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Aqui también existe ese pegamento de origen animal
Se obtiene a partir.de cartílagos de animales…se.llama “cola de conejo”, y sale mde ahí, de las partes blandas que contienen colágeno de cualquier animal, sea conejo, vaca…etc…
Aquí se sigue vendiendo pero su preparación es algo complicada. Asi que se usa poco.Amr,
I believe that gelatin/alum size is the most famous sizing agent in history. Because it is difficult to do industrially, people switched to rosin/alum size which is based on tree resin, but that apparently causes paper to fall apart after some time, which is why people now sell “acid free” paper for archival purposes. I think gelatin/alum size is not “acid free”, but it still lasts forever.
So the bone/skin glue is used for layering colors in painting. In mounting it seems the flour paste and alum is enough. Is that because the natural glue in the ink sticks will fix the ink in the presence of alum?
Amr suggested,
It seems powdered alum for paper treatment is available at good prices in the US. Here is one example product:
http://jacquardproducts.com/alum.html
It is available on Amazon for less than $9.00 per pound.
Joke suggested,
Still a spraybottle works the best. Bút: spray on the BACKside of your paper…..By the way: my teacher always told me that a ‘washing’ does not have to be quite so homogenious. She always said: the lines that you see in the washing make the painting vivid and pure…
Virginia Lloyd-Davies suggested,
I think the mistake here is thinking that it is possible to get a homogenous background color at all! When I am creating a background color – say in a lotus painting or a landscape – I first spray the paper with water and then with a hake (wide) brush I add a light color. The color can be applied several times, which helps to give an even shade. Adding this color to the back of the paper rather than the front of the paper will give the smoothest color. Always be sure to saturate the paper with water first. Hope this is helpful.
Maria suggested,
I place the painting facing the table. Spray water to relax paper let it rest for few minutes. Apply the color with a wide hake brush. Top to bottom for even color. Place to dry on top of a flat newspaper. It can be repeated as dark as you need.
David Reid suggested,
I turn the paper over when its dry and apply from the back ….and leave to dry
if I need to then work wet in wet I put another sheet of paper over the work and turn
the great japanese woodblock artist Munakata painted the colour from the back
i have ‘worked both sides for some timeProfessor Alfred Freddy Krupa commented: ´My answer is: I do not apply color on background in my inks.´
Dear Riekje,
Sorry for the late reply! For the birds, we have some books which I would like to recommend to you. Each book represents some special techniques.
(a set of very fine Song Dynasty paintings on flower and birds. Song Dynasty has almost reached the peak of flower-birds painting in Chinese history. The style is mostly Gongbi detailed. This album has a wonderful selection of such art works. However, it is also difficult to get the techniques in the beginning. We would recommend this book to intermediate level or above.
(a wonderful book of Huang BinHong´s flowers and birds paintings. This book has very high reputation in China. It is full of techniques used by this great artist. Still, these techniques might suit better if you are familiar with basic flower and birds painting techniques.)
(a great guide of birds painting! This series of books are published by one of the most prestigious Art Publishing Houses in China. The author Jiang HanTing (1903-1963) was a great artist specializing in flower&bird paintings. This book is a special book to interpret his techniques. A very handful guide for this subject! The only pity is that the explanations are all in Chinese. However, the detailed pictures will help you understand the techniques well. )
Liliane Berthelet Tourtaud c’est un verre “synthétique” qui ne respire pas
Le bois respire et est une matière noble
Le plexiglass est utile lorsque l’on met la colle pour la propreté de la face de l’encre ou peinture et le bois est très bien comme fond solide de l’ouvrage car la colle adhère bien ( il y a de bons contreplaqués de différentes épaisseurs pour cela
Ce n’est que mon ressenti je ne suis pas professionnelleMeredith McPherson Interesting to read various techniques! Thanks for sharing your insights. I like to affix my seal before wet mounting because it is sealed in (no pun intended) during the process. I agree with Yan Lou that a high quality seal paste is important. I’ve used plexiglass sheets for wet mounting drying boards with success for , ahem, decades. Lightweight and easy to store.
Making mounting glue at home
Materials: 500g fine-ground flour, 10g (2 teaspoons) fine alum powder, warm water, rolling pin
(you can find all these materials easily at a local supermarket.)
Step 1, leave 500g fine-ground flour in bowl and add 10g fine alum powder in the middle of the flour powder. It is not recommended to mix the flour and alum powder now.
Step 2, add small amount of warm water into the mixture and use the rolling pin to mix the powder and water so that it become sticky. Then, keep mixing the mixture to the same direction while using the other hand to pour hot water into it. Stop once the glue is sticky while not too liquid. The whole process of step 2 should not be over 15 minutes.
Step 3, add clean hot water into the glue liquid without further mixing the water and the glue. Then leave the bowl for a while. This is to make the glue ‘steamed’ by hot warm water. Leave it for a while and then get rid of the water.Step 4, use clean hands to tap the surface of the liquid glue gently.
Step 5, add clean cold water on the surface of the glue and leave it. Then the glue is ready. Whenever need to mount, you can simply take one small portion of the glue and then diluted it in clean water before use.
