Mounting images and objects at SE1 Picture Frames London

 

 

Mounting images and objects

State of the art, computorised, precision mount cutter

State of the art, computorised, precision, extra large mount cutter – Gunnar F1 Hybrid.

At SE1 Picture Frames all mounts are cut with absolute precision using the very latest Gunnar F1 Hybrid XL mount cutter.

The type of mount-board is integral to both framing and the archival process. From a practical point of view the mount positions and protects the image/artwork and from a visual point of view the mount frames and guides the eye to the artwork. At SE1 Picture Frames, we only use the very best acid free mount boards and hinging techniques available. These materials all conform to conservation standards. When fixing the artwork, we use reversible, water based, archival tapes that suite the weight of the artwork and the support. All our mounting methods are reversible.

 

Conservation and Museum quality mount board

We use a range of conservation and museum quality mount board including Bainbridge, Arqadia and Crescent.

The Bainbridge boards we use include Bainbridge Conservation (Alphamat) and Museum (Alpharag) and they fall under the Bainbridge heading of “Artcare” mount boards and are of the highest quality. They have unique patented Zeolite molecular traps, built into the paper structure. These traps are proven to trap  pollutant gases and prevent them from attacking the artwork. The mount boards maintain a neutral environment and colour throughout their lifetime and are specified by many museums and collections around the world including the Library of congress and the Getty Museum. These mount boards come in varying thicknesses and colours.

For more information on Zeolite technology

 

 

Museum mount board
For the highest quality framing we use cotton rag mount board. These are made from 100% acid free cotton and are available in a range of earth colours and thicknesses with a solid colour throughout the board i.e. no white bevel.

 

 

When framing an image, there are a number different ways of mounting:

 

Window Mount.

Etching, window mounted and framed to conservation standards

Etching, window mounted and framed to conservation standards

Two pieces of conservation mount board are used in this method that are hinged along one edge using conservation gummed white paper tape or linen tape. A window is cut into the top mount. This frames the image and provides an environmental and physical protection by keeping a space between the artwork and the glazing.

 

 

 

 

 

 

2. Float Mount.

Vintage New York Subway sign float mounted to conservation standards.

Vintage New York Subway sign float mounted to conservation standards.

Float mounting is a way of presenting the artwork as a whole. For example, you may have a print with feathered edges that you would like to expose fully. Conservation tapes are used to hold the artwork in place while spacers are used to keep the glass away from the artwork, creating a deep space between the art work and glass. This process is fully reversible and depending on the type of artwork we use different types of conservation rag tap. This method requires the most time as delicate techniques are used.

 

 

 

3. Raised float Mount.

Raised float mount

Tracey Emin print, raised float mounted and framed to conservation standards in a spray white frame.

A foam support (which is hidden from view) behind the art work is used to raise it from the back board and give the appearance that the art work is floating in space. This mounting method will usually only be used when the artwork has been dry mounted to a rigid substrate or if the artwork is fairly rigid itself.

 

 

 

 

 

 

 

4.Close Mount.

Drawing of Barbican, close mounted to conservation standards.

Drawing of Barbican, close mounted to conservation standards.

The image is framed right up to the edge of the paper or the canvas. Usually the work will have been dry mounted or float mounted to provide high rigidity, and then it is placed directly onto the paper wrapped fillets of a box frame to keep the image away from the glazing.

 

 

 

 

 

 

 

 

5. Combined Mount – spacer and window mount.

Large watercolour painting framed in a deep, white box frame with UV acrylic glazing.

Large watercolour painting framed in a deep, white box frame with UV acrylic glazing.

This method uses both a window mount and a spacer to keep the image away from the glass.

 

 

 

 

 

 

 

 

 

 

 

6. Float Mount within a window mount.

Float mounted print within a window mount

Anish Kapoor print, float mounted print within a window mount

Here the image is float mounted within a window mount so there is a small space all the way around the artwork. The mount is usually a thicker mount and keeps the glass off the artwork .

 

 

 

 

 

 

 

 

 

 

 

 

For large, heavier paper-based items we use T-slot hinging methods. When framing 3D items or textiles we have a range of techniques to hold the object securely in place.

Framed Helicopter blade

Framed Helicopter blade

 

 

 

 

Photographic Mounting

When mounting photographs we use archival photo corners and strips in combination with a window mount. If float mounting is required then we would recomend the photograph is dry-mounted first.

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