For the past year I have been using “Yamato Arabic” – an
inexpensive Japanese glue available in any stationers in Japan. The ingredients
of this glue are not known to me – despite the name I suspect it is not (or at
least not entirely) made from gum arabic. The density is very low (about 1.02)
despite being quite a thick syrupy glue to work with. At the same time I have
been using a rather weak (1.06 density) glue made by myself from Atlantis’ (UK art supplier)
“finest quality” gum Arabic crystals, and more recently a stronger version
(1.09) from the same crystals. Both of these gums are much more liquid than the
Yamato.
Differences in performance are significant. Firstly in terms
of usage the Yamato works very well on Saunders Waterford (HP or Not) but
consistently fails to adhere to smooth papers such as Fabriano Artistico. Also
in application of the gum/pigment/dichromate mix the Yamato works best and
gives a smoother finish if there is no second dry-brush smoothing of the surface.
In contrast the gum Arabic seems to stick to anything and generally benefits
from a dry brush smoothing. Secondly in terms of print appearance there is a
difference but I wouldn’t describe one as ‘better’. The Yamato produces an
earthier looking print while the genuine gum has a more ‘refined’ appearance –
I often prefer the former in fact.
One other odd thing (can anyone explain this?) – if I mix
the Yamato with W&N Raw Sienna in a low humidity atmosphere [and I’m not
100% sure that that is the defining variable that causes the reaction] I get a
sticky mess like half set acrylic glue. Any other W&N pigment is fine, and
the same pigment from Holbein is also fine …..
Geoff Chaplin
ジェフ チャップリン
geoff@geoffgallery.net
www.geoffgallery.net
Skype: geoffchaplin1611
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