iamzero
Full Member
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May 2011
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Framing Tape • Archival Tape • Acid Free Tape, by iamzero on Apr 2, 2015 21:49:59 GMT 1, To be honest dude the stock that the postcard is printed pn is totally different to the stock our general art is printed on. I've removed hayaku hinges from art no problem.
To be honest dude the stock that the postcard is printed pn is totally different to the stock our general art is printed on. I've removed hayaku hinges from art no problem.
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avec art
Junior Member
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March 2014
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Framing Tape • Archival Tape • Acid Free Tape, by avec art on Apr 2, 2015 22:27:15 GMT 1, Yes exactly this is why I said it does create a mark after removing from the postcard. But like you say papers that are used for printing are different, and you can remove this gummed tape or the hayaku hinges with a damp brush without causing damage, and the slightly damp area on the paper will gradually dry. Although to keep the reverse 100% free from any visible mark at all I would suggest not floating it. Although float mounting IMO looks better with contemporary/modern art, and I'm personally not a big fan of the passepartout. So sometimes spacers are a kind of compromise for me. I recently have seen custom made sprayed spacers for a martin whatson piece I think, and comic strip collaged spacers for a sandra chevrier work that I thought was quite imaginative and looked good.
Yes exactly this is why I said it does create a mark after removing from the postcard. But like you say papers that are used for printing are different, and you can remove this gummed tape or the hayaku hinges with a damp brush without causing damage, and the slightly damp area on the paper will gradually dry. Although to keep the reverse 100% free from any visible mark at all I would suggest not floating it. Although float mounting IMO looks better with contemporary/modern art, and I'm personally not a big fan of the passepartout. So sometimes spacers are a kind of compromise for me. I recently have seen custom made sprayed spacers for a martin whatson piece I think, and comic strip collaged spacers for a sandra chevrier work that I thought was quite imaginative and looked good.
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met
Junior Member
🗨️ 2,793
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June 2009
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Framing Tape • Archival Tape • Acid Free Tape, by met on Apr 6, 2015 16:27:34 GMT 1, I've just finished floating a print with Japanese paper and a mix of tylose, ethanol and water. I used four hinges and some spacers to support the middle part of the print. I'm pretty happy with the result. Before throwing myself into this project I experimented exhaustedly with various amounts of glue and different styles of paper. In all cases I was able to reverse the process with absolutely no damage to the piece. In 90% of cases I just had to pull gently on the hinge and it would come off without tearing anything. The trick is to have enough surface contact to hold the art properly but not too much that it gets tricky to remove the hinge, I suppose.... In the case that the hinges don't come off mechanically, the advantage of tylose is that you can reactivate it with a bit of water and thus proceed to safe removal of the hinge. All these techniques I learnt from a specialist, who's job it is to restore, frame and conserve paper artworks. This person also supplied me with the appropriate materials and methodology. A couple of points to take into consideration: Use acid free mounting supports. Also the frame should not be made of wood which has been glued: MDF plywood etc... Uv plexi or treated glass is better. (I used normal glass because I live in a dark Parisian appartement and made sure my art never gets direct sunlight, plus I couldn't afford the special glass....) Good luck with framing! PS: I built the frame myself. 
Thank you for your explanations and advice, and congratulations on the fine work. I'm a fan of these types of geeky posts.
Although I haven't tried my hand at framing, I do get real pleasure when I change a fuse or some lamp holder wiring without electrocuting myself. It may seem minor to others, but the personal satisfaction for me is immense when I turn on the light switch and the bulb actually lights up.
A few questions, if you have time to consider them:
1. Which type of Japanese paper did you use? [Your description brought back to mind this helpful post by commissioner.]
2. What thickness and strength of Japanese paper was it? No doubt they were determined by the measurements and paper weight of the Beejoir print.
3. When you say, "I used four hinges and some spacers to support the middle part of the print", do you mean four hinges were used in total for the framing (i.e. one hinge for each of the print corners)? Or is four the number of hinges used to support just the middle part of the print, along with some spacers?
4. By "mounting supports", can you confirm what you mean? Is this a reference to a pedestal (like foam board) on which work is placed, to raise it from the surface of the decorative backing?
5. I assume "wood which has been glued" refers only to glued wood pieces or fibres (like your examples of MDF and plywood), as opposed to any glue used in the corners of a frame during its construction. [This would discount all the IKEA frames some people rave about for reasons of cost and convenience, although hopefully no one's under the impression that standard IKEA frames are in any way archival.]
