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Articles
by Chris A. Paschke, CPF GCF CMG
"Static
Mounting Photos and Silk"
October 2006
Static
mounted...and still together after all these years. The dependable thing about static electricity
is that it never really goes away, and although it may very well be a detriment
when attempting to clean acrylic glazing, it is a huge attribute when using
static as a bonding agent. In fact this
totally reversible, noninvasive process may be used to mount a plethora or
polyester photos and silk materials (photo
1).
Photo
1
All
of the images shown are perfect candidates for the static mount process,
from
top to bottom: silk painting; Ilfochrome Classic opaque white film;
Kodak
Duratrans clear film; Ilford clear polyester film;
Kodak Day and Night clear film.
Brief Cibachrome Introduction
Commonly referred
to as a cibachrome, static mounting has been favored for mounting museum framed
Ilfochrome Classics for over twenty years. The 100% polyester based photograph was developed
by Ilford Photo Corporation and uses a permanent silver dye bleach technology which
incorporates azo dyes within the emulsion during the printing process. Unwanted dyes are bleached away leaving the
correct azo colors behind. This is what
gives cibachromes their superior color saturation, sharper contrasts, image
stability, and less light sensitivity.
The "Deluxe
Glossy" film is an opaque white polyester base that is 7 mils thick coated
on the back with a matte gelatin layer. The 100% polyester base makes the photo
more dimensionally stable (doesn't expand nor contract much), while the gelatin
equalizes the surface tensions making them lie very flat. Other Cibachrome print materials using the same
azo dye process include resin coated (RC) paper base as a semimatte
"Pearl" or "Glossy" finish, and as clear transparency films.
It needs to be stressed that for the
purposes of this article the 100% polyester the only photos that bond using the
static process.
Ilfochrome
Classics are highly susceptible to surface damage caused from fingerprints,
scratches and moisture. And unlike
traditional RC photos may not be repaired once damage has occurred. Always wear
cotton gloves, and for this process anti-static gloves or cleaning rags should
be avoided. Never brush or wipe the
surface with towel or tissue, and never use chemicals of any kind on the
surface. Once damaged...replacement is eminent.
The Problem
There are two huge
problems when framing a cibachrome, orange peel and static electricity (photo 2). Prints are flat, floppy,
everything is attracted to them, and because they are film they may not be
mounted like a typical photo. Images over 16x20" may buckle from their own
weight if placed in corner pockets. Edge
strips surrounding the photo may hold it at the edges, but could still allow
the polyester to be sucked into the mat window from exterior room static. Hinging can also allow puckering or warping of
the photo into the mat window.
Photo
2 - Orange Peel
The unmounted Ilfochrome on the left shows a
smooth glassy reflection,
the
lumpy or dimpled reflection on the image center is known as orange peel.
This
sampler was mounted with pressure-sensitive film left half,
dry
mounted right half (diagonal division through middle).
The natural static
created when a facing sheet is pulled from an acrylic sheet makes for a prefect
mounting substrate. Static holds to the
acrylic without orange peel, so why not let the very problem become the
solution (photo 3).
Photo
3 - Static Cling
The
sheet of blue plastic film has been removed from the sheet of Cyro acrylic
and
a Duratrans film is statically mounted to the front while a Chinese silk
painting
is
clinging the back. Use the problem to become the solution.
Mounting Options
There are numerous
mounting options for photos, but the glass-like surface finish of cibachromes
allows then to vividly show any substrate irregularities. Since all substrates have some degree of
surface unevenness...spray, pressure-sensitive, and dry mounting all show some
level of orange peel once the photo has been affixed to it. Only static mounting or hinging retain the
smooth, flat, high gloss beauty that sets cibachromes apart from other photos.
Clear acrylic is
the substrate required for static mounting (photo
4). This is the same acrylic used as
glazing for oversized framing and when a glass substitute is required. There are numerous manufacturers who produce
these cast or extruded sheets of poly(methyl methacrylate) known as PMMA. Plexiglas was introduced by Rohm & Haas of
Germany in 1936. Other common trade names include Perspex, Acrylite and Lucite.
It is rigid and moderately resistant to chemicals, light, ozone, and biological
degradation.
