Help Warped Intaglio Print

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JRAM1

JRAM1

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Feb 13, 2007
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We have a large intaglio print on a heavy bond paper. It has experienced water damage and is bowing and warping. Once the mat was put on with a regular hinge, the print seems to be warping thru the entire piece. Meaning there are elevation changes between the mat and the art at several points along the entire piece. I don't think a conservation/reversable drymount will work. I'm afraid it will crease the art because of the weight of the paper. I thought about placing wood cross sections of 1/8" thick strips across the back to hold it down. (Such as framing up a wall) Then placing the backing board on top of that to create a constant pressure across the piece and allowing for any expansion/contraction. Any help would be greatly appreciated!
 
It probably needs to visit a paper conservator to be straightened. The paper won't respond well to being forced mechanically back into being flat, it has to be properly humidified and de-humidified under pressure to regain its original flatness.
 
05; but the drying time will be two weeks minimum. [/QUOTE said:
Not necessairly, it is all about the paper and ambient RH conditions.
Click to expand...
 
Rebecca said:
Not necessairly, it is all about the paper and ambient RH conditions.
Click to expand...

Certainly there are exceptions, but we and many (if not most) other paper conservators put humidified sheets in stacks of blotter paper or felts, put a thick flat cover on, weigh it down, and leave it for a minimum of two weeks.

The humidification is key to the process, but even then there is no guarantee the sheet will be perfectly smooth or flat or stay that way.
 
The drying process can be speeded up by changing the blotters as many times as necessary. Or, if the blotters are sandwiched between tricore corrugaged sheets, warm air can be blown through the corrugations to hasten drying. Gemini printers did (perhaps still do) this. Or, paper can be stretch dried, a la Japanese scroll mounting methods. Art printers have been known to staple prints to the wall for stretch drying, trimming the margins afterwards. None of these are techniques for the framer, and the last would, of course, only be used by the printer in collaboration with the artist. The point is, there are many ways to skin a cat.
 
Wouldn't the condition of this print possibly be normal? I have studied and made etchings. The paper before it is printed is soaked in water, then goes through a roller etching press, sometimes more than once. That right there alters the paper, then who knows how it was dried or the conditions.

To me as a framer this is assuming responsibility for someone else problem. I would just explain to your client that is the nature of the beast, paper is 3 dimensional, even though it looks flat or 2 dimensional.
 
When working with cockled papers I think they look much better if you "box" around it & leave it to it's own nature rather than force the edges down by pressing the mat against it. You might give that a try.
 
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