Professional Artwork Mounting Techniques: Hinging, Dry Mount, Float Mount

The right mounting method protects your artwork and keeps it secure in the frame

Mounting is how artwork is attached to the backing board inside a frame. The method you choose determines whether the piece stays flat, hangs safely, and can be removed later without damage. There is no single best method. The right choice depends on the artwork's material, weight, value, and how long you plan to display it. This guide covers the four most common professional mounting techniques, the materials involved, and when each one is the appropriate choice.

Professional Mounting Techniques: Hinging, Dry Mount, Float Mount

Hinge mounting is the standard conservation method for works on paper. Two or more small tabs of acid-free tissue, typically Japanese mulberry paper (kozo), are adhered to the top back edge of the artwork using wheat starch paste or methyl cellulose adhesive. These hinges are then attached to the mounting board, allowing the artwork to hang freely from its top edge. The piece can expand and contract with humidity changes without buckling or cockling. T-hinges are the most common configuration: the first piece adheres to the artwork, and a second crossbar piece adheres over it onto the board, forming a T shape. For heavier papers, folded or pendant hinges provide additional strength. Hinge mounting is fully reversible; the paste can be softened with moisture and the hinges removed cleanly.

Corner Pockets and Edge Strips

Corner pockets, also called photo corners, are small triangular or L-shaped holders that grip the corners of the artwork without any adhesive touching the piece itself. They are made from acid-free Mylar, polyester film, or acid-free paper. The pockets are adhered to the mounting board, and the artwork slides into them. This is the most truly non-invasive mounting method because nothing is attached to the artwork at all. Corner pockets work best for small to medium pieces up to approximately 16x20 inches. For larger works, edge strips along the top or all four sides provide more secure holding. The limitation is that the artwork must have borders or margins wide enough to slide into the pockets without covering image area.

Dry Mounting

Dry mounting uses a heat-activated adhesive tissue sandwiched between the artwork and the mounting board. The assembly is placed in a heated press at 180 to 210 degrees Fahrenheit for 30 to 60 seconds, permanently bonding the artwork to the board. The result is a perfectly flat presentation with no ripples or cockling, which is why dry mounting is popular for posters, photographic prints, and decorative art. However, dry mounting is not reversible. Once bonded, the artwork cannot be cleanly separated from the board. This makes dry mounting unsuitable for original artwork, limited-edition prints, or anything with significant value. It is an appropriate choice for replaceable prints where flatness is the primary concern.

Float Mounting

Float mounting displays the artwork so that all edges, including deckled or torn edges, are visible with a uniform gap of space around the piece. The artwork appears to hover over the backing board. This is achieved by attaching hinges to the back of the artwork and then adhering the hinges to a mounting board that is slightly larger than the piece. A mat or spacer may frame the visible gap between the art edge and the frame. Float mounting is popular for handmade papers, prints with deckled edges, watercolors with visible plate marks, and photographs where the artist intended the paper edge to be part of the presentation. The gap between the artwork edge and the frame or mat is typically 1/4 to 1/2 inch.

Choosing the Right Method

For valuable originals, limited-edition prints, and historical documents, use hinge mounting or corner pockets because both methods are fully reversible and meet conservation standards. For posters, decorative prints, and reproductions where flatness matters more than reversibility, dry mounting delivers the smoothest result. For artwork with beautiful edges, handmade paper, or prints where the paper itself is part of the artistic statement, float mounting showcases the full sheet. If you are unsure, default to hinge mounting. It is the most versatile method, works with nearly all paper-based media, and preserves your future options. You can always re-mount later using a different technique, but only if the original method was reversible.

Materials and Supplies for Each Method

Hinge mounting requires Japanese mulberry paper (available in various weights from 9 gsm to 25 gsm), wheat starch paste or methyl cellulose, a small brush, and a bone folder. Corner pockets require acid-free Mylar or polyester strips and double-sided acid-free tape to attach the pockets to the board. Dry mounting requires heat-activated adhesive tissue (such as Seal Colormount or Bienfang), a tacking iron, and a heated press large enough for the artwork. Float mounting uses the same hinge materials as standard hinge mounting plus a mounting board cut larger than the artwork and spacers if no mat is used. All methods require an acid-free mounting board as the foundation. Purchase materials from a framing supplier rather than a general craft store to ensure acid-free and archival grades.

Frequently Asked Questions

Is dry mounting safe for photographs?

Dry mounting is safe in the sense that it will not chemically damage modern photographic prints in the short to medium term. However, it permanently bonds the photograph to the board and is not reversible. For personal snapshots and reprints, this is perfectly acceptable. For fine art photographs, signed prints, or vintage images, use hinge mounting or corner pockets to preserve the option of removing the photograph later.

How many hinges do I need for hinge mounting?

For standard prints up to 11x14 inches, two hinges spaced evenly along the top edge are sufficient. For pieces up to 20x24, use three hinges. For larger works, add additional hinges spaced approximately 6 to 8 inches apart. The hinges should be positioned about 1 to 2 inches from the top corners. Heavier papers may require wider or doubled hinges for additional strength.

Can I float mount a print that has already been trimmed?

You can float mount any print regardless of whether its edges are trimmed or deckled, but the visual effect is different. Deckled and torn edges create an organic, artistic look when floated. Cleanly trimmed edges produce a more geometric presentation with a precise gap around the image. Both are valid approaches; the choice depends on the aesthetic you want for the finished piece.