The Fine Art Mounting Process

The mounting process is composed of two part: the matting and the actual mounting.

Matting a print

Matting a print consists of placing a piece of board with a cutout window on top of the print. This process has two main advantages, archive ability and aesthetic:

  1. Glass and acrylic panels are acidic. To ensure the archive ability of the print, it is crucial to avoid any contact with any acidic material. Hence, matting adds a protective gap between the print and the glass (or acrylic) panel.
  2. The window helps to frame the print, even more, improving its narrative.

I only use Conservation Grade Mat boards to mount my prints. These boards conform to the Fine Art Trade Guild requirements for conservation (level 2).

Mounting a Print

Mounting a print consists of placing a firm piece of board underneath the print to protect it from bending or wrinkling. There are three techniques to mount a print: dry mounting, hinge mounting & hang mounting.

  1. Dry Mounting a print uses heat activated adhesive tissue sandwiched between the print and backing board. The inherent problems of this technique are:
    • The adhesive tissue used is not acid-free and since it is in direct contact with the print, it is bound to damage it over time.
    • The other issue is this technique is irreversible ( the print cannot be detached from the backing board).
  2. Hinge Mounting a print involves taping the print into place with T-hinges. Such a method, when used with acid-free tape protects the archive ability of the print but the print is still in contact with the glue of the tape.
  3. Hang Mounting a print uses the so-called “photo corners”, triangular pockets, to adhere the print (by its corners) to the backing board. Not only the “photo corners” can be acid-free but they also allow the print to be removed from the backing board safely. This is the technique I use.

I only use Conservation Grade Backing Boards to mount my prints. These boards conform to the Fine Art Trade Guild requirements for conservation (level 2). My mounting method, in combination with the exclusive use of 100% cotton Museum Grade Fine Art Paper and the Epson archival pigment-based inks, guarantees the best archive ability of your print with a lightfastness rating over 100 years.