The white surround is the border of the paper. Thanks for asking... I should have clarified that. With Awagami papers (and Moab, too), we tend to leave a border due to the quality of the paper.
Can you explain the process of gluing the mats to the board and then how would one be able to remove the print if the mats and backer board are glued together?
I use Awagami Bizan paper, which has a beautiful deckle edge. I would like to leave the edge exposed on the final mount. I would be very interested in a piece on your technique to achieve the best result with such a mount.
Hi Ralph. I applaud your using Awagami Bizan, arguably the most incredible (and expensive) paper we work with in our studio. I agree that the deckle edges make it a show stopper. I will be doing another article soon on Bizan, as well as other Awgami papers, in the future. In the interim, try reading through this past article: https://paperarts.substack.com/p/what-is-a-print.
If you have questions after reading the article, please feel comfortable asking them here, as other subscribers invariably benefit. That particular article shows one experiment in making creative displays. In an upcoming article I'll be explaining how to do a raised Bizan print, as well as another article explaining how to deckle Bizan yourself when faced with the (awful) prospect of having to cut it to a specific size (Oh, how I hate to waste even a sliver of Bizan!!!).
I was waiting for someone to ask that, so First Prize goes to you!! In my restoration work I sometimes see situations like this; it's not uncommon with certain types of papers. The solution is to cut the mats to reveal just the paper, which is mounted in corners that I make out of Awagami paper strips. Admittedly, if you are unsure of the artist's technique, you would want to do the first cut far removed from a possible print edge, moving towards the print on subsequent cuts. I like to include a card adhered to the back of the print noting the distance from print to mats for future reframing.
This article is very interesting to me and I have followed your example and begun using your open frame technique. I swear I read another article by you where you delved into other details such as sealing the print. Am I mistaken or is there another similar article by you? If so, please point me in that direction. Thanking you in advance.
EVERY workshop we host is in-person. We also limit attendance to 4 participants for each workshop (the only exception is our intro to Awagami which is 6). We believe in hands-on work, one-on-one attention, and serious commitment to each participants work, questions, and needs.
Feel free to ask any questions regarding any workshop. We encourage people that are curious to get in touch and make sure any particular workshop is right for them.
The white surround is the border of the paper. Thanks for asking... I should have clarified that. With Awagami papers (and Moab, too), we tend to leave a border due to the quality of the paper.
Can you explain the process of gluing the mats to the board and then how would one be able to remove the print if the mats and backer board are glued together?
You mentioned you like to mount the Awagami prints without glass. Do you put a spray or rolled-on protective coat on them?
In our studio we use two coats of Moab Desert Spray for our open prints.
I use Awagami Bizan paper, which has a beautiful deckle edge. I would like to leave the edge exposed on the final mount. I would be very interested in a piece on your technique to achieve the best result with such a mount.
Hi Ralph. I applaud your using Awagami Bizan, arguably the most incredible (and expensive) paper we work with in our studio. I agree that the deckle edges make it a show stopper. I will be doing another article soon on Bizan, as well as other Awgami papers, in the future. In the interim, try reading through this past article: https://paperarts.substack.com/p/what-is-a-print.
If you have questions after reading the article, please feel comfortable asking them here, as other subscribers invariably benefit. That particular article shows one experiment in making creative displays. In an upcoming article I'll be explaining how to do a raised Bizan print, as well as another article explaining how to deckle Bizan yourself when faced with the (awful) prospect of having to cut it to a specific size (Oh, how I hate to waste even a sliver of Bizan!!!).
Is the white surround matte board, or the border of the print?
Both links for the one day workshop on Mar. 11 and the two-day workshop on a unspecified date are the same
Thanks for catching that. Moving too fast without verifying things...
here's the correct link:
https://lesterpickerphoto.com/products/advanced-awagami/
I was waiting for someone to ask that, so First Prize goes to you!! In my restoration work I sometimes see situations like this; it's not uncommon with certain types of papers. The solution is to cut the mats to reveal just the paper, which is mounted in corners that I make out of Awagami paper strips. Admittedly, if you are unsure of the artist's technique, you would want to do the first cut far removed from a possible print edge, moving towards the print on subsequent cuts. I like to include a card adhered to the back of the print noting the distance from print to mats for future reframing.
This article is very interesting to me and I have followed your example and begun using your open frame technique. I swear I read another article by you where you delved into other details such as sealing the print. Am I mistaken or is there another similar article by you? If so, please point me in that direction. Thanking you in advance.
Are the workshops online or in person?
EVERY workshop we host is in-person. We also limit attendance to 4 participants for each workshop (the only exception is our intro to Awagami which is 6). We believe in hands-on work, one-on-one attention, and serious commitment to each participants work, questions, and needs.
Feel free to ask any questions regarding any workshop. We encourage people that are curious to get in touch and make sure any particular workshop is right for them.