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Silicone Paper is easy-to-use heat-sensitive for dry mounting. Silicone is coated on one side of the release paper. The acid-free/archival adhesive melts at 180F heat and bonds to paper, fabric, plastic, wood, etc. as it cools off. It flows under heat and pressure and can be patched, overlapped and pieced together. The release paper keeps adhesive film clean and makes adhesive film easy to handle and protect the artwork and the iron or press machine.
Great for dry mounting thin papers, rice paper, tissue paper, parchment, watercolors, silks, and other fabrics.
Mounting Method A: Mount to the back of the painting
In this method, the original painting is mounted directly to the silicone paper.
Here are the steps:
1. Cut the silicone paper to the size exactly same as the original painting or slightly smaller.
2. Dampen the painting to relax any wrinkles. Spray lightly and evenly on the front or back.
3. Put 4 layers of denim cloth on the table as a mounting surface.
4. Set the iron temperature to 180/ F (between silk and wool).
5. Place silicone paper with silicone side up.
6. Place painting (face up) on the silicone paper.
7. Place newsprint (or previously used silicone release paper) over the painting to protect it.
8. Iron from the center out, first in the cross and then in X movements to avoid bubbles. Keep the iron moving and don’t stop in one place.
9. Apply less pressure in the beginning and gradually increase pressure later. Just keep on ironing on the front until completely smooth.
10. The release paper can be left on until ready to mount to a backing material.
Notes and Tips:
- You may prepare your original painting by spraying a little water and iron it to flatten out wrinkles before mounting.
- Small wrinkles can be stretched out easily with a hot iron. You may spray some moisture on the area with large wrinkles and then re-iron it.
- Don't press too hard or set the temperature too hot.
- Don't use felt as padding because it might be too soft.
- Large painting should be done a section at a time. Large paintings will require more time. Continue until the painting is completely dry and there are no wrinkles. Because of a larger surface area, the iron cools slightly so you may need to increase iron temperature to wool.
- Do not iron on the back side of the release paper, especially with large painting.
Mounting Method B: Mount the backing material first
This method is to put the silicon adhesive film on the backing material first and remove the release paper, then mount the painting on top of it.
Here are the steps:
1. Cut the Silicone Release Paper to the same size as the backing board or a little bit smaller than the board.
2 Place the silicone release paper, film side facing down, on the mounting board (museum board, foam board, vellum, watercolor paper, bristol paper, etc)
3. Iron at 180 degrees F or half-way between silk and wool. No water spray is needed. If the table is slippery put 4 layers of denim cloth under the board.
4. Peel the release paper off and save it for use in step 7.
5. If necessary, trim any extra adhesive film along the board edge with a cutting knife or pair of scissors.
6. Lightly spray the front of the painting to relax any wrinkles.
7. Lay the artwork face up on the adhesive film and cover it with the release paper from step 4.
8. Now it's ready to iron on moving from the center out, first in the cross and then in X movements to avoid bubbles. Keep the iron moving and don’t stop in one place.
Here are some Youtube videos showing you how to mount a small ACEO or large piece of panoramic landscape painting--
https://www.youtube.com/view_play_list?p=AD701E024B229FE1
The more you use the more advantages will be found.
FAQ:
Q: When would you use dry mounting and when wet mounting?
A: Good question! If you use western watercolor pigments on rice paper they would bleed when wet mounting so dry mounting would avoid such problem with color running or ink bleeding. Some rice paper is very thin and maybe too fragile to wet mount. If you are in a hurry, dry mounting takes less time than wet mounting.
