|
"Iris
Peek " by JRJ 8" x 10" encaustic over acrylic on
board
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| "Iris
Peek " by JRJ 8" x 10" encaustic on board |
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| ""Wax
Lotus " by JRJ 8" square encaustic over acrylic
on matboard on board |
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"Untitled
II " by Franz Kline1952 11 x 9 telephone book pages
pasted to board |
"Untitled
II " by Franz Kline1952 11" x 9" pages pasted to
board
"Wax
Lotus " by JRJ 8" square encaustic over acrylic on mat
board on board
"Bowl of Cherries" by JRJ encaustic & gold leaf over
acrylic 8" square on board
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| "Bowl
of Cherries" 9" square by JRJ encaustic & gold
leaf over acrylic on board |
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| "Iris Field" (Iris hoards) watercolor by JRJ 18"
x 22" |
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| "Lane"
by JRJ 12" x 14"encaustic on board |
| This
is hot wax applied to a cold board surface. The wax quickly
cools becoming 3 dimensional and thick, applied with old stubby
brushes, sticks and palette knives it quickly takes on an
appearance of impasto painting, with the juxtaposed visual
mixing of impressionist painting. |
 |
| "Coleas" by JRJ 22" x 30"
watercolor & newsprint collage on aquarelle paper |
"Coleas"
by JRJ watercolor collage
CONSERVATION
SUPPLIERS:
Archival
Methods
235 Middle Road
Henrietta, NY 14467
mail@archivalmethods.com
(585) 334-7050; (866) 877-7050
Fax (585) 334-7067
LBS-Archival
Products
1801 Thompson
P.O. Box 1413
Des Moines, IA 50316-1416
(800) 526-5640; (515) 262-3191
Fax (888) 220-2397
info@archival.com
http://www.archival.com
Conservation
Resources International
8000-H Forbes Place
Springfield, VA 22151
(800) 634-6932
Fax (703) 321-0629
http://www.conservation-resources.com
Gaylord:
Gaylord Bros.
Box 4901
Syracuse, NY 13221-4901
(800) 448-6160
(800) 428-3631 help line
FAX (800) 272-3412
http://www.gaylord.com
Hollinger
Corporation
9401 North East PV.
Fredricksburg, VA 22404
(800) 634-0491
Fax (800) 947-8814
http://www.hollingercorp.com
LLC=Light
Impressions
PO Box 787
Brea, CA 92822-0787
(800) 828-6216; (716) 441-4539
Fax (800) 828-5539
http://www.lightimpressionsdirect.com
Archivart
40 Eisenhower Drive
Paramus, NJ 07652
(800) 804-8428; (201) 804-8986
http://www.archivart.com/
Conservation Materials, Ltd.
1165 Marietta Way
P.O. Box 2884
Sparks, NV 89431
(702) 331-0582
Fax (702) 331-0588
TALAS
586 Broadway
New York, NY 10012
(212) 219-0770
Fax (212) 219-0735
Internet
Resources for Art Conservation:
http://www2.lib.udel.edu/subj/artc/internet.htm
 |
| "Memorial
Day" by JRJ 22" x 30" watercolor newsprint,
acrylic medium transfer on aquarelle paper |
|
It
is natural to have preferences between types of media. Some characteristics
match our aesthetic sensibilities and since we are creatures of
honor and conviction, we find it hard to switch allegiances,but
the cure might be easier than we imagine.
an expression from the depression era, "Make
it do, wear it out, use it up, do without".
