astrobboy
New Member
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September 2008
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How to tell is framed print is drymounted, by astrobboy on Aug 9, 2014 1:32:35 GMT 1, If I was to buy a print from a gallery (or an individual for that matter) and it's framed - is there any way to tell if the print is drymounted?
Everyone is always so stringent on "must have coa" etc, but I would want to know if the print has been damaged by framing as well.
If I was to buy a print from a gallery (or an individual for that matter) and it's framed - is there any way to tell if the print is drymounted?
Everyone is always so stringent on "must have coa" etc, but I would want to know if the print has been damaged by framing as well.
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tas
New Member
Posts โข 597
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June 2013
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How to tell is framed print is drymounted, by tas on Aug 9, 2014 2:14:08 GMT 1, I don't believe there is any other way to tell other than removing from the frame.
Sadly I have first hand experience of this.
I don't believe there is any other way to tell other than removing from the frame.
Sadly I have first hand experience of this.
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Nick
Junior Member
Posts โข 1,562
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January 2014
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How to tell is framed print is drymounted, by Nick on Aug 9, 2014 9:43:24 GMT 1, Would never ever buy an expensive print framed unless I was able to remove it from the frame and inspect it myself. There's much more than dry mounting to be worried about! Lots of tapes will damage the back. The corners could be dinged, damaged edges hidden by mat.
If the seller has nothing to hide he/she should oblige. If not I would stay clear.
On the flip side if its done by a trusted framer such as mfm/pauli then you can take trust in that!!
Would never ever buy an expensive print framed unless I was able to remove it from the frame and inspect it myself. There's much more than dry mounting to be worried about! Lots of tapes will damage the back. The corners could be dinged, damaged edges hidden by mat.
If the seller has nothing to hide he/she should oblige. If not I would stay clear.
On the flip side if its done by a trusted framer such as mfm/pauli then you can take trust in that!!
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iamzero
Full Member
Posts โข 9,190
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May 2011
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How to tell is framed print is drymounted, by iamzero on Aug 9, 2014 9:45:10 GMT 1, I'd still have it out of the frame no matter who framed it.
I'd still have it out of the frame no matter who framed it.
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Dice
Junior Member
Posts โข 2,228
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October 2011
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How to tell is framed print is drymounted, by Dice on Aug 9, 2014 10:59:10 GMT 1, Dry mounting isn't your only worry, as said above. The print could be a different colour under the mount, could be damage to edges/corners, I have known black mounts to rub colour off onto the print below, etc etc. not a problem if it's framed forever but if you try to sell one day and have to de frame to send abroad or whatever it becomes a very big problem.
I now float mount all my prints with minimal taping (hinges on top only) so if I ever need to sell any potential buyer knows the print is mint
Dry mounting isn't your only worry, as said above. The print could be a different colour under the mount, could be damage to edges/corners, I have known black mounts to rub colour off onto the print below, etc etc. not a problem if it's framed forever but if you try to sell one day and have to de frame to send abroad or whatever it becomes a very big problem.
I now float mount all my prints with minimal taping (hinges on top only) so if I ever need to sell any potential buyer knows the print is mint
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Deleted
Posts โข 0
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January 1970
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How to tell is framed print is drymounted, by Deleted on Aug 9, 2014 14:01:16 GMT 1, Dry mounting isn't your only worry, as said above. The print could be a different colour under the mount, could be damage to edges/corners, I have known black mounts to rub colour off onto the print below, etc etc. not a problem if it's framed forever but if you try to sell one day and have to de frame to send abroad or whatever it becomes a very big problem. I now float mount all my prints with minimal taping (hinges on top only) so if I ever need to sell any potential buyer knows the print is mint
Dry mounting isn't your only worry, as said above. The print could be a different colour under the mount, could be damage to edges/corners, I have known black mounts to rub colour off onto the print below, etc etc. not a problem if it's framed forever but if you try to sell one day and have to de frame to send abroad or whatever it becomes a very big problem. I now float mount all my prints with minimal taping (hinges on top only) so if I ever need to sell any potential buyer knows the print is mint Out of interest, which tape is safe for this?. |
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Dice
Junior Member
Posts โข 2,228
Likes โข 1,518
October 2011
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How to tell is framed print is drymounted, by Dice on Aug 9, 2014 15:26:41 GMT 1, Dry mounting isn't your only worry, as said above. The print could be a different colour under the mount, could be damage to edges/corners, I have known black mounts to rub colour off onto the print below, etc etc. not a problem if it's framed forever but if you try to sell one day and have to de frame to send abroad or whatever it becomes a very big problem. I now float mount all my prints with minimal taping (hinges on top only) so if I ever need to sell any potential buyer knows the print is mint Out of interest, which tape is safe for this?.
