Luminous Landscape Forum
Raw & Post Processing, Printing => Printing: Printers, Papers and Inks => Topic started by: Phil Indeblanc on January 16, 2015, 02:53:15 pm
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I've stretched canvas ages ago a few times in painting class, and applied gesso, etc...
Otherwise have always purchased prestrretched canvas to paint on.
Fast forward a few decades......
I forgot the process, and most importantly, I don't want to ruin the prints I make for clients.
If I send out my canvas prints, how much should I expect to pay per square foot on a, about 1" thick off the wall gallery wrap stretching?
OR,
Should I do them myself? order the sizes I need for the project, and practice on something that I can mess up (suggestions what to use welcome)? How quickly can I master this?
My biggest hurdle I think would be making very clean corners of the overlapping material, and of course keeping it drum tight...I maybe need to come up with a cutting method?.....
I do need to do this in the next week to a month max.
What do you think?
(I didn't do a search for this here, ops!). Links are helpful also, but I would like personal feedback as well.
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Do-It-Yourself!
It is very easy as long as you have a good canvas plier.
aaron
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thanks. any suggested pliers and other sources?
I'll watch some YouTube vids I guess, but maybe some insider tips to look out for when printing to stretch?
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I use Breathing Color's "Stretch Relief" pliers. I stretch my own to maintain quality control and would never send it out. If I can't produce it myself, it isn't offered.
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Lots of good stuff on the 'tube.
There's one thing that's a little different about inkjet canvas. The canvas painters use and inkjet canvas are only distantly related. Most painting canvas can be stretched starting in any direction. However, most inkjet canvases use strongly polarized weaves "optimized" (some might say "compromised") for so-called good stretching characteristics.
To save some typing, your stretching experience will be happier if you apply the first and strongest stretch along an axis that is 90 degrees to the dominant weave pattern. If you make a 24 x 60 print on 24 inch canvas, the first and tightest stretch should be along the 60" length, which has the most "give" for stretching. Only after you staple down each end of the 60 inch length should you then go and tension (rather than aggressively stretch) across the 24 inch axis. IMHO. This applies to almost all the goofy, user friendly, highly polarized, machine-like canvases that will make you feel like dying when you first see them on the wall next to real paintings. IMHO.
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One of the main issues of stretching your own canvas is the critical aspect of coating the print with a spray or roll on finish. This ia a huge deal, and frequently becomes a deal breaker when attempting to do yourself. So much to learn there and equipment and space required that it might be best to find a good guy locally and have them do it. It is doable and can be mastered, but you need a spray room to do it right, or a clean space to roll the finish which can be tricky.
A good frame person, who can finish / stretch for you would be fantastic.
IMHO....
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As others have posted its very easy to stretch your own canvas. However I would not be without the Pit Bull Pliers. I checked on line and everyone is out of stock but it makes stretching extremely easy. If you can find this pliers buy it..... don't be put off by the price - worth every penny.
Victor
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I see the Breathing color and the John Annesly pliers, both lock with teeth.
The video of Breathing color does make it look pretty easy.
I guess sizing the piece with the proper amount for wrap, and staple is key.
But as far as coating, wouldn't a can of the fine art sprays work? I don't mind getting a spray gun, and setting up a booth, but what do I use as the varnish with it, and is it needed?
Obviously I don't want to cloud the image, and there are pieces like portrait images, that will not be critical...most importantly I don't want a reflective surface, not even that slight luster you can see at an angle off the light...if I can help it.
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But as far as coating, wouldn't a can of the fine art sprays work? I don't mind getting a spray gun, and setting up a booth, but what do I use as the varnish with it, and is it needed?
The "can" fine art sprays like PremiereArt Print Shield work miracles on glossy papers, creating a very resilient surface that is completely free of bronzing and with transparency into the blacks that is far better than with uncoated prints. Two coats gives mechanical protection that is impressive. In addition to whatever UV protection is claimed. However, those can "art sprays" are about useless for physical protection on matte surfaces, and the image quality of matte surfaced prints takes a big hit, IMHO.
OK, to be fair, some of the sprays you can buy a Home Depot will apply a tough surface to canvas, but with an uncertain future that may or may not including cracking, yellowing, hazing, etc. Deft is good because it sprays a real oval pattern, but it's not longer carried at HD or Lowes.
