Dry mounting bonds a print to a rigid substrate using archival adhesive. It gives a clean, frameless gallery look — the artwork is the focal point.
Mounting materials
Archival (permanent, exhibition-grade)
- Acrylic Reverse — print laminated behind acrylic for high-impact display.
- Aluminium — flat, lightweight, conservation-grade.
- Dibond — aluminium-composite panel; rigid and exhibition-standard.
Non-archival (display use)
- Display Card — economical for short-term display.
- Foamex PVC — lightweight rigid plastic.
- Foamboard — economical, lightweight.
- MDF — heavy and rigid, indoor only.
Trade-offs
- Permanent: dry mounting is irreversible. Don't use it for one-of-a-kind originals.
- Non-archival mounts contain acids that cause long-term print degradation.
- Best paper choice for dry mounting is C-Type (durable emulsion). Cotton-rag Giclée papers are too delicate.
Turnaround
- Standard mounting (most options): 5 working days.
- Acrylic Reverse: 10 working days.
When to choose dry mounting
- Photography prints intended for permanent gallery display.
- Drops that lean into a clean, modern, frame-free aesthetic.
- Series work where you want a uniform exhibition treatment.