According to Ricardo at pauli frames (would recommend him to anyone) Japanese rice paper is the best.
Dry mounting isn't your only worry, as said above. The print could be a different colour under the mount, could be damage to edges/corners, I have known black mounts to rub colour off onto the print below, etc etc. not a problem if it's framed forever but if you try to sell one day and have to de frame to send abroad or whatever it becomes a very big problem. I now float mount all my prints with minimal taping (hinges on top only) so if I ever need to sell any potential buyer knows the print is mint Out of interest, which tape is safe for this?. According to Ricardo at pauli frames (would recommend him to anyone) Japanese rice paper is the best. |
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alittle
Junior Member
Posts โข 1,575
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November 2012
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How to tell is framed print is drymounted, by alittle on Aug 9, 2014 15:42:17 GMT 1, It shouldn't be tape, it should be Japanese rice paper, plus wheat or rice starch paste.
It shouldn't be tape, it should be Japanese rice paper, plus wheat or rice starch paste.
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commissioner
New Member
Posts โข 931
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May 2014
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How to tell is framed print is drymounted, by commissioner on Aug 9, 2014 16:32:30 GMT 1, FYI...
Hinge Mounting has the function of securing the artwork either to the backing board or to the mat board without permanently altering the artwork. Hinges should also be removable with either water or a small amount of alcohol. A hinge should be made of a stable material with sufficient strength to hold the artwork in place, yet it should tear free if the picture is dropped. The reasoning behind this is that it is better for the hinge to tear than for the artwork to tear. The most common materials used for hinges are Japanese rice papers, archival pressure-sensitive tapes, and linen tape.
Japanese papers made from the traditional fibers have been known for their pH neutrality, strength, lightness in weight, and excellent aging characteristics. Today, however, most Japanese papers are no longer made from only the bast fiber of kozo, mitsumata, or mulberry. Sulfite pulp is commonly used as a filler in many of the traditional papers and, in some instances, the paper is all sulfite pulp. It is therefore important to establish the content of the Japanese paper when selecting it to use as a hinge for fine artwork.
One reason the Japanese papers are selected for making hinges is that when they are hand torn they give a frayed edge. When attached to the back of art-work, this kind of edge tends to show less on the front side. The adhesion of the artwork to the hinge is accomplished with the use of a water-based adhesive, such as the one described below. Careful control of the amount of paste is important or the moisture may deform the paper, which will show up as little bumps on the front side of the artwork.
Regards 
FYI...
Hinge Mounting has the function of securing the artwork either to the backing board or to the mat board without permanently altering the artwork. Hinges should also be removable with either water or a small amount of alcohol. A hinge should be made of a stable material with sufficient strength to hold the artwork in place, yet it should tear free if the picture is dropped. The reasoning behind this is that it is better for the hinge to tear than for the artwork to tear. The most common materials used for hinges are Japanese rice papers, archival pressure-sensitive tapes, and linen tape.
Japanese papers made from the traditional fibers have been known for their pH neutrality, strength, lightness in weight, and excellent aging characteristics. Today, however, most Japanese papers are no longer made from only the bast fiber of kozo, mitsumata, or mulberry. Sulfite pulp is commonly used as a filler in many of the traditional papers and, in some instances, the paper is all sulfite pulp. It is therefore important to establish the content of the Japanese paper when selecting it to use as a hinge for fine artwork.
One reason the Japanese papers are selected for making hinges is that when they are hand torn they give a frayed edge. When attached to the back of art-work, this kind of edge tends to show less on the front side. The adhesion of the artwork to the hinge is accomplished with the use of a water-based adhesive, such as the one described below. Careful control of the amount of paste is important or the moisture may deform the paper, which will show up as little bumps on the front side of the artwork.
Regards
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iamzero
Full Member
Posts โข 9,190
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May 2011
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How to tell is framed print is drymounted, by iamzero on Aug 9, 2014 20:45:28 GMT 1, Whole can of worms with opinions of conservation quality, I haven't used wheat starch yet but always use Hayaku gummed tape for my hinges. Some purist will frown at this even but I've done my research and am comfortable with the quality of this. I use nothing less than conservation grade mountboard but pretty much always used cotton rag board now and con clear glass as standard. My glass spacers are made of wood and are a minimum of 25mm from the art, you could argue about how much off gassing there may be from these but fuck that... Enjoy my art and framing and live life.