I received
a gift that sparked a memory. I received a book "Formulas for
Painters (200 formulas...) by Robert Massey. Leafing through the
book I saw warm home made hide glue used as a medium with pigment
mixed in to make paint. Upon hardening it is varnished with a dilute
solution of formaldehyde to make it behave as a conventional paint
layer and provide a fungicidal assist for the glue. It seems an
extreme case of making it difficult on yourself, but there was a
reason for this mixture. One instance was Franz Klein. He immigrated
to America at just the wrong moment. The Depression caused the creation
of the Works Progress Administration to offer small subsistance
level jobs to artists to help them survive until the recovery. One
limitation was "no recent immigrants". Franz Kline was
not eligible, and in typical artist fashion, he made do. He collected
discarded telephone books to paint on the paper pages right over
the print. For paint he mixed glue and soot from kerosene lamps,
limiting himself to small black & white examples on recycled
newsprint. He could not afford even the basest dry pigment. He used
thelittle paintings as preliminaries later producing large canvases
as the economy recovered and people bought his paintings. He had
used a very ancient medium to work and eventually give rise to some
of the most impressive graphic images in all of abstract expressionism
Homework
# 11 "mixed media" as the only requirement
in making an image You need not invest in expensive paints, but try
to produce the most useful combinations for this assignment.
WHEAT
PASTE RECIPE
ingredients:
Flour
(bleached pastry wheat flour) 1 part by volume
water
10 parts by volume
Alum
1/2 tsp to each pint of paste
To
the flour add enough water to make a slurry. Shake in a sealed jar
until all the lumps disintegrate, may be left to stand for an hour.
Place slurry in a double boiler, boil remaining water and slowly
add to paste stirring until paste thickens. Add alum, then add a
few drops of thymol dissolved in alcohol to prevent mold & mildew
[formaldehyde was used formerly, however thymol is less dangerous
to use. [1/8 tsp of thymol crystals dissolved in a pint of denatured
ethyl alcohol may be applied a few drops at a time with an eye dropper
to paint or glue solutions to prevent mold & mildew.
Mounting
paper one on another. - Directions for use: brush a thin coat on
the back of the paper to be mounted, tip on to the receiving paper
surface [prestretched or place under stretched damp brown wrapping
paper to dry thoroughly before removing. Or place in a vacuum table
to flatten without wrinkling.
Matting
work on paper under glass: wheat paste is best for securing art
to backing under a rag mat, using mulberry or rice paper Ts. The
weak link is the rice paper. If the matted painting falls off the
wall or is dropped the T tears and not the art paper.
RICE FLOUR RECIPE
Another
version of this uses rice starch or rice flour (from asian foods
section in grocery) as a substitute for pastry flour. All else is
the same except the rice flour usually has fewer lumps and is easier
to find than pastry flour most times.
ANOTHER SIMPLE
PASTE: METHYL CELLULOSE
Methyl
cellulose, the main ingredient in most commercial wallpaper pastes,
is acceptable for conservation purposes if used in its pure form.
It is available from conservation suppliers as a white powder. Mix
one rounded tablespoon of methyl cellulose powder with 1/2 cup distilled
water and let stand for several hours. Thin to the appropriate consistency
with distilled water. Methyl cellulose is not so strong as starch
paste but should give adequate support for objects of moderate size.
Methyl cellulose paste keeps for several weeks and does not require
a preservative or refrigeration.
APPLYING HINGES
Apply starch
paste or methyl cellulose to one side of the hinge with a small
stiff brush before the hinge is put in place. Cover the hinge with
a thin layer of paste. Position the hinge, using tweezers if necessary,
and tamp it lightly with a small piece of blotting paper. Weight
the hinge as it dries to
prevent cockling of the object. Hinges may be weighted as follows:
place a blotter over the area to
be dried. Place a small piece of glass over this with a weight of
at least one pound on top. Small bags of lead shot or lead fishing
weights from a sporting goods store are excellent. The hinge should
be weighted until it is dry. Changing the blotting paper occasionally
will speed up the process.
Folded hinges
will sometimes stick together as they dry. one way to prevent this
is to insert a piece of household waxed paper between the two parts
of the hinge. Conservators use release paper or polyester web (available
from conservation suppliers).
It
may take time before hinging comes an easy task, but persistence
and practice does pay off.
|
an
assortment of # 7 sable rounds