Charlie, I have 3 questions (sorry) and hope you can answer! All in the archival/ reversible context: 1) For practice (waiting for my paper to arrive) I backed one straight to the stretched canvas (acid free coating) and it worked well. It's also rollable. Is this ever an acceptable method?
2) Is watercolor the only acceptable method for fixing blemishes? (Reversible)
3) Is an overcoat spray of workable fixative (which is supposed to be removable) ever ok?
Thanks! Nice to have someone with knowledge to ask.
1) For practice (waiting for my paper to arrive) I backed one straight to the stretched canvas (acid free coating) and it worked well. It's also rollable. Is this ever an acceptable method?
Well there is standard practice and other. This is other. There is not really anything wrong with it but it's like making a peanut butter and mayonnaise sandwich - you can still eat it but people are going to point and laugh. I guess the question then becomes why is this not standard practice.
(The most important) The masa acts as an interleaving agent so that the poster is directly adhered to an acid free surface.
It also allows for damaged paper to be adhered to a single smooth surface with equal tension where as the canvas can be rough and uneven.
There is also a great variation in rate of resizing. The canvas will resize more than the masa which is somewhat stable. You never can be sure of the resizing of the poster so combined with the resizing of the cotton canvas, there are some unkowns. The poster could warp or folds seperate from the canvas vs. paper shrink rates being too far apart. Or the folds could pop up...
The masa also helps quiet the texture of the canvas which can be permanent (does not flatten out).
The masa provides for additional handling properties - with the unevenness of the canvas a poster can get caught.
The color of the canvas doesn't frame the poster well, so you would need to trim it which defeats some of the purpose of backing.
2) Is watercolor the only acceptable method for fixing blemishes? (Reversible)
That is reversible, yes again for standard practice... There are water souble waxes colors but you have to buy the right ones. There is gouache paints which is just high pigment water colors... Acrylic are reversible. So is poly on furniture but you have to use steel wool to get it off. Same with acrylic - its reversible but you have to mechanically agitate it which leave to image loss etc. It does not just float off or dissolve with out hurting the image below.
3) Is an overcoat spray of workable fixative (which is supposed to be removable) ever ok?
It's not reversible (without solvent - and again then that takes agitation which could damage the poster). Neither is acrylic, which all the pros use for needed touch ups. The question then is - Does it hurt the poster? They make archival fixatives, they use fixatives all the time on photo restoration. Artist use it all the time to seal in water and charcoal works that are to stand the test of time... It could be ok (like acrylic paints) as long as conservation is not the main goal. I don't like to use it. It's like a lie to me. A poster is what it is, fixative only covers stuff up.
3) Is an overcoat spray of workable fixative (which is supposed to be removable) ever ok?
It's not reversible (without solvent - and again then that takes agitation which could damage the poster). Neither is acrylic, which all the pros use for needed touch ups. The question then is - Does it hurt the poster? They make archival fixatives, they use fixatives all the time on photo restoration. Artist use it all the time to seal in water and charcoal works that are to stand the test of time... It could be ok (like acrylic paints) as long as conservation is not the main goal. I don't like to use it. It's like a lie to me. A poster is what it is, fixative only covers stuff up.
Just curious Charlie- ---if paints or fixatives•••do you think these pros tell their clients they use a permanent medium?
Can you explain what you mean by "acid free coating" on a cotton canvas?
It's cotton canvas primed with an acid free substance (gesso possibly). Is that a no-no? Is some Duck Cloth or cotton canvas acid free without a coating?
3) Is an overcoat spray of workable fixative (which is supposed to be removable) ever ok?
It's not reversible (without solvent - and again then that takes agitation which could damage the poster). Neither is acrylic, which all the pros use for needed touch ups. The question then is - Does it hurt the poster? They make archival fixatives, they use fixatives all the time on photo restoration. Artist use it all the time to seal in water and charcoal works that are to stand the test of time... It could be ok (like acrylic paints) as long as conservation is not the main goal. I don't like to use it. It's like a lie to me. A poster is what it is, fixative only covers stuff up.
Just curious Charlie- ---if paints or fixatives•••do you think these pros tell their clients they use a permanent medium?
I don't want to assume anything, but I doubt these details are ever volunteered...
Can you explain what you mean by "acid free coating" on a cotton canvas?
It's cotton canvas primed with an acid free substance (gesso possibly). Is that a no-no? Is some Duck Cloth or cotton canvas acid free without a coating?
Sounds good Charlie. Ok, I've run into a large problem. I mounted a Conan poster (poor condition for practice) to the "rice" paper. (I've seen some mount the paper to the canvas first- is that better?) A couple days later I was ready to mount the poster. (I made my own wheat paste). It did not work at ALL. When I ran the brayer over the poster to remove air bubbles etc, instead of flattening it, it created creases (folded the pockets in on themselves). I kept going (to practice my method) and all it did, no matter how I used the brayer, was form creases. After I gave up, my newly perma-creased poster rose from the canvas in places and became all warped and full of large bubbles. (See picture) My canvas is stretched nicely around a very smooth wood board with no flaws so I am using the brayer against a very hard surface. I applied the paste to the whole canvas area and placed the poster on it. What do you think I'm doing wrong here? The photo shows what I ended up with after working with the brayer for a long time. It seems like my paste may not be tacky enough but what accounts for the creasing instead of pushing the air bubbles out? It seems that would mean it's too tacky. Help!