Whole can of worms with opinions of conservation quality, I haven't used wheat starch yet but always use Hayaku gummed tape for my hinges. Some purist will frown at this even but I've done my research and am comfortable with the quality of this. I use nothing less than conservation grade mountboard but pretty much always used cotton rag board now and con clear glass as standard. My glass spacers are made of wood and are a minimum of 25mm from the art, you could argue about how much off gassing there may be from these but fuck that... Enjoy my art and framing and live life.
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naughtyshorty
Junior Member
Posts โข 1,242
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February 2010
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How to tell is framed print is drymounted, by naughtyshorty on Aug 9, 2014 23:29:36 GMT 1, It's amazing how many experienced conservationist framers still use tape. Such a no no
It's amazing how many experienced conservationist framers still use tape. Such a no no
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met
Junior Member
Posts โข 2,780
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June 2009
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How to tell is framed print is drymounted, by met on Aug 23, 2014 10:16:47 GMT 1, FYI...
Hinge Mounting has the function of securing the artwork either to the backing board or to the mat board without permanently altering the artwork. Hinges should also be removable with either water or a small amount of alcohol. A hinge should be made of a stable material with sufficient strength to hold the artwork in place, yet it should tear free if the picture is dropped. The reasoning behind this is that it is better for the hinge to tear than for the artwork to tear. The most common materials used for hinges are Japanese rice papers, archival pressure-sensitive tapes, and linen tape.
Japanese papers made from the traditional fibers have been known for their pH neutrality, strength, lightness in weight, and excellent aging characteristics. Today, however, most Japanese papers are no longer made from only the bast fiber of kozo, mitsumata, or mulberry. Sulfite pulp is commonly used as a filler in many of the traditional papers and, in some instances, the paper is all sulfite pulp. It is therefore important to establish the content of the Japanese paper when selecting it to use as a hinge for fine artwork.
One reason the Japanese papers are selected for making hinges is that when they are hand torn they give a frayed edge. When attached to the back of art-work, this kind of edge tends to show less on the front side. The adhesion of the artwork to the hinge is accomplished with the use of a water-based adhesive, such as the one described below. Careful control of the amount of paste is important or the moisture may deform the paper, which will show up as little bumps on the front side of the artwork.
Regards
I was previously oblivious about this. Thank you for posting.
FYI...
Hinge Mounting has the function of securing the artwork either to the backing board or to the mat board without permanently altering the artwork. Hinges should also be removable with either water or a small amount of alcohol. A hinge should be made of a stable material with sufficient strength to hold the artwork in place, yet it should tear free if the picture is dropped. The reasoning behind this is that it is better for the hinge to tear than for the artwork to tear. The most common materials used for hinges are Japanese rice papers, archival pressure-sensitive tapes, and linen tape.
Japanese papers made from the traditional fibers have been known for their pH neutrality, strength, lightness in weight, and excellent aging characteristics. Today, however, most Japanese papers are no longer made from only the bast fiber of kozo, mitsumata, or mulberry. Sulfite pulp is commonly used as a filler in many of the traditional papers and, in some instances, the paper is all sulfite pulp. It is therefore important to establish the content of the Japanese paper when selecting it to use as a hinge for fine artwork.
One reason the Japanese papers are selected for making hinges is that when they are hand torn they give a frayed edge. When attached to the back of art-work, this kind of edge tends to show less on the front side. The adhesion of the artwork to the hinge is accomplished with the use of a water-based adhesive, such as the one described below. Careful control of the amount of paste is important or the moisture may deform the paper, which will show up as little bumps on the front side of the artwork.
Regards
I was previously oblivious about this. Thank you for posting. |
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commissioner
New Member
Posts โข 931
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May 2014
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How to tell is framed print is drymounted, by commissioner on Aug 23, 2014 11:45:53 GMT 1, Pleasure - only passing on what i've learnt..
I pick up so much great knowledge from the forum so good to share sometimes,,
Pleasure - only passing on what i've learnt..
I pick up so much great knowledge from the forum so good to share sometimes,,
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How to tell is framed print is drymounted, by Street Art Fan on Aug 23, 2014 11:54:08 GMT 1, FYI...
Hinge Mounting has the function of securing the artwork either to the backing board or to the mat board without permanently altering the artwork. Hinges should also be removable with either water or a small amount of alcohol. A hinge should be made of a stable material with sufficient strength to hold the artwork in place, yet it should tear free if the picture is dropped. The reasoning behind this is that it is better for the hinge to tear than for the artwork to tear. The most common materials used for hinges are Japanese rice papers, archival pressure-sensitive tapes, and linen tape.
Japanese papers made from the traditional fibers have been known for their pH neutrality, strength, lightness in weight, and excellent aging characteristics. Today, however, most Japanese papers are no longer made from only the bast fiber of kozo, mitsumata, or mulberry. Sulfite pulp is commonly used as a filler in many of the traditional papers and, in some instances, the paper is all sulfite pulp. It is therefore important to establish the content of the Japanese paper when selecting it to use as a hinge for fine artwork.
