Digital BW, The Print

At 10:08 AM 2/12/2002 -0800, you wrote:
>Daniel,
>
>My current mounting technique, which I didn't articulate very well, is to
>use Light Impressions archival tape (I prefer the Clear Framers Tape II to
>the linen tape).  I put 2 tapes on the top, back of the print, in from the
>sides about (very roughly) 1/4 of the print width.  I lay the print, face
>up, on the backing of the hinged Light Impressions mat board.  (I prefer the
>foam-core backing and Exeter Gallery White board, pre-cut.)  I visually
>align the print with the over-mat.  (I sign the print -- which will not show
>with this mounting/matting technique -- and the over-mat.)  After the print
>is visually aligned, I use 2 more pieces of tape that form a "T" with the
>3/4" of tape showing above the top edge of the print.  So, these tapes,
>going horizontally, hit the adhesive side of the tapes that are on the back
>of the print and then stick to the foam-core backing.  This
>print-mat-backing combination is then put into a black metal frame with
>glass or acrylic.  (I prefer glass, but the local Artists' Guild manages to
>crack half of them, so I'm going to acrylic.)
>
>So, basically, I use two tape "T's" at the top to the print to hang it on
>the foam-core backing.  Then the over-mat and "glass" hold the print flat.
>I see no buckling at all in these 16x20 EAM prints.
>
>I might add that I cut the EAM from a 24" roll.  The wetness of the ink
>causes it to flatten sufficiently that I don't need to do anything more to
>the print.  I, of course, let it dry a full day before putting it under
>glass.
>
>I hope this clarifies what I'm doing.  It's really nothing special at all,
>and very easy compared to dry-mounting silver prints.
>
>If I wanted to do more, it would be to use a double matte to make it look a
>little fancier.
>
>(When I'm feeling more artsy, I'll try some floating prints with watercolor
>paper and "torn" edges (whatever the proper name is for that look), along
>with the sepia inks.  For my New Mexico prints, I think this might be most
>effective.)
>
>Paul
>http://www.PaulRoark.com
>
>________________
>
>
>
>>Paul, ... I'm having a hard time visualizing what you are saying..
>
>>> I now use 2 tapes to hang EAM 16x20 prints behind an
>>> over-matte.
>
>>Are you saying you tape the prints to the *back* side
>>of the (cut & beveled) mat board? How do you tape
>>them? Two strips, top and bottom?  Why wouldn't you
>>just tape the print to the backing board?  To hide the
>>tape?
>> http://www.PaulRoark.com
>

Paul,

Nothing is too arty for New Mexico :-) I couldn't find them on your pages???  
I also like the look of the real edge deckel on paper for decorative effect.
I think conventional photo mounting is a Modernist hold-over and it is ok to
use other traditional fine-art print styles of mounting for personal prints.
Some feel that anything but a plain white board should be left to the buyer
of the print.  Submitting a non-standard print to a juried show might upset
some traditional-minded juror.  

I mount ink jet prints with paper corners made from the same paper as the
prints. I use acetate glue (Duco cement) which is archival. There is another
way that involves beveled cuts on the mount board and paper hinges that is a
little more work but is slick. Do you have any experience with those roll-on
adhesive gadgets?  I have used them to tack down corners.

AZ

Maker of Lookaround panoramic camera.

www.geocities.com/soho/gallery/8874/
         or
keyword.com lookaround