Digital BW, The Print

Good Morning, Kip

"How many coats does it take?"

One or two.

Tape the prints on plywood or something similar.
 
I varnish also the reverse side and flatten the prints on a pants press

BTW, dust was a problem, until I bought an air  humidifier for my bathroom - it is on all the time. Just before starting to varnish prints I also fill the basin with hot water using a bidet. No more dust problems.

"How do you mount them (I assume they're mounted)?"

By a professional framer. Please see below.

Regards

Ukko Heikkinen

"Artworks should never touch the glazing in a frame. A mount (card surround) made of good quality mount board will ensure that this does not happen. The thickness of the mount will need to be increased if the work is very large or wrinkled in any way. If a mount is not desirable because of the style of work, a spacer that sits between the work and the glazing will suffice. For a very large work, the glazing may need to be thicker to ensure that it does not warp and touch the artwork.

Mounting protects artworks from physical damage and allows easier handling. Poor quality boards, which look the same as high quality boards when new, will degrade and cause damage after sustained contact. Specify to your framer that you require conservation mounting, using boards manufactured from 100 percent rag or a high alpha cellulose content. For works on paper the board may be buffered or pH neutral. Buffered boards should be avoided for mounting photographs.

When an artwork is placed in a mount it is critical that it be allowed to move with changes in temperature and humidity. Do not adhere the entire back of the artwork to the backing board. Ask for the work to be attached to the backing board with hinges only on the top edge. The paper hinges allow the work to hang freely. Never hinge an artwork to the front window, as the work may be damaged when the mount is opened.

The use of non-archival materials will result in damage to your artwork. If you want your artwork to last a long time never use dry mounting or heat set tissue. These are not preservation mounting techniques. Never use pressure-sensitive tape, rubber cement, white synthetic glues like PVA, or spray adhesive, as these can leave ugly residues and stains and in time become difficult or impossible to remove. Even after a short period of time they can only be safely removed by a trained paper conservator."

http://www.slv.vic.gov.au/services/conservation/guides/artworks.html


[Non-text portions of this message have been removed]

Ukko:
I get the impression that your pictures are hanging freely in their
mountings- I like to drymount my prints with a Seal press onto a
masonite board which has had watercolor paper drymounted onto it; but
I am reconsidering that based on the document in your post.  Plus it's
too much work.  I sill want to  try it drymounted first and then apply
varnish to image and surrounding board.  

Do you have to press the pictures because your media was on a roll?  
Do you press them before they are varnished?  Thanks, Kip.

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Ukko Heikkinen"
<ukko.heikkinen@p...> wrote:
> Good Morning, Kip
> 
> "How many coats does it take?"
> 
> One or two.
> 
> Tape the prints on plywood or something similar.
>  
> I varnish also the reverse side and flatten the prints on a pants press
> 
> BTW, dust was a problem, until I bought an air  humidifier for my
bathroom - it is on all the time. Just before starting to varnish
prints I also fill the basin with hot water using a bidet. No more
dust problems.
> 
> "How do you mount them (I assume they're mounted)?"
> 
> By a professional framer. Please see below.
> 
> Regards
> 
> Ukko Heikkinen
> 
> "Artworks should never touch the glazing in a frame. A mount (card
surround) made of good quality mount board will ensure that this does
not happen. The thickness of the mount will need to be increased if
the work is very large or wrinkled in any way. If a mount is not
desirable because of the style of work, a spacer that sits between the
work and the glazing will suffice. For a very large work, the glazing
may need to be thicker to ensure that it does not warp and touch the
artwork.
> 
> Mounting protects artworks from physical damage and allows easier
handling. Poor quality boards, which look the same as high quality
boards when new, will degrade and cause damage after sustained
contact. Specify to your framer that you require conservation
mounting, using boards manufactured from 100 percent rag or a high
alpha cellulose content. For works on paper the board may be buffered
or pH neutral. Buffered boards should be avoided for mounting photographs.
> 
> When an artwork is placed in a mount it is critical that it be
allowed to move with changes in temperature and humidity. Do not
adhere the entire back of the artwork to the backing board. Ask for
the work to be attached to the backing board with hinges only on the
top edge. The paper hinges allow the work to hang freely. Never hinge
an artwork to the front window, as the work may be damaged when the
mount is opened.
> 
> The use of non-archival materials will result in damage to your
artwork. If you want your artwork to last a long time never use dry
mounting or heat set tissue. These are not preservation mounting
techniques. Never use pressure-sensitive tape, rubber cement, white
synthetic glues like PVA, or spray adhesive, as these can leave ugly
residues and stains and in time become difficult or impossible to
remove. Even after a short period of time they can only be safely
removed by a trained paper conservator."

> 
> http://www.slv.vic.gov.au/services/conservation/guides/artworks.html
> 
> 
> [Non-text portions of this message have been removed]

Hello Kip

You asked:

"Do you have to press the pictures because your media was on a roll?   Do you press them before they are varnished?"

I use only sheets. Because varnish has a tendency to curl them slightly, I press them after applying it.

Ukko Heikkinen

[Non-text portions of this message have been removed]