10. MATS AND MAT-CUTTING

Mats, as distinguished from mounts, are flat pieces of cardboard or other material that have an opening or "window" cut in them to reveal that part of a picture it is wished to show and to help in isolating it from a background. They may be in any color, plain, decorated or covered with some material such as cloth or paper.

It will be readily seen that a small or delicate pic­ture, whether a print or a drawing or a water-color, needs something as an aid to vision. Wide mats do not necessarily dwarf a small picture. On the contrary, hanging on the wall, such a mat would certainly draw the eye more quickly to the picture than if it were framed close. Arbitrary sizes for print mats exist and it is unfortunately necessary to observe them when matting or framing prints or drawings, etc., for exhi­bitions. However, when a print or water-color is to be matted for framing to take its place as a decoration, certain sound practices should be observed, always bearing in mind that some pictures require distinctive treatment. White or off-white mats are most com­monly used and will be found suitable for most of the pictures which need matting. At other times, a lightly tinted mat or a "French" mat, that is, one with deco­rative lines of different kinds around the window, will make a tremendous difference in the final appearance.

Again, a mat covered with paper of a certain color or quality, or a textile will be effective. Or an especially thick mat may be in order. First, however, it is neces­sary to discuss mat-cutting technique.

Sense of proportion must be exercised for good matting. Until enough experience has been gained, the following rule should be observed. Always make the bottom of a mat slightly wider than the top and sides. This is necessary in order to compensate for an optical illusion which makes the bottom of mats hav­ing all sides equal appear narrower. The eye normally travels from top to bottom and must have more area for rest at that point. In the case of rigid, standard mat sizes, it may not always be possible to have the bottom wider than the sides, but it must always be wider than the top even if only slightly.

When matting fine prints such as etchings, litho­graphs, etc., it is advisable to cut the window large enough to reveal the plate mark. This is the slight depression caused by pressure when the etching or other print is made. Another reason is because prints of this type are usually signed by the artist outside the actual printed area and it is desirable to show the signature.

The first requisite for mat-cutting is a good knife. As mentioned in the list of essential tools, paper dulls a cutting edge quicker than any other material.

There­fore, the knife should be thin and of high quality steel to take and hold an edge as long as possible. Remem­ber that it is easier to sharpen the knife than it is to cut a new mat over again because one side may have been spoiled by a ragged edge. Standard knives format-cutting are made but they may have to be ground down before they are really suitable.

Next to the knife in importance is a good straight­edge. Mats will never be satisfactorily cut without one. If possible, a metal straightedge long enough to handle the largest sized mats to be cut should be procured. One edge should be beveled because either beveled or straight-cut mats can be made with it. Lacking the metal kind, secure a good quality, metal-edged and beveled wooden ruler as long in length as necessary.

The third requirement is to have a fresh surface under the mat board for every cut to be made. This will help to eliminate ragged edges and slipping. Scrap pieces of smooth cardboard are suitable and a suffi­cient number should always be kept on hand for the purpose.
To prevent the metal or wooden straightedge from slipping while cutting, adhere one or more strips of scotch masking tape to the bottom. Felt or sandpaper, if not too thick and cemented to the bottom, will also provide the necessary friction. The straightedge should be kept clean at all times. It is wise to hang it up when not in use to avoid damage or contact with paint or grease.

Pumice stone of the finest grade, art gum and a blower or a draftsman's brush should also be on hand for cleaning the mats.

The average picture, both in content and size, will look best in a mat which is about 3" wide at the top and sides and 3½" on the bottom. The term "about" is used because it sometimes occurs that ¼" one way or another will not harm the finished appearance and may result in considerable savings over a period of time in mat board, backing and glass. For instance, by planning to use the dimension of at least one side of standard picture glass sizes, a saving in cutting time and lessening of breakage when cutting is made. In addition, there is certainly a great deal less possi­bility of error when cutting Moldings if one uses the larger fractions of inches in measurement. Contrast the ease of marking and cutting a piece 16" compared to one 15⅞". Such slight differences in mat sizes are not noticeable, provided good proportion follows throughout.

Taking for the first problem a picture requiring a mat 3" wide at the top and sides and 3½” wide on the bottom, horizontal in shape, and the area to be visible measuring 12" x 14". Add the width of the two sides (6") to the length and the total of the top and bot­tom (6½") to the shorter dimension. The outside measurements of the mat will then be 18½" x 20". Trim a piece of mat board to this size, making sure that the corners are square. Next, using a pencil com­pass set at 3", draw lines for the top and sides by letting the pointed end slide along the edge of the mat board as shown. Re-set the compass to 3½" and draw the bottom line. Be careful not to let the lines extend too far beyond the area to be cut out.

