Random Questions

MerpsMom

SGF, Supreme Grumble Framer
Founding Member
Joined
Jul 30, 1997
Posts
4,248
Location
Leawood, Kansas USA
If you use kraft paper in your shop for dust covers, what poundage do you buy? We did 40, then 50, then got 60 by mistake and like it best.

While unfitting some work recently, some artwork was hinged to the back of the mat, some to the backing board. I was taught to hinge to the matback, although find myself hinging to backboard most often. Which do you use and why?

Anyone tried the new Fletcher-Terry Multi-Master point driver? It has double prongs with a little hole in the end of the point. Truly neat to use for stacking, and REALLY great for those jobs where the mat package is just an eensie bit taller than the rabbet: they curve over it quite well, thus avoiding the dreaded "point pinch."

Have a good day........
smile.gif
 
MM,

Glad you asked. I was pondering this question recently as well. One of the best framing outfits in Portland (OR) hinges to the mat (in at least some cases), which caused my confusion. If the hinge has enough "play" wherever it is applied, it seems it shouldn't matter, and it certainly is easier to attach to the mat.

Yes, got that new Fletcher toy and love it. Have a flexi-point driver as well but these new points are stiffer, but still pliable. First job I used it on was a stacked moulding and it worked like a charm. This is a two thumbs up machine!
 
MM & M,

If you hinge the art to a high quality backing board (rag), you reduce the risk of injury to the art by not having to rehinge it every time the mat or frame is changed. Another reason is that some art can actually be too heavy for a mat, thereby causing sagging in the mat and in turn, ripples & other damage to the art. I'm sure Orton could say it a whole lot better! Maybe he will respond.
 
I hinge the mat at the top to the back board but t-hinge the work to the back board.

Exceptions; small photos in multiple opening mats, some certificates and other smaller items not of great value are attached to the back of the mat.

How does one get borders straight and exact when attaching to the back of the mat. Production work is usually found done that way and they are the ones which are brought in because something has slipped.

HOrrors of all are those taped all around. I had one recently which was not only taped once but three times. One of those jobs you redo and hope no one sees it before it's out the door. That was just the mat, you wouldn't even want to hear about the frame.

[This message has been edited by JPete (edited 04-18-2000).]
 
Hi All

... been away for a while.

Kraft paper has no use in my studio because of its very low pH. My dustpaer is pH neutral or higher.

I've not used the new FT points.

I hinge to the mountboard not to the mat - is why it is called "mountboard". Easier to position art accurately; allows hinging the mat to the mountboard; distributes the weight to the mountboard and not to the mat - no buckling etc. (JFrame said it perfectly); mountboard is a better support medium; no danger of staining the mat from hinging paste; allows for easier manipulation of the artwork in the future.

I don't use tape.
 
According to the PPFA guidelines, hinging to the backing board is the way to go, using hand-torn oriental papers and wheat-starch paste. However, providing the paper is heavy enough to support it's own weight when rolled into a cylinder, I use mylar photo corners from Lineco. It's just easier! Mounting to an (acid-free) backing is better, because a solid board offers better support than a board with an opening cut into it; also, when the piece is reframed, pieces hinged to the mat can tear when the mat is dissassembled.
Seth J. Bogdanove, CPF
 
Let's not forget the shear factor that may result from plastic corners if piece should fall.

------------------
Timberwoman
AL
I cut the mat, I pet the cat.
 
Going out on a limb here, photo corners are the ones with self adhesive on the back right? Would "migration" of the chemicals in this adhesive eventually result in damage to the art?
 
Doubtful, Lance, since I've never heard of acid migration through mylar. As for the shear factor,I use maxi-view corners, and the tendency is for the piece to fall out rather than rip

------------------
Seth J. Bogdanove, CPF
 
Interesting to read in Orton's message- 'I hinge to the mountboard not to the mat - is why it is called "mountboard".'
I have found that people from Britain always refer to the matboard as "the mount". Does this difference in terminology mean that there is a difference in where the mounting is attached???? I don't know!!!
Down here in the land of OZ, mats and 'mountboard' cost us about three times as much as they do up there in North America, but we can only get roughly the same price as you guys do for the finished job. (I have compared prices in Decor pricing surveys over the past few years).
In order that my local artist customers will place an order with me occassionally, I hinge onto the mat and use mylar barrier on foamboard backing for art on paper to keep the cost of materials down.
 
Hi Osgood.

U.K. framers indeed call matboard "the mount" but the terminology should not matter: mounting to what North American framers call "the mountboard" is still preferable than mounting to the decorative matboard principally because of the advantages previously outlined.

I am surprised to hear you say that the cost to you, including the labour and time costs, of the extra assembly and inconvenience, involving mylar and foamcore, are lower than the cost of employing a single sheet of mountboard.

Conservators do not recommend using foamboard in contact with art because of outgassing from the styrene in the foam, particularly at higher ambient temperatures and elevated UV levels - both of which may be more prevalent in your neck of the woods, than they are, let's say, here in Canada.

The subject of foamcore outgassing has been beaten to death in other postings - I don't want to saw sawdust.

[This message has been edited by Orton (edited May 19, 2000).]
 
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