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This video shares the process that she likes to use with some of her watercolor paintings on paper and how to frame them without glass. You will see five demonstrations on mounting blank watercolor paper, a print, original artwork and problem solving. She will show you how she seals and protects them with UV protection, along with a few extra additional features on how to get the most authentic signature on dark backgrounds and a special treat creating a triptych. The triptych at the end of the video will be hanging at the Bolinas Museum next to oil and acrylic paintings. By using this process it offers an additional way too add dimension to watercolor paintings. This video is designed so that the average artist can easily achieve professional results without a huge investment and by using many items already found around the house.
(about 56 minutes)
This video was added to our catalog on January 01, 2000 in Arts & Crafts::Painting: Watercolor and Arts & Crafts::Picture Framing.
Product availability: available now, ships immediately!
Very clear and well shot, with a nice even delivery of the scripted narration, this video is a good introduction to this most modern of mounting techniques for watercolors: Using acrylic gel medium to secure either unpainted paper, giclee prints, or completed paintings to Ampersand's smooth, cradled clayboards, then coating the finished work with a variety of Golden's UVLS sprayed- or brushed-on varnishes so they can be displayed without glass. Her methods are very simple and straight-forward; pretty much exactly what you might imagine if you've only heard about the idea, except perhaps for the step of using sandpaper to get the paper completely flush with the board after gluing, and even to cut through thin papers altogether instead of cutting them from the back first with a razor.
I was a bit surprised to see that the artist had no apparent qualms about chopping off whatever parts of her work didn't fit the board, even if these were several inches wide, and took no pains to precisely position or true her work or any of its edges in relation to the boards as she glued them down; she even went so far as to divvy up one of her full-sheet rock paintings into three small chunks that would cover three 5x5-in. panels (instant gift-shop "triptych") as if the work was nothing but wrapping paper suitable for decoupage. And I was decidedly disappointed that she didn't discuss any of these issues about edges and precision placement, which seem to me to be the most puzzling aspects of the technique. I guess the assumption is that if you're going to be fussy about edges, size or positioning, you should work on pre-mounted paper, or buy panels from the manufacturer custom-made to fit your finished work.
But seeing her at work was still very illuminating, as it was clear that you need to really slather on the gel medium to get a good mount. And her troubleshooting section was also worthwhile. Overall, I'm glad I got to see it.
It was a very interesting and informative instruction. She is the first to admit that there is a learning curve and I was also surprised at the amount of her work that she chopped off. This is a permanent mount - practice and make sure you love what you did. I can't see myself inhaling that cloud of stuff she sprays to finish her work. I felt that it made her work look craftsy and limited to people who like box art versus beautiful framing. It looks like wrapping paper - it was not as dimensional as I imagined. Give me an old fashioned mount with glass over water color which gives you the option to change from traditional to modern via frame style! She does say that her mounts could reclassify the work from watercolor to acrylic.
Waste of money. Her mounting methods are outdated and really don't work very well. Her vision of taking one photo or painting and dividing into parts was simplistic and had nothing new to show.
