Washlines

[Coxby]

Does anyone have any useful tips on how to stop washlines overlapping mountlines and looking messy? Thanks in advance.

[John]

Take care,

John

[JFeig]

Coxby, Are you refering to what we in the US call "French Lines" That is, painted lines and panels on a top mount (mat as we call it).

If so, we use a thinned acrylic paint and or acrylic based air brush color. Both have a non reactivatable color due to the acrylic base.

I first draw all of my lines from the opening out toward the outside edge of the board. This way there is no mess with a steel straight edge I use. After the lines dry I can either use standard watercolors or pastel sticks (ground up into powder) to make the panels. The dry lines will act as a barrier for the watercolor from going beyond where I want it to go. 3M's #811 tape (removable) can also be used to make panels using the pastel powder. The powder is burnished into the board with a small foam paint brush.


The bar is 1/4" x 1.5" with sandpaper double sticked to the back less a 1/8" gap at the beveled edge of the bar. I have 3 bars , 12" 24" and 36" made from standard bar stock. The beveling of the bars were done as a trade school project and cost me only the cost of the steel. As I remember they cost about $20.00US about 15 years ago. They are heavy and do not move when working on a project.

[Coxby]

Thanks for your advice. What I did in the end was to make a stencil using Magic Tape using the mount lines as tramlines on either side and add the wash in the centre of the cutout. This worked great except you have to be careful not to press the tape down too much as it can rip the face paper off the mount - eeeks! I'm buying some coloured pencils to mend a slight error first thing tomorrow.

[John]

This worked great except you have to be careful not to press ...

Coxby, you had obviously finished the washlines before reading my very useful tip. (see above)

Here's something a bit more specific - when ruling your lines, always draw towards a previously drawn line, if you can, rather than away from it. The previously drawn line is an easier target to hit than a faint guide mark on the board.

[SquareFrames]

Hi Coxby,

Washlines and Panels are every framers headache. My main items at hand are:
1. Ecobra Ruling Pen
2. Steel straight edge, bevelled at on edge, to stop bleeding
3. Acrylic based inks
4. Either watered down acrylic based inks (Everest), watered down watercolours, or powders (Everest)
5. Scrap piece of mountboard
6. Paper towels
7. Swear Box

If you are new to washlining, you should try and get into the habit of ruling the lines, right to left, as you will be able to see the end of the mark, but like most framers we all rule left to right, its more natural. Using acrylic based inks for the lines is best (I think so) because they dont bleed into each other and any small mistakes can be rectified with subtle use of a sharp blade and eraser.

When doing the panel, this is where you need to work accuractly and quickly, and do not go round in one direction, start the water one direction and then go along the other, etc. keeping a wet edge, then as soon as the water is done, start with the colour wash, again keeping a wet edge until you are finished. Using this wet method, you can do the panel first, then apply the lines

If doing the panels with powder, do your lines first, then fill the panel with the powder, trying to be as accurate as possible, but any over shoots can be rubbed out, then as soon as your panel is complete, rub the panel with cotton wool, this allows the fixiative in the powder to fully adhere to the board.

If you are able to get to the Spring Fair in 2005, Pete Bingham always demonstates at the Lion stand, just ask him. Failing that, telephone the Fine Art Trade Guild 020 7381 6616 and order his 2 videos, 'Innovations in Mount Decoration' Vols I & II, or order them from the LiStevenon catalogue, nothing beats seeing them done, and get plenty of practice.

Steven
GCF Advanced Mount Design & Function

[markw]

Practice, practice, practice. I seem to go through phases when i do lots of washlines - then non at all. Nightmare that they are there is little more satisfying than completing a realy good washline, nothing more infuriating than cocking up a realy good washline. I always find it easier when i have to do a number of mounts.
I am not a great fan of acrylic paint as i dont find it dries with the same degree of tramlining as watercolour - i will try the everest paints to see if its just the acrylics i have used.

Blobbing is probably the most annoying habit of the ecobra pen - and infact any other ruling pen - if you clean the pen with methelated spirits especially the inside edge you will find that you get a much better flow of pigment with less chance of blobbing - it also helps to just start the pen on a spare piece of board.

I once saw a demonstartion from Longridge lines at the Spring fair where the girl demonstrating was doing the thickest lines i have ever seen - how she did it i am not sure, but she made it look very easy. The result was spectacular - ive never got close to even half the width she was doing - its my holy grail of washlines and i shall keep trying.

[SquareFrames]

Hi Markw

Before you try the Everest Paints, I didnt say Everest Paints, I use Everest Inks, but having talked to Pete Bingham (creator of the Everest products) and experimented, alone in my own workshop and with Pete in his workshop, the paints, thinned down can be used for lining. Acyrlic based inks or paints for the lining create a barrier, where the wash finds it difficult to bleed outside of the lines, try it. it does work, but you got to experiement with your mixture of acrylic paint and water, then once you get it 'just right' make enough and bottle it. Chemists sell the little 'sample bottles', mind you the chemist thinks your nuts when you buy in bulk!!!!!!

I use the 2 Everest ranges of inks, the original and the new tramline inks, then afterwards, water down the inks to create the wash I require. They, like most inks, paints, etc. can be mixed to create the right effect or colour you wish. I also use watercolour for the wash, again its just basically like coloured water, I have not used acrylic paints for the wash, like you say, its seems to take an age to dry, but I will experiment to see what I can get out of it.

Th worst experiences any framer can have, are, doing a multiple line and wash, getting to the last line and cocking it up (it happens) or getting to the vital point in the wash when a customer comes in and having to stop. If I am alone in the workshop and having to do line and washes, I either wait until after closing, or if needs must and all that, put a note on the door, 'Back in 30 minutes' gives you time to get the line and wash done, have a coffee and a quiet Panatella.

