I dry mount to 4 ply museum board and mat with the same board. The mat is hinged to the top of the mount board so, if damaged, it can easily be replaced. I thought everyone did it that way.Originally Posted by paulr
Jerome
I dry mount to 4 ply museum board and mat with the same board. The mat is hinged to the top of the mount board so, if damaged, it can easily be replaced. I thought everyone did it that way.Originally Posted by paulr
Jerome
I like very precise print borders and flat prints. Therefore, I trim the print on a rotary trimmer to exact dimensions, dry-mount on 4-ply board and overmat using the same with a window cut to slightly larger than the print dimensions. Signature goes under the print on the mat board. I recently attended a showing of Weston and Modotti prints that were tipped on the boards and held down with overmats that impinged on the image area. Although the prints were of great quality, I found the presentation less than satisfactory.
I use the seal reversible BufferMount tissue. It has come in handy a time or two when I have made a mistake. I can remove the print and mount it on another board that way. Primarily, however, I believe the buffered mounting tissue to be more "archival." Just in case someone down the road does need to unmount one of my prints, I always sign them lightly on the back in pencil before mounting.
The only reason I could imagine for someone who owns one of my prints to remove it from its mount board is if the board were contaminated with something that could damage the print. Overmats can be replaced if they are damaged and ugly, but I would hope that whoever did that would match color and dimensions of the original as much as possible.
For me, the print, mat and window comprise one unit. I get to decide on border sizes, print placement, etc. all part of the artistic decisions for me. The signature is also a part of the entire ensemble.
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