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Wheat Paste for Mounting Prints


When mounting prints, maps, or any reproductions on paper, use the good old recipe of wheat paste. This formula allows a simple and fast working paste without making an irrvocable bond.

Ingredients


    1. flour (wheat).....1 part
    2. water............10 parts
    3. alum.............1/4 teaspoon for each pint
    4. For mildew resistance, add 1/2 teaspoon 40% formaldehyde for each pint

    To the flour, add enough cold water to make a thin battered. Make sure all lumps are dissolved. This can be done easily by letting the batter stand for about an hour.

    Put this batter into a double boiler. Boil the reamining water and stir it into the paste. Continue to stir until this paste thickens.

    Add the alum. Also add the formaldehyde, if you want mildew resistance.

    Brush a thin cooat of the mixture on the back ofthe paper to be mounted. Press the mount from the center, working toward the edges to ensure complete contact. If necessary, cover the piece with wax paper and place a weight on it until the paste has dried.

    This is also a good recipe for making wallpaper paste.



Technical Procedures

From a technical point of view the procedure is often effectively kept quite simple.

    1. On a clean canvas, the general location of large masses can be put in lightly with pencil or charcoal.

    2. The palette is set with a complete range of the colors to be used during the sitting, the colors usually being placed near the outer edge of the palette. The palette cup is fastened to the edge of the palette, and a small amount of painting medium is put into it.

    3. The colors are thinned on the palette. Colors may be intermixed, although most writers suggest that the mixtures should be kept as simple as possible--that is, they should consist of no more than two or three colors.

    4. The painter starts with broad, general strokes of thin paint using brushes, palette knives, rags, sponges, or any other instruments. Unsuccessful passages may be removed by scraping them off with the palette knife. Usually, the darks are painted in first gradually working up to the more opaque lights but, of course, this is a highly personal matter.

    5. The key to this technique is to keep the colors clean. Use accurate and decisive strokes to avoid a muddy mess.

    6. For oil painters, poppy oil colors are frequently recommended for use with this technique but there are limitless variations on the style and with the availability of fast-drying acrylic paints, the possibilities are endless.

    Place your jar of glue in a saucepan of water over a low fire and melt it. This requires only a short amount of time and care must be taken not to allow the glue to boil. When it cools, the glue will become a jelly. A quantity of jelly is then applied to the raw canvas (after the canvas is stretched on its frame) or panel, and spread by means of a large spatula. The jelly fills in the interstices of the canvas weave. The excess is then scraped off with the spatula, leaving as little glue as possible on the surface. The canvas should be left to dry in a dark cool place. Whether the canvas has been sized with a coat of liquid glue or jellied glue, it is now ready for priming.

    Please refer to this section for priming:
    Priming Canvas and Wood




    Bibliography:
    Formulas for Painters, Robert Massey, 1967
    The Painter's Handbook, Mark David Gottsegen, 1993
    The Secret Formulas and Techniques of the Masters, Jacques Maroger, 1948



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