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Articles by Chris A. Paschke, CPF GCF CMG
"Biting The Art That Feeds You"
September 1992
When approaching a large scale or oversized
framing job, such as the ones in the masthead photo, the element of mounting
will need to be addressed. If it's a poster and it has been decided to permanently mount it
rather than hinge or otherwise archivally treat it, there are a number of
mounting options available. If the project is a poster larger than your vacuum
press the solution will involve one of three possibilities. Locate a larger
vacuum press and subcontract the mounting portion of your job to another
framer, counter roll the poster and either wet or spray mount the item by hand,
or use a mechanical press and dry mount the artwork in bites.
PROS AND
CONS
Subcontracting to another framer would not be a
profit making venture for you, but good customer relations will be maintained,
you will continue to be a source of complete services to them and the remainder
of the project will continue to bring in your profits. If wet or spray mounting
is chosen as the solution, you must consider the additional labor time involved
in accomplishing this project if you are not routinely set up for oversized
mountings of this type. Care must also be taken to ensure adequate ventilation
and proper weighting--after mounting--as it dries.
As I have mentioned in previous articles, one of
the distinct advantages to owning or having use of a mechanical dry mount press
is its potential for mounting items larger than itself in bites. This is the
term used to describe systematically dividing up a large item and pressing
smaller sections until it is completely mounted, this then becomes yet another
mounting option of the above oversized project and the meat of this particular
article.
DRY
MOUNTING RULES
There are a couple of basic rules which need to be
closely followed in order to successfully achieve an oversized mounting in
bites, but there is no reason for apprehension. Using the proper ratios of
time, temperature and pressure must be applied as well as pre-drying the
artwork and substrate. Two important elements must be addressed to ensure a
smooth, predictable mount when the substrate will enter the press more than
once; proper handle adjustment to 45 degrees and using a release board larger
than the platen of the press.
Make certain your press is adjusted for the proper
pressure required for the substrate to be used, see "Pressure Point of
Mounting", May 1992. If foam board is to be used and the press is too
tight, indentations in the foam board may occur, if too loose (in an attempt to
overcompensate for potential dents) you might experience bubbles in the
completed mount because of inadequate pressure. Also use a release board (not
paper) larger than the platen, the board helps diffuse the pressure at which
the edges of the press meet the oversized substrate and artwork.
The proper time and temperature will be fairly
standardized as in approximately 180F for 1-2 minutes (per section) depending
upon chosen substrate and size of the bites.
LIMITATIONS
It is important to pay close attention to the
width of your press and the actual width of the mounting. Multiple bite
mountings are only achievable a little less then twice as wide as your press,
but naturally as long as you have room to
work. A Seal 210M-X platen measures 18-1/2"x
23" so it will comfortably mount 2x16" or 32" with an adequate
overlap to ensure no trapped tunnel of unmounted materials. A Seal 500T-X
platen measures 26"x34" so it will mount 2x24" or 48" total
width very well. Remember this
measurement is for total required width of the mounting board not simply the
poster. If the artwork is to be matted, the substrate will measure the actual
outer mat dimensions or a little larger so as to simplify the centering and
aligning of the mounted print to the mat.
It is also a good idea to mount with a permanent,
breathable tissue (Seal/ColorMount, TechMount-2, Drytac/Trimount). These tissues bond under heat within the
press and being permanent will not release with subsequent visits to the press
for additional bites. Porosity also allows oversized photographs to be tackled
in bites.
TACKING
AND BITES
Upon adjusting the press, cutting and pre-drying
materials the final preparation is to tack the artwork in the appropriate
location for best results, and...yes, it can make a difference. The
poster art should be tacked in only one place and the recommended Z-method
should not be used during this particular process. The portion of the poster to
enter into the press first is where the tack should be made. In the series of photos I have indicated with
the arrow the appropriate tacking location. If a piece is meant to be pressed
twice, tack on the end to be inserted first. Always turn the mount board
completely around to mount the other side, even if the substrate is narrow enough
to be pushed straight through. The board may not always fit between the braces
and damage may be done to a soft foam board.
If the poster needs four bites, tack on the side
of the quarter to enter the press first. With a four step mounting it
doesn't matter whether you move adjacent to or across from the initial mounting
(clockwise or counterclockwise), but always be systematic and complete the
entire project once begun.
In a longer poster (Michael Jordan, James Dean)
still narrow enough to fit within the confines of twice the platen
width, tack in the center of one of the long
sides. This then will be fed into the press first, then directly across
from the initial mounting. Then move either right or left always completing the
bite across as you progress. As with stretching a canvas, always work from the
center outward, it's much easier to ensure proper placement on the mount board
as well as pressing the air from the center to the outer perimeters of the
poster.
RECAP
To sum up the easy steps for a perfect multiple
bite project every time, consider this as a checklist:
* adjust press to substrate thickness
* use a release board
* pre-dry all materials, excluding adhesives
* use permanent, porous mounting tissue
* tack poster or photo at center of first bite
* mount systematically, from the center out
* always overlap as much as possible
* cool under weight to maintain flatness
Follow the steps and then have no fear when
approaching that oversized project, for there's more money available in biting
that art that feeds you.
END
For additional information and diagrams see:
The Mounting And Laminating Book, Second Edition, 2002
The Mounting And Laminating Book, Third Edition, 2008
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