Digital BW, The Print

Okay, I can't speak for all art conservators but there is a bit more 
information I can give you on this.

The material mentioned below is a decent product.  However, for the 
most delicate/expensive originals and  for more effective archival 
results we make use of starch pastes such as wheat or rice.  Methyl 
cellulose paste which in some forms is known as "wall paper" past is 
used.  This pretty much depends upon your training and philosophy of 
art conservation as well as what your clients want.

The techniques are pretty much the same no matter which paste you 
use.  I usually use methyl cellulose and occasionally an organic starch 
paste.

The hinges are made from Japanese hand made papers of which you 
will need a selection.  This is actually quite easy to do these days and 
with minimal money involved.

May I suggest:  Minokishi or Sekishu (heavier weights of paper) for use 
making large or thick paper supports; and the lighter Japanese papers 
such as Usugami or Kizuki-banshi to hold small or thin papers.

Never, never cut these papers but use a water wetted artist's brush to 
draw a water only line where you wish to separate (cut) the Japanese 
tissue and then gently pull apart along this edge while wet.  The 
resulting edge is fibrous and will give you an almost invisible edge to 
your mount.  

Tab hinging can be a Tee configuration or not, or a folded back under 
design depending upon your matting needs.  I would recommend 
doing a Google for archival or art matting, hinging techniques.  If you 
can't find that information contact me and I will try and help.

I use hide glue almost exclusively when I conserve/restore antique or 
fine furniture.  Only occasionally is a hide glue derivative used in my 
archival or flat art work.  Such examples might be:  rabbit skin glue, 
isinglass or fish glue.  Special purpose for special jobs.

The starch paste or methyl cellulose adhesives are best.

Various suppliers have synthetic adhesives based on PVA, or other 
resins such as Mowolith which they sell for book binding and paper 
work.  Suit your materials to your work.

I hope that I have added some information and not confusion.

Mark MacKenzie, M.A.C.
Conservator, Western Development Museum
Saskatoon, Saskatchewan
Canada


Original Message:
-----------------
From: John Kelly jtk@channelsynergy.com
Date: Mon, 13 Dec 2004 06:54:08 -0700
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Subject: Re: [Digital BW] Mounting Digital Prints




I don't know the proper name for them, but museum curators and 
collectors use hinges for mounting ultra-valuable lithographs and other 
prints..they're translucent, yellowish, very thin paper with a very thin 
layer of adhesive that you can attach just by licking (unless you're a 
vegan). The adhesive is "hide glue" which, because it's very strong 
(it's used to assemble better-quality furniture and guitars, for 
example) means the hinges require only a very thin layer...yet, when 
you 
want to remove them (the biggest issue for print conservators), all you 
need is a faintly damp cloth or sponge. Frame shops, stationary stores, 
and art supply stores often stock them. Maybe there's a type that uses 
some other type of adhesive.

Peter O'Reilly wrote:

>
> I've recently started mounting my digital prints (printed on
> Hahnemuhle 308 Photo Rag) using conservation mountboard for the 
mat
> and foam core board for the backing.
>
> I have heard T-hinges mentioned as the best way of mounting prints,
> but can't find any specific details of how they work.
>
> Could anybody point me to a link on the web which shows how they
> work?
>
> Thanks.
>
> Peter
>
>
>
>
>






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