-------------
As a separate comment, I'm surprised there hasn't yet been some quip about your Paul McCarthy Tree. Perhaps that's down to the discretion of its size, general appearance and positioning.
I've just finished floating a print with Japanese paper and a mix of tylose, ethanol and water. I used four hinges and some spacers to support the middle part of the print. I'm pretty happy with the result. Before throwing myself into this project I experimented exhaustedly with various amounts of glue and different styles of paper. In all cases I was able to reverse the process with absolutely no damage to the piece. In 90% of cases I just had to pull gently on the hinge and it would come off without tearing anything. The trick is to have enough surface contact to hold the art properly but not too much that it gets tricky to remove the hinge, I suppose.... In the case that the hinges don't come off mechanically, the advantage of tylose is that you can reactivate it with a bit of water and thus proceed to safe removal of the hinge. All these techniques I learnt from a specialist, who's job it is to restore, frame and conserve paper artworks. This person also supplied me with the appropriate materials and methodology. A couple of points to take into consideration: Use acid free mounting supports. Also the frame should not be made of wood which has been glued: MDF plywood etc... Uv plexi or treated glass is better. (I used normal glass because I live in a dark Parisian appartement and made sure my art never gets direct sunlight, plus I couldn't afford the special glass....) Good luck with framing! PS: I built the frame myself. Thank you for your explanations and advice, and congratulations on the fine work. I'm a fan of these types of geeky posts. Although I haven't tried my hand at framing, I do get real pleasure when I change a fuse or some lamp holder wiring without electrocuting myself. It may seem minor to others, but the personal satisfaction for me is immense when I turn on the light switch and the bulb actually lights up. A few questions, if you have time to consider them: 1. Which type of Japanese paper did you use? [Your description brought back to mind this helpful post by commissioner.] 2. What thickness and strength of Japanese paper was it? No doubt they were determined by the measurements and paper weight of the Beejoir print. 3. When you say, "I used four hinges and some spacers to support the middle part of the print", do you mean four hinges were used in total for the framing (i.e. one hinge for each of the print corners)? Or is four the number of hinges used to support just the middle part of the print, along with some spacers? 4. By "mounting supports", can you confirm what you mean? Is this a reference to a pedestal (like foam board) on which work is placed, to raise it from the surface of the decorative backing? 5. I assume "wood which has been glued" refers only to glued wood pieces or fibres (like your examples of MDF and plywood), as opposed to any glue used in the corners of a frame during its construction. [This would discount all the IKEA frames some people rave about for reasons of cost and convenience, although hopefully no one's under the impression that standard IKEA frames are in any way archival.] ------------- As a separate comment, I'm surprised there hasn't yet been some quip about your Paul McCarthy Tree. Perhaps that's down to the discretion of its size, general appearance and positioning. |
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Framing Tape • Archival Tape • Acid Free Tape, by Poly Mindset on Apr 7, 2015 3:18:30 GMT 1, Thanks for posting this. Has anyone used any of these papers for Japanese hinges, if so which one works best? I've heard there is a rice paper that pretty much dissolves with a small amount of water leaving no residue.
Thanks for posting this. Has anyone used any of these papers for Japanese hinges, if so which one works best? I've heard there is a rice paper that pretty much dissolves with a small amount of water leaving no residue. |
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Framing Tape • Archival Tape • Acid Free Tape, by curiousgeorge on Apr 7, 2015 3:27:28 GMT 1, Different papers for different art papers..Try and match the gsm of them
You should try and match gsm as per paper. Remember the hinge should be the weakest link in framing, if the picture falls off the wall. You want the hinge tearing and not the print.
FYI Apply wheat starch to the paper rather than any gummed or pre-starched stuff
Different papers for different art papers..Try and match the gsm of them
You should try and match gsm as per paper. Remember the hinge should be the weakest link in framing, if the picture falls off the wall. You want the hinge tearing and not the print.
