Using the method of cutting the overmat larger than the print then eyeballing the print into place is easier than trying to get those corners aligned.
Originally Posted by mark
I want my mats to have a little "space" around the print. An Island if you will, with sticky corners, you would have to print on a larger paper. The Azo I print on only comes in 8x10 and 20x24. With a contact print the rebate around the image (on the negative) is clear and prints black. I cut this portion off when I am ready to dry mount and cut a mat for the print.
Last edited by lee; 10-24-2004 at 05:56 AM. Click to view previous post history.
Reason: more info
Makes sense. I have never liked "island", as Lee describes it, look for my prints so never even thought about that.
Technological society has succeeded in multiplying the opportunities for pleasure, but it has great difficulty in generating joy. Pope Paul VI
So, I think the "greats" were true to their visions, once their visions no longer sucked. Ralph Barker 12/2004
I personally prefer "the island" look. And to my knowledge, AA did it in order to help "preserve" his prints. Over time the shap beveled edge of the window will dig into your dry-mounted print and create a crease, so AA (and probably others I'm sure) added a little bit of extra room around the print in order to sacrifice the print area. Plus the little bit of space gives a good place to sign. -Grant
IMO, the island look will allow the whole print to be viewed without the mat trying to interfere with corners and edges of the print. That and what Grant said.
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This is my first post to the APUG forums. Here's Seal's recommendation for drymounting photographs, from their book _Mounting, Laminating, and Texturing: The Illustrated source on methods, techniques and applications_, 1990.
1. Pre-dry fiber-based photograph face down on clean kraft paper. Pre-dry substrate.
2. If exact positioning of photo on the substrate is necessary, tack photo in position. [Directions will given later.]
3. Place materials in dry mount press at 200F for approximately 1 minute. The assembly of materials should be, from top to bottom: Release Paper, Fiber-based photo, ColorMount, Substrate, Release paper.
4. Remove assembly from press and allow to cool under a weight.
Regarding pre-drying, they say:
"With the press at normal operating temperature, place the mounting adhesive on the back of the print to be mounted. This may be tacked through Release Paper.Trim adhesive (if necessary) to print size. Place the print face down on kraft paper and cover it with Release Paper. Insert the assembled work in the press for 30 seconds to one minute. As the work pre-dries, the adhesive will bond to the back of the print. Upon removal from the press, allow this assembly to cool under a Seal weight. Remove the Release Paper and trim excess adhesive and any kraft paper which has bonded to excess adhesive, if necessary (this second trimming is sometimes required even when the adhesive had been trimmed to the exact print size earlier).
This procedure helps assure that the adhesive is properly bonded to the print before mounting it to the substrate. When the adhesive is completely bonded to the print in this manner, it is much easier to trim."
"To tack, simply warm the tacking iron to the medium heat setting. Align the print, adhesive and mount board, and place a small sheet of Release Paper along one edge of the print. Place the flat base of the iron over the release paper and apply gentle pressure. Hold the iron in that spot for about five seconds. The print should be satisfactorily tacked. There is no need to tack the entire edge, or center of the print. One spot works best.... Do not tack opposite edges or corners! Do not make and "X" mark in the center!"
-Peter De Smidt