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Designs Ink
Publishing Article Archive and Reference Library
Articles by
Chris A. Paschke, CPF GCF CMG
"Face Mount Basics"
October 2008
In our custom framing world
of preservation techniques and never insulting the integrity of the art, sometimes
the more popular solution turns out to be the more invasive one. I continue to be the controversial advocate of
mounting options for new technologies that fly in the face of industry
preservationists. Many of today's preservation methods may not actually work
with contemporary images. Case in point...some of the newest smooth backed
digital photo papers are falling off their substrates once removed from the dry
mount press.
Collectors and artists today
have a more contemporary eye for framing presentation, and thanks to the
internet there is more international influence. Digital artists and
photographers are embracing alternative framing methods that allow the mounted
art a more edgy contemporary look. Often there is no perimeter frame at all such
as a gallery wrapped canvas or a floating blunt edged sheet of aluminum
composite (diagram 1).
Contemporary Framing
Dibond from Alcan Composites is an aluminum composite material (ACM) made of two prepainted or burnished sheets of .012" aluminum with a solid polyethylene core between them (diagram 2). Colors include white, black, brushed silver, brushed gold, and dark bronze, available 2mm to 4mm thick, from 4x8' to 5x10'. It must be sized with a power saw and is sold by suppliers of substrates for signage, display and exhibits.
ACM is requested by artists and photographers for both flat mounting to the center allowing the
burnished edges to show, and flush
mounting edge to edge to help eliminate orange peel. Flat mounting a
photo to the center of brushed aluminum is not cheaper to produce than
traditional framing, it is just another approach to display. Today's collectors
are looking for the modern element, and full
service custom framers need to have the knowledge of, and equipment or
resources to produce this mounted option when requested.
Mounting to Aluminum
Though flat mounting the back
of a photo to ACM may be manually achieved with a high tack P-S like Gudy 870
film, it is far more successful using a roller laminator. Size the ACM and
deburr sharp edges. Follow manufacturer directions of the chosen adhesive film,
mounting the adhesive to the back of the photo first. Peel back edge of release
liner, align and press to affix. Cover with liner then burnish to activate
bond. Leave under a weight 12-24 hours while it begins to cure, but remember
the active bond gets stronger over time.
For more extensive
step-by-step information on use of roller laminators, cold mounting to ACM, and
face mounting see chapter 8, "Cold Mounting" in The Mounting And
Laminating Handbook, 3rd edition, available from PubCo.
Face Mounting Basics
Face mounting is the permanent adhering a sheet of glass, poly (methyl methacrylate) (PMMA)
- sold as Plexiglas - acrylic, clear
polystyrene, or polycarbonate to the surface of a silver-halide,
Ilfochrome Classic (cibachrome), or digital image with either double-sided,
clear pressure-sensitive adhesive (PSA), or a silicone rubber and primer system,
known as Diasec mounting. The process provides a rigid support and protective
glazing, while protecting from fingerprints, mold, air-borne pollutants and
ultra-violet radiation. The UV protection only occurs when the selected PMMA
contains the necessary UV inhibitors. The
substrate of choice then becomes both the protective glazing and the image
support (diagram 3).
It has been used for the
display of Cibachromes and Duratrans in advertising, for backlit display and
lightboxes for decades. The process has been used in Europe for over 30 years
and with the advent of digitals face mounting is fast becoming one of the most
popular methods for exhibiting wide format and display photographs commercially,
in galleries, homes and major museums (diagram
4). The fusion between the face of the art and the acrylic sheet creates a
permanent, airtight bond that allows the image a high gloss wet look. Images
are most often flush mounted edge to edge (diagram
5). Abrasion resistant acrylic best prevents surface scratches, and the
application of a backing layer of aluminum, corrugated polypropylene, or 8-ply
rag board helps protect from gouging damage to the back.
Assorted Materials
PMMA sheets are produced by
either cast or extruded methods. Cast sheets are known to fracture or craze in
climates of fluctuating humidity, and extruded sheets may develop
stress-related cracking as they age, but this generally occurs during exterior
use. Both sheets are resistant to chemicals, light, ozone, and biological
degradation, but selecting the right acrylic for fine art interior vs.
advertising exterior is a must.