FYI Apply wheat starch to the paper rather than any gummed or pre-starched stuff
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beatztom
New Member
🗨️ 331
👍🏻 243
November 2013
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Framing Tape • Archival Tape • Acid Free Tape, by beatztom on Apr 13, 2015 22:06:55 GMT 1, I've just finished floating a print with Japanese paper and a mix of tylose, ethanol and water. I used four hinges and some spacers to support the middle part of the print. I'm pretty happy with the result. Before throwing myself into this project I experimented exhaustedly with various amounts of glue and different styles of paper. In all cases I was able to reverse the process with absolutely no damage to the piece. In 90% of cases I just had to pull gently on the hinge and it would come off without tearing anything. The trick is to have enough surface contact to hold the art properly but not too much that it gets tricky to remove the hinge, I suppose.... In the case that the hinges don't come off mechanically, the advantage of tylose is that you can reactivate it with a bit of water and thus proceed to safe removal of the hinge. All these techniques I learnt from a specialist, who's job it is to restore, frame and conserve paper artworks. This person also supplied me with the appropriate materials and methodology. A couple of points to take into consideration: Use acid free mounting supports. Also the frame should not be made of wood which has been glued: MDF plywood etc... Uv plexi or treated glass is better. (I used normal glass because I live in a dark Parisian appartement and made sure my art never gets direct sunlight, plus I couldn't afford the special glass....) Good luck with framing! PS: I built the frame myself. Thank you for your explanations and advice, and congratulations on the fine work. I'm a fan of these types of geeky posts. Although I haven't tried my hand at framing, I do get real pleasure when I change a fuse or some lamp holder wiring without electrocuting myself. It may seem minor to others, but the personal satisfaction for me is immense when I turn on the light switch and the bulb actually lights up. A few questions, if you have time to consider them: 1. Which type of Japanese paper did you use? [Your description brought back to mind this helpful post by commissioner.] 2. What thickness and strength of Japanese paper was it? No doubt they were determined by the measurements and paper weight of the Beejoir print. 3. When you say, "I used four hinges and some spacers to support the middle part of the print", do you mean four hinges were used in total for the framing (i.e. one hinge for each of the print corners)? Or is four the number of hinges used to support just the middle part of the print, along with some spacers? 4. By "mounting supports", can you confirm what you mean? Is this a reference to a pedestal (like foam board) on which work is placed, to raise it from the surface of the decorative backing? 5. I assume "wood which has been glued" refers only to glued wood pieces or fibres (like your examples of MDF and plywood), as opposed to any glue used in the corners of a frame during its construction. [This would discount all the IKEA frames some people rave about for reasons of cost and convenience, although hopefully no one's under the impression that standard IKEA frames are in any way archival.] ------------- As a separate comment, I'm surprised there hasn't yet been some quip about your Paul McCarthy Tree. Perhaps that's down to the discretion of its size, general appearance and positioning.
1. The type of japanese paper: I'll get back to you on this one. The paper I have is very, very thin, yet still robust enough to not tear that easily. The advantage being that you can paste glue onto the side which is not in contact with the work, and the glue will be instantly absorbed by the paper and pass through to the other side.
2.I wasn't at all that scientific about which paper to use, I pretty much played it by ear and used what I had been given. I did experiment with a couple of different size hinges to get a feel for how much surface contact would be necessary to bond strongly enough for the purposes of holding a relatively light print.
3. I used in total 4 hinges, one in each corner, though I originally wanted to only use the top two corners. The problem I had was that I wasn't patient enough about flattening the print, and I have a sneaky suspicion that it was stored for a few years in a tube (seeing as it was the 'lost tokyo 2012' edition). I left it for a couple of weeks, but that was no where near enough to properly flatten it. In the end I got a semi-decent (not perfect) result. At one point I will probably unframe it and try to flatten it properly.
Because of this I glued some small squares of acid free cardboard between the hinges to try and maintain a flat, even surface and counter the print's tendency to roll into a tube, especially in the middle. In the end, I presume that even a print which has been properly flattened still needs some kind of support/spacer in the middle, if only the 4 corners are hinged, or for prints with larger surface area.
4. By mounting support I meant the piece of acid free cardboard onto which the print is hinged. I cut the cardboard to the size of the frame, and used the off cuts to make the hinges, and the spacers which maintain the print's flatness and raise the print from the backing.
5. That's exactly what I meant! Apparently the glue used in creating panels like MDF or plywood can emanate fumes or gasses which aren't ideal for conserving artworks over time. To tell you the truth, I used MDF, because I had it lying around. I'm hoping that the paint might form somekind of barrier to the fumes I mentioned... who knows! It's not like I have a huge surface area of the stuff either. I didn't bother taping the back either, so maybe those nasty gasses will escape through the gaps!
