Mounting Importance - the right mount will bring artwork
alive, the wrong one can kill it!
Whenever craftwork is to be displayed on a wall or gallery,
then taking care of how it is mounted will make sure it
looks its best, as well as providing vital protection.
Although we often think of paintings and photographs in
this context, embroidery work, marquetry and small sculptures
are among the many other kinds of craft and artwork that
can be framed to make great original wall hangings. Remember
that as well as looking good, mounting artwork also provides
physical protection by holding the artwork securely and
lifting the glass in the frame away from it; glass actually
touching artwork can cause considerable and often irreparable
damage.
So let's take a quick look at mountcutting and what to
think about when planning a mount.
What kind of mountboard to use must be the first decision.
Like most things, mountboard comes in various qualities.
For valuable items designed to last, the best quality
mountboard is a must. This is termed 'conservation' quality
and its particular type of construction as well as the
materials used, ensure that it does not damage even the
most delicate artwork. We have all seen old prints and
watercolours damaged by the appearance of brown specks.
These are the result of acid migrating from mounting and
backing boards and are extremely difficult to remove.
Conservation quality mountboard contains absolutely no
acid and so prevents such unsightly blemishes from ever
occurring. The use of acid-free barrier card prevents
any damage from the backing board itself, by providing,
as its name suggests, a physical barrier between the artwork
and the backing board.
Next, giving thought to the size, proportion and colour
of the mount will ensure that the finished result will
complement the artwork and be pleasing on the eye. The
mount should lead the eye into the artwork, not compete
with it. When a picture is framed and hung on the wall,
there is usually a slight tilt and this has the effect
of foreshortening the bottom border. To compensate for
this, a mount with a drop border is often used in which
the bottom border is wider than the rest. Avoid narrow,
ribbon-like borders; they look mean and somewhat surprisingly
tend to overpower the central artwork.
The right colour for the mount is essential. Subtle tones
hinting at sunshine can be lost by a gloomy mount suggesting
an impending storm! The colour of the mountboard should
tone in with the colour theme of the artwork and never
dominate it.
Once you have designed the mount, then comes the choice
of tools to cut it. A bevel edged window mount is usual
and helps to draw the eye in. Bevel edges are not difficult
to cut but as always, good tools make the job easier.
Mountcutters might all look the same (or similar anyway)
but when you come to use them, the differences become
apparent. The Longridge range has been designed on the
back of years of experience and has been described by
one acclaimed expert as "taking the quality of inexpensive
matt cutters up to the next level".
11th August 2005
Longridge Mountcutters are different
use one once and you'll wonder why all mountcutting systems aren't made
this way.
Longridge, Shetlands House, Northclose Road,
Bembridge, Isle of Wight, PO35 5XP England
Tel: +44 (0)1983 874121
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