Many people choose to "float" mount a watercolor or other artwork so that it is suspended within in the window of a mat and the paper's raw edges are visible. This creates a very professional and unique presentation that showcases the original nature of your piece. It is appropriate for artwork such as watercolors that are created on a heavy weight paper and will not be damaged by mounting from the back-side of the art.
Keep in mind that whenever you work with original art or reproductions of value, do not use any kind of adhesive process such as spray mounting or dry mounting. These processes permanently alter the artwork and are not considered proper conservation techniques. You will want to choose proper acid-free mounting materials and apply them correctly so that the art will lay properly but retain the natural tendency of the artwork to expand and contract in response to changing environmental conditions. When handling the art and mat boards, wear white gloves to prevent fingerprints or other damage.
For reasons of preservation, you will want to minimize the amount of adhesive you put in contact with the paper and for the best lay-flat affect you want to avoid restraining the artwork's natural tendency to "breathe" (to expand and contract as it absorbs and rejects moisture in the air) by taping it as little as possible with the least amount of liquid. Therefore, you want to use only two tabs of tape to hold the artwork against its backing. The backing, in this case, will be mat board.
Begin by selecting your mat color choices. The first piece will become your window mat and the second color will be used as the background against which you will mount your art. It is important when choosing the color you are mounting on that it is a 100% rag mat. An acid-free mat board usually refers to the white core of the board and not the colored surface paper that is adhered to it. This is fine when matting around a piece of art because the colored paper is not in contact with the art itself, only the white acid-free board is. However, that is not the case with float mounting, so it is not recommended. Once you have selected a 100% rag board, cut two pieces of mat board to the same size as your frame. You will also want to select and size a secondary backing material, such as acid-free foam core or another rag mat, to provide added rigidity behind the backing mat board.
It is recommended that you hinge mount your artwork without permanently adhering it to the mounting board. Hinges should be removable with water or a small amount of alcohol. You should use a material with enough strength to hold your artwork in place but also have the ability to pull free if the art is dropped. This is so that the hinge tears and not your artwork. The best and most common materials for this are rice paper hinges, linen tape and some archival pressure sensitive tapes.
Although Japanese rice paper is probably the best material to use mostly because it is made from traditional fibers that are known for their strength and pH neutrality, it is not the most convenient. The pressure sensitive tapes are easier to find and easier to apply. These archival tapes can usually be found in most art supply stores and are most commonly made by Filmoplast or alternatively you may try Japanese hinging tape.
The advantage to these tapes is that you do not need water to apply them so the paper will not ripple or wave. However, the disadvantage is that they do not easily remove with water, especially over time (click here for details on the Filmoplast removal process.) These tapes come in three weights so determine which will be best suited for your art before purchasing one. Also, when applied they need to be burnished to hold their strength. You can use a burnishing bone, the rounded side of a spoon or any smooth rounded tool that will not tear the hinge or the artwork.
(Bone Burnisher & Using a Bone Burnisher on Tape)
The hinges should be t- shaped and approximately ½- to ¾ inch wide. The T hinge will allow the artwork to breath. Put your artwork face down and measure ¼” down from the top and approximately 1/3rd of the way in on either side. You will have 2 hinges. Make a very light pencil mark at the locations. You are now going to attach your t-hinge to the back of the artwork. See illustration below:
You are first going to make your T hinge. Your vertical hinge is going to be adhesive side down and your T top horizontal hinge will be adhesive side up (that is the part that will be adhered to the mounting board). Once you have made your T you will set your hinge in place. Take your hinge and line up the top of the T to your pencil marks (vertical part adhesive side down) and burnish it down to the back of your artwork. After both sides have been adhered you will now mount it to the mounting board. Flip your art face up and center it lightly over the mounting board making sure it is centered exactly where you want it. Once it is in place lower it onto the board and using clean hands apply pressure to the top of your art where the hinges are. Make sure to apply enough pressure so that the tape is secure.
Finally, cut your window mat so that it's larger than the art, and place it over the piece of art. You may choose to apply an extra thickness of mat board or acid-free foam core behind the window mat to create added height and assure the window mat stands higher than the artwork that is being floated. Complete the presentation by framing the mounted work. For valuable art be sure to select museum-quality UV filtering glass to protect the art from UV damage and risk of fading.
Key terms used:
Blank- A piece of mat board that has been reduced from the full size sheet to the frame size. The blank does not yet have a window cut in it.
Frame Size- Typically, the frame size is defined as the interior size, or recessed area, of the frame, or in other words the part that encompasses the mat, glass and backing. Typically, the overall dimensions of the mat, glass and backing that fit into the frame are equal to the frame size.
Mounting- The process of securing the art within the mat or against the backing. Various techniques may be chosen depending on requirements for presentation and preservation.
To purchase a burnishing bone and other framing supplies please visit the following sites:
Framing4Yourself.com
Dick Blick Art Supplies
Cheap Joe's Art Stuff
Great tutorial Stephanie. I particularly like your tip of using the bone burnisher.