I'm sure a formerly trained conservation framer would probably find many faults with my framing, but I'm pretty happy knowing that it floats, and that I can remove the hinges if necessary without causing any damage or leaving any marks. I'm also sure that the glue I used is not going to damage the print. I have no idea how bad it is to use MDF frames, maybe another benevolent member could chime in, hopefully before my print turns fluorescent yellow!!
Joking aside, If the mdf is sealed, I don't thing the gassing should be an issue, or definitely not one losing sleep over...
As for the McCarthy. I too was surprised it didn't cause more of a stir. Maybe because I didn't show the 'other' side?
Hope my experiences have helped, don't hesitate if you have any more questions. I'll try and get back to you shortly on the type of paper used.
Best,
Tom
I've just finished floating a print with Japanese paper and a mix of tylose, ethanol and water. I used four hinges and some spacers to support the middle part of the print. I'm pretty happy with the result. Before throwing myself into this project I experimented exhaustedly with various amounts of glue and different styles of paper. In all cases I was able to reverse the process with absolutely no damage to the piece. In 90% of cases I just had to pull gently on the hinge and it would come off without tearing anything. The trick is to have enough surface contact to hold the art properly but not too much that it gets tricky to remove the hinge, I suppose.... In the case that the hinges don't come off mechanically, the advantage of tylose is that you can reactivate it with a bit of water and thus proceed to safe removal of the hinge. All these techniques I learnt from a specialist, who's job it is to restore, frame and conserve paper artworks. This person also supplied me with the appropriate materials and methodology. A couple of points to take into consideration: Use acid free mounting supports. Also the frame should not be made of wood which has been glued: MDF plywood etc... Uv plexi or treated glass is better. (I used normal glass because I live in a dark Parisian appartement and made sure my art never gets direct sunlight, plus I couldn't afford the special glass....) Good luck with framing! PS: I built the frame myself. Thank you for your explanations and advice, and congratulations on the fine work. I'm a fan of these types of geeky posts. Although I haven't tried my hand at framing, I do get real pleasure when I change a fuse or some lamp holder wiring without electrocuting myself. It may seem minor to others, but the personal satisfaction for me is immense when I turn on the light switch and the bulb actually lights up. A few questions, if you have time to consider them: 1. Which type of Japanese paper did you use? [Your description brought back to mind this helpful post by commissioner.] 2. What thickness and strength of Japanese paper was it? No doubt they were determined by the measurements and paper weight of the Beejoir print. 3. When you say, "I used four hinges and some spacers to support the middle part of the print", do you mean four hinges were used in total for the framing (i.e. one hinge for each of the print corners)? Or is four the number of hinges used to support just the middle part of the print, along with some spacers? 4. By "mounting supports", can you confirm what you mean? Is this a reference to a pedestal (like foam board) on which work is placed, to raise it from the surface of the decorative backing? 5. I assume "wood which has been glued" refers only to glued wood pieces or fibres (like your examples of MDF and plywood), as opposed to any glue used in the corners of a frame during its construction. [This would discount all the IKEA frames some people rave about for reasons of cost and convenience, although hopefully no one's under the impression that standard IKEA frames are in any way archival.] ------------- As a separate comment, I'm surprised there hasn't yet been some quip about your Paul McCarthy Tree. Perhaps that's down to the discretion of its size, general appearance and positioning. Thanks for the kind words! I'll try and answer your queries as best as I can, however there are a couple of points I will have to forward to someone more competent in this field than I. 1. The type of japanese paper: I'll get back to you on this one. The paper I have is very, very thin, yet still robust enough to not tear that easily. The advantage being that you can paste glue onto the side which is not in contact with the work, and the glue will be instantly absorbed by the paper and pass through to the other side. 2.I wasn't at all that scientific about which paper to use, I pretty much played it by ear and used what I had been given. I did experiment with a couple of different size hinges to get a feel for how much surface contact would be necessary to bond strongly enough for the purposes of holding a relatively light print. 3. I used in total 4 hinges, one in each corner, though I originally wanted to only use the top two corners. The problem I had was that I wasn't patient enough about flattening the print, and I have a sneaky suspicion that it was stored for a few years in a tube (seeing as it was the 'lost tokyo 2012' edition). I left it for a couple of weeks, but that was no where near enough to properly flatten it. In the end I got a semi-decent (not perfect) result. At one point I will probably unframe it and try to flatten it properly. Because of this I glued some small squares of acid free cardboard between the hinges to try and maintain a flat, even surface and counter the print's tendency to roll into a tube, especially in the middle. In the end, I presume that even a print which has been properly flattened still needs some kind of support/spacer in the middle, if only the 4 corners are hinged, or for prints with larger surface area. 4. By mounting support I meant the piece of acid free cardboard onto which the print is hinged. I cut the cardboard to the size of the frame, and used the off cuts to make the hinges, and the spacers which maintain the print's flatness and raise the print from the backing. 