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  • jemiljan
    I ve often coated the paper with a 3-5% solution of hydroxypropyl methyl cellulose or food-grade gelatin, followed by an application of Dorland s Wax Medium.
    Message 1 of 4 , May 13, 2012
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      I've often coated the paper with a 3-5% solution of hydroxypropyl methyl cellulose or food-grade gelatin, followed by an application of Dorland's Wax Medium. It is a blend of paraffin, purified beeswax, and microcrystalline waxes, with a small amount of Damar resin. It is designed for oil paintings, but I find it works quite well for some marbled and papers, though if applied unevenly, it may appear to stain. l I find it leaves a much harder finish than other purely microcrystalline paste waxes like Renaissance Wax, which can remain soft and somewhat tacky, and even whitening. It is commonly available in many art stores in the US, and is quite a bit cheaper). Some conservators may have concerns about it, so I would offer to use the pure mycrocrystalline to make them happy, though I tell them that they should honestly be far more concerned about the quality of the adhesives and leather that they use than a small amount of mordant and wax coating.

      Application is key; a little paste wax goes a very long way. Like Iris said, I recommend only applying it to the paper that you need for the job. I make a kind of a large tampon from an old, but finely knitted lint-free cotton or cotton-poly sock, stuff it with another one, and then tie the end off, mush it about so it is flat but firm, and trim off the excess. It looks a bit like what traditional woodblock printers use for inking.

      It is best to test out a sample, or practice on a piece of paper you're not too concerned about to get the hang of the technique. Be sure to apply even using gentle strokes. If you're applying this to a laid paper, try and apply it in the direction of the horizontal laid lines, so the wax doesn't skip over the crevices. When done, I keep the tampon in the container.

      Allow some time for the wax to fully set. The length of time depends on your environment, but I would say anywhere from a few hours to overnight. You can then burnish with an agate burnisher, though with this stuff, you can also just rub it with a cloth for a soft sheen. Some papers may need a small reapplication.

      Jake Benson
    • anthonianthonianthoni
      I used to glaze my papers using a mix of egg white and alum( I have posted more on this subject in this forum under Aher ). you take the white of an egg,
      Message 2 of 4 , May 13, 2012
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        I used to glaze my papers using a mix of egg white and alum( I have posted more on this subject in this forum under "Aher" ). you take the white of an egg, and a small, pea sized lump of alum. You beat the egg with the alum till it is all a froth, and let the stuff settle into a liquid overnight, after taking out the alum lump.
        This yields a sort of waterproof coating, which may be burnished to a very high gloss, however, the thing is quite hard to polish, offering much resistance. Against the burnsiher. It is also easy to ruin the mix, by adding too much alum. The alum also needs to be in The form of a CRYSTAL , not in powder form. If you use powdered alum, you only need to add a few grains.

        Regards
        Anthony
      • irisnevins
        I did the egg white/alum with you at i think the Baltimore conference years ago with you Jake. It is a nice finish but lots of work. I take the easy or
        Message 3 of 4 , May 13, 2012
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          I did the egg white/alum with you at i think the Baltimore conference years ago with you Jake. It is a nice finish but lots of work. I take the easy or simplest route, which to me is using paraffin, rather than renaissance wax, which does stay tacky a bit, but mainly give the paper a filmy look. The paraffin, only enough to allow a burnisher to glide. Not excess or it woo will look filmy, though is a harder finish that Re. Wax. Lacking a burnisher I have buffed it in with a simple Bounty paper towel which tends not to lint up. Rub hard. This will coat to protect, but an agate burnisher with an edge thay is about 1/8" thick and 1 1/2" - 2" long for me does the trick, not the rounded bookbinder's burnishers. I bought a load of these that fit in your palm years ago at a rock and mineral show from a "rock hound" I have not been able to find them since, but a rock shop can cut one that fits in the palm of your hand. I have ones with an indent for your thumb which helps. There are a few left at $18 each. Then it's all over unless you get them made. I may actually commission a bunch when I run out. The heat from the friction, it distributes the small amount of paraffin, and quite evenly. It gives a thin hard coating, the colors are vibrant, not filmy.
          Iris Nevins
          www.marblingpaper.com



