Quick clarification: this print WILL of course go behind glass! I meant the mat, combined with the glass, feels restrictive. You can’t have an archival print without glazing (unfortunately). A future video series will show how I build frames to hold these float mount prints (with glass :))
Thanks for sharing, lot of great tips! I can't find the part 4. Interested to learn about dry mounting, how you do it and why/when you chose it over other methods?
Thank you. Yes I apologize I never got the dry mounting video up. I promise I’ll have it up in the next month or two. I’ve fallen WAY behind! I’ll cover drymounting in both a manual and vacuum heat press in that video. The cliff notes are that it keeps the print perfectly flat. The downside is it is VERY difficult to reverse. If the mount were to be damaged, it’s as if the print itself were damaged. For that reason, museums and many collectors would usually not accept drymounting and would opt for one of the processes we covered in the first three parts. Hope this helps until I get the part 4 out!
Thanks for posting this demo. I watched you pass paper strips through slits in your mounting board, folding them over in back of the board and then gluing them down. But then when you demonstrated how to glue the hinges onto the back of the photo, suddenly somehow the hinges were book shaped-I mean, shaped like an opened book. I wondered how I missed this division of the hinge into two folded halves on the front side of the board. It would seem that these were either two hinges that you passed through each slit, or you devised some other way of opening out each hinge on the front side. Could you please explain this? I’m about to mount a very old and delicate tapa cloth onto a mounting board, using kozo paper and Nori glue. I am a bit nervous about it, but I’ve read instructions for hinge mounting on the Smithsonian site and have eavesdropped on framers’ forums where they discuss the process. And now I’ve seen your helpful demo. The tapa is quite large, so I was going to place a pass-through hinge every 6” -12” (the piece is 62” x 37”), use T pieces to secure the passed through hinges to the back of the board, and then glue them to the back of the top edge of the tapa, perhaps an inch below the top edge (no higher, because I don’t want the tapa to touch a piece of wood I will adhere first to the mounting board, so I can hang it). I am divided as to whether to attach hinges to the sides, near the bottom, or to the bottom edge. At any rate, what I visualized for the hinges that will protrude from the front side of the mounting board was just a folded over strip of paper. I am planning on also using a T-strip to hold down the hinge on the back of the art as well. Incidentally, I’m describing everything in the order you performed the demo, but actually I was going to reverse the process, gluing the hinge onto the back of the art FIRST and then passing the hinges through the mounting board slots and gluing them down onto the back of the board. Well, this is why I wanted to watch a demo-! The tapa is much thicker than most paper, but also much more delicate, as it’s made of bark and painted with natural pigments. So I’m rather hoping the whole thing won’t pull away from the mounting board when I hang it. Does my plan sound like it will work? Thanks again for posting your demo!
For the strips, I first fold the strip in half, before passing through the slit. The folded edge goes through, then gets secured to the back. The front is then spread like a book as you mentioned. Does that make sense? What you describe sounds like a good option to me. However, I really only mount photographs. What you will be working with will be quite a bit heavier. I would recommend checking with local framers or even at the Grumble for anyone that has done similar work.
Thanks for the video, quick question, what version of scotch acid free tape did you use? 7:05 A local framer recommend Scotch 924 but I have heard differing opinions on it being photo safe and acid free. In the past I used a craft store doubled sided tape that claimed to be acid free but it yellowed after a few years. Any advice or recommendations would be appreciated. Thanks!
I’m using Scotch 908 (gold). I can’t speak to other types but I haven’t had issues. The only headache I have is sometimes the thinner version gets gummed up in the tape gun.
How would you frame this float-mounted print? I'm guess there's some type of spacer applied to the glass and backer board to keep the print from hitting the glass?
Yes it would require spacers. You can either use acrylic spacers or strips of the mount board. Or if the frame has a rabbet specifically for the glass, which I don’t usually like.
Great eye. It’s a Logan 660. Excellent cutter and very easy to use. I got it practically for free from a frame shop that was closing. Handles boards up to 60” and does straight and bevel cuts.