5. That's exactly what I meant! Apparently the glue used in creating panels like MDF or plywood can emanate fumes or gasses which aren't ideal for conserving artworks over time. To tell you the truth, I used MDF, because I had it lying around. I'm hoping that the paint might form somekind of barrier to the fumes I mentioned... who knows! It's not like I have a huge surface area of the stuff either. I didn't bother taping the back either, so maybe those nasty gasses will escape through the gaps! I'm sure a formerly trained conservation framer would probably find many faults with my framing, but I'm pretty happy knowing that it floats, and that I can remove the hinges if necessary without causing any damage or leaving any marks. I'm also sure that the glue I used is not going to damage the print. I have no idea how bad it is to use MDF frames, maybe another benevolent member could chime in, hopefully before my print turns fluorescent yellow!! Joking aside, If the mdf is sealed, I don't thing the gassing should be an issue, or definitely not one losing sleep over... As for the McCarthy. I too was surprised it didn't cause more of a stir. Maybe because I didn't show the 'other' side? Hope my experiences have helped, don't hesitate if you have any more questions. I'll try and get back to you shortly on the type of paper used. Best, Tom |
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met
Junior Member
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June 2009
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Framing Tape • Archival Tape • Acid Free Tape, by met on Apr 15, 2015 2:56:17 GMT 1,
Different papers for different art papers..Try and match the gsm of them You should try and match gsm as per paper. Remember the hinge should be the weakest link in framing, if the picture falls off the wall. You want the hinge tearing and not the print. FYI Apply wheat starch to the paper rather than any gummed or pre-starched stuff
Many thanks for this.
I didn't know there were so many types and weights of Japanese paper to choose from.
In my case, abundance of choice generally leads to paralysis — so your tip of trying to match the weights (of the Japanese paper and the art paper it will be hanging) was very helpful.
Different papers for different art papers..Try and match the gsm of them You should try and match gsm as per paper. Remember the hinge should be the weakest link in framing, if the picture falls off the wall. You want the hinge tearing and not the print. FYI Apply wheat starch to the paper rather than any gummed or pre-starched stuff Many thanks for this. I didn't know there were so many types and weights of Japanese paper to choose from. In my case, abundance of choice generally leads to paralysis — so your tip of trying to match the weights (of the Japanese paper and the art paper it will be hanging) was very helpful. |
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met
Junior Member
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June 2009
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Framing Tape • Archival Tape • Acid Free Tape, by met on Apr 15, 2015 3:14:47 GMT 1, Thanks for the kind words! I'll try and answer your queries as best as I can, however there are a couple of points I will have to forward to someone more competent in this field than I. 1. The type of japanese paper: I'll get back to you on this one. The paper I have is very, very thin, yet still robust enough to not tear that easily. The advantage being that you can paste glue onto the side which is not in contact with the work, and the glue will be instantly absorbed by the paper and pass through to the other side. [...]
Many thanks for taking the time to respond.
I found the advantage you mentioned in point 1 to be interesting. It wasn't something I'd previously considered. No doubt this simplifies the process, also allowing for greater control when applying the wheat starch.
Thanks for the kind words! I'll try and answer your queries as best as I can, however there are a couple of points I will have to forward to someone more competent in this field than I. 1. The type of japanese paper: I'll get back to you on this one. The paper I have is very, very thin, yet still robust enough to not tear that easily. The advantage being that you can paste glue onto the side which is not in contact with the work, and the glue will be instantly absorbed by the paper and pass through to the other side. [...] Many thanks for taking the time to respond. I found the advantage you mentioned in point 1 to be interesting. It wasn't something I'd previously considered. No doubt this simplifies the process, also allowing for greater control when applying the wheat starch. |
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beatztom
New Member
🗨️ 331
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November 2013
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Framing Tape • Archival Tape • Acid Free Tape, by beatztom on Apr 15, 2015 8:59:45 GMT 1, Got some more info on the paper and the glue:
The paper is 15 gr par meter square, the glue is Methylcelulose the commercial name is Tylose MH300 is was diluted 50% water and 50%ethanol a 99%
I'm not sure if the densities are properly matched in my frame job, but it suits me anyway. If the artwork were ever to be dropped, I don't think the hinges would tear, but I'm confident they would come undone from the print, but then the print would surely be subjected to some kind of dings, so I prefer avoiding that situation!! The advice from the person who supplied me with the materials is to make sure the hinges are easily accessible to be able to cut them rapidly in case of an emergency, such as water damage.
