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My father worked in the culture relic repair department at the regional museum for over 25 years, so basically he is in charge of restoring ancient relics, paintings, artefacts, wooden buildings, cave paintings , so he is also mounting master, this video really reminded me a lot of memories during my childhood when I used watch my father doing this, and I was never interested in it, but now I realised this requires a lot of skills and patience！This kind of techniques and skills should be passed on. Thanks for sharing!
I'm interested in mounting woodcut prints I have made, and they are on various kinds of japanese paper. I bought the two brushes you used in the video, and I wanted to ask if you had recommendations for mounting a gampi print? The paper is so thin, but strong, and I am nervous that I will damage it or tear the paper. Still, without mounting, it can't be shown or framed without risk so it will have to be mounted. Also, I live locally nearby in LA, so in the dry California climate do you think I need the alum? Because you use the alum, I am inclined to try it the way you demonstrated. I'll do tests before the final piece which is rather large, but I would love to hear any tips you have for doing a very delicate piece.
Hello mr. Li, I have another question for you. I am trying to wet mount my Sumi E paintings the way you teach it, but I have problems with it. I have used your recipe with the flour and alun. I did exactly what you tell us to do in your video’s. I paint on Wenzhou paper and I also use the Wenzhou as a backing paper. As a mouning surface I tried a piece of glass, a plastic surface and a laminated kitchen shelf. I already tried to mount my paintings several times, but every time something goes wrong: two times I was unable to remove the painting from the mounting surface without tearing the painting apart. Once the painting shriveled together during drying. And today I could get the painting off the mounting surface without tearing it, but now the backing paper was not glued to the painting itself. So I definitely am doing something wrong. But what is it? Please, can you help me out? Thank you.
I'm glad I found your videos. Have a question: How can a painting be removed AFTER being mounted with this method? I had a painting framed while in Suzhou, China. I believe they used a method similar to this but mounted on a wood board. Now I wish to remove the painting from this frame and mount it differently. Reason being I have noticed brown spots on the painting and would like to preserve it differently.
I've tried something a little different..I used CMC powder mixed with water and left overnight then thinned enough to brush on easily as my glue. I dampened my xuan paper painting, laid it on a flannel cloth damp side down, and covered with a heavy board, to stretch out the wrinkles. When it was barely damp and absolutely flat, I brushed the back with CMC glue then laid on a dampened piece of watercolour paper as the backing and put the whole thing back under the board with the flanel down first. From the centre working outwards for the glue like you do. Left it overnight till it was totally dry. Worked awesome . I used food grade CMC from my Cake dec supplies. Its also called tylose and is acid free archival glue that may be reversable if you rewet it. I haven't tried to do that but will give it a go and see .
I was using way too think of a paste, especially being in a dry climate, which I think was causing my paintings to get wrinkles when using the goat hair brush. I am excited to try this technique of the thinner paste and “floating” the paper to get out the wrinkles.
Hi Henry, great video and thanks for putting it on RU-vid. I was wondering, how do you clean the paste off mounting brushes once you are done? Just water?
No it won't stick to the wall, because it does not have any blue on the back beside the border with thick paste for fixing the edges. The backing glue used for mounting is very thin.
Very Useful demonstration Henry - thank you. - In the UK - they do not sell "All Purpose Flour" Please will you clarify what kind of flour we should use. eg. plain white flour or what ??? Thank you for sharing.........
Hi, Thank you for this video -- very helpful. Is it possible to dry the mounted paper within a book rather than drying on the vertical board? And is the drying board shown a painted wooden board and how do you remove the paper when dry? Do you loose some of the paper while removing?
I love your videos and have learned a lot. Could you do this same method but putting it on canvas and if so, how long would you keep it on the rice art before turning it over to dry?
Ty so much, I haven't tried it with your paste but experimenting with a nori paste... I'm ok with it but not sure I might ruin an original one day. I've practiced on pieces I'm ok if they fail
@@blueheronarts I have started to try the wet mounting and a weird thing is happening, when I brush on the paste... It's pilling up like it's pulling fibers from the rice paper. Have you seen this before.?
No, that is not going to help. You should get rid of all creases while pasting before putting the backing paper on. If there are wrinkles on the backing paper, you may separate the backing paper from the painting and redo the wet mounting(if your paste was thin enough) ; if there are waves due to loosening edge just repeat the stretching process and make sure the edge paste is thick enough.
Yes, but it need a special surface treatment and here a=is A4 size rice paper made for computer printing. www.blueheronarts.com/xuan-craft-paper-computer-printing-28lb-p-3131.html
Hi! I’m using glass to mount my paintings and am having issues with the paper at the edge actually sticking to the glass and ripping as I try to remove it. Can you advise me? Is the glue mixture too thick? Is glass a bad surface? I ruined a painting yesterday and don’t want to do that again!
I used glass when I started mounting for years. Just make sure to apply the thick sticky paste with a small brush so it does not go under the back of painting. When dry, cut out the painting with a blade. I would soak the remaining edges with a wet towel and simply wipe them out.
Henry, i love your videos and started doing this wet mounting with your recipe and my art started pilling up like it was pulling the fibers off the rice paper. It didnt do it to my first 3 pieces but then the last 2 pilled up badly. Then i tried again and all of them pilled up.
No, before putting the backing Masa paper on, while I'm brushing on the paste, it pills up with little tiny balls of fibers. Maybe I'm using the brush too heavy or hard?
Thank you. So many different ways to paint, and mix things. I used to paint porcelain. Absolutely loved it. In the New System I already have an appointment to do a friend's entire wall in his house. I want to do many in my own house. Need one with gardens, several of them. Like I have seen in Japanese and Chinese houses. Absolutely astounding. Plus it's peaceful. Thanks for all your kindness and beautiful artwork. I want to paint and design forever.