Sadly, I have had posters consigned to me that looked almost exactly like that. So what you did was not unique to you.
HAS lifetime guarantees on every item - IS eMoviePoster.com HAS unrestored and unenhanced images - IS eMoviePoster.com HAS 100% honest condition descriptions - IS eMoviePoster.com HAS auctions where the winner is the higher of two real bidders - IS eMoviePoster.com HAS up to SIXTEEN weeks of "Pay and Hold" to save a fortune on shipping - IS eMoviePoster.com HAS real customer service before, during and after EVERY auction, and answers all questions - IS eMoviePoster.com
HAS 25% or 26% "buyers premiums" of any kind (but especially the dreadful "$29 or $49 minimum" ones) - NOT eMoviePoster.com HAS "reserves or starts over $1 - NOT eMoviePoster.com HAS hidden bidder IDs - NOT eMoviePoster.com HAS "nosebleed" shipping charges - NOT eMoviePoster.com HAS inadequate packaging - NOT eMoviePoster.com HAS no customer service to speak of, before, during and after any auction, and answers almost no questions - NOT eMoviePoster.com
A general question for your brave souls tackling this stuff...do you draw the line anywhere?
Is there anything that you wouldn't do yourself, and send off to the "experts"?
My limit would be complex image replacement... If I need to replace somebody's head it just isn't going to turn out well...
So if you got a rare piece in, which need some work, you wouldn't hesitate?
Talking something that would be expense and hard to replace...
If they were mine, not really. I haven't really put a dollar limit on it. But I guess anything over a couple thousand dollars would make me nervous. But I've done quite a variety of papers and sizes at this point...
If I ever get around to it, I plan to back my Orange Mad Max... On the other hand I have a Toko-Ri daybill that needs some serious art work that Dario is a master at. Funny though, I asked him for a quote and never heard back...
A general question for your brave souls tackling this stuff...do you draw the line anywhere?
Is there anything that you wouldn't do yourself, and send off to the "experts"?
I agree with Charlie, I know my own limits and wouldn't attempt major image restoration, and don't see myself even thinking about that for another year or two or three... If I bought a Rear Window, or a Vertigo one sheet...off to Dario it would go...
Funny that Charlie mentioned "anything over a couple thousand dollars..." I'm nervous to back some of my posters that are 200+ and haven't even backed anything over $100 yet. I need to just to get over the hump...lotta goals to reach...
I will say this, it's certainly challenging but also a lot of fun...
A general question for your brave souls tackling this stuff...do you draw the line anywhere?
Is there anything that you wouldn't do yourself, and send off to the "experts"?
My limit would be complex image replacement... If I need to replace somebody's head it just isn't going to turn out well...
So if you got a rare piece in, which need some work, you wouldn't hesitate?
Talking something that would be expense and hard to replace...
If they were mine, not really. I haven't really put a dollar limit on it. But I guess anything over a couple thousand dollars would make me nervous. But I've done quite a variety of papers and sizes at this point...
If I ever get around to it, I plan to back my Orange Mad Max... On the other hand I have a Toko-Ri daybill that needs some serious art work that Dario is a master at. Funny though, I asked him for a quote and never heard back...
I've had that too...try again, sometimes he has issues with his email.
Day one: Stretch Canvas on to frame. Cook Wheat paste/Glue. ( must cool/ cure till next day )
So watch TV, clean the house or whatever, unless you have poster to restore or pre prep your posters for LB.
Day Two: Put the Masa paper down on the Canvas. Cook Wheat paste/Glue. (
must cool/ cure till next day/ Masa must dry till next day )
So walk the dog, clean the car or whatever, unless you have poster to restore or pre prep your posters for LB.
Day:Three: Linen Back you poster. ( if Masa is dry )
This is and should be a 3 day deal. DO NOT Linen back your posters wile the Masa is still wet.
There are several reason why you need to spread it out over three days.
I'll give you one. Wet Masa, wet poster. To much in play wile drying ( contract/expanding ) Fold Lines!
That is how I've done it since the beginning of my time.
Comments
1) For practice (waiting for my paper to arrive) I backed one straight to the stretched canvas (acid free coating) and it worked well. It's also rollable.
Is this ever an acceptable method?
2) Is watercolor the only acceptable method for fixing blemishes? (Reversible)
3) Is an overcoat spray of workable fixative (which is supposed to be removable) ever ok?
Thanks! Nice to have someone with knowledge to ask.