There are two schools of mat-cutting: Cutting from the face or top of the mat board or cutting from the back. Greater care in marking and cutting needs to be exercised if mats are cut from the face but on the other hand, it is easier to make sharper edges. The straightedge must be placed at least 14" from the line and the knife drawn firmly and steadily along it, al­ways holding it at the same angle. If the mat is marked for cutting from the back, the straightedge must be placed directly on the line and the cut made as before but with the angle reversed. The exact win­dow size is more likely to be achieved with this method, although the front edges may not be as sharp. As in joining frames, finishing and everything else connected with the craft, it is advisable to experi­ment with mat-cutting using scrap pieces of mat board. First try making clean, vertical cuts and then increase the bevel. Try seeing how sharp a corner can be made.In connection with this, it will be found that after the four sides of a window are cut, the center may still adhere slightly at the corners.Slip a double-edged razor blade through the cut and com­plete it at the corners with the same angle as the bevel.

Mats are to be judged by the cleanness of the cut and the even quality of the bevel. It is a skill which an unfortunately few number of artists or home crafts­men possess. It is not difficult, but requires care and with a little practice, mats of professional quality can be produced.

When cutting mats, lay the board on a level sur­face with a piece of scrap cardboard directly under­neath the line to be cut. This line should always be near the front edge of the bench. Holding the straight­edge firmly down with the left hand, start the cut boldly and draw the knife slowly and evenly to the corner.

French Mats

As described, French mats are ones with decorative lines drawn around the window. These may consist of a plain double line in black or color or may be combinations of lines and bands of color or gold painted on. At the height of the popularity of French mats, women were employed who did nothing but paint in the delicate water-color washes. This style of mat still has its uses and can add interest to a draw­ing, water-color or color print. Its use with black and white prints appears to detract from the picture. French mats are relatively easy to make and only re­quire care so that the lines do not overlap at the corners. To avoid this, very faint pencil lines should first be drawn in as guides and later covered with ink or paint. If one plans to use a band of color to be edged with lines, paint the color in carefully and then draw the edging lines with a ruling pen. For old prints, use a sepia or brown ink and faded looking colors. When a real antique-faking job is to be done, first select a cream or off-white mat board for the mat. Make a wash of a light, cool brown water color and paint irregular areas on the mat with it, particularly near the edges. When a section has been painted, allow it to set for a minute or so and then blot it up lightly with clean blotting paper. Next, make another wash, perhaps a slightly stronger gray and spatter the mat unevenly. Keep all the colors very light in value so that they merely look like discolorations of the mat board itself. This process is suggested if it is necessary to replace a genuine antique mat which has been damaged.

Still another decoration which is of value both when used alone and in combination with French mats, is that of painting the bevel of the mat in gold or color to harmonize with a particular tone in the picture. Always work from the back of the mat, hold­ing it up at a convenient angle. Use a ¼" or ½" wide long-bristled, flat brush, keeping it flat against the bevel and drawing it at an angle from the front of the mat to the back. Do not attempt to paint with the tip of the brush, and never allow the brush to slide off completely since this will force paint on to the face of the mat. Also, do not charge the brush with too much paint. It is better not to try to paint too great a length of the bevel at once, but to use short even strokes.

A tinted or colored mat will be in order for some pictures. The mat can be either painted the right tone or covered with paper or a textile. In spite of the fact that the mat and bevel are to be covered, care is still needed in the cutting because irregularities will show through. Lay the paper or textile face down on a smooth, clean surface. In size, the paper should be at least an inch larger all around than the mat. Coat the mat board with a proper adhesive such as paste and place it carefully in position. Cut out the center area (which is to be discarded) about one inch smaller than the actual window size. With a sharp knife, make four cuts running from the exact corners of the window to the inside corner of the paper. Next coat the back of the mat solidly about one inch in from the window edge and smooth the paper over carefully. Proceed with all four sides of the window and then do the same to the parts extending beyond theoutside edges. Care and extreme cleanliness areneeded to make a neat mat using this method. Always try asample of the paper or fabric on a piece of scrap board first.

An alternative method of covering mats is to cut thewindow to the proper size in the regular way, then cut the mat into four parts by drawing lines from the corners of the window to the outside corners. Mark or number adjacent sides so that the corners can be reassembled properly. Each piece is then covered separately, later gluing the four pieces down in posi­tion to the board of the mounted picture.

Mats for pictures already mounted should be glued down to the picture and the mounting board to pre­vent unattractive space from appearing after the pic­ture is framed. Brush the glue or paste thinly up to about I/4" of the edge to be seen through the window. Place the mat carefully in position and dry under pressure for an hour or two. Trim the excess mount­ing board which projects beyond the edges of the mat.

Ground pumice stone or art gum will be found most useful for cleaning mats. The pumice removes avery thin portion of the paper and carries with it paint, glue and other foreign matter.

Unless exceptionally wide Moldings are used, it is always advisable to mat small pictures.

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