Each work of art on paper, be it poster, print, photo, or original that comes in, gets different mounting considerations. The surface sheen of each piece above all else plays a crucial role in the suggested mounting method.
For original works or prints such as lithography or screen prints, which are generally low sheen, it’s quite common to suggest a float mount. If you have been to a museum recently, you may have not even realized that much of the work you were admiring had been mounted on top of, or floating on an archival rag mat board. Archival rag mat board is made from 100% cotton instead of wood pulp based paper fibers. Lignin, a complex organic polymer which is found in wood, will yellow over time and damage the artwork attached to it due to outgassing. As a rule, we only offer cotton-based mat board options. The work is then attached to a rag mat board, with some spacing all around, by small hidden cotton hinges that can be easily removed at any later point in time. The glass or plexiglass is then spaced away from the rag mat to allow the poster to lay naturally and to not restrict its inevitable movements with humidity changes.
Glossy posters with higher luster can be float mounted, but run the risk of displaying “hot spots” or light reflection spots when any curl or waviness occurs. Paper inherently will change shape in different humidity situations. If the paper is matte finished such as the above mentioned types, it usually is not an issue. However if we are dealing with high gloss paper, such as a movie poster produced after the late 1960s, then there are flattening options such as dry-mounting, or linen backing to help alleviate any unwanted reflections. In either case however, a float mount may not be the best solution.
For photography we usually will recommend a wide 8ply overmat. An overmat has a 45 degree beveled window cut out, which can be placed right against the image, or less commonly with a blank space to show a signature. An 8ply overmat is twice as thick as traditional matting and as such, the bevel becomes larger and more dramatic. 8ply mat boards are an extremely subtle, but major reason gallery framing looks so professional. Using a wide mat spacing will ensure a healthy separation between the image and frame, avoiding crowding and allowing the eye to adjust between contrasting values. Value can be imagined as the absence of color, represented by only the grayscale value of the art and framing options. It is very important to take into consideration where the strongest values remain. We strongly feel the brightest and darkest values should exist in the art, and not the frame. For that reason we generally do not suggest bright white matting with solid black framing as it can over contrast the art and wash it out.
Each item placed in our care gets considered as its own entity. Why not go grab a few from that art closet you have, and see what we can come up with for you? Most of our clients for the past 46 years have enjoyed the design process as much as we do, its seldomly the same experience, even for us