tag:blogger.com,1999:blog-14184600.post1876360929085439267..comments2024-01-11T19:42:45.537-05:00Comments on woodblock dreams: Mounting Art on Boards Part 1Annie Bhttp://www.blogger.com/profile/00178236295806176573noreply@blogger.comBlogger10125tag:blogger.com,1999:blog-14184600.post-54857554688925161392014-05-08T12:52:06.253-04:002014-05-08T12:52:06.253-04:00Andrew, the boards are the same size as the paper ...Andrew, the boards are the same size as the paper my prints were printed on (although I expect them to stretch a bit once moistened). It will be interesting to work with that.<br /><br />Hannah, thanks for that info. The drawback with PVA glue is that it's not reversible, and I want to be able to reverse these if they come back to me unsold. I like your thought to moisten the paper on the boards before glueing. I think that will help.Annie Bhttps://www.blogger.com/profile/00178236295806176573noreply@blogger.comtag:blogger.com,1999:blog-14184600.post-44665254422791299992014-05-08T11:50:40.278-04:002014-05-08T11:50:40.278-04:00At the University of Tennessee my professor Koichi...At the University of Tennessee my professor Koichi Yamamoto will glue his Japanese paper engravings onto western paper in a process that is similar to what you are doing here. What he uses is a mixture of rice paste and PVA glue depending on how sticky he needs it to be. I think the other reason he puts PVA into the mixture is that it is a flexible glue and he has to ship the prints rolled. <br /><br />If you wet the paper and then apply the glue with a brayer you can get a very thin even coat and as it dries it will shrink taught onto the board. <br /><br />It may be useful to moisten the paper on your boards with a spray bottle before you glue down so that the prints and the paper on the boards can dry together. <br /><br />Good luck with your project! Anonymoushttps://www.blogger.com/profile/15991403600911938141noreply@blogger.comtag:blogger.com,1999:blog-14184600.post-33924079915175578632014-05-08T06:39:33.778-04:002014-05-08T06:39:33.778-04:00You are right about the starch vs white flour (I w...You are right about the starch vs white flour (I was in a hurry....)but I think American all-white flour probably has almost no nutritional value.....so it's probably only good for glue? But yes. It's better to use plain starch as there are no other sugars to potentially go bad.<br />How are you going to center your prints on the boards--or are they exactly the right size?<br />Andrew Stonehttps://www.blogger.com/profile/02184272649874888854noreply@blogger.comtag:blogger.com,1999:blog-14184600.post-50155874630501703072014-05-07T16:52:16.086-04:002014-05-07T16:52:16.086-04:00I'd have used wooden clothes pegs & string...<i> I'd have used wooden clothes pegs & strings.. </i><br /><br /><b> What do I know.. ? - (!) </b>Paddyhttps://www.blogger.com/profile/00225451839761563210noreply@blogger.comtag:blogger.com,1999:blog-14184600.post-15323374061162966552014-05-07T16:23:31.044-04:002014-05-07T16:23:31.044-04:00Andrew, thanks for sharing your info. The one thin...Andrew, thanks for sharing your info. The one thing I see in Henri Li's video that raises a red flag for me is his use of whole flour. Most of the chine collé people will tell you that you should use wheat or rice starch, not flour. (I think that's because it won't attract insects, but I'm not sure.) But I'm very happy to see in your blog post that pasting a backing sheet resolved your wrinkling problem! Definitely got that tucked into my mental file cabinet!!Annie Bhttps://www.blogger.com/profile/00178236295806176573noreply@blogger.comtag:blogger.com,1999:blog-14184600.post-17319832390183326992014-05-07T16:04:58.073-04:002014-05-07T16:04:58.073-04:00William, I'm hoping that the fact that I often...William, I'm hoping that the fact that I often dry and then re-dampen my prints while they're in progress means that they can take all the moisture they'll be subjected to in the next step. Nerve wracking is the right term :/Annie Bhttps://www.blogger.com/profile/00178236295806176573noreply@blogger.comtag:blogger.com,1999:blog-14184600.post-19722340921028584422014-05-07T15:51:15.202-04:002014-05-07T15:51:15.202-04:00Annie, I tried something similar last month after ...Annie, I tried something similar last month after looking at Henri Li's video tutorials on Youtube (Henri Li's Blue Heron Arts) He has lots of video tutorials on wet (and dry) mounting washi (calligraphy and etagami and sumi paintings) to boards and to paper. I used his online video tutorials before trying to mount some small prints that wrinkled badly during drying using white flour, a pinch of alum and water much as you did above. Painting the back of the prints with thin paste and then laying the thin washi backing to the back of the prints then to boards for drying..(see my March post: "wrinkles and paste" on my blog for more....I look forward to your next posts as I have some bigger prints that I now want to try mounting as they look better and flatter mounted. <br />Another Plus--if you back them with white washi the thin paper you print on will reflect the white from below and they make the prints brighter and more vivid. Good Luck.Andrew Stonehttps://www.blogger.com/profile/02184272649874888854noreply@blogger.comtag:blogger.com,1999:blog-14184600.post-53691136971656605712014-05-07T15:47:10.673-04:002014-05-07T15:47:10.673-04:00Excellent alternative and I can't wait to see ...Excellent alternative and I can't wait to see how the next (nerve wracking) step plays out. I've never mounted my mokuhanga but I've had some problems mounting sumi-e...ie: bleeding. Perhaps there was not enough binder in the ink sticks I was using but I ended up giving a light spray of fixative to the next few and that seemed to solve the problem. Hopefully, prints behave better.William Evertsonhttps://www.blogger.com/profile/16552959930900393198noreply@blogger.comtag:blogger.com,1999:blog-14184600.post-67779692951652811072014-05-07T15:05:17.670-04:002014-05-07T15:05:17.670-04:00Thanks, Melody. The conservator on the SGCI panel ...Thanks, Melody. The conservator on the SGCI panel said that rice and wheat starch pastes are crazy strong. I think it's tricky to figure out the proper consistency, though, and I think it matters! I'm flying by the seat of my pants here, as I can't find much material out there.Annie Bhttps://www.blogger.com/profile/00178236295806176573noreply@blogger.comtag:blogger.com,1999:blog-14184600.post-61002321455235955682014-05-07T14:41:34.479-04:002014-05-07T14:41:34.479-04:00Congratulations Annie on your acceptance into an i...Congratulations Annie on your acceptance into an international show! <br /><br />I like your solution for an alternative framing method and will be following along to see how it goes. I'm at a point also where I just don't always want to formally frame my prints and these boards you're using are an intriguing alternative. Thanks for including where to get them. I've seen prints hung with magnets, which works well for heavier papers but bot sure if the thinner papers would risk damage. <br /><br />Years ago I did a series of body prints on paper and ended up dry mounting those on boards for exhibition. I'd be interested to know if the rice paste would work for heavier printing papers.Melody Knight Learyhttps://www.blogger.com/profile/01368598069864101799noreply@blogger.com