It is smaller. In this case it was about 1/4” smaller than the print on each side. Because the print rests on the tape and not the board, there’s a small gap. If the board isn’t smaller, it will be visible. I also reverse bevel the mount board so it’s less visible as well.
Do you mean dust on the print? I didn’t do a good job explaining this in the video (pretty sure I didn’t mention it at all to be honest), but this will ultimately go behind glass. It won’t be exposed when finished.
I buy them online. Archival methods has them but you can just type “archival gloves” into google or Amazon and find plenty of options. Some are higher quality than others.
Part 4 was going to be all about dry mounting. Unfortunately, my dry mount tissue was on back order when I published the first 3 and then fell behind and didn’t add the 4th part. I do plan to have the dry mount video up in the next couple of months and will cover dry mounting using a mechanical press and vacuum press.
Wonderful presentation for your Thomas Heaton print I agree with you that glass can feel like a barrier to the print. non-reflective museum glass, which is somewhat better, is shockingly expensive. 😬
Thank you! I need to clarify, this WILL get museum glass. I meant the combination of mat and glazing feels restrictive. I was just terribly unclear with how I said it. It 100% still needs glass haha!
Love float framing! I prefer using Neschen Gudy Dots for floating; no need for water activation and fully reversible and removable. Better for keeping silver prints flat. Dry mounting is not archival.
@@mje1625I’ve used Neschen ph-neutral tape for that. Dots should work too, but since they are a bit trickier to work with I use them only with the print.
It would actually help alot if your videos wood zoom in to exactly what you're doing so people can se everything exactly. The video is way too far you can't see what you're doing exactly jaha
Quick clarification: this print WILL of course go behind glass! I meant the mat, combined with the glass, feels restrictive. You can’t have an archival print without glazing (unfortunately). A future video series will show how I build frames to hold these float mount prints (with glass :))
well done
Thank you!
Thanks for sharing, lot of great tips! I can't find the part 4. Interested to learn about dry mounting, how you do it and why/when you chose it over other methods?
Thank you. Yes I apologize I never got the dry mounting video up. I promise I’ll have it up in the next month or two. I’ve fallen WAY behind! I’ll cover drymounting in both a manual and vacuum heat press in that video. The cliff notes are that it keeps the print perfectly flat. The downside is it is VERY difficult to reverse. If the mount were to be damaged, it’s as if the print itself were damaged. For that reason, museums and many collectors would usually not accept drymounting and would opt for one of the processes we covered in the first three parts. Hope this helps until I get the part 4 out!
@@MrNegative thank you for the details! Looking forward to the video, you've got a subscriber!
Thanks for posting this demo. I watched you pass paper strips through slits in your mounting board, folding them over in back of the board and then gluing them down. But then when you demonstrated how to glue the hinges onto the back of the photo, suddenly somehow the hinges were book shaped-I mean, shaped like an opened book. I wondered how I missed this division of the hinge into two folded halves on the front side of the board. It would seem that these were either two hinges that you passed through each slit, or you devised some other way of opening out each hinge on the front side. Could you please explain this?
I’m about to mount a very old and delicate tapa cloth onto a mounting board, using kozo paper and Nori glue. I am a bit nervous about it, but I’ve read instructions for hinge mounting on the Smithsonian site and have eavesdropped on framers’ forums where they discuss the process. And now I’ve seen your helpful demo.
The tapa is quite large, so I was going to place a pass-through hinge every 6” -12” (the piece is 62” x 37”), use T pieces to secure the passed through hinges to the back of the board, and then glue them to the back of the top edge of the tapa, perhaps an inch below the top edge (no higher, because I don’t want the tapa to touch a piece of wood I will adhere first to the mounting board, so I can hang it). I am divided as to whether to attach hinges to the sides, near the bottom, or to the bottom edge. At any rate, what I visualized for the hinges that will protrude from the front side of the mounting board was just a folded over strip of paper. I am planning on also using a T-strip to hold down the hinge on the back of the art as well.
