DIP Online
Designs Ink Publishing Article Archive and
Reference Library
Articles by Chris A. Paschke, CPF GCF CMG
“Removing Linen Hinges”
April 2005
A few months ago in the November 2004 issue of PFM I wrote "Hinge Basics" covering assorted preservation materials available both commercially and self assembled. In it one of the things I discussed was the differences between pressure-sensitive and gummed linen tapes, their impact, and limitations. At that time I didn't concentrate on the removal of such tapes or hinges other than mentioning the gummed types could be removed with water.
It seems like everything always happens for a reason, and as luck would have it one of the first framing challenges I had right after writing that article was to salvage and reframe an original piece of fine art calligraphy by Dick Beasley completed in 1985. Low and behold a perfect opportunity had arrived to illustrate damage, removal and minimal repair that a framer might attempt after heavy duty linen hinges had been used on a light 90# fine art paper. The techniques illustrated in this article are not formal conservation techniques, but rather those as suggested manufacturer removal techniques that might be implemented by a skilled framer.
THE PROJECT
Dick was a fellow educator and peer of mine in the fine art calligraphy world who died suddenly during the 1992 International Calligraphy Conference in Michigan that I was also attending. Sherrie Lovler owner of Ink Monkey Press, a dear friend, purchased a Beasley original at last year's 2004 conference. A special exhibition of Beasley's work had been assembled to honor his numerous contributions to the calligraphy world and excellence as an educator.
Known for his abstracted calligraphic artwork using no written text but only letters as his subject matter, this artwork is a graphite and gouache mixed media in neutrals of gray, white and black on a full sized piece of green Roma paper (photo 1). Roma paper is an handmade Italian paper
loved by lettering artists for its toothy surface and four deckled edges. As artists generally do, "Beas" (as the calligraphy world referred to him) framed his own work. This piece was simply assembled in a narrow metal frame, no mat, with the four deckles exposed. It was floated on the center of a piece of Bainbridge Celadon Alphamat #8513 green mat board. The artwork was hinged from behind with reinforced V-hinges...of gummed linen tape (see PFM, "Hinges Floated", December 2004).
WATER ACTIVATE AKA GUMMED
TAPES
There are positives and negatives to all types of hinges. Linen hinges are no different.
Gummed tapes regardless of linen carrier or paper are generally neutral pH, easy to remove with water, and the adhesive is stable enough not to creep over time. They are strong enough to tolerate high degrees of temperature variation and humidity changes.
The trick to successful application or removal of a gummed hinge is: first, to select the correct hinge for the job; and second, not to apply too much moisture during either process, which could produce rippling, warping, cockling or buckling of the art paper. Hinges should be the same or lighter weight than the material being hinged...linen is very strong, and has fabric carrier rather than paper, which is what gives it the added strength.
LINEN HINGES
As discussed in Hinge Basics, gummed linen tapes are excellent for the book hinging of the window mat to the backing board, but probable should not be used for hinging of the artwork itself. There are a number of reasons why linen hinges are not advised for the hinging of art. First, if too much moisture is used to activate the gummed adhesive there is risk of paper saturation and buckling, though that can also occur with cooked paste.
Second, the tough linen tape tends to restrict the paper from its natural expansion and contraction during temperature and humidity variations. Third, the hinge should always be the weakest link so it would tear before the art would tear if dropped or fell from the wall.
Unfortunately it
appears the rule of the hinge being the weakest link had not been stressed
enough to artists and art educators at that time. This piece appears to have been framed late
1980s, and Beasley most likely selected gummed hinges because of their perceived archival nature
and holding strength. No telling whether
is was too much moisture or restricted paper movement, but the result had been three
distinct hinge echoes seen on the face of the artwork (photo 2).
FRAMING DESIGN
The selected
moulding is a 1" flat topped antique pewter wood moulding from Valley
Moulding Treasure Collection #34825. Sherrie
originally wanted the old linen hinges removed, the paper repaired, then the
art floated as Beasley had originally done with the four exposed deckle
edges. After selecting the moulding we
decided that with the additional width required for the outer float space added
to the negative space already surrounding the art, the viewers eye was being
drawn away from the inner abstracted lettered image. So we opted for a double mat with wrapped
spacer to bring in the hint of green to the framing
The 3/16" deep
bevel was wrapped with neutral pH, dark green fine art paper rather than matching
the green Roma of the artwork (photo
10-corner detail of photo 9).
Personally I would have preferred the Roma to better integrate the
brighter green into the framing, but my conservative client (and friend)
preferred the darker tone, and the customer is always right...well almost.
WHAT TO DO WITH THE TAPE
Sherrie and I had
decided I would attempt to correct the hinging problem without resorting to
heroic measures. If I was unable to
remedy the problem we would contact a paper conservator.
The hinges had
been fully attached to the verso side of the art 1-1/4" at all three
points across the top, rather than just a narrow ¼" band. He mounted the V-hinges quite nicely though,
complete with reinforced cross piece.
This artwork was never going to fall off its backing board (photo 3). The first order of business was to gently
cut the three hinges at their fold to free the art from the backing board.
