Svenska föreningen för textilkonservering
26 Dec 2017
For example in the double pressure mount method a stretcher frame is made from poplar wood,
to this UV filtered plexiglass or aluminium honeycomb sheet is screwed. A barrier paper is
followed by layers of polyester batting. Pressure on the textile can be controlled by varying
thicknesses of the batting at the edge of the mount. Care should be taken to avoid a pillowing
effect (i.e that the textile is stretched over a mound of batting and is under higher tension at its
centre than at edges.) By creating dips (or wells) in the batting it is possible to support for
example tassels without them subsequently being squashed by the mount (see blog link below
for more information). The batting is covered with pima cotton plain weave on which the textile
to be mounted is placed. A layer of plexiglass follows. The whole is held in place with a mat
made of museum board wrapped in pima cotton, and over this a specially constructed lid on UV
filtered plexiglass is placed.
Materials used for the double pressure mount
UV filtered Plexiglas box
Mat made of Museum board wrapped with Pima
cotton fabric
UV filtered Plexiglas sheet
Textile art
Pima cotton fabric
Thin Pellon
Polyester felt
Buffered acid-free paper/Barrier paper
UV filtered Plexiglas or Aluminum honeycomb sheet
Stretcher frame made of poplar wood coated twice
with polyurethane
F. Zaharia
Pressure Moun8ng Workshop
Stockholm, May 12, 2017
Page 4
Florica warned that they have seen inconsistencies with supply of batting, they have noted
variation in fibre density, and if a large roll has been tied for shipping the ties may leave
permanent lines. Any wood used is varnished with polyurethane varnish to reduce the risk of off
gassing. It is possible to colour the pima fabric as a colour compensation technique so that
holes in the mounted textile are less obvious.
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