- Making the Most of a 32 x 40 Sheet
- Trimming Mat Board to Size
- Trimming Mat Board to Size with Straight Edge
- Trimming Mat Board to Size with Compact
- Trimming Mat Board to Size with Simplex
- Mat Cutting
- Cutting Single Mat Using a Straight Edge
- Cutting a Single Mat With a Simplex-Basics
- Cutting a single mat with a simplex-detailed
- Cutting a double mat
- Cutting a double mat- detailed professional version
- The professional framers secret for cutting a double mat
- How to measure and cut a double mat,
- Cutting a stepped corner mat – basics
- Cutting stepped corner mats – detailed
- Offset (stepped) corner mat
- Slip sheets
- The importance of using a slip sheet when cutting
- The importance of using a backing sheet
- Why am I getting a ragged cut?
- How to avoid rough or ragged edges when cutting mats
- Dealing with inconsistencies in the bevel edges
- Adjusting your mat cutter for proper blade depth
- The importance of proper blade depth
- Why am I getting a hook in the corners or curve in the bevel cut?
- How come I don't cut all the way through the mat board?
- How to conquer overcuts and undercuts?
- Dealing with overcuts and undercuts
- Why am I getting overcuts in the corners?
- Why are my mats not coming out square?
- Why is my bevel cut going the wrong way?
- How to cut left handed
- How to cut a 40" sheet of mat board on the 32" compact mat cutter
- Is using production stops the fool proof way to get perfect mats?
- Tips for working with production stops on your mat cutter
- Basic mat cutter maintenance
- Mounting your artwork
- Grappling with conservation and archival mounting concerns
- Supporting Artwork
- Hinge mounting T, V and S methods
- A simple method to a T-hinge mount
- Trapping methods
- Permanent mounting
- Wet mounting
- Pressure sensitive adhesive mounting
- How to mount artwork using positionable mounting adhesive (PMA)
- Spray adhesives
In a typical conservation or archival frame job, the main objective is keep acid-bearing materials out of direct contact with the artwork. Untreated acid-bearing materials can seep acid which, when in contact with artwork, leaves a brown hazy effect called acid burn. Acid burn is a stain that permanently damages and devalues artwork. Materials used in conservation and archival framing are acid free for the express purpose of safeguarding artwork so it retains its value.
It stands to reason, therefore, that any mounting technique that might cause artwork to lose its value would also be off the table. Bearing this in mind, the process of coating a piece of artwork with adhesive and permanently sticking it down would not be considered archival, since sticking anything permanently to anything else tends to devalue it. For this reason the first method of mounting, called permanent mounting, should only be used for artwork unlikely to increase in value over time.
