Fixing a Warped Painting

So earlier I posted pictures of the large scale ink and gouache painting I had done, combining Chinese and Indian style idioms. I did the ink first, mounting the rice paper to a larger and firmer piece of rice paper using a rice-paste method which flattens and smooths out the lot of it, which can wrinkle quite a bit in the painting process. I then applied the gouache, hoping that it would be sturdy enough to take the application.

It wasn't, especially after I changed plans midway (from rainbow patterns to pure silver). The piece was left warped and wrinkled. So, not to be defeated so easily, I looked up methods normally used to flatten warped watercolor pieces, figuring that, though the rice paper was thinner, the ink was indelible. The only worrisome bit was the gouache.

The actual process was relatively simple. I got a large sponge and dampened the back of the piece, working from the inside out like I do to apply adhesives or whichever. I then sandwiched the painting between a couple layers of scrap newsprint on either side. I then put all of that between two pieces of hardboard and stuck a giant box of books on top of it. It did wonders. Some of the lake bits are still not perfectly flat, but I think that owes more to the layers of paint. Everywhere else is as flat as when I first mounted it.

Success.

Some comparison shots:

Visability

I have some images of my latest series! These aren't the final documentation photos, and some of the colors may be a touch off, but they are decent for the most part and I can't resist sharing. I debated it for awhile, but finally caved. Do keep in mind they look much better in person. I know, I know, people say that all the time, but there are a lot of sculptural details in the wax (hand carving and layering) that simply don't show up in these photos.

Visability - Mounted photos, ink on rice paper, wax 17.5x11.5

The process is... interesting to say the least. I printed the images off and then mounted them on hardboard/masonite, requesting the guy at the hardware store (Derek) to, essentially, cut the board on the inseam so that my photos would not potentially have problems covering the full space, which turned out to be a solid move.

I knew I didn't want a clean cut on the rice paper, since the look falls into the grunge aesthetic. The solution to that was simple enough - a clean brush dipped in water and traced around the figures allowed me to tear the paper in various ways without risking the images. I thought of the idea when I remembered a line of water as the easiest way to break off segments from the roll (if you didn't care about it being smooth, that is).

I found out through experimentation that if I rushed things and applied any wax coating before the rice paste had completely dried after applying the ink drawings to the photo that instead of enhancing the paper's ethereal qualities it instead actually made it more opaque (rice paste is a traditional tool used for mounting ink drawings done on rice paper, or for various kinds of collage work - very handy stuff. The ink is indelible after drying, as opposed to, say, watercolor). Having to work over the course of days killed me, as I am not known for being patient.

After heating the wax in a crock-pot until liquid, I applied it using a very thin fan brush, creating a light layer to start with over the entirety of the paper parts. I then built it up by adding more wax in sections and creating textures with drips, brush-strokes, and splatters.

When the wax had cooled (which takes no time at all), I used a tool that resembled a hair stick (which resemble chopsticks or skewers) and carved into the wax which always remains relatively soft, creating accents, detail, and figural relief. I could have worked deeper, but I wanted enough thinness to let the ink show through without the wax obscuring. If I do something like this again, I might also use woodcut stamps to add design work into the piece.

Chinese Ink and Modern Applications

So I believe I mentioned learning how to do some Chinese and Indian ink work and painting. I finally got off my lazy bum and documented some of the results. As always, click to expand.

Some rather poor bamboo. I have better ones somewhere, mostly in piles of messy sketches and in my notebook. These two get the form wrong, and I was still learning to handle the ink.

Orchid leaves, blowing in a spring wind. I also learned to do the blossoms, but again I seem to have misplaced them or used them for blotters.

A bit of a mix here. Traditional chrysanthemum styles and a skull from my sketchbook. I've put this one up before, but I believe this is a better copy. Maybe.

A variety of ways to paint a plum blossom branch. These were some of my favorite things to paint, the old gnarled gentlemen.

A painting based off of a traditional Chinese story, using a combination of Chinese and Indian idioms, as my my teachers referred to the patterns or practiced ways of making a form. The lake and various highlights are done in a silver guache. The piece has gotten a bit wrinkled in the painting/mounting/painting, so I am going to attempt some techniques I've researched usually used for flattening out watercolors. I will document the process when I do and post the results here. I'm hoping for the best.

Some shots of the reflective surface. This includes the water, blossoms, and accents on the clouds.

And this ridiculous collage. An exercise that I am still divided about. I like parts of it, whenever I dig down into it... but the overall... eh...