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  1. #21
    donbga's Avatar
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    Quote Originally Posted by Jeremy View Post

    I don't mat to show the border marks because they are an affectation that adds nothing but distraction to my image (much like sloppy 35mm borders), imo.
    I agree completely, though I have seen a few prints where having the exposed brush marks added to the presentation of the image, though by and large I don't think it's very effective and distracts from the actual image most of the time. IOW, showing coating marks should be the result of artistic intent and not a by product of the process intended to shout to the viewer, "Hey look at me, I'm a hand coated print."

    John Dugdale's work comes to mind regarding this topic. His exhibits of cyanotypes are wonderful but there are no non image areas of the print shown when hung and they are very effective. Arentz is another.

    When I contact print sheet film, for some series I like to show the entire rebate surrounded by a DMAX border - but no brush or coating marks. I have seen some printers worry and fret over making their brush marks look artistic to the point they forget about the actual image. Weird!

    Don Bryant
    Don Bryant

  2. #22
    Jeremy's Avatar
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    Quote Originally Posted by Ross Chambers View Post
    I referred to "floating" the print and meant float mounting i.e. trimming and placing the print in the middle of a mat with the board behind it showing. I wonder if anyone may have tried this? Best archival adhesives?
    I'll print on vellum, cut it down to size, drymount this to a piece of watercolor paper and then wax it.

    http://www.anonymousvernacular.com/2...tpd-on-vellum/
    Let's see what I've got in the magic trash can for Mateo!

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  3. #23
    donbga's Avatar
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    Quote Originally Posted by Jeremy View Post
    I'll print on vellum, cut it down to size, drymount this to a piece of watercolor paper and then wax it.
    I trim the edges of gum prints, dry mount them to high quality art paper and then over matt to show a white border around the gum print. The presentation looks very nice. I should probably wax them too. And oh BTW, I use Stonehenge Rising for the mount paper like Jeremy mentions in his write up.
    Don Bryant

  4. #24
    Vaughn's Avatar
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    Quote Originally Posted by Ross Chambers View Post
    I referred to "floating" the print and meant float mounting i.e. trimming and placing the print in the middle of a mat with the board behind it showing. I wonder if anyone may have tried this? Best archival adhesives?Regrds - Ross
    That is what I do with silver gelatin prints (using mount tissue). IMO, a very clean looking presentation.

    I start coating with a rod (Puddle Pusher), and finish off with a brush. The rod easily disperses the liquid and defines the print area -- I find the brush does a nice job of finishing the process. So I very little, if none, brush marks. -- just a solid black border, which I show about 3/16" around the print when mounting.

    Vaughn
    At least with LF landscape, a bad day of photography can still be a good day of exercise.

  5. #25
    Ross Chambers's Avatar
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    Thanks Jeremy, Don, Vaughan,
    I tried a mock up this way with a dud print and it looks pretty good. A useful end for those experimental papers which didn't quite work too. The cold pressed textured ones look nice as backgrounds.

    It seems to be true that Arches Platino works well, but it's hens' teeth in Oz; I'm still trying for a paper that works and is always on the suppliers' shelves (not Arches Watercolour, which is easily obtained here, it curls too much. I haven't tried Arches Aquarelle yet)

    Regards - Ross

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