Mounting & Presenting Large Prints
It seems like I've read a thousand posts on this topic but I still haven't seen the answers I'm looking for. I want a way to mounting and displaying large (30 x 40" or larger) prints in an art gallery setting for sale to gallery clients.
I would love to be able to leave the prints exposed, not covered with glass or plexiglass, particularly as at this size they are both heavy and expensive and they obscure the detail in the prints. Are any of the coatings available out there suitable to be used when the prints are not covered otherwise? It seems like the prints would be very susceptible to dirt and wear. I don't like the idea of laminating, either from an archival standpoint or from an appearance standpoint.
If the prints do have to be covered, then how would you attach the covering to the substrate without gluing it?
I've read a lot about mounting on aluminum and even some wood substrates with a variety of high end dry mounting or cold mounting techniques.
Where would one find the aluminum on which to mount? How do you then hang the aluminum on a wall?
Is there a low tech way of doing this mounting with a spray adhesive or an adhesive film or is commercial mounting the only way to do things at this scale?
I'm starting to find galleries that will handle large prints and I don't know how best to present the prints. Any advice would be very welcome!
Re: Mounting & Presenting Large Prints
Also, as I widen the area over which I market my work, mounting and delivering myself will become impractical. I'd much prefer to be shipping prints rolled up in a tube but then the gallery would have to handle framing and presentation. Anyone have experience with this issue?
Re: Mounting & Presenting Large Prints
I would have a conversation with the interested galleries before spending to much time on this. I am not sure they will want to show your work unframed without acrylic or glass. With acrylic weight will not be an issue.
As far as mounting large prints go, for my large pieces up to 4x8 ft I use a backer board called mighty core. I cold mount with a double sided adhesive material called Coda Cold Mount 1 and I use a Daige press. The coda will create an archival barrier over any material.
Sorry, I know this didn't directly address your question.
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www.timeandlight.com
Re: Mounting & Presenting Large Prints
Acrylic really will not pose any weight concerns for the gallery. I just finished a piece 32X40 and the finished weight was well under 20 pounds. Framing grade Acrylite without any non-reflective coating is quite clear and should not pose any viewing issues under gallery lighting. The UV coated stuff however has a very slight warm tint. With this, you can still use standard archival mounting strategies. Laminate over MDF (duraplaq, etc...) will easily be twice that weight at that size.
Re: Mounting & Presenting Large Prints
A print which is simply overlaminated with a washable film is still going to be quite susceptible to puncture, and without being actually adhered to a flat backing isn't
going to present well. The bigger the print, the more this becomes an issue. There's
also an esthetic issue. Do you want something that looks like a trade-show poster or
a vinyl place mat? If a gallery takes your prints unframed and you ship them to them
raw, rolled in a tube, they are going to slam you pretty heavy for the cost of framing
themselves. But if they simply frame a sample or two for wall display, then sell the
majority of images out of a flat-file drawer, there's no need to laminate them at all.
Laminating is a good option if you can get it reasonably done by someone with the
right skills and equipment. But it does have a different look from traditional framing
behind acrylic. So you need to research your potential market first. And it's obviously
not a reversible process.
Re: Mounting & Presenting Large Prints
I've found that the larger the print, the easier it is to hinge mount onto any kind of acid free substrate (foam core, 8-ply alpharag, etc). The images own weight contributes to a nicer presentation, so long as you print it with a large enough border to overlap with the window mat. The window mat will help to keep the print flat. The advantage to this is that with archival hinge tape, the image can be removed later for flat storage without damage to the print or substrate.
If you exhibit alot, your work may be in and out of frames continually. Some clients want to purchase the images without the mount, so they can frame it to their tastes, so this method facilitates that also.
Friends of mine like to use plexi for glazing, but I still prefer glass. I know it is heavy, but it costs much less and will not likely be scratched. Very large prints may need corner bracing on the backside to keep the frame from flexing when hung.
Re: Mounting & Presenting Large Prints
Simply hinging a large print means its going to buckle and warp with every change in
humidity. In my experience that's likey a game changer at both the gallery
and consumer level, certainly with anything bigger than 11x14. Might be OK for a
"giclee" print where someone expects a deckle edge, but then you spend even more
money using 8-ply mats. And the problem with glass is that it is a very poor insulator
with a lot more risk of condensation and mildew, not to mention weight and breakage
in shipping.
Re: Mounting & Presenting Large Prints
Quote:
Originally Posted by
Drew Wiley
Simply hinging a large print means its going to buckle and warp with every change in
humidity. In my experience that's likey a game changer at both the gallery
and consumer level, certainly with anything bigger than 11x14.
...but then you spend even more
money using 8-ply mats. And the problem with glass is that it is a very poor insulator
with a lot more risk of condensation and mildew, not to mention weight and breakage
in shipping.
I have not found this to be true. Several of my 15"x19" works (mounted to 20"x24") were recently hinge mounted and framed behind glass in Wisconsin, driven by me to New Mexico, hung there for 3 months, then moved to Texas, hung there for 6 weeks, then shipped back to me in Wisconsin. No buckling, no curling, no condenstation, no breakage. The cotton rag overmat, and/or mount, backed with foamcore and neatly held by spring clips in an aluminum frame is an effective buffer from changes in humidity.
If and when I move a significant amount of work , say overseas, I will ship the loose works in the flat, and then hinge mount them on site once I get there. Will save a considerable amount of money and worry about damaged to frames.
I recently saw Hurrell's Weissmuller image on display in Milwaukee. It was printed to 20x24, framed to 32xx40 (I think) and hinge mounted behind glass. Looked pretty great to me. My own large work has behaved regardless of shipping, moving to different climates etc. Condensation has never been an issue, because I make sure the image and boards have been dried out appropriately before they get into a frame. Not really necessary to use 8 ply for a mount, artcare foamcore will do at $5 per 32x40 sheet.
Again, print the image with enough border to ensure that the overmat helps to flatten the print. I still say that glass is a better glaze. No scratching, no sagging.
-Best regards
Re: Mounting & Presenting Large Prints
what kind of tape are you guys using for hinging? Water activated or the pressure type? Any problems with removing either of these types from a print? I hinge my mat board with linen pressure type hinge tape and sometimes when I have had to remove it from the mat board it has damaged it. I have to frame and mat some large prints myself for a show and am adverse to dry mounting them. Hinge tape sounds good as long as it can be safely removed.
Thanks
Art
Re: Mounting & Presenting Large Prints
Quote:
Originally Posted by
Arthur Nichols
what kind of tape are you guys using for hinging?
Art
I use archival paper hinge tape, not the type that you wet. I used to use the linen tape, but it is costly and adheres with a little too much vigor, like you mentioned. When you apply the tape, press it down with moderate pressure. When I remove the tape, I make sure that I pull backward with the tape at an angle that just about has my hand resting on the board as I pull, and away from the bitter edge of the print. Go slowly. The board will give before the print will, so be aware of that. If the board does start to give, then stop and start removing from a different direction.
If you mount on foamcore, a little damage to it is no big deal. Just flip it over next time, or get a new one.
-cheers