One reason the Japanese papers are selected for making hinges is that when they are hand torn they give a frayed edge. When attached to the back of art-work, this kind of edge tends to show less on the front side. The adhesion of the artwork to the hinge is accomplished with the use of a water-based adhesive, such as the one described below. Careful control of the amount of paste is important or the moisture may deform the paper, which will show up as little bumps on the front side of the artwork.
Regards
I was previously oblivious about this. Thank you for posting.
FYI...
Hinge Mounting has the function of securing the artwork either to the backing board or to the mat board without permanently altering the artwork. Hinges should also be removable with either water or a small amount of alcohol. A hinge should be made of a stable material with sufficient strength to hold the artwork in place, yet it should tear free if the picture is dropped. The reasoning behind this is that it is better for the hinge to tear than for the artwork to tear. The most common materials used for hinges are Japanese rice papers, archival pressure-sensitive tapes, and linen tape.
Japanese papers made from the traditional fibers have been known for their pH neutrality, strength, lightness in weight, and excellent aging characteristics. Today, however, most Japanese papers are no longer made from only the bast fiber of kozo, mitsumata, or mulberry. Sulfite pulp is commonly used as a filler in many of the traditional papers and, in some instances, the paper is all sulfite pulp. It is therefore important to establish the content of the Japanese paper when selecting it to use as a hinge for fine artwork.
One reason the Japanese papers are selected for making hinges is that when they are hand torn they give a frayed edge. When attached to the back of art-work, this kind of edge tends to show less on the front side. The adhesion of the artwork to the hinge is accomplished with the use of a water-based adhesive, such as the one described below. Careful control of the amount of paste is important or the moisture may deform the paper, which will show up as little bumps on the front side of the artwork.
Regards
I was previously oblivious about this. Thank you for posting. Yes, thanks for posting. Very informative. |
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Hubble Bubble
Junior Member
Posts โข 4,111
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December 2010
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How to tell is framed print is drymounted, by Hubble Bubble on Aug 23, 2014 16:28:06 GMT 1, Yeah but you guys aren't being anal enough.
Personally, I'd never look at a print that hasn't been framed using hinges created from the spittle found in dodo fossils. I'd also insist on the print being forensically examined at CIA HQ in Langley Virginia and if ANY traces of humans are found other than artist DNA (I insist on a sample of this too) then, for me, it's hasta la vista, baby.
If, and only if, these criteria are met , then I'd consider moving on to the next stage which is a full inspection of the seller's property. This MUST NOT. - and I'm very serious about this - have any windows, whatsoever. In this way I can be sure that direct sunlight hasn't tainted the print during its hanging time.
People say I'm picky.
Compared to some .. I'm not so sure 
Yeah but you guys aren't being anal enough. Personally, I'd never look at a print that hasn't been framed using hinges created from the spittle found in dodo fossils. I'd also insist on the print being forensically examined at CIA HQ in Langley Virginia and if ANY traces of humans are found other than artist DNA (I insist on a sample of this too) then, for me, it's hasta la vista, baby. If, and only if, these criteria are met , then I'd consider moving on to the next stage which is a full inspection of the seller's property. This MUST NOT. - and I'm very serious about this - have any windows, whatsoever. In this way I can be sure that direct sunlight hasn't tainted the print during its hanging time. People say I'm picky. Compared to some .. I'm not so sure |
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johnnyh
Junior Member
Posts โข 4,492
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March 2011
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How to tell is framed print is drymounted, by johnnyh on Aug 23, 2014 16:36:57 GMT 1, If I was to buy a print from a gallery (or an individual for that matter) and it's framed - is there any way to tell if the print is drymounted? Everyone is always so stringent on "must have coa" etc, but I would want to know if the print has been damaged by framing as well.
Hit the seller with a baseball bat till they admit it.
I personally use the 5 strike rule if they haven't admitted by then I accept that it probably is not dry mounted.
Not the most scientific way but strangely enough usually also gains a sizeable discount and none so far have been dry mounted
If I was to buy a print from a gallery (or an individual for that matter) and it's framed - is there any way to tell if the print is drymounted? Everyone is always so stringent on "must have coa" etc, but I would want to know if the print has been damaged by framing as well. Hit the seller with a baseball bat till they admit it. I personally use the 5 strike rule if they haven't admitted by then I accept that it probably is not dry mounted. Not the most scientific way but strangely enough usually also gains a sizeable discount and none so far have been dry mounted |
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