I would generally
be very tentative about attempting to remove heavy gummed hinges from a piece
of art by remoistening them, but in this case I was very familiar with the
moisture tolerances of Roma paper as I have used many a sheet for my own fine
art calligraphy. Sherrie was adamant
about repairing the buckled paper so I thought at the very least I could remove
the linen support fabric which might relieve the paper stress (photo 4).
A clean rag was
used to lightly moisten the linen tape just to soften it and not the paper
beneath. The linen carrier was then able to be gently lifted from the back of
the art. I thought I might be able to
flatten out the buckled paper with the heat of a tacking iron or mechanical
press enough to mat the art and cover the damage, but although it looked good
from the back, the wrapped and buckled hinges still echoed the front.
A spun polyester
interfacing (Pelon) and a blotter were placed beneath the art to cushion and
protect it during the removal process.
Though clean brushes are often the tool of choice for teh application of water for hinge removal, a damp towel
was used in this case to lightly apply a small bit of moisture to the adhesive
area with blotting hand pressure. This
softened the adhesive enough to remove it (photo
5). This may also be done with a
clean stainless steel knife, as available from Lineco. After the bulk of the adhesive was removed another
spun polyester sheet and blotter were used to cover the area to flatten and
press any moisture from the paper surface (photo
6). This was then weighted and
allowed to dry.
FLATTENING WITH WARMTH
After blotter
removal there was just a slight bit of remaining adhesive left on the verso
side of the art as can be barely detected in photo 7. After completely
dry, the front of the paper was pressed with a tacking iron and release paper
to help flatten the damaged areas. The
piece was then placed into a 180°F closed, but not locked, 210M-X mechanical
press with a release board for further flattening. The press was not locked because the paper
was too large for the particular press used and the edges of the press would
have indented the edge of the artwork.
Hinge removal was
totally successful with no warping or buckling visible from the front of the
art upon completion (photo 8).
NEW FRAMING
The newly
refurbished artwork needed to be preservation hinged using Japanese starch
paste and lightweight mulberry paper hinges.
Since the old hinges were slightly too far away from the art edges, the new
hinge locations were moved slightly to be attached. This also contacted undamaged paper fibers by
hinging to a new raw area of the artwork that had not been previously saturated
with adhesive. The new mulberry hinges were applied with Nori paste, weighted
and allowed to dry.
The mats were cut,
deep bevel wrap was assembled in the traditional pinwheel pattern between the
two mats and the window unit was hinged...with gummed linen tape...to the 4 ply
museum backing board. Then the prepared
hinged art was then aligned and hinged to the Alpharag backing board with
mulberry tissue pendent T-hinges. The
frame was built, UV glazing cut, and with the completion of the mat unit, the project
design was completed (photo 9). Beasley's artwork lives on and Sherrie is
thrilled.
END
*
Thank you to Sherrie Lovler for use of Dick Beasley's artwork in this
article. Sherrie's own fine art calligraphy may be viewed at www.inkmonkey.com.
PHOTO 1 BEASLEY
ARTWORK
A full sheet of
handmade green Roma paper features graphite and gouache in a abstraction by
Dick Beasley using letterform as subject matter. Though the camera image has been cropped the
paper has four deckle edges.
PHOTO 2 HINGE
DAMAGE
This detail photo
clearly shows the front side of the buckled Roma paper where the gummed hinge
had been attached to the back.
All three points
of hinging were equally as damaged.
PHOTO 3 REINFORCED
LINEN HINGE
The gummed hinge
was attached to the verso side of the darker green Roma paper to the right,
while it was V-hinged and reinforced with the same linen tape onto the Celadon
mat board to the left.
PHOTO 4 ADHESIVE
RESIDUE
Upon removing
moistening and peeling off the linen fabric the remaining dry adhesive still
restricted the paper from lying flat.
Once swollen by
moisture paper fibers will never totally shrink back to their original state.
PHOTO 5 MOIST
REMOVAL
A spun polyester
interfacing (Pelon) and a blotter were placed beneath the art to soften and
protect it,
then a damp dry
towel was used to lightly apply a small bit of moisture to the adhesive area
with blotting hand pressure.
PHOTO 6 BLOTTER
DRYING
After the bulk of
the adhesive was removed another spun polyester sheet and blotter were used to
flatten and press any moisture from the paper surface.
PHOTO 7 HINT
OF ADHESIVE
First with only
finger pressure then with sanded hinge weights it was allowed to dry.
PHOTO 8 INDENTATIONS
GONE
Hinge removal was
totally successful with no warping or buckling visible from the front of the
art upon completion
PHOTO 9 REFRAMED
The completed reframing of the 1985 Dick Beasley original of fine art calligraphy turned out smooth and uncockled...as it should be.
Dick Beasley artwork and framing shown courtesy of Sherrie Lovler, Santa Rosa, California.
PHOTO 10 CORNER DETAIL
The 3/16"
deep bevel was wrapped with neutral pH, dark green fine art paper rather than
matching the green Roma of the artwork.
The green Roma
paper could have also been used as a wrapper and would have helped integrate
the framing into the art better.
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