Custom Framing & Acceptable Mounting Methods
When you are in the market to have something custom framed, there are some key elements to discuss with your framer of choice, as far as how the item will be mounted.
The proper mounting or "preparation" method will depend on the type of art or material to be framed.
What works for one type of art may be inappropriate for another.
Following are three commonly used mounting methods which cover most types of art, some pertinent knowledge you should have and general rules of thumb.
DRY MOUNTING: I'll first discuss basic posters, prints, photography, documents, news articles, etc.
As a rule, if the item is on paper and of limited or no real monetary value, it should be dry-mounted.
This is either a cold or heat press process which uniformly adheres the item to the backing.
It eliminates any buckling, bubbling or rippling of the art especially on large pieces (the larger and more "unstable" the art, the more it tends to warp over time).
This is also an excellent option if the item has been torn.
Careful dry-mounting can make the tear virtually invisible.
NOTE: This is usually NOT the proper method to use for limited edition or original works on paper which will be addressed next.
HINGING: Original or limited edition art on paper, or valuable items such as rare maps should be hinged with a high quality, acid-free tape or mounted using acid-free corners.
Acceptable tapes are either linen or rice paper and used only along the top edge of the art, allowing it to hang freely.
Acid-free corners are also a good option, but are best used on very heavy stock, sturdy paper.
Both of these methods will ensure the value of the art is not diminished in any way and allow for easy removal if the need arises.
A professional framer can guide you to make the appropriate decision for your particular piece of art.
STRETCHING: Paintings on canvas or linen should be stretched around a wood frame.
The finished piece should be taut (like a drum skin) and either ready to hang as is or be framed.
Occasionally, this is not possible for a reason such as the canvas having been cut off the original framework, leaving too little extra material to stretch.
There are other options available in a case like this, so talk to a professional about which is best for you.
Custom framing and mounting techniques encompass more than the above mentioned examples, and individual situations can vary greatly, calling for more creative types of mounting.
These guidelines should address most people's needs.
Obviously, items such as ceramic tiles or military medals cannot be mounted using these methods, but that is for a later discussion.
As long as you consult a trusted professional, you can be confident he will guide you in the right direction and preserve your art in the best possible way.
The proper mounting or "preparation" method will depend on the type of art or material to be framed.
What works for one type of art may be inappropriate for another.
Following are three commonly used mounting methods which cover most types of art, some pertinent knowledge you should have and general rules of thumb.
DRY MOUNTING: I'll first discuss basic posters, prints, photography, documents, news articles, etc.
As a rule, if the item is on paper and of limited or no real monetary value, it should be dry-mounted.
This is either a cold or heat press process which uniformly adheres the item to the backing.
It eliminates any buckling, bubbling or rippling of the art especially on large pieces (the larger and more "unstable" the art, the more it tends to warp over time).
This is also an excellent option if the item has been torn.
Careful dry-mounting can make the tear virtually invisible.
NOTE: This is usually NOT the proper method to use for limited edition or original works on paper which will be addressed next.
HINGING: Original or limited edition art on paper, or valuable items such as rare maps should be hinged with a high quality, acid-free tape or mounted using acid-free corners.
Acceptable tapes are either linen or rice paper and used only along the top edge of the art, allowing it to hang freely.
Acid-free corners are also a good option, but are best used on very heavy stock, sturdy paper.
Both of these methods will ensure the value of the art is not diminished in any way and allow for easy removal if the need arises.
A professional framer can guide you to make the appropriate decision for your particular piece of art.
STRETCHING: Paintings on canvas or linen should be stretched around a wood frame.
The finished piece should be taut (like a drum skin) and either ready to hang as is or be framed.
Occasionally, this is not possible for a reason such as the canvas having been cut off the original framework, leaving too little extra material to stretch.
There are other options available in a case like this, so talk to a professional about which is best for you.
Custom framing and mounting techniques encompass more than the above mentioned examples, and individual situations can vary greatly, calling for more creative types of mounting.
These guidelines should address most people's needs.
Obviously, items such as ceramic tiles or military medals cannot be mounted using these methods, but that is for a later discussion.
As long as you consult a trusted professional, you can be confident he will guide you in the right direction and preserve your art in the best possible way.
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