Mounting Matte Print on Masonite to Show Brush Strokes

[Sam4X5]

I am experimenting with mounting Epson R2400 prints on matte paper to gesso covered masonite. I am applying acrylic soft gel medium to the surface of the print to simulate brush strokes. Prints are mounted with 3M Photomount Spray Adhesive. I am achieving some good results, but it is a touchy process requiring days of drying time between steps. Does anyone have a proven technique for doing this? They have been doing this for 50 years to art replica prints. I know even wetmounting with casein glue has worked.

[ronk]

Look at Albums, Inc. Sureguard spray line of products.

[tomnackid]

I am a digital illustrator and I like to create hard copies of my work (mostly digital photomontages) for display. I don't like images under glass and prefer the look of an oil painting in a traditional wood frame. I have had good luck mounting prints on matte paper from my Epson 2000p on unprimed masonite with "Yes" brand archival adhesive (basically a high quality library paste).



I brush a heavy layer of Yes onto the board and place the trimmed (usually 12x16) print onto it. I use a hard rubber roller to flatten out the print and get good adhesion--protect the print's surface with a sheet of paper. I then place a sheet of thick paper over the print and a large sheet of glass over that. I put weight on the glass sheet (heavy books) and let it sit over night. When the glue is dry I brush on about a dozen or so coats of thinned acrylic varnish. This actually goes pretty fast since acrylic dries so quickly. I find that many thin layers of varnish really make the colors "pop" and give the print the look of an oil painting in the classic "glazed" style. I'm not too interested in any overt brush strokes myself, but the subtle variations in the surface from the brushed on varnish give a nice handmade look. I then frame the finished piece as if it were a painting on panel.

[Lazy_Eye]

The big problem with matte ink jet paper is that is designed to capture the ink on the surface and disperse the moisture into the paper. In other words, it's a sponge. That makes it very hard to work with any adhesive or texturing medium that is water based.



Masonite complicates the process because it does not accept moisture readily. That means the moisture introduced in the mounting process must exit through the paper and when the texture coat is added, it will disperse moisture into the paper, which gets trapped.



I recommend you stick with the 3M for mounting because it is solvent-based, which will disperse more quickly than water-based glues. A heatlamp may help speed the process.



I think the next step would be to seal the top surface of the print with a lacquer-based sealant. This should be done in extremely thin, numerous coats. Any heavy spray will be quickly absorbed by the paper and carried away from the surface, so very fine, thin coats are needed. If done right, the spray will dry instantly as it hits the surface and not be carried into the paper. As the coats are built up, the paper will be completely sealed. Since the edges of the paper will also absorb any liquids, I would coat the entire front and edges of the mount, including the masonite.



The last step will be to apply your texture coat.



An alternative to try is to dry the print thoroughly and then have it laminated. You should be able to trim, mount and texture it more easily because the laminate isolates the paper. Good luck and let us know what methods seem to work.

[Sam4X5]

Thanks ronk. I will see what they have to offer.

[Sam4X5]

Thanks, I am definitely going to give this a try because I am set up for it. I have a 12 color print from 1965 which was done with casein glue that is still OK.

[Sam4X5]

You are soo right about the paper being a sponge to water. I will try this using all organic polymers as in lacquer. Thanks, Sam

[tomnackid]

After having tried both solvent and water-based glues and varnishes I

have to say I find the water-based ones work much better--much to my

initial surprise. I've had prints that I mounted with spray on

solvent-based adhesives bubble and peel within months whereas those

done with Yes paste have lasted for several years now with no peeling.

Even though Yes is reversable (another valuable property) it would take

a very long soaking to get it to release. I had some prints I wasn't

happy with and wanted to reuse the panels. It was very very difficult

to remove then from the boards even with repeated saking in hot water.

In fact i was afraid of damaging the wood panel I was trying to salvage

before softening the glue. As far as the varnishing goes the first few

coats of thinned acrylic do seem to sink into the paper a bit. After

about the fourth coat of so you should start to see an even

sheen. A hair dryer helps speed things along. I can ussually put on a

dozen coats of varnish within a copule of hours.

[Sam4X5]

Thanks again Tom.