Recently I solved the problem of frames with broken glass by printing on textured paper, four coats of Moab Desert Varnish, matting, then framing without glazing. I was astonished at how intimate the viewing experience became. If I hadn’t been willing to DIY I would have missed this discovery.
I would ABSOLUTELY agree some papers scream to be seen with nothing in between you and the paper. Just to make sure I understand the "broken glass" that was a joke??? As in if there is none then it cannot be broken or did you have some sort of mysterious problem with glass braking via supernatural forces?
IKEA used to use glass in their frames. While the frames were simple and clean, they could twist if everything wasn’t buttoned up. The glass didn’t like they so I lost a number in my studio while framing. No ghosts involved, although the angels that protect drunks and fools were busy working the fool side of the street where my studio apparently is. Once the prints were mounted and secured in the frame the assembly was sturdy enough that that there was no danger of the glass breaking. Now IKEA uses plastic that scratches if you glance at it askance. So between the missing glass and the plastic I tossed I had a bunch of frames begging for Entrada rag and cold press. After seeing the results I’m never going back!
If you like those subtle textures of Entrada (we sure do, it's our standard) you may fall in LOVE with those of Awagami papers. Some of my very very favorite Awagami papers are the thin varieties of Kozo and Inbe which are amazingly textured in a very subtle way along with a unique property of appearing to be in the paper rather than on top of the paper... We have a TON of stuff coming soon (I hope) on a lot of these unique papers along with a "guide" which our Moab guide was a prototype... we're still sorting out the "best" way to group and compare them... as in a whole family of similarly constructed papers like the line of Kozo papers, the line of Inbe papers, etc... or comparing/constasting families of similar weights. We've also got a ton of mounting/presentation stuff, special treatments (remember our venture into wetting/soaking) that we've been running an immense number of tests on, etc, etc... which we could spend FAR more time on this but reality gets in the way and we have to fund all that with more "practical" work still. Maybe someday we'll be able to fund a full 40/80 hour week every month or more to this endeavor.
Recently I solved the problem of frames with broken glass by printing on textured paper, four coats of Moab Desert Varnish, matting, then framing without glazing. I was astonished at how intimate the viewing experience became. If I hadn’t been willing to DIY I would have missed this discovery.
I would ABSOLUTELY agree some papers scream to be seen with nothing in between you and the paper. Just to make sure I understand the "broken glass" that was a joke??? As in if there is none then it cannot be broken or did you have some sort of mysterious problem with glass braking via supernatural forces?
IKEA used to use glass in their frames. While the frames were simple and clean, they could twist if everything wasn’t buttoned up. The glass didn’t like they so I lost a number in my studio while framing. No ghosts involved, although the angels that protect drunks and fools were busy working the fool side of the street where my studio apparently is. Once the prints were mounted and secured in the frame the assembly was sturdy enough that that there was no danger of the glass breaking. Now IKEA uses plastic that scratches if you glance at it askance. So between the missing glass and the plastic I tossed I had a bunch of frames begging for Entrada rag and cold press. After seeing the results I’m never going back!
If you like those subtle textures of Entrada (we sure do, it's our standard) you may fall in LOVE with those of Awagami papers. Some of my very very favorite Awagami papers are the thin varieties of Kozo and Inbe which are amazingly textured in a very subtle way along with a unique property of appearing to be in the paper rather than on top of the paper... We have a TON of stuff coming soon (I hope) on a lot of these unique papers along with a "guide" which our Moab guide was a prototype... we're still sorting out the "best" way to group and compare them... as in a whole family of similarly constructed papers like the line of Kozo papers, the line of Inbe papers, etc... or comparing/constasting families of similar weights. We've also got a ton of mounting/presentation stuff, special treatments (remember our venture into wetting/soaking) that we've been running an immense number of tests on, etc, etc... which we could spend FAR more time on this but reality gets in the way and we have to fund all that with more "practical" work still. Maybe someday we'll be able to fund a full 40/80 hour week every month or more to this endeavor.
After many years of practice, I have mastered the art of measuring twice, cutting once, and then starting over.
I have mastered screwing that up as well.