It's been awhile since this article was written. Hopefully you'll see this.
Are you coating the artwork with a varnish when not using glazing?
I'm using PremierArt Print Shield because that's what's available in Anchorage, and what the local graphic art/commercial print shops are using when making prints. Wilhelm likes it, but that doesn't mean there aren't better varnishes. I think some kind of varnish is important to provide scuff resistance. Blowing the dust off the print isn't adequate over the long term as some fine dust remains unless it's removed with physical contact. Or at least that's what is required in our house!
Bruce, Thanks for writing. As Bob mentioned, we do use a protectant spray on our matte papers of they are not displayed behind glass. We recommend only three sprays, Moab Desert Spray, Printshield and Hahnemuhle. All give excellent results if you use them properly. More details on how to pray, what to spray, and tips in a future SubStack.
Les will give you a more complete answer to this but "generally" the answer is yes, we do use a print protectant for open frame prints. The prints produced in that workshop were coated with Moab Desert Spray.
We only recommend Moab Desert or the spray you referenced as others we've tested tend to ruin prints. We've long speculated that both sprays may be made by the same manufacturer. I think Les tested one other spray and found it to be the same but I forget the details.
Ps. We will have more to say on this in future newsletters as it's on the agenda as time permits (Hopefully as we gain more support we can produce more content and more detailed content)
When I first started printing on handmade kinwashi 15 yrs ago, it took me 3 yrs to figure out the key elements presented in this post. Thank you for the clarity. Once printed correctly presentation becomes an essential element.
Jim, my hat is off to you for your work with kinwashi. Since it was never manufactured for inkjet printing, it's to your credit that you worked with it to allow it to reveal its secrets to you. Bob and I love doing that with a challenging paper. I'd love to see some photos of how you present it to the world.
Did attendees adhere the Unryu to a mounting board as outlined in one of your previous articles? What color? What glue? Also, what thickness Bizan do you use?
Les is the glue expert and I am sure he'll chime in on this as he only uses one special glue for the Unryu Thin 55gsm. In any case this was the Unryu Premio which is much thicker AND just for this workshop we used dry mounting instead of glue for the print to the backing board. Les sent a list of glues home with the participants and also discussed many various mounting methods (including linen tape) for mounts that used matts which is a bit different than the stand-off mounts.
RB
Ps. You'll have to excuse Les if it takes him a bit to get back to this with his advice as he's running around like crazy getting ready for an Africa workshop, he leaves Sunday.
Thanks for writing. Bob actually was incorrect in saying that we glued the Unryu Premio to the backing board. To clarify, when you are going to mat a print, as we did with the Unryu Premio prints, there's really no need to use glue, something I try to avoid unless absolutely necessary. Instead we either use T-hinges or mounting corners (both by Lineco). The mat and the backing board will hold the print in place, in concert with the hinges/mounting corners. Please excuse Bob, as he's the Master Printer for our studio and not the framing guy. I never let him get close to a blade or hammer (and he gives me a cold stare when I suggest a print modification).
Now, when I use Unryu thin (55GSM), I find I have to use an adhesive. My choice for Unryu thin is Nori paste, sold in many major online stores. It dries clear, is acid-free, but must be adhered careful as Unryu can wrinkle easily when wet.
In answer to your question about Bizan, during this workshop we used Bizan medium.In that case we used our dry press to adhere the Bizan to the backing board. The reason for that is that was an open-frame with no mat. You could use an acid-free adhesive in that case if you do not have a dry press and it will work well.
Wishing you the best in your framing/mounting adventures.
Thanks for your reply. I will try your method on the Unryu. I framed a print with a wide border (per your suggestion!) and museum glass but without a mat. The Unryu wants to wrinkle at the edges of the frame despite spacers. Sadly, It looks unprofessional despite being a lovely paper and LJuhl frame. I didn’t think to use a narrow mat. I’m assuming it keeps the thin Unryu from wanting to pucker, yes?
