Mounts
There are often many different ways to mount an artwork, and choosing the right method both for conservation and aesthetics is very important.
It is crucial to preserve the artwork by keeping it in an acid-free environment, using reservable mounting techniques where necessary, and
making sure it is held away from the glazing.
Aesthetically, prints can benefit from being drymounted, but where this is not appropriate a window mount
or float mount is employed. In some cases float mounting may be the only option due to the nature of the media. Choosing the appropriate
method is a careful balance, weighing up the constitution and value of the artwork, as well as the desired visual experience once framed.
Learn more about these different methods below.
Mounting Options
Window / Aperture mount
The window mount, classically referred to as a 'passe-partout', is comprised of an aperture cut into a top mount with, and
an undermount which provides physical and environmental protection. It provides a border around the visible image, and keeps a gap between the artwork and the glazing.
The boards are hinged along one edge using either a conservation gummed white
paper tape or linen tape.
This traditional mount has been brought to new levels of accuracy with the introduction of computer technology to the framing industry. All of our mounts are cut using a computerised matt cutter, giving outstanding quality cuts with presicion corners, evey time.
Float Mount
Float mounting uses special
conservation rag tapes to hold the artwork down on a mount board. The process is fully reversable, and types of rag are specially selected depending on the characteristics of the artwork.
Where as the window mount conceals the paper around an image, this method presents the whole artwork, for example if you want to display the feathered edges of an original print.
The mountboard is carefully colour matched, creating visible borders around the image, and the mountboard is then placed on fillets in a box frame to keep the artwork away from the glazing.
Distance Float
A distance float uses a form of support (which is hidden from view) behind the artwork to raise it from the backboard, and give the appearance that it is floating in space.
Typically this will be applied to an image that has been drymounted on a rigid substrate, however it can also be applied to an artwork that is being float mounted.
The mounted artwork can then be put in a box frame so there is space between the image and glazing, as well as the backboard.
Close Mount
Close mounting refers to when you frame an image right up to the edge of the paper or canvas.
Typically the work will have been float mounted or drymounted to provide rigidity, and then it is placed directly onto the fillets of a box frame to keep the image away from the glazing.
Mountboard
Precision mount cuts
We cut all of our mounts with the swiss made Gunnar F1. Not only does this enables us to create flawless mount cuts for your frame, but the versatile software means intricate designs can be realised very quickly.
We can even cut lettering and bespoke designs imported from an illustration file.
Choosing a mount board
As it creates the immediate environment housing the artwork, choosing an appropriate mount board which provides suitable archival conditions
is essential.
The names used to describe the different grades of mount board available can be misleading, often making them sound much safer than is actually the case.
As a guide, there are three main categories of mount board commonly found. Learn about their differences here.
Standard mount board
This is made from unpurified wood pulp. Unpurified wood pulp will gradually break down and release acidity, thereby damaging the picture.
Although many wood pulp boards are now buffered with an alkali and described as 'acid-free', this is misleading and they are not deemed suitable for
collectable artwork.
We do not use any standard level mount boards at Dyson Art.
Conservation mount board
The surface and backing papers are made from chemically-treated pulp using pH sizing and lignin-free, and buffered with calcium carbonate to guard against contamination by air-borne acid for the life of the board. Cover papers are colourfast, resilient and bleed-resistant.
Cotton museum mount board
Cotton Museum Board is the only standard of mountboard suitable for Museum level framing. This is usually solid core, made from 100%
cotton fibre - a traditional paper making material, proven stable over hundreds of years.
It can be un-buffered (neutral pH) or buffered with an alkali deposit which prolongs the stability of the board and provides some extra protection.