Happy framing everybody!
Got some more info on the paper and the glue:
The paper is 15 gr par meter square, the glue is Methylcelulose the commercial name is Tylose MH300 is was diluted 50% water and 50%ethanol a 99%
I'm not sure if the densities are properly matched in my frame job, but it suits me anyway. If the artwork were ever to be dropped, I don't think the hinges would tear, but I'm confident they would come undone from the print, but then the print would surely be subjected to some kind of dings, so I prefer avoiding that situation!! The advice from the person who supplied me with the materials is to make sure the hinges are easily accessible to be able to cut them rapidly in case of an emergency, such as water damage.
Happy framing everybody!
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Framing Tape • Archival Tape • Acid Free Tape, by curiousgeorge on Apr 16, 2015 0:35:43 GMT 1, Different papers for different art papers..Try and match the gsm of them You should try and match gsm as per paper. Remember the hinge should be the weakest link in framing, if the picture falls off the wall. You want the hinge tearing and not the print. FYI Apply wheat starch to the paper rather than any gummed or pre-starched stuff Many thanks for this. I didn't know there were so many types and weights of Japanese paper to choose from. In my case, abundance of choice generally leads to paralysis — so your tip of trying to match the weights (of the Japanese paper and the art paper it will be hanging) was very helpful.
If I get round to booting up my windows machine(urgh) I'll dig out a link to a different retailer that offer variety packs of papers. It was my saving grace, as like you, I struggle when presented with lots of options
It is also not difficult to get off-cuts of different weights of art papers to practise on from various sources in London.
Different papers for different art papers..Try and match the gsm of them You should try and match gsm as per paper. Remember the hinge should be the weakest link in framing, if the picture falls off the wall. You want the hinge tearing and not the print. FYI Apply wheat starch to the paper rather than any gummed or pre-starched stuff Many thanks for this. I didn't know there were so many types and weights of Japanese paper to choose from. In my case, abundance of choice generally leads to paralysis — so your tip of trying to match the weights (of the Japanese paper and the art paper it will be hanging) was very helpful. My pleasure. If I get round to booting up my windows machine(urgh) I'll dig out a link to a different retailer that offer variety packs of papers. It was my saving grace, as like you, I struggle when presented with lots of options It is also not difficult to get off-cuts of different weights of art papers to practise on from various sources in London. |
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londonfx
Junior Member
🗨️ 1,163
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December 2013
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Framing Tape • Archival Tape • Acid Free Tape, by londonfx on Jun 23, 2015 22:45:14 GMT 1, I'm looking a purchasing a print that has been float mounted for a few years. It was framed by a gallery, and they have said they used heavy paste strips on the top and bottom.
Would the print come out of the frame without any marks on the back?
The seller said he can't see any ripples in the print, so that's a good sign, right?
I'm looking a purchasing a print that has been float mounted for a few years. It was framed by a gallery, and they have said they used heavy paste strips on the top and bottom.
Would the print come out of the frame without any marks on the back?
The seller said he can't see any ripples in the print, so that's a good sign, right?
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iamzero
Full Member
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Framing Tape • Archival Tape • Acid Free Tape, by iamzero on Jun 24, 2015 7:10:26 GMT 1, Once removed you might see where the hinges have been but if done correctly there shouldn't be any damage. If you're unsure on dampening the hinges then I would suggest slicing them away from the board first.
Once removed you might see where the hinges have been but if done correctly there shouldn't be any damage. If you're unsure on dampening the hinges then I would suggest slicing them away from the board first.
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londonfx
Junior Member
🗨️ 1,163
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December 2013
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Framing Tape • Archival Tape • Acid Free Tape, by londonfx on Jun 24, 2015 10:18:48 GMT 1, I'm going to get my framer to do it. As I would want to attend something like that.
Would having signs of hinges on the back of a print (even if there is no damage or ripples from the front) put people of when buying a print?
