This section is from the book "Complete Self-Instructing Library Of Practical Photography", by J. B. Schriever. Also available from Amazon: Complete Self-Instructing Library Of Practical Photography.
Multiple Mounting. One of the most effective styles of mounting for platinum prints is known as multiple mounting, which calls for the use of two or more tints of paper, or light cardboard. The first piece is just a little larger than the print, each successive piece being cut larger than the preceding one. Illustration No. 32 affords a perfect idea of this multiple mounting. Suitable paper, in a variety of shades, may be purchased from almost any photographic supply house. It is advisable to obtain a dozen sheets of various shades for preliminary experiments. The most satisfactory results, except under special conditions, are obtained with a small variety of tints, say from two to five.
1238. For example, we will suppose you are mounting a black and white print, and have selected a medium gray paper as the ground work of your mount. Your intention is to surround the print with a border of white and dark gray paper, with perhaps a line, or space, of paper the same color as the ground work. Before cutting your papers to the correct size, it is necessary to decide just what arrangement will best suit the print. Therefore, first lay a sheet of ground color (the gray) on your work bench. (See Illustration No. 32.) Upon this place a sheet of, say a darker gray. This is marked E. It leaves a good margin of ground color showing at the top and one side. Next place upon this another sheet of paper D, the same as the surface and the ground, showing at the top and right edge a narrow line of dark gray. Then place upon this another sheet C of dark gray, the same as E, showing 3/4 inch of ground color at the top and left side. Now lay a sheet of white B, showing a narrow margin of dark gray, and finally place the trimmed print on the white, exposing a margin of 1/8 inch at the top and left. If your print has a white background, as shown in the illustration, it will not do to have a white mounting next to the print. In such a case the print should be surrounded by a dark narrow line, illustrated by A.
1239. When the color scheme is arranged on the work bench as outlined, lay a sheet of glass over all. This will keep the mount flat for inspection, and will give you the exact appearance of the mount, as it would be seen through a glass when framed. The top and left side of mount are arranged as they will look when finished, the bottom and right edges being, of course, untrimmed. Cover up the untrimmed and unarranged side by laying a piece of paper diagonally across from X to X, and the exact effect of the mount may be seen. If it is satisfactory, carefully number the widths of the various exposed margins, so that when the time comes for putting the mount together your arrangement may be readily recalled. If you are not pleased with the arrangement, readjust the various mounted papers until adjusted to your liking. If necessary, add to or take away from the original arrangement. Possible combinations are infinite in their variety, from the simple edging of white paper, to the multiple mount built up of half a dozen shades and widths of margin.
Illustration No. 32 Multiple Mounting See Paragraph No. 1237
Illustration No. 33 Stock Cards for Solid Mounting See Paragraph No. 1242.