Re: Wrinkled Prints
List, I stretch my intaglios with masking tape. I let the print sit in the air until the paper surface is dry enough to let the tape stick to it well. This also allows the paper to shrink some so it won't tear or pull out of the tape from too aggressive shrinkage. (I usually pull another print and set aside that print and tape the first print onto masonite panels.) I fold back one end of each piece of masking tape so there is a handle for pulling it off later. After taping I use a 2 inch brayer to roll down the tape for a good bond. The next day I pull the tape off at an acute angle (don't pull up, pull parallel to the board and away from the center of the print). Some paper fibers will be lifted off where the tape was but the paper will still have its deckles and doesn't need trimming. Some printmakers keep a stack of drywall boards (plaster between paper layers) cut to paper size and interleave damp prints between them and press with a weight when done. The drywall is very absorbent and flat. Jack > Rita, > > You can probably try a method used by brush painters (who also use rice > paper) and printermakers: after you air dry the paper a little bit, you put > paste around the paper (or some used gummed tapes) and paste the paper on > something flat (a wall or formica tabletop) works very nicely. As the paper > continue to dry, it will shrink but the edges are held by the paste, so you > will end up with drum-tight paper, very very smooth and nice. I do that with > my brush paintings, but I saw the same technique used in printmaking > department too. > > But then you have to cut the sides of the paper, which I don't know if that > is ok for your case. > > > Dave S > > > > _____ > > From: Ritab19106@aol.com [mailto:Ritab19106@aol.com] > Sent: Wednesday, February 07, 2007 12:05 PM > To: alt-photo-process-l@usask.ca > Subject: Wrinkled Prints > > > > Hello, > > I am applying silver emulsion (liquid light) to Japanese paper. I have > posted in the past about myriad problems and have appreciated all the > helpful suggestions. > > My latest problem is that the prints dry (after typical darkroom processing) > with many wrinkles. A few wrinkles are lovely, and contribute to the three > dimensional look I am seeking, but when the piece of (otherwise beautiul) > paper is completely crinkled, it is both unattractive and makes the image > hard to read. > > I have had this problem much more frequently lately, so I'm guessing it is > related to the increased forced hot air heating (and low humidity) now that > we're having a deep freeze on the East Coast. > > Here's what I've tried so far: after squeegee-ing the prints, I lay them on > screens and surround the edges with little stones to keep the whole print > from curling up. After they dry a little bit, I put pellon around the > prints, and then weight them down with a few books. They never completely > dry in the pellon, but when they are only a little damp, I move them to > blotters for the final drying. The result is better than if I left the > prints on the screens for the entire time, but still pretty lousy. > > I do have a dry mount press, but I'm guessing the heat would destroy the > emulsion, and when I use the press cold, all it does is flatten the creases, > not restore the paper to a smoother state. > > I do have a humidifier that operates with my home heating system, though I'm > not sure it generates much moisture. Would a free standing humidifier in > the darkroom be a good idea? > > I'd be grateful for any advice. > > Rita B >
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