If I bought this print it would go straight up on the wall, in another frame. And stay there for ages. So not looking to sell. But you can never tell what the future holds.
I'm going to get my framer to do it. As I would want to attend something like that.
Would having signs of hinges on the back of a print (even if there is no damage or ripples from the front) put people of when buying a print?
If I bought this print it would go straight up on the wall, in another frame. And stay there for ages. So not looking to sell. But you can never tell what the future holds.
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Quinnster
Junior Member
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January 2006
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Framing Tape • Archival Tape • Acid Free Tape, by Quinnster on Sept 26, 2015 14:46:40 GMT 1, Hi
How wide is framing tape? Just unframed my turf war got it framed by a good framer years ago who knew what he was framing. So I'm sure it's proper tape....
It was a cheap print when it was framed and I did not know about UV glass so was a little scared to open it up lucky it's got no fading or mount damage....
Also how easy is it to remove the tape with no damage?
Hi
How wide is framing tape? Just unframed my turf war got it framed by a good framer years ago who knew what he was framing. So I'm sure it's proper tape....
It was a cheap print when it was framed and I did not know about UV glass so was a little scared to open it up lucky it's got no fading or mount damage....
Also how easy is it to remove the tape with no damage?
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craigf
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Framing Tape • Archival Tape • Acid Free Tape, by craigf on Sept 26, 2015 15:09:25 GMT 1, Hi How wide is framing tape? Just unframed my turf war got it framed by a good framer years ago who knew what he was framing. So I'm sure it's proper tape.... It was a cheap print when it was framed and I did not know about UV glass so was a little scared to open it up lucky it's got no fading or mount damage.... Also how easy is it to remove the tape with no damage?
Hi How wide is framing tape? Just unframed my turf war got it framed by a good framer years ago who knew what he was framing. So I'm sure it's proper tape.... It was a cheap print when it was framed and I did not know about UV glass so was a little scared to open it up lucky it's got no fading or mount damage.... Also how easy is it to remove the tape with no damage? There are different types of tape, some are really easy to take off even if framed a long time ago, but most are very difficult to get off and need the print to be taken to a professional like Bignell to avoid paper loss |
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iamzero
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Framing Tape • Archival Tape • Acid Free Tape, by iamzero on Sept 26, 2015 15:09:14 GMT 1, It depends on what tape. A very small amount of water can be used to remove Hayaku and I think p90 but pressure sensitive tapes like ph7-70 need something like Zest it to be cleanly removed.
It depends on what tape. A very small amount of water can be used to remove Hayaku and I think p90 but pressure sensitive tapes like ph7-70 need something like Zest it to be cleanly removed.
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Quinnster
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Framing Tape • Archival Tape • Acid Free Tape, by Quinnster on Sept 26, 2015 19:16:14 GMT 1, It depends on what tape. A very small amount of water can be used to remove Hayaku and I think p90 but pressure sensitive tapes like ph7-70 need something like Zest it to be cleanly removed.
Is it easy to identify what tape was use if I take it to a framer?
It depends on what tape. A very small amount of water can be used to remove Hayaku and I think p90 but pressure sensitive tapes like ph7-70 need something like Zest it to be cleanly removed. Is it easy to identify what tape was use if I take it to a framer? |
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Framing Tape • Archival Tape • Acid Free Tape, by Black Apple Art on Sept 26, 2015 19:25:30 GMT 1, It depends on what tape. A very small amount of water can be used to remove Hayaku and I think p90 but pressure sensitive tapes like ph7-70 need something like Zest it to be cleanly removed. Is it easy to identify what tape was use if I take it to a framer?
It depends on what tape. A very small amount of water can be used to remove Hayaku and I think p90 but pressure sensitive tapes like ph7-70 need something like Zest it to be cleanly removed. Is it easy to identify what tape was use if I take it to a framer? I would lean towards taking to a restoration house than a "framer". All tapes require really knowing what you are doing and if not hinged could really take some work to remove without damaging. John Jones is fantastic in London www.johnjones.co.uk/ , so depending where you are I'd find a reputable and qualified place to inspect and remove. |
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iamzero
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Framing Tape • Archival Tape • Acid Free Tape, by iamzero on Sept 26, 2015 19:34:40 GMT 1, For an experienced framer I think they could ID the tape easily but you may be best to slice the hinges and take it to a restorer when the value of the print is this high dude.
For an experienced framer I think they could ID the tape easily but you may be best to slice the hinges and take it to a restorer when the value of the print is this high dude.
