On Wed, 28 Aug 1996, Bas van Velzen wrote:
> The fact that they have more than one layer means that
> the layers interact with each other. This goes for paper too! Here I am
> talking about machine made paper, handmade paper has all the described
Sometimes, for reasons too complex to explain, I have put two different
sizes on top of each other on a given paper. I find that size x over size
y will behave quite differently from size x over size z -- and mixing y
and x, or any combination acts *entirely* differently from either or
both of them put down in single layers, then dried & coated with the other.
Well, nobody wants to do that, it just came to mind re Bas's comment
about layers interacting......
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> When two different papers are couched together the paper will have more
> problems since the layers will act differently on wetting. The paper will
> be fairly easy to flatten after wetting.
Still looking for a good way of fastening/unfastening to substrate.....
looking for a clue between the lines..... still looking......
But speaking of felt and "screen" side, I have found everything changes
once the paper is wet. For instance I have chosen to print on screen side
as it's flatter, but find after soaking in water both sides may be the
same, or moreso.
And this is sadly true, though it took me a while to get it. I like to
print on a smooth paper. Then finally noticed that some "smooth" papers
after soaking are smooth no longer. I suppose the water undoes the "hot
press" rollering. For instance Saunders waterford hotpress is lovely &
smooth untill soaked, then bumpier than Rives BFK. Others (Stonehenge,
Hahnemuhl litho, Fabriano artistic) seem to stay smooth...
> Wetting glued papers in a water bath will release the stresses in the
> paper, it will be very difficult to flatten the paper afterwards.
Will glued papers be designated in some way by name as to be apparent
before purchasing? Or perhaps they're not sold as artists' papers?
> In general mono layer papers are the most easy to control, although
> the two sides are slightly different the overall stresses are lesser in
> these papers. The heavier the paper can be made in one layer the less these
> differences will be noticeable. A heavy paper will be about 180 grs/m2.
Again, will we know "mono" by name or some other designation? I'm
surprised by the way to learn 180 gsm is "heavy." I thought it was
more...
> Above this weight it will soon be called carton and above about 400 grs
> board. Cartons and board will almost always have more than one layer.
Names may be different in US?
> a fresh made paper will be more difficult
to control than matured paper,
Unlike people of course......
> When I buy paper I will keep it for over a year to
> mature it. Keep your paper well protected from light and dust and keep it
> flat. In cases where the paper is not flat keep it under just enough weight
Can it get too old? I've been told that after a long time the gelatine
size goes bad, dries out. (I have, incidentally, some 1932 Whatman
watercolor paper -- which I could certainly never use. Maybe I should
just frame it plain, showing the watermark.)
> the sieve side will swell more and is bigger in this situation. The sieve
> side can be recognized in raking light: look for a sieve structure. Also in
> coloured papers the sieve side is darker: pigments will sink in the paper
Bas, I'm assuming this is same as the "wire" side? I need a raking light
AND a lupe to distinguish.
Again, thanks... (PS., and oh that Dahlia mister -- who needs a Jaguar?
But where in US? Any suggestions out there? TALAS? Or????)
Cheers,
Judy