Photo
4 - Static Mounted Ilfochrome Classic
The
static mounted photo is matted with a Moorman suede mat that has been
overlapped 1/4 ".
Behind
the hand held photo is Cyro Blue Film Mask acrylic,
Plexiglas Paper Masked (.118) acrylic
and
Creme Alpharag board.
Another polymer
used occasionally for glazing is a polycarbonate known as Lexan, first
developed in 1953. It i is durable, rigid, scratch
resistant, and dimensionally stable yet has limited resistance to UV radiation
and chemical damage. Though also used as
a glazing alternative, Lexan polycarbonate does not appear to be a good
substitute for PMMA when static mounting.
The Process
Cut a sheet of
acrylic the outside dimension of the window mat. Measure and mark the window
mat borders and score through the surface paper into the acrylic sheet with a
sharp blade. Peel the paper or film coating from the center cut section
surrounding the photo do not remove the entire sheet. Position the cibachrome
onto the acrylic allowing the static to hold it in place. Since the static is
what actually holds the image to the substrate it is important that maximum
static be present during the positioning of the photo, so peel the paper and
immediately position the photo. Do not allow a great deal of open time for duct
and dirt to be attracted to and stick to the exposed acrylic.
Photo
5 - Flange Hinge
A
flange hinge of neutral pH tape is placed across the top
to
prevent the photo from slipping.
For photos that
are to be exhibited at numerous locations, shipped, or may be frequently
transported it is a good idea to place lower corner pockets or a flange hinge
across the top edge of the photo (photo
5). Since polyester does not absorb,
use of neutral pH pressure-sensitive tape is acceptable as this top hinge. The remaining paper liner on the acrylic
serves as a small sink mat which will hold the photo in place on smaller pieces
under 11x14" with no reinforcement (photo
6). The sampler shows the top mat
book hinged to the acrylic substrate, which assist in alignment, but it is
advised to use a bead of white glue to cement the mat directly to the remaining
paper backing (photo 7).
Photo
6 - Hinged Window
This
sample features a book hinged window mat (along left side).
This
works well for correct placement, but the actual mat should also
be
glued to the acrylic paper cover inside.
Photo
7 - Sink Mat
The
paper liner on the acrylic serves as a small sink mat to hold
the
photo in alignment on small pieces under 11x14".
The
top mat will help keep it in place.
The top mat should
overlap the photo a little more than normal with at least 1/4" on small
photos, but 1/2" on photos larger than 16x20". Since Ilfochrome
Classics often have a 1/4" black border at their outer edge, the
additional overlap does not subtract much from the image. Using this static method will keep the center of
the photo drawn back against the acrylic without being sucked into the window
by static created in a room.
The only way to
break a static mount is to lift the photo from the acrylic substrate. Once the frame is complete the static will
remain until it is dismantled. If a
large cibachrome is to also be glazed using acrylic because of glazing weight,
it is imperative the static draw remain dominant toward the backing. Allow a wide space between the top mat and the
glazing, with 1" an optimum distance. Framespace 5 would be a perfect
commercial spacer for this, plus a deep rabbet will be required.
Other Static Applications
As shown in the
opening photo there are other polyester images that may be mounted using the
static method. Kodak Day and Night Display Film, Ilfochrome Classic Clear
Display Film, and assorted silk fabrics may also be mounted using static as the
adhesive (photo 8). The clear Kodak and Ilford films have the
required translucency designed for illumination from behind, like a fast food
menu or movie marquis. There is no
opaque layer as with the white of an Ilfochrome Classic so the image is lightly
visible from the back.
Photo
8 - Other Possibilities
The
clear Kodak and Ilford films (front) have a
translucent quality that are meant
to
be used with illumination from behind, like a fast food menu or movie marquis.
Notice
the image is lightly visible from the back as there is no opaque layer as
with
the white opaque Ilfochrome Class under them.
Since clear films
need to have light passing through them they are better suited to face mounting
where the film is adhered to the back of the acrylic sheet with a clear high
tack pressure-sensitive adhesive rather than statically mounting it to the
front (photo 9). Watch for an upcoming PFM article on the
application of face mounting using a roller machine.
