A strange hinging experience

Framar

WOW Framer
Joined
Jul 24, 2001
Posts
26,422
Location
Buffalo, New York, USA/Fort Erie, Ontario, Canada
So I have been practicing with Nori paste - watched the video, printed out all the pages of Hugh's and Greg's Grumble tips, and mastered the art of hinging on plain copy paper.

Today I was ready for the real deal - three silk screens on heavy paper which the customer, naturally, wanted FLOATED!

So I put the pendant hinges on the backs of the prints with the appropriate blotters and weights (the same ones that had JUST worked on the copy paper!) and after setting under the weights for the SAME AMOUNT of time as the experiments, the hinges peeled RIGHT OFF!

I tried again, slightly less drying time for the Nori. Same result. Peeled off cleanly.

I tried this several times at different degrees of wetness or dryness, then I tried my old stand-by, Zen Insta Hinges. Well, let me tell you - up the peeled!

So I tried to take the adhesive offa some linen tape and use it on the Japanese paper hinge. AGAIN - off it peeled!

SO finally, in absolute desperation, I used the linen tape itself and would you believe it STUCK!!! I carefully "frayed" the edges of the tape before I applied it - and the paper is thick enough there was nary a mark or a cockle. The pass=through procedure worked perfectly after that.

Has anyone else run in to this problem of "slippery" paper???

With each step I tried I also was able to adhere the same hinge to ragboard (and copy paper) with no problems at all.

There were no markings on the paper so I cannot tell you what kind it was. It was about the thickness of a manilla folder. And just a hand done silk screen on the front (with some paint slopped onto the edges of the back - but not where I fastened the hinges).

After the client picks them up I'll tell y'all what the prints were and who the artist is.
 
Just sounds like the art was too heavy for your hinges, maybe the hinges were too small also?
 
It might have been that the paper was just too smooth surfaced/heavily sized for the paste to get a grip. Isn't it annoying that there are exceptions to every rule or theory?!

Another solution that might have worked is to use a very thick methyl cellulose adhesive. I use the brand from Light Impressions. They've put it under their own label, but I believe it is Dow, Methocel A4M.

The thick paste is very strong. I have mended old 78 phonograph records with it, and it will stick to slick surfaces like glass. You might try 4 tbs/cup distilled water as a starting point. Add the powder to 1/2cup hot water in blender, then add the remaining 1/2 cup cold. Let it sit for a day or so to settle down. More m/c powder can always be added, but it takes awhile for it to be absorbed. If you work it in with a pallet knife then let it sit for a few hours you should be ok.

You'd still need to experiment with application methods, but it might be another useful weapon in your heavy artillery. ;)

Rebecca
 
Are you peeling the hinge off or pulling it off? When I first tried micro dot paste application, I thought I was doing it wrong because the hinge peeled right off. Then I was told that that is one of the advantages. It peels off in case anyone needs to remove it, but if you pull it the way that gravity will pull it, it stays. I don’t know if that has any relevancy to your problem.
 
Just curious what brand of linen tape you used? I've found that filmoplast SH doesn't work well on heavily sized papers while Lineco self adhesive does although I'm not sure the exact difference between the two. Was there any bleed through of ink/vehicle to the back of the paper from the printing? Sometimes if you see this it can be hard to get something to stick as it seems to be almost oily. I'm with Rebecca on the methyl cellulose. It's my paste of choice.
 
All I did was touch the hinges and they came off. And there was no paint on the back where I placed the hinges. I never remember what brand of linen tape I have - the rolls last me for years! And they would neither peel or pull off of the copy paper or the rag board.

The pieces were called Tree of Life by Jacques Lipchitz, a trio in a portfolio - edition of only 250 sets and I guess most of the sets have been broken up - so an intact set is rare. The portfolio was cool, too - covered with linen!

Next time I'll try Rebecca's procedure! For my arsenal, LOL!
 
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