Incidentally, I’m describing everything in the order you performed the demo, but actually I was going to reverse the process, gluing the hinge onto the back of the art FIRST and then passing the hinges through the mounting board slots and gluing them down onto the back of the board. Well, this is why I wanted to watch a demo-!
The tapa is much thicker than most paper, but also much more delicate, as it’s made of bark and painted with natural pigments. So I’m rather hoping the whole thing won’t pull away from the mounting board when I hang it. Does my plan sound like it will work?
Thanks again for posting your demo!
For the strips, I first fold the strip in half, before passing through the slit. The folded edge goes through, then gets secured to the back. The front is then spread like a book as you mentioned. Does that make sense?
What you describe sounds like a good option to me. However, I really only mount photographs. What you will be working with will be quite a bit heavier. I would recommend checking with local framers or even at the Grumble for anyone that has done similar work.
Thanks for the video, quick question, what version of scotch acid free tape did you use? 7:05 A local framer recommend Scotch 924 but I have heard differing opinions on it being photo safe and acid free. In the past I used a craft store doubled sided tape that claimed to be acid free but it yellowed after a few years. Any advice or recommendations would be appreciated. Thanks!
I’m using Scotch 908 (gold). I can’t speak to other types but I haven’t had issues.
The only headache I have is sometimes the thinner version gets gummed up in the tape gun.
@@MrNegative thanks!
How would you frame this float-mounted print? I'm guess there's some type of spacer applied to the glass and backer board to keep the print from hitting the glass?
Yes it would require spacers. You can either use acrylic spacers or strips of the mount board. Or if the frame has a rabbet specifically for the glass, which I don’t usually like.
Hello sir, thank you for sharing these videos. Quick question: what make/model is your matte cutter? It looks very well made.
Great eye. It’s a Logan 660. Excellent cutter and very easy to use. I got it practically for free from a frame shop that was closing. Handles boards up to 60” and does straight and bevel cuts.
Is the 8-ply backer board that the print is attached to the same size as the print or smaller? If smaller, how much smaller? Thanks!
It is smaller. In this case it was about 1/4” smaller than the print on each side. Because the print rests on the tape and not the board, there’s a small gap. If the board isn’t smaller, it will be visible. I also reverse bevel the mount board so it’s less visible as well.
All I can think is the accumulation of dust and how would affect the set … 😏 mmm, not for me, but loved the presentation.
Do you mean dust on the print? I didn’t do a good job explaining this in the video (pretty sure I didn’t mention it at all to be honest), but this will ultimately go behind glass. It won’t be exposed when finished.
Where do you buy the gloves
I buy them online. Archival methods has them but you can just type “archival gloves” into google or
Amazon and find plenty of options. Some are higher quality than others.
Hi, I can't find part 4?
Part 4 was going to be all about dry mounting. Unfortunately, my dry mount tissue was on back order when I published the first 3 and then fell behind and didn’t add the 4th part. I do plan to have the dry mount video up in the next couple of months and will cover dry mounting using a mechanical press and vacuum press.
Wonderful presentation for your Thomas Heaton print I agree with you that glass can feel like a barrier to the print. non-reflective museum glass, which is somewhat better, is shockingly expensive. 😬
Thank you! I need to clarify, this WILL get museum glass. I meant the combination of mat and glazing feels restrictive. I was just terribly unclear with how I said it. It 100% still needs glass haha!
Ofcourse obviously it is. It's not going to be $99
Love float framing! I prefer using Neschen Gudy Dots for floating; no need for water activation and fully reversible and removable. Better for keeping silver prints flat. Dry mounting is not archival.
I will need to try Gudy dots. I had never heard of them. Thank you!
Would you use the Gudy Dots to hold the print backer board to the full-size backer board, too?
@@mje1625I’ve used Neschen ph-neutral tape for that. Dots should work too, but since they are a bit trickier to work with I use them only with the print.
It would actually help alot if your videos wood zoom in to exactly what you're doing so people can se everything exactly. The video is way too far you can't see what you're doing exactly jaha
That’s good feedback, thank you: I’ll pay closer attention to camera angles in future videos