Matting & Mounting
Aside from a general introduction, there is a list of links to more detailed discussion at the bottom of this page, and in the menu.
Presentation of your working is usually placed under the rubric of 'framing'. That is what I am going to do. I think it makes sense to discuss framing-type presentation apart from portfolio presentation. Keep in mind as well that framing is a subjective art. My theory on framing is pretty simple. First, the frame should serve to protect the work. I don't use cheap, non-archival materials. It really isn't that much more expensive to do it right (or nearly so- drymounting photos is not strictly archival...). Sometimes simply pinning a piece to a wall is the way it should be presented. Mostly though, I think that if you spent the time and effort to produce the work, then you should spend the time to present it with some thought towards preservation. Secondly, like bad slides, bad presentation can make a good piece look bad. Poorly cut mats, gold bamboo frames, fingerprints, masking tape- all serve to make a piece look sloppy, and sloppy is not professional. Third: many shows require white mats, and many specify plain frames. Why make more work for yourself?
The Frame Package
The frame package consists of (usually) five things, from back to front:
- Backing Board:
foamboard or archival corrugated board; serves to add rigidity and is initial barrier for dirt and airborne pollutants.
- Mounting Board:
4-ply museum board (can use 2-ply if acid-free backing board is used). This is the board the work is attached to.
- Mat Board: 4-ply museum board.
The mat serves both to visually isolate the piece from its surroundings and, more importantly, to keep the piece from contact with the glazing. For this reason, only 4-ply (or thicker) board should be used.
- Glazing:
Glass, museum glass, acrylic (plexiglass). The outside barrier, the glazing protects the piece from dirt and airborne pollutants. Can also serve to filter harmful ultraviolet rays, in the case of museum glass and some types of acrylic.
All of these are put together in the frame. Frames themselves come in a wide variety of material and styles, from simple aluminum section frames to elaborately hand-carved wooden ones. There are plastic, stainless steel, exotic, plain, you name it. For exhibition purposes, the best are the plainest. This generally means black or chrome aluminum, or black or natural wood. The wood is more expensive, but generally is more elegant. Again, stress should be placed on simple. The idea here is to enhance the artwork, not overwhelm it with elaborate moldings. See also: building frames.