I may have a picture of one of our test/demo prints that I think you used the Nori paste on with the 55gsm Unryu thin although not matted it should clearly demonstrate how flat, neat, and perfect one can mount a piece of that very delicate paper even without a Matt.
I'll try to dig that up and post it as an example.
The Premio has the same long mulberry fibers. The difference is in the thickness of the paper, which allows for a different look in various applications.
I have a paid subscription to your newsletter. Can you let me know when the Awagami Print Workshops happen? I would be interested in attending them. Thanks. PR.
Second of all I used to publish an end of month round up and point out what workshops we had going on in the local area as well as anything I thought would be of interest to the print loving community here but... they didn't seem to popular so I stopped them as I didn't want to make the newsletter seem like a marketing vehicle for our local workshops as most are a day or two and have mostly attendance by those who are regionally close to us (DC area mid-atlantic).
I will start publishing those again with an upcoming schedule attached to each.
Thank you for supporting our work. We do have folks attend our workshops from out of our area (we are in Maryland, but have attendees from Chicago, Seattle, New Mexico, Pennsylvania, New York, etc. There is good lodging, great food, and scenic photo opps nearby. We'll do our best to get the word out, as there seems to be a real interest in the use of Awagami papers to raise the bar in photo displays.
Hi Kathryn. I'm a former U of DE faculty member in ages past. Our studio is located in Havre de Grace, so if you'd ever like to stop by for a visit you'd be more than welcome. You can contact me via email from my website <lesterpickerphoto.com>.
I'll start up the monthly wrap-up again and list upcoming workshops scheduled (and possibly those we've got in line but not quite scheduled yet) at the bottom each month.
It's been awhile since this article was written. Hopefully you'll see this.
Are you coating the artwork with a varnish when not using glazing?
I'm using PremierArt Print Shield because that's what's available in Anchorage, and what the local graphic art/commercial print shops are using when making prints. Wilhelm likes it, but that doesn't mean there aren't better varnishes. I think some kind of varnish is important to provide scuff resistance. Blowing the dust off the print isn't adequate over the long term as some fine dust remains unless it's removed with physical contact. Or at least that's what is required in our house!
Bruce, Thanks for writing. As Bob mentioned, we do use a protectant spray on our matte papers of they are not displayed behind glass. We recommend only three sprays, Moab Desert Spray, Printshield and Hahnemuhle. All give excellent results if you use them properly. More details on how to pray, what to spray, and tips in a future SubStack.
Les will give you a more complete answer to this but "generally" the answer is yes, we do use a print protectant for open frame prints. The prints produced in that workshop were coated with Moab Desert Spray.
We only recommend Moab Desert or the spray you referenced as others we've tested tend to ruin prints. We've long speculated that both sprays may be made by the same manufacturer. I think Les tested one other spray and found it to be the same but I forget the details.
Ps. We will have more to say on this in future newsletters as it's on the agenda as time permits (Hopefully as we gain more support we can produce more content and more detailed content)
When I first started printing on handmade kinwashi 15 yrs ago, it took me 3 yrs to figure out the key elements presented in this post. Thank you for the clarity. Once printed correctly presentation becomes an essential element.
Jim, my hat is off to you for your work with kinwashi. Since it was never manufactured for inkjet printing, it's to your credit that you worked with it to allow it to reveal its secrets to you. Bob and I love doing that with a challenging paper. I'd love to see some photos of how you present it to the world.
Thank you for the kind response. My kinwashi works are at jimspitler.com.
The original images can be seen in the By The Bay collection at jimspitlerphotography.zenfolio.com
Did attendees adhere the Unryu to a mounting board as outlined in one of your previous articles? What color? What glue? Also, what thickness Bizan do you use?
Les is the glue expert and I am sure he'll chime in on this as he only uses one special glue for the Unryu Thin 55gsm. In any case this was the Unryu Premio which is much thicker AND just for this workshop we used dry mounting instead of glue for the print to the backing board. Les sent a list of glues home with the participants and also discussed many various mounting methods (including linen tape) for mounts that used matts which is a bit different than the stand-off mounts.
