Always ensure that the blade you are using is sharp, if not it will produce a mount which is ragged, distorted and probably does not fit the artwork.
Check your mountcutter regularly for accuracy, Calibrate it regularly, making sure that the depth of cut is correct according to the manufacturers instructions, and that the stops do not produce an overcut. Regular maintenance of your mountcutter will produce quality mounts and it will give you many years of good service.
When fixing artwork into mounting avoid using self-adhesive tapes these nearly always contain chemicals and acids, which will damage paper. Archival tape is now readily available and should always be used to attach artwork of any significant value. Ban masking tape from your workshop!
The art of decorating mounts has been around for about 200 years and perhaps the best examples have been developed in India.
The simplest form of decoration has been the addition of painted lines applied to the mount. This method is now known commonly as "Washline" where about 5 lines are applied, in various thickness' and colours, directly to the mount. The centre band of colour being the largest and it is selected to reflect the dominant overall colour of the artwork.
A mount of this type is usually applied to a watercolour drawing and gives the finished artwork a traditional appearance.
With the many modern techniques that are now available the custom framer can decorate mounts to suit all types of artwork. There are many varieties of ink, watercolour, acrylic paint and 'rub downs' for the framer to use and also many types of mountboard with coloured cores and new texture finishes that were not available to earlier collectors of art.
Fabric-covered mountboard is now available, which looks particularly good with portraits and reproductions. Another option is to use fabric or wallcovering to cover a mount so that it matches perfectly the décor of the room in which it will hang
Mountboard has two functions - to protect artwork from contact with the glass and to enhance the appearance of it.
Moisture can condense on the inside of the glass and then be absorbed into the artwork causing staining and damage from mould. Since the mount is normally in contact with the artwork, it is important that the mountboard itself should be made from the appropriate quality board. Most paper and board is made from wood pulp, and all wood contains lignin which is acidic. When an old framed print with a mount is opened up, you will probably find a distinct brown line which corresponds exactly to the bevelled edge of the mount.
This is where the acid from the mount has leached into the print. These stains are not just unsightly - they are visible evidence of the acid destroying the fabric of the paper. Until fairly recently, there was no practical way for the framer to avoid this problem. However, the development of acid free mountboard now provides us with the means to protect artwork inside a frame from acid damage
Manufactured entirely from cotton rag, it is completely acid free. Museum board is generally only available in white and cream and is usually a solid colour (i.e. no difference between the surfaces and the bevel edge). As the name suggests, this quality board is suitable for the highest levels of conservation.
Manufactured in three layers, the surface paper, core and backing paper. All these are made from refined pulp fibres, with all acidity removed, and buffered with calcium carbonate to prevent acidic contamination from the atmosphere. No lignin remains in the pulp fibres. The resulting mountboard is acid free and its white core will remain white for the life of the board. For practical framing purposes, conservation board can safely be used with valuable artwork, without fear of discolouration or acid contamination.
Like conservation mountboard, standard board comprises three layers, surface paper, core, and backing paper. However, although the surface and backing paper may be made to the same specifications as those used in conservation grade board, the core is less refined wood pulp, and still contains lignin. The colour of the core is often pale beige, rather than white, and this will darken within a few years due to the inherent acidity of the materials.
While standard mountboard are perfectly acceptable for many applications, it is not recommended for use with artwork, which has significant financial, historic or sentimental value.
We are specialized in mounting pictures, photos or any art form .
We have range of high quality mount board available of different sizes , shades and colors .
We can do mount cuttings both manually or using mount cutting machines.
We are specialized in producing high quality photographs mounting.
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