The Diasec silicone-based
adhesive has been the favored process for face mounting of fine art prints in
high end European labs, though the mounting process is much more involved
likely to be undertaken by more commercial operations. Most silicone rubbers
are used in conjunction with a primer that enhances the adhesion between the
rubber and the material to which it is applied. The primer is first applied to
both surfaces, the solvents are allowed to evaporate, then the two are bonded
together. For best results it requires mounting with a large, electric
double-cylinder press with variable pressure adjustment in a dust-free, climate
controlled room.
An optically clear, acrylic
based film adhesive designed specifically for face mounting, such as Drytac
Facemount UV, Neschen Gudy 909, or Seal Optimount must be used for this
technique. The rolled film is a clear polyester carrier between two exterior
layers of adhesive protected on each side by a clear polyester release liner.
It may be applied with a manual hand crank or automatic roller laminator, and
is best applied at room temperature.
Problems associated with face
mounting include the susceptibility of the acrylic surface to scratches and
abrasion, and its tendency to
build up static and attract dust making it difficult to transport and keep
clean. Most physical damage actually occurs as the result of poor
handling or from accidental gouging the back side of an unbacked image. Covering
the back of opaque images with sheets of clear corrugated polypropylene or ACM
helps protect it from verso damage.
Preparation and Basic Steps
Always read, and follow all
manufacturer guidelines for face mounting applications and acclimate all
materials to room temp 65°F-70°F, 60-80% RH for at least 24 hours prior to
sizing and bonding. Dust all equipment, release brake tension in the roller
laminator (RL), and set rollers for moderate speed. Make certain the print is
absolutely clean and free of dust, but be very careful about brushing as it may
easily scratch. All scratches and fingerprints between the layers will become a
permanent elements in the completed face mount.
Run the print through the RL
to apply optically clear adhesive with release liner to the face of the print.
Attach an acrylic leader board of the same thickness to the acrylic sheet at
the start end to be fed into the machine first. Fold back the edge of the
release liner exposing the adhesive on the back of the image and stick that
oversized trim edge to leader board. The object of the leader is to straighten and
remove air bubbles before the real print enters the rollers. By the time the
rollers get to the clear acrylic the image will be flat, smooth and bubble
free. Push board edge between rollers and begin roller rotation to nip the
leader. Flip the image up towards the top roller and push the board through. Use
compressed air to blow dust away from the board while feeding through the
rollers during bonding.
Repeat the process of
mounting the film to the polypropylene and then feeding the face mounted photo
to the backing. The face mounted image is then trimmed flush to the edges of
the acrylic and the sandwich is ready to attach hangers. Do not practice this
technique on a customer's project. Unlike mounting to aluminum, face mounting
may not be achieved manually or with heated rollers or dry mount equipment.
Hanging Methods
There two basic methods for hanging
a face mounted image to the wall: a backing frame (diagram 6), or pipe support (diagram
7), and both allow light to freely move around and behind the display art. A
backing frame of wood or metal may be glued to the center of the backing support.
This should be small enough so it is not visible in order to best enhance the
illusion of floating art. Select a clear industrial strength glue designed for
the materials used: metal to metal, wood to metal.
Pipe supports are the second
option. Holes are drilled through the solid layers of the acrylic and backing so
screws or bolts may be fed through to the back. The mounted sheets may be
solidly bolted together with extension posts out the back used as the spacers,
or unbonded face mounted art and rigid backing may be spaced apart by decorative
pipe sleeves that do not fit through the holes (diagram 8).
The advantage of a backing frame is the hanging hardware are the same screw eyes, D-rings, and coated wire as any wood or metal frame. If four corner pipes allow wire to be strung across the top from post to post, or diagonally in both directions (diagram 9).
Final Thoughts
Face mounting may be the current contemporary look of choice, but all deviations from the tried and true probably come with issues. Higher substrate costs, sizing difficulties, and needing a cold roller to mount might preclude face mounting from becoming part of your repertoire. But if mounting to aluminum composite and face mounting are within your capabilities, then you sound armed and ready to tackle the look of 21st century framing...without a frame.
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