Mount (or Matt) cutting came about in the mid 19th century, as a way to protect and stretch drawings, prints, water-colours, engravings etc. Supposedly, evolving from the printer's margin, the function being to set the comparative lightness of an image in a neutral area of plain tone. A mount therefore holds the image and draws the attention of the viewer to the picture. Once framed the image is contained and becomes an object in its own right.

As stated the main purpose of a mount is to protect the image, by keeping the glass from coming into contact with the picture. This also allows air to circulate. Differences in temperature between the outside and inside of the glass can cause moisture to condensate behind the glass. If in contact with the image the inks and colours may be damaged as well becoming a breeding ground for mold, fungi and mildew. The result being buckles, wrinkles and cockles in the paper and worse the picture 'sticking' to the glass.

This is why mounts are used on images that have a value, in particular Limited Editions or original prints should always be mounted with conservation grade board. This will be discussed later. Hence, posters which have little value are generally not mounted but stuck to a backing board to maintain flatness.

Over the years, mounts have been developed using colours and creative techniques that can enhance the picture. However, care must be taken that a creative mount does not end up detracting from the image. Graphical or complex cut mounts - (see Framing to view the Harmony computer cut mounts) - can be ideal for decorative open prints or certificates.

Mount Boards: Most boards are made from unrefined wood pulp and faced with paper. When cut will reveal a plain card bevel or core, which can be coloured. For example: the an off-white mount with black core so when the window opening is cut, the black centre of the board can be seen to border the image.

The thickness of mount board is expressed in 'sheet size' and generally fall between 4 and 10 sheet. Thicker boards are only available from specialist suppliers, though a work round would be to glue two boards together, and when cut the joins cannot be seen clearly.

Conservation Board: As mentioned ordinary board is from unrefined wood pulp which contains acids. These can be harmful to images on paper having a 'burning' effect over a long period of time. Conservation board is acid-free or PH-neutral, and from this conservation gum tapes and glues have evolved.

So, it is important that any valuable or sentimental piece of art is conservation mounted to ensure the best protection.

Now, lets have a look at some of the different mount styles available:

Double or Triple Mounts: These are when two or three boards overlay and the window openings of the base mount is smaller than the boards above. This gives the appearance of steps, but care must be taken to ensure the window edges are parallel as any slight variations will show up badly. The boards can be of the same colour or a contrasting colour - so a coloured base board shows up as a coloured step around the image.

Lining: This is were lines are drawn around the window opening, and these can be one or many, made with Indian Ink or these days fibre markers, or metallic pens. The space between can be filled with a thin water-colour or wash, hence the term 'wash-line mount'. Another method is to apply thin strips of patterned gummed paper which can have a marbled or metallic finish, for example.

Covered Mount: Can be used to add richness of colour and texture. Like covering a cut mount with raw silk, or velvet or a handmade paper, in fact any substrate could be used if relevant to the required effect.

Coloured Mounts: As mentioned a large palette of coloured boards are available either smooth or with various textured finishes. Though it is possible to paint a mount, though quite difficult to obtain a smooth finish. This method can be used if a multi-coloured finish is required similar to marbling, spattering, sponging or when the artist wishes to use the mount as an extention to the image, and paint part of the image onto the mount.

Textured Mounts: This is normally created using 'Gesso', which is Italian for plaster. A mount can be produced in the natural off-white colour of Gesso or painted with a colour wash, then finished in a multi-tude of ways to achieve an effect.

You can see from this information why it is preferable to use an experienced framer, and why hand-crafted mounts will cost more than a plain board mount.

So, remember once you have purchased your print - you take on the responsibility for that print - so look after your investment by using an experienced framer