I have used my Fuji spray system almost every day for many years and find it indispensable. Well worth the cost over the very cheap plastic HVLP systems from Home Depot etc that, just for starters, have filters that clog so fast you never know exactly what kind of spray intensity you will get from minute to minute. If I had to replace my present system I would probably buy this one (http://www.amazon.com/Fuji-2903-T70-Mini-Mite-Spray-System/dp/B00D4NPMKI/ref=sr_1_10?ie=UTF8&qid=1421519521&sr=8-10&keywords=fuji+spray+system).
The guys in that video are being far too dainty.
Unfortunately, HVLP spraying has a steep learning curve and one can blissfully create quite a few badly coated, hazy prints during the learning stages. I wouldn't even know where to begin discussing the numerous issues involved. Here's sound byte: there is no possible coating that will create a coated print that will not look either reflective or hazy in difficult lighting situations. Glossy and reflective, or matte and hazy. Pick one.
It's easy enough to make an OK surface for presentation in print-friendly locations, but when you put your magnum opus up in the reception room of Big Business Incorporated, you will find that reflections or hazing from the opposite, well windowed, south facing wall will destroy your credibility as an artist for all the movers and shakers who will visit. You have to think about these things. The answer? I don't know how to create a durable piece economically, but I do know how to do it at great expense.
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Deft is extremely problematic. Over 45 + years in woodworking, I learned that it can cause heart palpitations in certain people, even if wearing a mask, as it gets into the environment. That being said, it is a remarkably clear coating. I wouldn't trust my lungs to it in any environment.
If you want a simple non-invasive coating, the premier art shield will work for you if, and it's a big IF, you don't foresee the prints being moved, etc. I have found that the effect is not as bad as Bill portrays it in terms of screwing with the wa of the print, but to each their own, of course. All prints I have sprayed with that stuff have white showing on the corners in no time - they just can't take ANY abrasion.
The stuff does deliver a passable "naked" canvas print, and might discourage some flaking, but it's not really a good answer.
Getting that perfect formula is really very difficult, and I whole heartedly agree with Bill, you can screw up a whole lot of great prints learning how to get there. It's not for the faint of heart, LOL.
We have been able to find a special rolled coating that I find acceptable, but it takes a whole lot of accouterments, heated liquids of a special mixture and special conditions to apply in a clean room, with special lighting to be able to see what's happening.
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But as far as coating, wouldn't a can of the fine art sprays work?
Sure, if you enjoy the look of cracked edges and corners. - Jim :(
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I have a metal door that was galvanized metal, and I wanted to coat it. I purchased from Home Depot a pint of some varnish clear liquid that looked cloudy in the can but rolled on clear, and I applied that to one door. It was $0 and claimed it would not yellow and was designed for out door use. I wish I remembered the name, but within 2 years it yellowed, and then it cracked and I was able to pull large sheets of it off the door. I redid part of it with Krylon clear, and it has not had an issue in 4 years. No crack, yellowing and very nice really. The doors get a beating from the sun regularly.
So one of those 2 canvas pliers, and maybe the Premier art shield, or Krylon.... Or see if I can take it to a auto body shop. They do a lot of matte finishes these days :-)
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You might take a look at these guys. http://www.imageworkssupply.com/ (http://www.imageworkssupply.com/)
I think they produce the bars sold through BC. You really don't need anything other than the kit to do a canvas, save a small hammer and a staple gun.
I've done a number of 40x40 wraps and they have all come out tight as a drum and seem to stay that way. For someone that isn't going to be doing a lot of wraps all the time they seem reasonably priced.
If you are going to do lots, say dozens or more a week then maybe look at this guy http://www.tensadorii.com/home (http://www.tensadorii.com/home)
Food for thought.
Later Larry
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Some great advice folks, thank you.
I also appreciate the site links, I'll do a test, and see how things go. I guess the finishing coat is still a bit hazy, ha!
I know a few folks here that formulate their own coatings...maybe you guys can sell it? :-)
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I have a metal door that was galvanized metal, and I wanted to coat it. I purchased from Home Depot a pint of some varnish clear liquid that looked cloudy in the can but rolled on clear, and I applied that to one door. It was $0 and claimed it would not yellow and was designed for out door use. I wish I remembered the name, but within 2 years it yellowed, and then it cracked and I was able to pull large sheets of it off the door. I redid part of it with Krylon clear, and it has not had an issue in 4 years. No crack, yellowing and very nice really. The doors get a beating from the sun regularly.
