Mounting Matters
by Chris A. Paschke, CPF GCF
The LA Framer – GLAC Newsletter December 2012
"Wax Hinges"
Just this week I have answered two email queries about hinge options
for encaustic art. Commercial linen hangers with a metal eyelet or grommet are popular
hangers with encaustic artists for adhering to the back of an unframed panel.
The reinforced metal eyelet will not tear, but the hanger is only as strong as
the hinge attachment itself (photo 1).
Ook Eyelet Hangers have a water-activated adhesive but the substrate must be
absorbent, dry, free of dust and grease it is ill-advised to use water
activated adhesive opting for wax medium.
photo 1
Ook
Eyelet Hanger
fused
with wax medium.
Note:
If the Pedestal Hinge
diagram--to
the right--is missing
please
see the PDF of the same name.
More and more artists are looking to float their wax saturated monoprints
or paintings with uneven or deckled edges. Traditional preservation methods
would suggest a lifted pedestal—also referred to as platform, wrap, or float—hinging
the art to the lifter with starch hinges
then adhered to the decorative backing board with PVA or #3797 hot melt glue.
But encaustic is different, as the only thing that will hold to
encaustic is more encaustic, so when paper is fully wax saturated nothing will
stick to it but more encaustic. Wax is a natural bonding agent—frequently used
in museums—so encaustic medium is the perfect adhesive as it bonds well to
wood, hardboard and rag substrates. Medium is a melted blend of encaustic wax
and dammar crystals that increases wax hardness and durability, but requires
hot fusion to the previous encaustic layer…which could be tricky for anyone
unfamiliar with encaustic.
I would suggest working with your artist to have them attach your
selected hinges to the back edges of their art as you indicate. Then you could
proceed with the pedestal and final placement within the frame window.
Whether left with the linen tab or placed in a custom made frame the
art remains something of beauty to last a lifetime. But with the frame it has been protected and
the narrow black border has enhanced the fine black carved line work in the
frame making is much more noticeable when first viewed.
END
Copyright © 2012 Chris A Paschke
More on hinging
in The Mounting And Laminating Handbook, 3rd Edition, Chapter 5, pages
42-47.
Chris Paschke, CPF GCF
Designs Ink
785 Tucker Road, Suite G-183
Tehachapi, CA 93561
661-821-2188
chris@DesignsInkArt.com
For additional framing articles and a list of all
past Mounting Matters from LA Framer visit
http://www.DesignsInkArt.com/library.htm