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Quinnster
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Framing Tape • Archival Tape • Acid Free Tape, by Quinnster on Sept 26, 2015 19:41:32 GMT 1, It's slightly creased from rolling when I received it, so might be worth sending it to GB....
It's slightly creased from rolling when I received it, so might be worth sending it to GB....
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mla
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June 2015
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Framing Tape • Archival Tape • Acid Free Tape, by mla on Sept 27, 2015 17:17:34 GMT 1, For anything of value, always take it directly to a professional. Better safe than sorry and the costs are much less to have a professional take care of it up front than have to restore after you damage it trying to save a few bucks by doing it yourself.
For anything of value, always take it directly to a professional. Better safe than sorry and the costs are much less to have a professional take care of it up front than have to restore after you damage it trying to save a few bucks by doing it yourself.
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chr1s
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February 2011
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Framing Tape • Archival Tape • Acid Free Tape, by chr1s on Jul 31, 2016 16:53:12 GMT 1, I posted this a while back on EB. Below is a link to a vimeo video I did demonstrating how to do a standard pendant hinge using wheat paste and Japanese mulberry paper.
I posted this a while back on EB. Below is a link to a vimeo video I did demonstrating how to do a standard pendant hinge using wheat paste and Japanese mulberry paper.
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chr1s
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Framing Tape • Archival Tape • Acid Free Tape, by chr1s on Jul 31, 2016 16:57:19 GMT 1, And if you're curious to see how easy it is to remove a wheat past and mulberry paper hinge see the video below. There is a reason why Wheat paste is the standard method used in museums and reputable frame shops. This was also originally posted on the EB website. I also posted a lengthy tutorial on how to float a print on that site.
And just to explain, in the video I am using a Q-tip that is damp with distilled water. I rub the damp Q-tip over the Japanese mulberry paper that was previously adhered to a print with wheat paste. The distilled water almost instantly breaks the bond (wheat paste is water based). Once I have removed the mulberry paper hinge I use blotter paper to absorb any residual moisture. And as you can see there is absolutely no damage to the back of the print and no evidence that it had every been hinged.
And if you're curious to see how easy it is to remove a wheat past and mulberry paper hinge see the video below. There is a reason why Wheat paste is the standard method used in museums and reputable frame shops. This was also originally posted on the EB website. I also posted a lengthy tutorial on how to float a print on that site.
And just to explain, in the video I am using a Q-tip that is damp with distilled water. I rub the damp Q-tip over the Japanese mulberry paper that was previously adhered to a print with wheat paste. The distilled water almost instantly breaks the bond (wheat paste is water based). Once I have removed the mulberry paper hinge I use blotter paper to absorb any residual moisture. And as you can see there is absolutely no damage to the back of the print and no evidence that it had every been hinged.
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Pysgod
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Framing Tape • Archival Tape • Acid Free Tape, by Pysgod on Mar 29, 2017 22:25:42 GMT 1,
Rizza papers work well
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Framing Tape • Archival Tape • Acid Free Tape, by Sturban Has Saggy Tits on Mar 29, 2017 22:47:29 GMT 1,
It's acid free so won't harm your prints, but as you say it's hard to remove as it's got a glossy surface. If it's for an expensive print use the gummed tapes as they are easy to remove with water, or better still Japanese hinging tape and wheat paste. Not sure if the masking tape was a joke, but I wouldn't recommend.
www.lineco.com/cart.php?m=product_list&c=2085&parentId=1257&navTree%5B%5D=1257&navTree%5B%5D=2085
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jgg
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January 2017
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Framing Tape • Archival Tape • Acid Free Tape, by jgg on Mar 30, 2017 6:36:27 GMT 1, Never heard of Rizza paper... do you have a link so that I can check it out?
Thanks all
Never heard of Rizza paper... do you have a link so that I can check it out?
Thanks all
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iamzero
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Framing Tape • Archival Tape • Acid Free Tape, by iamzero on Mar 30, 2017 6:53:50 GMT 1, The next step down from Japanese Mulberry and wheat paste is Gummed Hayaku and de ironised water. Ph7-70 can be removed successfully with zest-it but it is time consuming. Masking tape is a big no.
The next step down from Japanese Mulberry and wheat paste is Gummed Hayaku and de ironised water. Ph7-70 can be removed successfully with zest-it but it is time consuming. Masking tape is a big no.
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Appreciate it 
