CPF GCF
Designs Ink
Tehachapi, CA 93561
P 661-821-2188
chris@designsinkart.com
http://www.designsinkart.com/library.htm