Is this ever an acceptable method?
Well there is standard practice and other. This is other. There is not really anything wrong with it but it's like making a peanut butter and mayonnaise sandwich - you can still eat it but people are going to point and laugh. I guess the question then becomes why is this not standard practice.
2) Is watercolor the only acceptable method for fixing blemishes? (Reversible)
That is reversible, yes again for standard practice... There are water souble waxes colors but you have to buy the right ones. There is gouache paints which is just high pigment water colors... Acrylic are reversible. So is poly on furniture but you have to use steel wool to get it off. Same with acrylic - its reversible but you have to mechanically agitate it which leave to image loss etc. It does not just float off or dissolve with out hurting the image below.
3) Is an overcoat spray of workable fixative (which is supposed to be removable) ever ok?
It's not reversible (without solvent - and again then that takes agitation which could damage the poster). Neither is acrylic, which all the pros use for needed touch ups. The question then is - Does it hurt the poster? They make archival fixatives, they use fixatives all the time on photo restoration. Artist use it all the time to seal in water and charcoal works that are to stand the test of time... It could be ok (like acrylic paints) as long as conservation is not the main goal. I don't like to use it. It's like a lie to me. A poster is what it is, fixative only covers stuff up.
---if paints or fixatives•••do you think these pros tell their clients they use a permanent medium?
Unprimed only... No coating.
A couple days later I was ready to mount the poster. (I made my own wheat paste). It did not work at ALL. When I ran the brayer over the poster to remove air bubbles etc, instead of flattening it, it created creases (folded the pockets in on themselves). I kept going (to practice my method) and all it did, no matter how I used the brayer, was form creases. After I gave up, my newly perma-creased poster rose from the canvas in places and became all warped and full of large bubbles. (See picture)
My canvas is stretched nicely around a very smooth wood board with no flaws so I am using the brayer against a very hard surface. I applied the paste to the whole canvas area and placed the poster on it.
What do you think I'm doing wrong here?
The photo shows what I ended up with after working with the brayer for a long time. It seems like my paste may not be tacky enough but what accounts for the creasing instead of pushing the air bubbles out? It seems that would mean it's too tacky. Help!
HAS unrestored and unenhanced images - IS eMoviePoster.com
HAS 100% honest condition descriptions - IS eMoviePoster.com
HAS auctions where the winner is the higher of two real bidders - IS eMoviePoster.com
HAS up to SIXTEEN weeks of "Pay and Hold" to save a fortune on shipping - IS eMoviePoster.com
HAS real customer service before, during and after EVERY auction, and answers all questions - IS eMoviePoster.com
HAS 25% or 26% "buyers premiums" of any kind (but especially the dreadful "$29 or $49 minimum" ones) - NOT eMoviePoster.com
HAS "reserves or starts over $1 - NOT eMoviePoster.com
HAS hidden bidder IDs - NOT eMoviePoster.com
HAS "nosebleed" shipping charges - NOT eMoviePoster.com
HAS inadequate packaging - NOT eMoviePoster.com
HAS no customer service to speak of, before, during and after any auction, and answers almost no questions - NOT eMoviePoster.com
A general question for your brave souls tackling this stuff...do you draw the line anywhere?
Is there anything that you wouldn't do yourself, and send off to the "experts"?
My limit would be complex image replacement... If I need to replace somebody's head it just isn't going to turn out well...
So if you got a rare piece in, which need some work, you wouldn't hesitate?
Talking something that would be expense and hard to replace...
You and me both...much kudos to you guys for not only attempting it, but some of you seem to be really mastering it!
I agree with Charlie, I know my own limits and wouldn't attempt major image restoration, and don't see myself even thinking about that for another year or two or three... If I bought a Rear Window, or a Vertigo one sheet...off to Dario it would go...
Funny that Charlie mentioned "anything over a couple thousand dollars..." I'm nervous to back some of my posters that are 200+ and haven't even backed anything over $100 yet. I need to just to get over the hump...lotta goals to reach...
I will say this, it's certainly challenging but also a lot of fun...
I've had that too...try again, sometimes he has issues with his email.
Here it is,
Day one: Stretch Canvas on to frame. Cook Wheat paste/Glue. ( must cool/ cure till next day )
So watch TV, clean the house or whatever, unless you have poster to restore or pre prep your posters for LB.
Day Two: Put the Masa paper down on the Canvas. Cook Wheat paste/Glue. ( must cool/ cure till next day/ Masa must dry till next day )
So walk the dog, clean the car or whatever, unless you have poster to restore or pre prep your posters for LB.
Day:Three: Linen Back you poster. ( if Masa is dry )
This is and should be a 3 day deal. DO NOT Linen back your posters wile the Masa is still wet.
There are several reason why you need to spread it out over three days.
I'll give you one. Wet Masa, wet poster. To much in play wile drying ( contract/expanding ) Fold Lines!
That is how I've done it since the beginning of my time.
Cheers everyone,
dario.