          On 05/13/12, jemiljan<jemiljan@...> wrote:

          I've often coated the paper with a 3-5% solution of hydroxypropyl methyl cellulose or food-grade gelatin, followed by an application of Dorland's Wax Medium. It is a blend of paraffin, purified beeswax, and microcrystalline waxes, with a small amount of Damar resin. It is designed for oil paintings, but I find it works quite well for some marbled and papers, though if applied unevenly, it may appear to stain. l I find it leaves a much harder finish than other purely microcrystalline paste waxes like Renaissance Wax, which can remain soft and somewhat tacky, and even whitening. It is commonly available in many art stores in the US, and is quite a bit cheaper). Some conservators may have concerns about it, so I would offer to use the pure mycrocrystalline to make them happy, though I tell them that they should honestly be far more concerned about the quality of the adhesives and leather that they use than a small amount of mordant and wax coating.

          Application is key; a little paste wax goes a very long way. Like Iris said, I recommend only applying it to the paper that you need for the job. I make a kind of a large tampon from an old, but finely knitted lint-free cotton or cotton-poly sock, stuff it with another one, and then tie the end off, mush it about so it is flat but firm, and trim off the excess. It looks a bit like what traditional woodblock printers use for inking.

          It is best to test out a sample, or practice on a piece of paper you're not too concerned about to get the hang of the technique. Be sure to apply even using gentle strokes. If you're applying this to a laid paper, try and apply it in the direction of the horizontal laid lines, so the wax doesn't skip over the crevices. When done, I keep the tampon in the container.

          Allow some time for the wax to fully set. The length of time depends on your environment, but I would say anywhere from a few hours to overnight. You can then burnish with an agate burnisher, though with this stuff, you can also just rub it with a cloth for a soft sheen. Some papers may need a small reapplication.

          Jake Benson





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        • jemiljan
          Anthony, there are actually many forms of aher/ahar. The one employing alum and egg white is generally used in Turkey, but the textual sources in Arabic,
          Message 4 of 4 , May 15, 2012
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            Anthony, there are actually many forms of aher/ahar. The one employing alum and egg white is generally used in Turkey, but the textual sources in Arabic, Persian, and Turkish provide many different recipes using all sorts of mucilage from plants, gums, starches, and glues, and even using combination of them, applied in several coats. I generally prefer to not use it for bookbinding, as it doesn't really look the same as old European papers.

            Iris, It was actually Mohamed Zakariya who was demonstrating the aher method, while I was demonstrating using hydroxy propyl methyl cellulose and microcrystalline wax back during the 1995 IMG in Savage Mill.

            I forgot to mention that I also have one of those stones you are referring to. I picked it up in a shop that billed it as "meditation stone"- the idea being that you rub your thumb in the indentation while you meditate. Many were made of soapstone, but the one I picked up was a piece of 3/8" thick striated agate cut in a trapezoidal shape, mostly quarts with minimal veining, and a nice, gently rounded edge. I have used it for burnishing paper, but I find my hand tires quickly. I find I like the trapezoidal shape is also ideal as a hand-held burnisher for edge gilding, the short flat end can burnish the main part of the edge, but the pited part is great for the area around the rounded and backed spine.

            Large Cowry shells were also used for burnishing paper, and are quite ergonomic. What I have also used in a pinch is a large glass jar- like a mayonaisse jar - which is smooth, but make sure to avoid the seam. I was visiting my mother and trying to finish some polished paper for a gift, and wound up doing it on top of her washing machine or dryer! The hard enameled surface actually worked very well. It's also large and ergonomic. I got the idea from having seen some fairly large, hand-blown glass eggs in Topkapı Sarayı in Istanbul (last I visited, they were exhibited in the manuscripts room) that were once used for paper burnishing.

