hanging artwork in the windowmount

[Bernard at High View]

I have always attached artwork to the windowmount (using tiny bit of acid free/Japanese/whatever). All the specs for conservation work are adamant that it should bbe tipped to the backing board - with small T tabs. Is there a good conservation reason for this?

I prefer to attach to the windowmount since only a couple of bits of tape are need, and more importantly the final centreing does not depend on the hinging of the backing board to the wondowmount - which can slip. Why hinge it on anyway - there is no need the way I have been doing it. Perhaps I should change the way I work?

[Bill Henry]

I don’t believe that hanging it from the backing material is a conservation issue as much as that backing (without a window opening) should be a little bit stronger and support the art a little bit better. There is, theoretically, a loss of structurally integrity as soon as you slice a hunk of mount board out to make a window.

A heavier, thicker backing makes this argument even more compelling.

That having been said, I hinge from the mat (mount) a lot.

[The Crofter]

99% of my work is fixed to the window mount using PH7-70 tape. Normally only a single small piece is required to prevent movement. When the frame is assembled the forces are all downward, friction is on your side and the chances of any movement are minimal. I think the artwork would have to be very heavy or the mount very thin to cause any issues. Having converted to Artbak conservation backing board I feel this is a good substitute for the second mountboard layer and the white face is really useful. Bear in mind that I only really deal with the lower end of the market and would use "proper" hinging techniques should any valuable/delicate etc artwork come my way.

[Roboframer]

Welcome to the forum Bernard.

This is one more of those techniques that is easy, effective and inexpensive.

I have always attached artwork to the windowmount (using tiny bit of acid free/Japanese/whatever). All the specs for conservation work are adamant that it should bbe tipped to the backing board - with small T tabs. Is there a good conservation reason for this?

Yes there is, in fact there's lots - I'll give you two of them.

1. The windowmount may need to be changed in the future. If the artwork is hinged to it then you have to remove the hinges - or maybe 'hinge' in cases above. So, it follows that you may indeed also need to remove the hinges from the artwork as well.

You may not have to do this if the artwork is hinged to a re-useable undermount, and if you do the artwork will be lying on a solid surface; not flapping about in a hole.

2. Better qualified people than you or I say it is the better method - why not just trust them instead of doing things our own sweet way?

[prospero]

There is nothing drastically wrong in hinging from the window mount. But if you should want to examine the work for any reason, it is much easier to flip the mount up and see the entire front surface without disturbing the artwork.

[Bernard at High View]

Thank you for these very helpful replies - I am delighted to have found such a useful forum. I agree with all the points, but I now wonder how the older and wiser folk mange to centre the image in the aperture?

I am reluctant to ask this question because it is difficult to answer in words...but I find it SO much easier to centre onto the windowmount and stick it down. Alternatively stick onto a large backing board, then centre that and cut it to match the windowmount - which seems laborious and wasteful. Also some backings have a sealed surface from which water-based gums may loosen in time.

Good point about inspecting the print easily. When we frame to our highest standard we tape the whole glass-mats-backing sandwich with conservation aluminium tape (from Lion), and do not anticipate anyone ever wanting to open everything up to take a look at the original. (And, yes, we use 100% rag boards for this.)

[iantheframer]

When hinging artwork to the backboard you need to join the two boards together using a piece of tape. Lay them side-by-side and tape along the longest edge and the fold them together, just like closing a book. You can then position the print on the backboard and close it to see where the print needs to be positioned and adjust accordingly.

[Bernard at High View]

Yes - thanks Ian - it is the "adjust accordingly" that nags me - it involves shuffling delicate artwork around with gloved fingers in the narrow gap between the two mounts, and every time you lift the windowmount on its hinge the waft of air blows the artwork out of true, etc, etc, etc.

I still await comments from the "older and wiser" guys who first suggested it. What was their thinking...or perhaps they have all passed on?

PS I am always happy to learn, and so concede to the "wiser" bit, but with 55 years behind me since my first frame I'm not too sure about the "older".

[iantheframer]

you just need to be careful. I have been doing this for 25 years and never damaged a picture

[prospero]

It can be tricky positioning the art if it has straight borders, as with a l/e print or whatever, that have to run parallel with the window. But as long as the hinge that joins mount to backing is firmly bonded it is no more difficult than hinging to the widow mount. I align the art (with a ruler if necessary) by gently nudging it into place with a delicately inserted digit under the mount, then flip the mount up (carefully) and make two marks on the backboard (with a pencil) near diagonally oppsite corners of the art. Turn the art face down, apply hinges and turn back over and align with the pencil marks. Then complete the 'T' of the hinges.

[iantheframer]

If you put the hinges on the picture before positioning it you wont need to move it again. Position and then put the tabs across the top

[prospero]

If you put the hinges on the picture before positioning it you wont need to move it again. Position and then put the tabs across the top

It's obvious when you think about it. I wonder why I never thought of that.

[iantheframer]

If you are using self adhesive tape (which you shouldn’t of course) Put a bit of silicone paper across the tabs to stop them sticking to the back

[prospero]

The man's a genius.

[iantheframer]

[Bernard at High View]

All good stuff - thank yu folks. BUT all your useful comments concern technique - is there any conservation/museum issue? If there is - please explain. If not why do the older and wiser folk require the Ts onto the backing board, rather than leave it to preference?

[Not your average framer]

Some more reasons for hinging in the undermount or backing are:

Over time heavy works of art hinged to large window mounts can cause the top border of the window mount to sag under the weight.

In situations where the art work is valuable and requires periodic inspection, the window mount can be hinged away to permit easier inspection and the undermount or backing provides support and helps avoid straining the hinges while the art and it's mounted package are handled.

I personally like to avoid the practice of hinging the art to boards which also form the external backing, which is taped to when sealing the back. This permits the backing board to be replaced, if it is necessary to open and inspect the art at a later date. In such cases, replacing old tired looking backing boards with new ones make so much sense and shows that you care.

[iantheframer]

We work for many museums and conservators. The main reason for hinging to the backboard is that most pictures are not framed. They are mounted and stored in boxes. If a picture is to be examined for instance for research, it is much easier to view the work by simply lifting the mount up. The whole piece of paper including the edges is safely and readily available for inspection. If v-hinges are used the back too can be easily seem. Pictures should NEVER be attached to the board that is the frame backing.

Mounted pictures in storage also have a sheet of acid-free tissue inserted between the picture and mount to protect them, except of course for pastels or similar where space is most important.

[Roboframer]

I think it makes more sense when the American terminology is used. "Mount" and "Mat"

When we attach something we call it mounting and we add a window mount, we also call it mounting.

In the States it's far more self explanatory - something is mounted to a support (a window mount is not a support) and then matted.

[Roboframer]

All good stuff - thank yu folks. BUT all your useful comments concern technique - is there any conservation/museum issue? If there is - please explain.

Not disturbing the artwork and not having to remove hinges have been pointed out as advantages, plus a mount with a big gaping hole in it is not a 'support'.

Plus - to make the hinges good if attached 'your' way, you have to flip the whole thing over and there is risk at that stage that there is not if done 'properly'

Do these points go towards answering your question?