A customer has shown me a vintage print he's thinking of having framed. A white-core mount would look out of place, but I'm not sure what cream-core mount to get as I don't normally use cream-core so I haven't got any samples.
I see Daler Rowney do a PH neutral cream-core mountboard in a range of colours but they all seem quite bright. If the mount is too pale, the cream core is going to stand out which wouldn't be good either.
The print is a Helen Bradley, similar to this one in terms of colour tones and overall effect, and it's yellowed with age.
http://www.artnet.com/artists/helen-bra ... xuGhmhESw2
Perhaps I'm asking the impossible but can anyone recommend a suitable cream-core PH neutral mount colour for a vintage print like this. The customer would prefer not to have it look too "new" if possible.
PS. The frame will probably be a dark-ish brown.
Cream core mountboard
- David McCormack
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Re: Cream core mountboard
I would steer clear of the cream core board.
I would use a colour from the Crescent RagMat Museum Solid range. More expensive as they are 100% cotton, but a lovely board and would look great with a vintage print like yours. Being a solid board the bevel will be the same colour as the face of the board.
Their range of colours would be a perfect match for a vintage print. Wessex sell single sheets and I would have thought they could send you some samples.
I would use a colour from the Crescent RagMat Museum Solid range. More expensive as they are 100% cotton, but a lovely board and would look great with a vintage print like yours. Being a solid board the bevel will be the same colour as the face of the board.
Their range of colours would be a perfect match for a vintage print. Wessex sell single sheets and I would have thought they could send you some samples.
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Re: Cream core mountboard
Why not colour the core yourself, get some 3M 811 magic tape https://www.lionpic.co.uk/p/13277/3M-81 ... ble-1-roll
This method will save you having to buy a pack or a sheet mountcard
Technique :
Cut the blank mount, if using a manual mountcutter, set your mount boarders to 5+mm larger than the finished size (if 60mm finish, set to 65mm)
Place mount blank FACE UP in mountcutter, now with a pencil draw a line on the face of the mount along the bar the cutting head moves, on all four sides
Now with the mount blank Face up on the bench , run the 3M 811 tape along the outside of the lines you have just drawn, so you are covering the mount border, make sure the tape is well pressed down.
Reset the mountcutter to the correct size, cut the mount in the normal way, use a nice new sharp blade.
When finished cutting, you should have a mount with just the bevel exposed, paint with watercolour paint with a cream colour to dull down the bright white, allow to dry, then remove the tape
You can use this technique to do your own blackcore mounts or any colour you like, even paint gold, look great on Indian silk paintings, instead of watercolor paints, use acrylic paints
This method will save you having to buy a pack or a sheet mountcard
Technique :
Cut the blank mount, if using a manual mountcutter, set your mount boarders to 5+mm larger than the finished size (if 60mm finish, set to 65mm)
Place mount blank FACE UP in mountcutter, now with a pencil draw a line on the face of the mount along the bar the cutting head moves, on all four sides
Now with the mount blank Face up on the bench , run the 3M 811 tape along the outside of the lines you have just drawn, so you are covering the mount border, make sure the tape is well pressed down.
Reset the mountcutter to the correct size, cut the mount in the normal way, use a nice new sharp blade.
When finished cutting, you should have a mount with just the bevel exposed, paint with watercolour paint with a cream colour to dull down the bright white, allow to dry, then remove the tape
You can use this technique to do your own blackcore mounts or any colour you like, even paint gold, look great on Indian silk paintings, instead of watercolor paints, use acrylic paints
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Re: Cream core mountboard
I've had this dilemma before and I agree that bright-white cores look totally wrong on an antiquarian print.
Rag mountboard is a good plan, although slightly pricey.
Colouring the bevel also an option but a bit of a faff and takes a bit of practice to get the wash even.
Using pastels and rubbing them in with your finger is a bit easier.
Or.... You could cut a reverse bevel and add a fillet.
All-in-all the ragboard option is probably the favourite.
Rag mountboard is a good plan, although slightly pricey.
Colouring the bevel also an option but a bit of a faff and takes a bit of practice to get the wash even.
Using pastels and rubbing them in with your finger is a bit easier.
Or.... You could cut a reverse bevel and add a fillet.
All-in-all the ragboard option is probably the favourite.
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Re: Cream core mountboard
If the print has any value whatsoever, then the obvious choice is cream museum board. Even without reference to value, it'll look a lot better and more authentic. The print in Edwardian, echos of Kate Greenaway etc, so the best choice would be a simple Edwardian style flat oak frame with a silvered or gold in-set slip. One way of doing it would be a flat oak section from R&H, stained mahogany and waxed with Jacobean oak wax. Use their simple narrow oak fillet as the slip, paint it red oxide and gild it with some rub'n buff gilt cream.
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Re: Cream core mountboard
The difficulty with most cream core mountboards is that they are of the neutral pH variety and in time are almost certain to cease to be neurtal pH and become acidic. When this happens, the print is no longer protected from acidic degradation and there is potential for the condition and hence the long term value of the print to devalued, because the condition of the print has been negatively affected. You also need to consider the material for the undermount behind the print and the material for the backing board.
It is also wise to discuss this possibility with you customer and to offer different framing options to help to protect the print from such risks. I would also suggest that a print such as this should be considered for framing with UV blocking glass and it should be hung in a location where it is neither subjected to direct sunlight, or high intensity lighting. There have been a number of good suggestions as to how this task might be achieved there are ways of providing barriers against acidic materials, should you still need to use neutral pH mountboard.
This is a good opportunity to consider an appropriate method of presentation for the age of the print and I like that which has been suggested by vintage frames and it's a perfect opportunity to have a go at some hand finishing techniques along the way, if you fancy it.
It is also wise to discuss this possibility with you customer and to offer different framing options to help to protect the print from such risks. I would also suggest that a print such as this should be considered for framing with UV blocking glass and it should be hung in a location where it is neither subjected to direct sunlight, or high intensity lighting. There have been a number of good suggestions as to how this task might be achieved there are ways of providing barriers against acidic materials, should you still need to use neutral pH mountboard.
This is a good opportunity to consider an appropriate method of presentation for the age of the print and I like that which has been suggested by vintage frames and it's a perfect opportunity to have a go at some hand finishing techniques along the way, if you fancy it.
Mark Lacey
“Life is short. Art long. Opportunity is fleeting. Experience treacherous. Judgement difficult.”
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- Rainbow
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Re: Cream core mountboard
@ David - those colours look perfect, thanks for posting that.
Thanks for all the replies. I'm going to see if I can get samples of the museum solids - there look to be several colours there that will be suitable. I think I'd need to spend some time experimenting with hand-colouring mounts before suggesting it to a customer, but it's useful to have that info for the future.
I was in two minds whether to post this question but I'm glad I did - thanks guys
Thanks for all the replies. I'm going to see if I can get samples of the museum solids - there look to be several colours there that will be suitable. I think I'd need to spend some time experimenting with hand-colouring mounts before suggesting it to a customer, but it's useful to have that info for the future.
I was in two minds whether to post this question but I'm glad I did - thanks guys