Drymount Substrate

[Peter De Smidt]

To continue the recent discussion of dry mounting: is it best practice to dry mount to a cotton rag substrate instead of an 'archival' foam board? When framing, is it advisable to have something behind whatever the print is mounted to as a layer of protection?

[McSnood]

Many may have personal preference, however dry mounting with MT5 (as you mentioned using) and the heat involved may affect archival form core, run a test to see. My preference is mount to acid free board with a foam core backing when framed. MT5 + drymount press = approximately 210-235 degrees. In addition I always pre-cook the board and the print (w/o tissue) in the dry mount press to remove moisture from the board and print.
Dave

[bob carnie]

Hi Peter

We mount to 100% rag board 2ply or 4ply and then use Acid free foam or coroplast in behind, The only time we mount to acid free foam is when we are preparing a frame that requires the image flush to the edge, in that case we will use spacers so the print does not touch the glass, in larger size mounts we use dibond or alupane as the backing material that is mounted too... Silver prints are hard to mount to aluminum, it can be done but hard.
We never use Gatorboard as it outgasses .


Bob

[Drew Wiley]

Gator behavior is well known. Outgassing is technically incorrect, although the symptom is analogous. They squarely address it in their own tech sheets. Proper sanding is mandatory. I won't go into detail here, except to state that even the wrong kind of sanding disc will ruin a job, because many of those bear lubricating stearates - bond-breakers! I like Gator as a premium quality backer board BEHIND the mounting substrate itself, but only use it with respect to big color print installations.

My favorite cold-mounting substrate is Ultraboard - very smooth all-plastic faces, and a cost-effective alternative to Dibond, BUT not suitable for drymounting either. Gator brand has a Gatorplast equivalent, distinct from their traditional phenolic/wood pulp product.
The smoothest of ph-neutral paper-faced foam board is Mighty Core - way better than art store style acid-free fome-core boards, but pricier. Ultramount is good too.

[Peter De Smidt]

Thanks, Guys!

[Roger Thoms]

I always mount to the same cotton rag board that I’m cutting the window mat out of and then use acid free foam core for a backing board. I generally have a reveal between the window and the print so I want the mount board to match the window board. The foam core backing board helps keep everything flat against the glass.

Hope you’ll post a photo of the matted and framed print once you’re done.

Roger

[Peter De Smidt]

Thanks, Roger. That's what I remember doing, as well. I'll see what I can do.

[Doremus Scudder]

I always mount to the same cotton rag board that I’m cutting the window mat out of ... I generally have a reveal between the window and the print so I want the mount board to match the window board. ... Roger

Basically what I do as well. I hate it when the mount board and window don't match (saw some AA prints in the Portland Art Museum show a year or so ago that were horrible in that regard - conservators!).

I've been using acid-free archival corrugated for backing board. I really like that there's no foam involved. I don't know why, but I have an aversion to foam-core board.

Best,

Doremus

[Peter De Smidt]

[snip]
I've been using acid-free archival corrugated for backing board. I really like that there's no foam involved. I don't know why, but I have an aversion to foam-core board.



Thanks, Doremus. I used the same way back when from when Light Impressions was in Rochester. I might even still have some. I don't like the foam board either.

[bob carnie]

Basically what I do as well. I hate it when the mount board and window don't match (saw some AA prints in the Portland Art Museum show a year or so ago that were horrible in that regard - conservators!).

I've been using acid-free archival corrugated for backing board. I really like that there's no foam involved. I don't know why, but I have an aversion to foam-core board.

Best,

Doremus

Hi Doremus. do you mind mentioning the backing you use, we are considering to move to a corrugated material for our backing other than acid free foam

[Peter De Smidt]

I used to use something like this: http://www.lightimpressionsdirect.com/archival-corrugated-board-1-8-14x18-single/frame-accessories/

[bob carnie]

I used to use something like this: http://www.lightimpressionsdirect.com/archival-corrugated-board-1-8-14x18-single/frame-accessories/

I think this is the right stuff instead of foam board as a backing

[Drew Wiley]

Corrugated isn't dimensionally stable enough for anything big. I don't like its ability to attract humidity either. Corrugated styrene is cheap and abundant - a bit too flexible, but better than acid-free corrugated cardboard in that respect.

[Doremus Scudder]

Hi Doremus. do you mind mentioning the backing you use, we are considering to move to a corrugated material for our backing other than acid free foam

Hi Bob,

I still have a large supply of Light Impressions Archival Corrugated, similar to or the same as what was linked to above from years ago. Light Impressions, as you know, has undergone a lot of changes since I purchased my stash. I was hesitant to order any more from them, but you might give them a try; maybe they are more reliable now. I used to like their products a lot, especially the interleaving papers.

Anyway, lately I've been ordering corrugated in sizes I don't have lots of from other sources; B&H, university products, etc. A simple search for "archival corrugated" should get you lots of sources; even maybe some in Canada :)

Drew,

You can get archival corrugated in double-wall as well as single, which is fairly stiff. FWIW I've used single wall 1/8" thick corrugated for frames up to 22x28 with good results. As for moisture; it shouldn't be any more absorbent or moisture retentive than cotton rag board. I've never had any problems with it in that regard. I don't think mounted photos should be displayed in really humid environments, period, but if it can't be avoided, I would think a completely sealed framing option with desiccant of some sort might be in order.

Best,

Doremus

[Drew Wiley]

An impervious support mount on the back can be quite important. Museum board, cardboard, etc is quite hydroscopic. A nightmare scenario is either a tropical environment, or a commercial wall space which is poorly insulated, and subjected to serious day/night temp fluctuations. I have run decades of real-world tests with all kinds of substrates in various climates. I won't even use Crescent museum board because it's too hydroscopic. The old Light Impression product was decent, Strathmore too. Rising is the best, which seems to be the same brand Archival Methods is selling in cut sizes. But I demand vapor and condensation resistant backing behind the museum board itself. For the same reason I avoid true glass in front. Acrylic is a much better thermal insulator.

Note, by "backing" I don't mean what the print itself is mounted to, but the additional stiffener and protective layer behind the mats and glazing, involved in a complete framing sandwich.

I have actually done true hermetic encapsulation of big photos. It was involved and expensive. My own method was proprietary. The last one I did was a relatively small piece, but they intended to put it on a wall next to their sauna! I lost track after 20 years, but it was still holding up well to the steam.