Photo
9 - Clear Films
For
explanation, the four featured films have been statically floated on an acrylic
sheet,
matted,
and placed in front of a window for viewing. Upper left is the opaque
Ilfochrome,
lower
right is the discussed clear Kodak Duratrans, which is designed to be backlit.
Static for Silks
Flat or raw ragged
edges are the best for this technique. A great additional use for the static
mounting technique is with silk scarves and silk paintings (photo 10). The silk
painting is shown statically adhering to a clear acrylic sheet, the same as is
used for cibachromes. Though silk scarves are also likely
candidates, a rolled hem around the outside edge of a scarf can be too bulky
for this method (photo 11).
Photo
10 - Static for Silks
The
deliberately bunched silk painting is shown statically adhering to a clear
acrylic sheet
when
held perpendicular two feet off the floor. The ragged silk edge makes this
technique perfect.
Photo
11 - Hemmed Silk Scarf
The
hemmed scarf creates natural puckers in the edges that will always
somewhat
show when static mounting.
The static method
does not allow for stretching or taut pulling of a fabric, leaving natural
warping of a hemmed scarf a problem under the edge of a mat (photo 12). Use of lacing or a pressure stretching would
be the preferred method. Pressure
stretching is tucking of the edges of the painting around a straight blunt cut
edge of a foam center or museum board fallout then refitting it back into the
window creating a pressure hold (see "Silk Paintings" May 2005). As for a flat painting, static mounting is perfect.
It is neutral pH, totally reversible and
noninvasive. Plus the clear acrylic substrate
allows for a colored backing to be placed beneath the acrylic to help color
tint or better maintain the color of the silk original (photo13).
Photo
12 - Puckering
This
puckering beneath the mat is somewhat unavoidable, lacing or a
pressure
stretching would be preferred methods. See "Silk Paintings", May
2005.
Photo
13 - Clear Backings
The
painting sits on top of clear acrylic. Creme mat
board (L),
blue
and brown covered acrylic(R) show color tinting possibilities.
Though static will
hold the painting where placed, as mentioned above it cannot stretch or flatten
silk (photo 14). Any existing warping, buckling or creasing
should be pressed out of the painting prior to using the static method. As seen in the photo, buckles in the painting that
will not flatten will remain visible using static mounting, and if this is not
flat enough consider another mounting method (photo 15).
Photo
14 - Flattened But Natural
Static
holds the silk exactly where placed, but cannot stretch the painting to
flatten.
Photo
15 - Creases and Buckles
Any
existing warping, buckling or creasing should be pressed out of the painting
prior
to using the static method. There is a piece of crème mat behind the acrylic
to
maintain silk color.
Color Tinted For Framing
Selecting the
right color to place behind the acrylic controls the color tint the painting (photo 16). In order to achieve this control with other
mounting methods one would select a clear dry mount film, clear spray, or
pressure-sensitive film. Though any of
these methods would totally flatten the art, they would all leave residue in
the silk. Another problem that can occur
is the bleeding or seeping through of an adhesive because of the thin silk and
wide woven fibers. This may be seen as a
shiny appearance between silk threads.
Photo
16 - Color Tinted and Ready to Frame
Selecting
the right color to place behind the acrylic will tint the painting to
maintain
its original color or showcase a new color.
Static Afterthoughts
Static mounting is
a totally reversible, neutral and preservation sound method for framing
Ilfochrome Classics, silk paintings, scarves, Duratrans film, or anything that
creates or reacts to static charges. Yes,
static may leave white cat hair on your black slacks, but it can also maintain
the beautiful glassy surface that makes an Ilfochrome Classic...well, a
cibachrome! As it turns out, static can
be a wonderful thing.
END
For additional
reading on static mounting Mastering Mounting:
"What To Do
With Ilfochromes" October 1992;
"Static
Mounting", February 1997; and
The Mounting And Laminating Handbook,
second edition, pgs.
67-68.
For more articles
on digitals, design or mounting…search your desired topic under Articles by
Subject.
If you know your specific title…check Articles by Title.
Additional
information on mounting basics is found in
The Mounting
and Laminating Handbook, Second Edition, 2002
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.
There is a special
buy two get one free promotion which get's you all three signed editions
for the price of
$45 plus CA sales tax and shipping.
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