Pete will be demonstrating his inks, lines and washes, etc. at the Spring Fair at the Lion stand, (I think), I am talking to him later today so I will ask and let you all know.

Steven

[markw]

Steven
When does an ink become a paint? Having got to work i have looked at my array of "inks". I dont think i realy thought about the ability of acrylic to form a barrier - been doing it the old fashioned way for too long - will experiment today. I have the Lion tramline ink - and would assume this is Mr Binghams acrlic product - it doesnt tramline as well as good old fashioned watercolour.
Glad I am not the only one to close the shop when washlining - nothing more infuriating than being at the point of no return when a customer walks in.

[SquareFrames]

Hi Markw,

Cclosing the shop for half an hour or so doesnt seem to be too bad, any longer or if I had a few to do, I would bite the bullet and stay later, although at this time of the year the lighting seems to be different. I find it better coming in earlier is much better. Dont ask, it could be an Irish thing!

I use the new Everest tramline inks quite a lot, and have done for quite some time, and to be honest I have never had a problem, I prefer them to watercolours, and one extra bit of help is that they are lightfast, where watercolurs are not. The only colour of inks, watercolour or acrylics I dont use is Gold, or a mixture made to look like gold, I personally dont like gold lines, so I have (so far) managed to get this message across to my customers, but someday no doubt I will have to match up one, until then I steer away from gold. Do you use gold? If so what do you find works best?

Getting a really thick line is quite easy, although some time should be taken setting this out before hand. Draw your first line, draw a line at the thickness you want, and fill in the space, either free hand or with the rule, thats how I do it. Do not be tempted to open your pen, the ink will simply fall out. Using the Ecobra ruling pen, with each fill you should get approx. 1 1/2 metres of ink or whatever you use.

When I teach washlining, I get the student firstly to take the time and get the feel of their pen, by drawing lines across a piece of mountboard that has been marked out with straight lines, although with start and stop points, and while doing this, get them to practice thicker lines, it seems to work. Best experiemented line I have seen to date, is the Merlot one, mind you seemed a bit of a waste of good Merlot, but a lovely shade of light burgandy. Must try doing a wash panel with cider, see how that works...hahahaha

One thing I have noticed lately is the Ecobra pens that my students buy, have all got their own individual settings. My own personal pens are set at 3 / 3 1/2 depending on the colour and which pen I use, some of te students pens, I have had to set at 6 or 7, others 1 oe 2 or even at a minus figure to achieve the correct thickness of line. Funny things pens??

Talk soon,

Steven

[markw]

Steven
I have yet to find a gold that doesnt stop flowing - any suggetions welcomed.
Watercolour paints - the expensive ones are normally light fast.

I am sure that someone will point out my error but i assume that pigments are pigments - the difference in the finished product is the binding medium. The obvious advantage with acrylic being that it dries with an impervious finish (ok - ive learnt that much today) but if the pigment is not light fast - then it makes no difference what the binding is - it will fade.

[SquareFrames]

Hi Markw,

I agree gold that doesnt stop flowing or clogs up very badly, even to the point where its dry before you have had time to get it from the filling of the pen to the first stroke. Everest gold is the same, although by making the hole in the bottle larger does help aleviate this, albeit not completely, it still clogs up in the pen. I have a fear that by using watercolours they will fade, no matter what prive you pay for them or what standard they are, that is basically why I dont use them for lining.

I am not a spokeman for Everest, (jeepers which I was, I might get some for the training school), but I do get on with Pete very well and talk with him at least twice / three times a week with Framers Committee business as well as personal stuff, but all his inks are lightfast. Pete has spent many, many years developing his paints, inks and powders, and with the success his products have had, speaks for itself. Couple of years ago he had been working on somethig that framers wanted, 'pastel coloured inks for lining', so the tramline inks were developed and with great success. For me the best thing he has come up with for lining.

I have tried mixing watercolours, even tried mixing watercolours and acrylics, you know, wee bit of this, wee bit of that, eye of toad, etc. with some success, but personally i perfer to use the inks, etc. straight out of the bottle, mixing the colours in a bun tray (£1.99 at the hardware store beside mine, 2 for £3.00) and small plates. I can honestly say that I have had no trouble getting the desired colour or effect yet.

I am always interested in testing new products or ideas and like you, I have also gleaned a wee tad of information today, about the expensive watercolurs 'normally' being lightfast.

What galls me about framers doing wash lines and panels, is the lack of care and attention they put into their work. Lines that dont meet, lines that are not of consistent thickness or colour fading towards the end, the wash that isnt consistant and blotchy, hairs on the panel, panels that have been done just with the coloured wash, no water before hand, and they continually get away with it. Hey, I am not perfect, I have done some real howlers in my time, (any framer that tells you they havent, are lying) but at least I have seen the errors and disposed of it and done it again, but some framers are good at marketing the complexities of wash lining, and baffle the customer into believing that they can do and have done a good job. What cost a good job? An extra few minutes preparation and care.

The biggest wash and panel I have ever done, was a 4 inch border, for a 24 x 20 image, on off white museum board, 15 wash lines and two 16mm wash panels, the outer panel slightly darker than the inner. All done with mauves, purples, maroons, with the panels being reddish. Thankfully I did it all without interuption.
The most difficult one I have done to date, is the one I did a couple of months ago for the GCF Advanved Mount Design & Function exam. A, 5 band wash line with an 18mm panel, on a 500 x 400mm image with 89mm borders. Not difficult under normal circumstances, but as we all know doing something for an exam puts you under more pressure than normal.

Talk soon,

Steven