So March and April came and went and, let’s be honest, we hardly saw that big ball of fire in the sky (well, I know I didn’t up here in Newcastle at least). However, today, the last day of April in fact, it’s absolutely beautiful out there. The wife and I have been out in the garden all morning, pruning this, pulling out that, mowing the lawn etc. Having knocked down a shed last autumn, we freed up a massive space in the garden at the back, in an area that gets most of the sun during the warmer months, and we’ve decide it’d be the perfect spot to put up a gazebo! All we’ve got to decide is whether we go for a pop-up gazebo, like something from this site: Pop-Up Gazebo, or for a proper wooden structure like this.
Putting a frame around the world
Aluminium mounting
Some interesting info I found about aluminium mounting… thought it’d interest some of you:
The finished print is mounted on a sheet of smooth 2.5mm rigid aluminium. Either MDF split battens, or a subframe* are then attached to the back for hanging. The picture floats elegantly out from the surface of the wall (12mm with battens, 20mm with subframe).
Perspex reverse mounting
The print is bonded to a 3mm sheet of clear acrylic Perspex. A sheet of 2mm Dibond or aluminium is mounted on the reverse and the piece then cut to size to form a perfect sandwich. Perspex reverse mounts are also supplied with either battens or a subframe* for hanging.
Perspex (acrylic) sandwich
The print is sandwiched between a sheet of 12mm acrylic Perspex on the front and 2mm acrylic Perspex on the back. The join is then sealed with optically clear glue to form a 14mm thick clear acrylic block. The mount comes with actrylic keyhole fixings ready for hanging. This the most expensive mounting method I offer, but makes for an exceptionally satisfying finished piece that will last a very long time (see print care).
Which mount type?
All of the above mounting methods are suitable for archival prints.