Congratulations on all you've done...look forward to seeing the project when you're ready to share it "live". I appreciate your discussion of all the other considerations about paper, mounting, hanging, sequencing, and how to go about showing some of your work as you try to find a venue. This "order of operations" information is important to think about.
Great post, I am enjoying following along and eagerly await each installment. Question: what did you settle on to secure the Kozo paper between the panes of glass, yet maintain transparency? Did you tack with a spot of glue?
Right now, and probably forever it is totally friction/pressure/compression. We'll be posting A LOT more on framing and mounting with glass/plexi and various Awagami papers going forward. The REAL issue is initial positioning and keeping that initial positioning while securing the paper in the sandwich which we'll also be discussing in future posts.
I am intrigued with your process and the introduction to the Awagami paper so much so that I acquired directly from Awagami their sample collection of paper plus their guide. It truly is a fine paper. Anticipating the project’s presentation.
It certainly not the material for all projects or images but for some images we love the awagami papers. I wish you were local AND we had an upcoming Intro to Awagami schedule this year... Keep in mind, the key is careful image/paper pairing and do yourself a favor and proof on matte paper, assume most of the Awagami papers will have slightly less apparent D-Max than something like Moab Entrada. The other huge visual difference is the image will look more embedded in the actual paper with Awagami papers vs more on top of the paper with typical matte papers.
Much more coming on the mounts... wish there were more than 24hrs in a day sometimes. Also, just a clarification on your question of "why glass". If you mean why no backing board and why JUST glass I though I mentioned that: it's the best way to see the structure and composition of the thin papers which look more like their thick counterparts if mounted on white. If you are asking why glass vs. plexi I can discuss, or if you are asking something else, please clarify.
Like most questions, this one takes many forms. Yes, it would be interesting to explore glass vs. plexi, plate vs. museum, etc. Also, if you are not using any backing, one would presume that the display wall could impart a tint/color cast. Have you experimented with other color backings, applying to acrylic, etc?
Only played with plate (modern "shatter proof") and Plexi so far. I have not experimented with differing colors for the see-through mounting yet, it might be worthwhile doing that for the back piece... I can tell you since right now this prototype is free standing it looks good with just about any background given the paper I am using is white enough to show "true enough" print color. The difference with the see through mounting is that the internal structure is very visible upon intimate viewing which is beautiful and doesn't do much to distort color perception against just about any background more than the color of the light itself... the paper is highly translucent but still white rather than transparent.
Congratulations on all you've done...look forward to seeing the project when you're ready to share it "live". I appreciate your discussion of all the other considerations about paper, mounting, hanging, sequencing, and how to go about showing some of your work as you try to find a venue. This "order of operations" information is important to think about.
Great post, I am enjoying following along and eagerly await each installment. Question: what did you settle on to secure the Kozo paper between the panes of glass, yet maintain transparency? Did you tack with a spot of glue?
Right now, and probably forever it is totally friction/pressure/compression. We'll be posting A LOT more on framing and mounting with glass/plexi and various Awagami papers going forward. The REAL issue is initial positioning and keeping that initial positioning while securing the paper in the sandwich which we'll also be discussing in future posts.
I am intrigued with your process and the introduction to the Awagami paper so much so that I acquired directly from Awagami their sample collection of paper plus their guide. It truly is a fine paper. Anticipating the project’s presentation.
It certainly not the material for all projects or images but for some images we love the awagami papers. I wish you were local AND we had an upcoming Intro to Awagami schedule this year... Keep in mind, the key is careful image/paper pairing and do yourself a favor and proof on matte paper, assume most of the Awagami papers will have slightly less apparent D-Max than something like Moab Entrada. The other huge visual difference is the image will look more embedded in the actual paper with Awagami papers vs more on top of the paper with typical matte papers.
It would be interesting to see your mounts and how/why you decided on glass.
Much more coming on the mounts... wish there were more than 24hrs in a day sometimes. Also, just a clarification on your question of "why glass". If you mean why no backing board and why JUST glass I though I mentioned that: it's the best way to see the structure and composition of the thin papers which look more like their thick counterparts if mounted on white. If you are asking why glass vs. plexi I can discuss, or if you are asking something else, please clarify.
Like most questions, this one takes many forms. Yes, it would be interesting to explore glass vs. plexi, plate vs. museum, etc. Also, if you are not using any backing, one would presume that the display wall could impart a tint/color cast. Have you experimented with other color backings, applying to acrylic, etc?
Only played with plate (modern "shatter proof") and Plexi so far. I have not experimented with differing colors for the see-through mounting yet, it might be worthwhile doing that for the back piece... I can tell you since right now this prototype is free standing it looks good with just about any background given the paper I am using is white enough to show "true enough" print color. The difference with the see through mounting is that the internal structure is very visible upon intimate viewing which is beautiful and doesn't do much to distort color perception against just about any background more than the color of the light itself... the paper is highly translucent but still white rather than transparent.