            Searching just now, I found an outfit in the Fatih section of Istanbul, 'Kağıthane Ahercilik', making glass paper burnishers. It uses a piece of thick plate glass in place of agate, and costs $25/20€.

            <http://aharlikagitinenglish.blogcu.com/>

            Also note the cute burnishing table, designed to be sat at while working, like how the Ottomans did it back in the day. They are located at İskender Paşa Mahallesi, Kıztaşı Caddesi, Eski Saraçhâne sokak, No:23/A , Fatih/ İstanbul. Email <aharci@...>. Not sure if I'll have time to drop by in person or not when I'm in Istanbul next.

            Best,

            Jake

            --- In Marbling@yahoogroups.com, irisnevins <irisnevins@...> wrote:
            >
            > I did the egg white/alum with you at i think the Baltimore conference years ago with you Jake. It is a nice finish but lots of work. I take the easy or simplest route, which to me is using paraffin, rather than renaissance wax, which does stay tacky a bit, but mainly give the paper a filmy look. The paraffin, only enough to allow a burnisher to glide. Not excess or it woo will look filmy, though is a harder finish that Re. Wax. Lacking a burnisher I have buffed it in with a simple Bounty paper towel which tends not to lint up. Rub hard. This will coat to protect, but an agate burnisher with an edge thay is about 1/8" thick and 1 1/2" - 2" long for me does the trick, not the rounded bookbinder's burnishers. I bought a load of these that fit in your palm years ago at a rock and mineral show from a "rock hound" I have not been able to find them since, but a rock shop can cut one that fits in the palm of your hand. I have ones with an indent for your thumb which helps. There are a few left at $18 each. Then it's all over unless you get them made. I may actually commission a bunch when I run out. The heat from the friction, it distributes the small amount of paraffin, and quite evenly. It gives a thin hard coating, the colors are vibrant, not filmy.
            > Iris Nevins
            > www.marblingpaper.com
            >
            >
            >
            > On 05/13/12, jemiljan<jemiljan@...> wrote:
            >
            > I've often coated the paper with a 3-5% solution of hydroxypropyl methyl cellulose or food-grade gelatin, followed by an application of Dorland's Wax Medium. It is a blend of paraffin, purified beeswax, and microcrystalline waxes, with a small amount of Damar resin. It is designed for oil paintings, but I find it works quite well for some marbled and papers, though if applied unevenly, it may appear to stain. l I find it leaves a much harder finish than other purely microcrystalline paste waxes like Renaissance Wax, which can remain soft and somewhat tacky, and even whitening. It is commonly available in many art stores in the US, and is quite a bit cheaper). Some conservators may have concerns about it, so I would offer to use the pure mycrocrystalline to make them happy, though I tell them that they should honestly be far more concerned about the quality of the adhesives and leather that they use than a small amount of mordant and wax coating.
            >
            > Application is key; a little paste wax goes a very long way. Like Iris said, I recommend only applying it to the paper that you need for the job. I make a kind of a large tampon from an old, but finely knitted lint-free cotton or cotton-poly sock, stuff it with another one, and then tie the end off, mush it about so it is flat but firm, and trim off the excess. It looks a bit like what traditional woodblock printers use for inking.
            >
            > It is best to test out a sample, or practice on a piece of paper you're not too concerned about to get the hang of the technique. Be sure to apply even using gentle strokes. If you're applying this to a laid paper, try and apply it in the direction of the horizontal laid lines, so the wax doesn't skip over the crevices. When done, I keep the tampon in the container.
            >
            > Allow some time for the wax to fully set. The length of time depends on your environment, but I would say anywhere from a few hours to overnight. You can then burnish with an agate burnisher, though with this stuff, you can also just rub it with a cloth for a soft sheen. Some papers may need a small reapplication.
            >
            > Jake Benson
            >
            >
            >
            >
            >
            > ------------------------------------
            >
            > Yahoo! Groups Links
            >
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