How to mount a pastel on paper?

[Whitewater Gallery]

I have to frame a few pastels that the artist has pretty much brought to me literally straight from the field. He does not want them to be varnished (if that is what you would normally do with pastels?) so consequently if you touch it the pastel comes straight off (and then smudges nicely over you mount board sample!) He has taped the paper in the 4 corners using a ring of tape. He has asked if I can remove this from the board as gently as possible but appreciates that as it seems very stuck down that it might disfigure slightly. I therefore wondered be better to leave it on the MDF backing, but then I am sure he has not used conservation tape!

20150305_122306.jpg (2.23 MiB) Viewed 5977 times

I would be grateful for any suggestions as to how I should approach the mounting of these, which are going to be double mounted in recessed in Lion 21mm Mono
http://www.lionpic.co.uk/product/21mm-M ... 553,0.aspx
with the matching spacer.
Thanks

Nick
(Hope that all makes sense!)

[Glimpse]

You can buy spray fixative from artshops, or cheap hairspray works just as well but smells funny.

Spray from around 18 inches away and give it a few layers. It shouldn't discolour the pastel unless you over spray it, but might be best to try on a sample.

[Roboframer]

Don't!

[Whitewater Gallery]

Robbo, don't spray or don't frame it?!?!?

[Roboframer]

Don't spray it - the artist can but most that know what they're doing don't.

[Whitewater Gallery]

The artist had said that he would preferred it framed as is, but should I try and remove it from the MDF?

[Framemaker Richard]

I think spraying fixative is best left to the artist, although most that I do work for don't. Really they should come off the MDF backs the artist has taped them to as well, I don't see why the artist has not done this...

A few well used methods with pastels: first is to have what I call a spacer mount, simply mountboard of foam board around the image, set back from the mount aperture so it is not seen. This creates a gap between the mount and pastel surface, so when bits do fall off, they (should) fall into this gap and not collect along the bottom of the mount. Although you will still get some loose bits that don't drop down the gap! Of course if your artist has not left a good border around the image then this method may not work! Still, it maybe possible to have a narrow spacer and then the mount aperture just coming over the edge, it would be visible from the side though.

Also when you come to fixing the package into the frame, and you use a gun to fire in the points, you will almost certainly get a load of pastel dumped onto the glass, from the shock off firing the point gun. You can avoid this by using flexi- points and putting them in the frame before you put the in the pastel. You can also use metal clips in place of flexi-points.

[Glimpse]

Don't spray it - the artist can but most that know what they're doing don't.

Most I know do...

[IFGL]

not a good idea to spay it, it can alter colours, it can blob, and as Roboframer said most that know what they are doing don't

[Glimpse]

If it's sprayed properly, it has very little effect on colours. Far preferable to having pastel dust on the inside of the glass!

Without sounding disrespectful to the artist, these are relatively simple sketches with no commercial value. I'd be advising him to use fixative. Pastels are so unstable without, it's almost impossible to transport them without some smudging or loss of surface texture.

I'm surprised that you'd say those that know what they're doing wouldn't use fixative, during several years of art college, I found it to be routinely used on pastels, charcoals, chalks and soft pencil pieces.

Degas always used fixative, several times during the process of creating his pastel works. But he didn't really know what he was doing

[Roboframer]

Well that's one thing but advising someone with no experience to do it on someone else's property is another.

[prospero]

I'll reiterate previous comments about NOT using fixatives.

If they are going to be fixed it is the artist's job. You can only take what you are given and frame it. Bits are going to drop off. The most I do with pastels is to give them a good flapping over a white surface. When bits stop coming off, stop flapping. Sounds drastic, but it's just as well the bits drop off before you frame it. Other bits will come off later, it's the nature of the medium.

I will say that pastel mounts ideally need to be deep. A double mount hardly gives sufficient spacing and the bigger the work the deeper the mount. Using a deep wrapped bevel or a fillet is the way to go IMHO.

