Watercolour paper stretching
Discussion
using "stretch watercolo(u)r paper"
there seems to be a "weight" of opinion with pre-wetting,
and glueing down with wettened tape. I did not select from hits,
although I had to keep the numbers down of course, as there were hundreds.
One helpful comment on the board I use, mentioned varnishing the
wood - to prevent leaching of lignum into the paper. I wondered if
it might help stopping the paper glueing itself?
One other comment - I always have used a mask within the frame
of a suitable colour, cut at the local art shop. Therefore I had not
thought of showing the edge of the paper. Am I on my own, does
anyone else show their framed stuff with a mask?
I would point out the comments on some people who successfully "dry"
paint on 140lb paper here:-
http://watercolor.net/Aquanet/AQpaper.htm
There are 3 methods noted.
1. pre-wetted paper glued wth brown tape
2. staple every 2 inches no pre-wetting
3. using a patented stretching board. no pre-wetting
Watercolour without washes - it seems to me an odd thing.
Landscapes - how can skies be created without?
Glaze over glaze, dropping paint on a pre-wetted surface,
blending one tone into another,etc., just how do you "dry paint"?
N.H
http://painting.about.com/c/ht/01/12/How_Stretch_Watercolour_Paper1009635447
.htm
http://www.watercolortalk.com/paper.htm
http://shopping.islandblue.com/tips.cfm#1010
http://www.csu.edu.au/division/cpec/msca/materialspearse.htm
http://artnsuch.com.au/help_sheet_1.doc
http://www.artsupplies.co.uk/ppspg.htm
http://www.art-of-africa.co.za/painting_for_beginners.html#anchor679037
http://www.artcafe.net/artcenter/studio/feat7d.htm
http://www.danielsmith.com/leaflet-stretching-wc-paper.html
http://www.designerscommunity.com/sensei/tutorials/311_18_33.asp
http://www.ehow.com/ehow/ehow.jsp?index=1041&id=11621
http://www.artistsmagazine.com/article.asp?id=1929
Jiri Borsky
> One other comment - I always have used a mask within the frame
> of a suitable colour, cut at the local art shop. Therefore I had not
> thought of showing the edge of the paper. Am I on my own, does
> anyone else show their framed stuff with a mask?
Of course you are not on your own.
I use double, and often triple "mount" (as it is called around here).
Apart from aesthetic reasons, it separates the watercolour paper from the
glass.
This gap should be maintained even when showing the deckle edges of
the paper, by a fillet inserted or other similar means. Prevents
condensation problems - quite relevant on these isles (UK).
Jiri Borsky
http://www.borsky.dial.pipex.com/
Ima Sweat
go...@away.dot.for.good.dotcom says...
>One helpful comment on the board I use, mentioned varnishing the
>wood - to prevent leaching of lignum into the paper.
I don't think that's much of a concern since
you're only mounting the paper long enough to
complete the painting. Long-term contact with
the underlying board could be problematic.
On the other hand, watercolor purists will tell
you not to use tap water - only purified (distilled)
water. Some advocate using rain water - but that
no longer is safe with all the acid rainfall. In
other words, if you want to follow the purists you'll
worry about isolating varnishes and such.
>I always have used a mask within the frame
>of a suitable colour, cut at the local art shop.
The correct terminology - at least stateside - is
"matt." You either matt the painting or not. And
it's become perfectly acceptable to "float" a print
or watercolor without an overlapping matt. The
important thing is to isolate the painting so that
it does not touch the glass - leave an air space
in other words. This is especially important if you
live in a very humid climate where there are
fast temp changes that can cause condensation to
form on the glass on the painting side.
>I would point out the comments on some people who successfully "dry"
>paint on 140lb paper here:-
>There are 3 methods noted.
There is a fourth method, apparently overlooked
in your reference. You can buy watercolor paper
in "blocks." The blocks are designed to use "as is."
You paint on the top piece of paper, which remains
glued into the block until you're finished. Then
you cut it free from the block.
>Watercolour without washes - it seems to me an odd thing.
Watercolor can be done either wet into wet, or
as "drybrush." Drybrush in this case means something
different than 'drypoint' in printmaking. In watercolor
it refers to "drawing with a wet brush onto an
otherwise dry sheet of paper." Skies can be done using
either method. It's a matter of choice by the
artist.
My admonishion to anyone who feels bound by rules
is to remember that in art "there are no rules."
Or more to the point, "rules are there to be broken."