Is drymounting a print bad?

[waple]

my brother is opening a day spa and he wants 10 of my images to be framed so I can sell them there. I bought 10 24x36 frames and am about to get the images printed though ExposureManager (not sure who they get the large prints with).

The lady at the framing store was very confusing. She was telling me that you should never ever ever ever drymount a digital print because it'll smear or melt or something. So, first question is, how do I know if something is a digital print vs whatever else there is right now.?

So she was telling me that it had to be "hinged", connected from the top only and hanging loosely, or sometimes be held in with only spacers all around the inset.

However, she then said that you can sometime drymount them. Which confused me because she was originally very adimant about not ever drymounting.

Finally, she said that you also never drymount an "original" work of art because it'll devalue the piece. I can see that, but is there such thing as an original print? I can print from the same file thousands of times so how is one different than the others? I think she was telling me that if I sign it, don't drymount it. By the way, does signing a print seem to warrant a higher price?

Thanks much for the info.

[cyclohexane]

I can see that, but is there such thing as an original print?

Prints are usually made in "editions", i.e. edition of five, edition of two, edition of one.

As for devaluing, it really depends on the collector.

She was telling me that you should never ever ever ever drymount a digital print because it'll smear or melt or something.

What substrate are you mounting to? It depends on what you want to melt to, and really the latest inkjet prints should mount just fine.

[waple]

What substrate are you mounting to? It depends on what you want to melt to, and really the latest inkjet prints should mount just fine.

Idunno. I thought they were going to mount it to acid free foamcore. These are going to be under glass and I was just getting her opinion as a framer, so I'm really not sure. I've never had anything drymounted before. A few people (other people who work in framing stores) told me that since the print is large (2'x3'), it needed to be drymounted so that it didn't curl or anything. But this lady was telling me that signs of curling are a GOOD thing because it shows that it's an original and that the framer knew what she's doing.

Confused the heck out of me. I just want to know how to get a large print framed.

[cyclohexane]

Why would you want your print to curl?

I'd find someone else to mount it. Mounting gives a different dimension to your work on display, and like the other people you spoke to said, prevents curling.

[verdesardog]

I have a friend with a custom frame shop, he mounts inkjet prints on self stick foam board all the time.

[dougsmit]

Drymounting is not reversible so the advice not to mount an original has some merit since the print is forever linked to the mount and someone, someday might find it objectionable. Some older foamcore is starting to deteriorate around the edges so the question remains how good it will be in 100 years. I have photos that were drymounted 30 years ago and they are still fine but the value to collectors often follows styles and we never know where style will lead.

There are some digital printers that used a waxy ink that would not stand the heat of drymounting. Wet process prints (as made by many commercial labs) are the same as made from film but a bad experience with something printed on a printer no longer in existance might scare your framer into believing it was being digital rather than how the print was made.

If I controlled the original digital file and could replace a print at will, I'd not hesitate to glue the thing down however I wished but if I were in posession of a classic print that was not replaceable, I'd tend to follow your framers suggestion and do nothing to it that could make a mark on the back. Your question is whether the item is a collectable to be preserved for centuries (in which case it is stored in the dark) or something to enjoy on the wall for however long the whim inspires. There is a difference between 30 years and forever!

[jfrancho]

Just have your lab mount it on matboard, and be dome with it. If its an 8x10 and framed in a 11x14, then have it printed at 11x14 mounted, but center the 8x10 image on the canvas.

[happusa]

Most standard inkjet paper is a plastic base and will melt with the hot press method of dry mounting. (Been there done that) Most quality print paper is a wood fiber or rag base and will take to hot press mounting. I hinge most all of my prints.

[walter23]

Originally Posted by cyclohexane

Prints are usually made in "editions", i.e. edition of five, edition of two, edition of one.

As for devaluing, it really depends on the collector.

The concept of editions / series is a bit ridiculous when we're talking about digital prints. With hand printing (darkroom) it makes some sense because presumably you've set about making a run of prints using the same methodology (a series). With digital it's just some arbitrary BS - I'm not even sure that it constitutes a contract that you promise to never print the image again...

What substrate are you mounting to? It depends on what you want to melt to, and really the latest inkjet prints should mount just fine.

I've seen dry mounted inkjet prints before, but you should do a test with a disposable print first.

Do you have a dry mount press?

[R. House]

Assigning a number to a limited edition is a contract and should always be honored by the artist. If you feel your prints are more than than just something to be enjoyed for a decoration, then by all means use hinges and have the matte undersize to the print substraight so as to hold it flat as possible. Many adhesives will discolor prints over time so if used make sure they are for your intended use. Signing your prints is a personal decision. I like to attach a custom label to the back of my prints explaining what I feel is helpful or pertainent, along with a statement that I use only high quality materials for stability and longivity. I sign my prints on the matte in the lower right corner with pencil and very lightly so that you almost have to look for it to notice. Heres wishing you success and congrats on getting exhibited. Ray

[tomrock]

I dry mount inkjet prints from an Epson 3800 all the time. Large prints will get "lumpy" when they wrinkle and dry mounting stops that.

[Mr. Pickles]

I think the problem is with the term "Drymounting". Normally, this refers to applying a drymount "tissue" between the print and the substrate (foam core). The "tissue" is the glue and is cut to the same size as the print. When it is assembled, the whole thing is put into a "drymount machine". This applies even pressure and also heats up the assembly, which melts the tissue and forms the bond.

So do NOT like the heat portion of this as they believe this can or does deteriorate the substrate or the print itself. Some will just "glue" the print to the substrate, with a non-heat reacting tissue or dry spray both surfaces and jut apply some pressure until it is stuck. Either way, you are pretty much "stuck" to the foam core, pardon the pun, and the chance of ever removing and salvaging the print are really really close to zero.

[cyclohexane]

Do you have a dry mount press?

We have one in our lab. It works fine with inkjet prints out of the Epsons.

With hand printing (darkroom) it makes some sense because presumably you've set about making a run of prints using the same methodology (a series). With digital it's just some arbitrary BS - I'm not even sure that it constitutes a contract that you promise to never print the image again...

The idea is that the artist honors the contract. If he or she doesn't, then it is absolutely like you said: BS. =)

[waple]

Thanks. I think I'm going to bring one of the prints, or maybe just a smaller one, to allow them to do a test and see what happens.

[wingspar]

Not sure I understand or know enough on this subject to post, but here goes anyway.

I would have to wonder how a print made with an inkjet printer would hold up to dry mounting. I’d do a test with a small print after letting it cure at least 24 to 48 hours, then do a dry mount test.

If you are getting the prints done professionally, such as thru Exposure Manager, or White House CC, they do not use ink jet printers, and I would think their prints will dry mount just fine. Find out exactly who is going to be doing the printing, then ask them. They should be your best resource.

I did a lot of dry mounting of my prints myself back in the early 1970's, and the ones I still have look as good as the day I mounted them.

[KrozFan]

I used to work in a frame shop and we never had a problem with anything we dry mounted. When she was talking about hinging the picture that's a preservation method so you can remove it later if needed. As expressed by many people drymounting is permanent. I think dry mounting is great and if it was my own work I would absolutly do it. If I was really making a limited edition or thought I'd be the next Ansel Adams (I'm not) maybe I'd be more concerned about preserving the print. When she was talking about not doing it to "originals" she probably meant an original of someone else that you purchased, not something that you could print whenever you feel like.

[cyclohexane]

It works fine with inkjet prints out of the Epsons.

Actually, I may have been talking out of where the light don't shine when I said that. I would try a small test print first, which is what many have said.

[jfrancho]

Nice, Michael - crow, its what's for dinner.