[Tudor Rose]

I have to agree with the others, DO NOT use any fixative on it. Using Prospero's method of tapping some of the loose pigments off is very advisable, but it is not your place to put any fixative on the artist's picture. If the artist chooses to do it, then that is up to them, but the framer should not. And it doesn't matter about the perceived value of the piece, you still shouldn't use a fixative on it - that is always up to the artist to do if they want to. Most we deal with don't.

Also agree, pastel mounts should ideally be deep, at least a double mount, and having another layer hidden underneath to catch bits that fall off (spacer mount) as suggested by Framemaker Richard is also the best way. Also we would definitely take it off the MDF so that it can be properly hinged to an undermount.

[Whitewater Gallery]

Glimpse

I tend to agree with your view on the work. These are however being framed for the artist to try and sell in an exhibition so I want to do the best job I can for him, tough he does not want to spend a fortune. This is an example that he bought in for me to copy

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I identified the moulding as one from Lion. Looking at this now that it is here there is not much room in the back so I don't think I can run with the spacer mount unfortunately as I like the sound of that. This being the case I am going to have to frame as per his existing frame, though I think I will double side tape closer to the edge of the double mount to avoid the gaps.

My worry is the pastel rubbing, my plan is when applying the tape on the back to put a piece of tissue paper over and be very gentle? My only other thought was to cut the mdf back to the size of the paper, cut a square edged mount for this to sit in and then place the double mount over the top. Everything will be held in place, I will not have to remove the piece from the board and not have to touch the pastel if I am careful!

Further advice would be gratefully received!

[Tudor Rose]

If it is shedding as much as you say then using a spacer mount will make a big difference if you can possibly fit one in.

To avoid the layers of the mount separating use ds tape plus PVA and put the mount under weight until the PVA has taken to give a really good bond. We tend to do them in batches so some are under weight as we get the next ones ready and so on. Makes it very rigid which is good.

As for applying the tape to the paper, if you are using a mount and undermount (which is best) then the work remains face up while you apply the t-hinges, no need to lay it face down. I would say don't try to rely on the tapes attached by the artist, especially as they are loops of tape. They are likely to fail quite quickly and are not good support and ideally the work shouldn't be left against the MDF backing and using an undermount sorts that out for you. Easier all round.

[Framemaker Richard]

Lascaux Fixativ is very good, it is what I would use if I had to...

I don't like setting mounts back from the glazing, even if you glue the mounts together you will probably still get some slightly bowing. The glass helps to keep the mountboard flat.

[IFGL]

here is how to mount a usb
http://youtu.be/rI-pct3zy18

[Roboframer]

I don't like setting mounts back from the glazing, even if you glue the mounts together you will probably still get some slightly bowing. The glass helps to keep the mountboard flat.

It's not an issue if you can bond the mount(s) to the undermount (a platform mount works that way and a platform mount would be a good option here if the tape could be removed) I often space aperture mounts in this way - e.g. medals float mounted but with photos on the same plane. For further peace of mind you could also make the undermount more substantial .... and then even bond that to the backing board.

I would simply have to remove the artist's rolled up tape somehow - then, if I absolutely had to hinge it, it would be face up with the best there is - which is in no way the most expensive but is wet, so you have to know what you are doing.

Self adhesive tapes are pressure sensitive

There is no such thing, regarding direct contact with artwork, as conservation tape*

Hinging is the most dangerous method of mounting art on paper*

*IMHO

.

[Whitewater Gallery]

I have still not plucked up the courage to start this job yet!

Robo - You say if you absolutely had to hinge it - does this mean that there is an alternative? I am about to try the face up with gummed "conservation tape" applied to the back, but would be interested any an alternative method.

[Roboframer]

There's the platform mount http://theframersforum.com/viewtopic.ph ... 98&p=72941 as long as you're careful putting it in face down or there's mounting strips which you can buy or make yourself, but they would cover more of the paper.