Drying Large Images

[koraks]

Many kinds of tape don't stick well to moist surfaces. But then again, some will - just try it out! I found the gum tape easy to find and quite cheap, so I didn't bother looking for an alternative. But a friend of mine uses an equally cheap painter's tape that is labeled "for sensitive surfaces" which a cording to him can be removed from the dry print without damage to the paper. So there seems to be room for optimization.

[Thalmees]

AnselAvedon, I consider your enthusiasm, continue your experimentation, and if possible please share it with us.
But, still wondering, how do you achieve efficient print wash if it's FB paper?
As for using adhesive tape, my logic speculations mentioned above, I tried using a clear plastic adhesive tap(not for archival work) on a laminated non-water absorbent white aluminum board, fixing all 4 borders.
You have to leave 1" each side outside photo area, cut it later remaining half inch for each side.
The adhesive tape will not stick on wet print, squeegee back then board then front then board again. Wait short time to let the print clear from any visible water to accept the adhesive tape, then start applying the tape.
Two points that make this just a logic speculation:
1. My experience is limited below 30"X24" not optimally washed FB print. Which is not near to 72"X58" !
2. After 12 hours or so leaving the print to dry indoors, this method produced a reasonably(not optimally) flat print. Simply, not comparable to the flatness of equivalent RC print. The curl was NOT confined to the edges.
I concluded that will not reppeat until I find a better way for flattening paper and effective washing, plus more essentially, a bigger dustless area than my darkroom.
The true speculation below is open for any discussion, and thanks.
Since later flattening is necessary regardless of drying method, I think using something like door mesh screen with aluminum frame, tailored bigger than the largest print you may do, maybe better than adhesive tape for drying, could be better for print surfaces safety/integrity after archival wash, and the curl is expected to be confined to the edges leaving the main surface of the print to retract on ease. Make 3 or 4 or as needed, put them in racks order with sufficient space for air circulation, if you print more than one. Mesh itself, can be plastic rather than the usually used metal.
For flattening later, you need some sort of board(glass, plexiglass, aluminum, etc...) just bigger than your print(say: 80"X66" to leave 4" each side). You will need archival papers or really big single piece of mat, to separate your print from contact with any surface.
Of course, you may use these big boards with adhesive tape, and for flattening later, both. Easier, but the print should breath air from all sides for appropriate drying.
All that may be done easier than speculated.
But, believe me, after seeing the real prints made by masters that involve team work standing behind the production of that sort of prints, even much smaller than 72"X58", seeing how super optimally clean and how nicely delicate every centimeter and how perfectly flat to the last millimeter, I realize that photographer should have all facilities, workspace and equipments, ahead before at its optimal for the job as possible, for a giant print. Let alone possession of efficient not just sufficient hand craft.
In short and concise, being efficient printer with lots of enthusiasm, is not enough for super clean fine art giant print. If the work place and methods for example, are not optimal, the job will pass through a problem solving in each step and accepting compromises, more than enjoying the craft of doing a fine art print.
Whatever way you go, be sure that all of people around are interested to see and share.
Hope this help.

[Tin Can]

OP have you studied Clyde Butcher?

Here is a start.

https://youtu.be/RCN_WQeEKnc

https://youtu.be/DP2WZbo2Lv0

https://youtu.be/8yBUmnlo2-s