RB
Ps. You'll have to excuse Les if it takes him a bit to get back to this with his advice as he's running around like crazy getting ready for an Africa workshop, he leaves Sunday.
Louisa,
Thanks for writing. Bob actually was incorrect in saying that we glued the Unryu Premio to the backing board. To clarify, when you are going to mat a print, as we did with the Unryu Premio prints, there's really no need to use glue, something I try to avoid unless absolutely necessary. Instead we either use T-hinges or mounting corners (both by Lineco). The mat and the backing board will hold the print in place, in concert with the hinges/mounting corners. Please excuse Bob, as he's the Master Printer for our studio and not the framing guy. I never let him get close to a blade or hammer (and he gives me a cold stare when I suggest a print modification).
Now, when I use Unryu thin (55GSM), I find I have to use an adhesive. My choice for Unryu thin is Nori paste, sold in many major online stores. It dries clear, is acid-free, but must be adhered careful as Unryu can wrinkle easily when wet.
In answer to your question about Bizan, during this workshop we used Bizan medium.In that case we used our dry press to adhere the Bizan to the backing board. The reason for that is that was an open-frame with no mat. You could use an acid-free adhesive in that case if you do not have a dry press and it will work well.
Wishing you the best in your framing/mounting adventures.
Les
Thanks for your reply. I will try your method on the Unryu. I framed a print with a wide border (per your suggestion!) and museum glass but without a mat. The Unryu wants to wrinkle at the edges of the frame despite spacers. Sadly, It looks unprofessional despite being a lovely paper and LJuhl frame. I didn’t think to use a narrow mat. I’m assuming it keeps the thin Unryu from wanting to pucker, yes?
Louisa and Les,
I may have a picture of one of our test/demo prints that I think you used the Nori paste on with the 55gsm Unryu thin although not matted it should clearly demonstrate how flat, neat, and perfect one can mount a piece of that very delicate paper even without a Matt.
I'll try to dig that up and post it as an example.
RB
Have only used the thin Unryu with the long fibers. Maybe I should try the Premio.
Louisa,
The Premio has the same long mulberry fibers. The difference is in the thickness of the paper, which allows for a different look in various applications.
Les
I have a paid subscription to your newsletter. Can you let me know when the Awagami Print Workshops happen? I would be interested in attending them. Thanks. PR.
Praja,
First of all thank you for your support!!!
Second of all I used to publish an end of month round up and point out what workshops we had going on in the local area as well as anything I thought would be of interest to the print loving community here but... they didn't seem to popular so I stopped them as I didn't want to make the newsletter seem like a marketing vehicle for our local workshops as most are a day or two and have mostly attendance by those who are regionally close to us (DC area mid-atlantic).
I will start publishing those again with an upcoming schedule attached to each.
Thank you for your support and your interest.
RB
Thank you for supporting our work. We do have folks attend our workshops from out of our area (we are in Maryland, but have attendees from Chicago, Seattle, New Mexico, Pennsylvania, New York, etc. There is good lodging, great food, and scenic photo opps nearby. We'll do our best to get the word out, as there seems to be a real interest in the use of Awagami papers to raise the bar in photo displays.
Les
As Delaware residents my husband and I are very interested in a mid Atlantic workshop. I look forward to hearing more. kathryn
Hi Kathryn. I'm a former U of DE faculty member in ages past. Our studio is located in Havre de Grace, so if you'd ever like to stop by for a visit you'd be more than welcome. You can contact me via email from my website <lesterpickerphoto.com>.
I'll start up the monthly wrap-up again and list upcoming workshops scheduled (and possibly those we've got in line but not quite scheduled yet) at the bottom each month.
Great! thanks.
So love open frame presentation. I use Hahnemühle print protection spray.