[frameconnews] Re: Paste and stretch

["ARTFRAME, Inc." <artframe@netexp.net>]

Mike asked:

> 1) What is the best type of adhesive paste to use (and where do I source
it
> from) when pasting down thin prints and watercolurs onto acid free
> board/paper ?

When permanent mounting is necessary I suggest using pure wheat or rice
starch paste, freshly cooked, with no preservatives or other additives.  It
is most like the paper itself, inert and long-term stable.  Roll it on the
substrate as sparingly as possible -- I like to use a short-nap paint
roller.  The less paste you apply, the better, but be sure the entire
surface is evenly covered.  Excess paste should be blotted off with
absorbent paper toweling.  When the art paper is applied, the pasted surface
may seem nearly dry.  I suggest securing the mount under vacuum.  If a
vacuum press is not available, heavy rolling with a brayer may also work to
remove trapped air and assure overall, firm contact of the surfaces.
Slightly more thickness of paste will be needed.

> 2) What's the best method of stretching the above acid free board/paper
> prior to pasting to ensure that cockling/warping will not take place ?

Your stated objective is to keep the assembled mount flat, and that is a
valid concern.  But let's check terminology...Paper does not stretch, it
shreds.  Also it does not compress, it cockles.  Of course, these
manually-applied actions are not to be confused with the natural expansion
and contraction of the fibers due to changing environmental conditions.

If your paste is applied thinly enough the substrate should not cockle,
especially if you use the heaviest suitable board.  In any case, applying
weight overnight would be a good idea.  If too thin a substrate is used it
may cockle later, even if flat at first.

Further comment: Any kind of collectible item should *not* be permanently
mounted.  Watercolors and other original artworks are often cockled, which
may be considered part of the works' character.  Flattening them represents
a visual change, perhaps not intended by the artist.  Also, cockled papers
may be flattened by humidifying and placing under weighted blotters until
dry.

In other words, permanent mounting should be a last resort to save damaged
art, and not done simply because an unknowing customer mistakenly thinks a
few wrinkles are a detraction.

James Miller, CPF, GAFP Committee Member
Suburban central Ohio, USA
www.ARTFRAMEit.com



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