So one of those 2 canvas pliers, and maybe the Premier art shield, or Krylon.... Or see if I can take it to a auto body shop. They do a lot of matte finishes these days :-)
There are several important things to consider when it comes to finishes. Your statement about car finishes, not sure you were kidding or not. I have a friend who is a well known painter/sculptor who uses auto body paint and does several lacquer top coats over the finished work, mostly on aluminum. Consider that the American sculptor David Smith used car paint and car varnish on his sculptures that were outdoors for years in the 60's before museums bought them all and brought them indoors. The colors seem to be holding quite well.
I don't know what the Smithsonian would say about it, and I just haven't bothered to ask, even though I know a few conservators there.
The issue I would caution against is the aspect of the coefficient of expansion and contraction of dissimilar materials. This is always a problem and is at the root cause of all surface coatings - either success or failure. They ALL fail - it's just a matter of time. Canvas, not unlike wood is hygroscopic and absorbs the relative humidity of its environment, particularly as seasons change. The finished print is a "sandwich" if you will, of the actual substrate, the coatings for printing on, and the ink itself. Add to this a protective coating and specific things can go right or wrong. The automobile coatings are meant to go over paints that share similar characteristics, and are meant to withstand not only severe light but abrasion. It is a hard coat. Finishes such as glamour gloss and Timeless, etc., are "soft finishes" which first dive deep and sink in, then gradually buildup surface medium hard coats, which are still very soft in comparison to the auto lacquers.
Testing is the key to all of it. Which finish will wok for you that has the particular characteristics that will enable you to work with it to attain that sweet spot you're looking for.
It is doable, but testing and careful record keeping are required in your own "home lab", particularly as just in darkroom work, temperature is always a big factor in success or failure.
I hesitate to give advice on formulas, because I won't give information out on our own, but I can say that you can experiment with something like Timeless or Glamour Gloss, known standards, and begin doing either spray testing or roll application testing to begin to understand what is at stake in terms of what you can achieve, creating your own blend of finish that meets your eye.
My best advice is to do just that, learn what you can achieve on your own that suits you, then you can either go into production, or communicate this information to someone doing the work for you. It's all a rabbit hole, my friend, one brand makes you smaller, one brand makes you larger and one does nothing at all. Anything that is any good is a relatively closely guarded secret. And when you go through what you will to get to your goal, no way will you just give your formula out either.
Your eye is the arbiter of taste when it comes to this finish kingdom....
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I have worked with some metal pieces (as you may has seen) with auto finishes. I was a bit tongue in cheek about it, as I didn't think I might need to go that far...Well at least for these few portraits I did.
Great stuff to read Mark, I can understand what you mean when it comes to the coatings and formulas...
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Btw, anyone here use the John Annesley pliers? The stretchReleif is out of stock. Maybe someone tried both?
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I used a pliers that were almost identical to the Annesley pliers. The mechanical advantage for gripping is wonderful for those of us developing arthritic hands. It was the straight version, I just now noticed that there are now versions with much higher angles between canvas and hand grips that might be useful for clearance when stretching gallery wraps around the back. Have never used that variation, would want to see a video before deciding to try them.
Another thing I liked about the Annesley knock-off was the spring loaded handles that would push back to open by themselves, that's a great anti-drop feature. Although the wide pliers now being sold by BC have great advantages as you approach the challenging corners, when I tried them they seemed extremely awkward for all the fooling around one had to do with opening and closing the vice grip mechanism.
Stretching pliers are very personal. I know one person who swears by the cheap, wide-billed welding vice grips from Lowes. If you have lots of extra canvas length, pliers with one or two protruding prongs allow a very easy grip and pull operation, at a cost of an inch or two more canvas than other methods require. For most people it's just a matter of what they've gotten used to.
Of course if you really want one helluva set of canvas stretching pliers get yourself an 8 foot wide stretching machine.
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The Annesley video is pretty bad. One angle from far and the guy in front of the work part ofi the time he is closer.
Which are the Annesley knock-offs you like, you mention?
I would be doing gallery almost all the time, but the lock getting hard to release might sound like an issue. BC has the locking feature.
I was thinking the 6" Annesley might be a good one? Unless that notch in the BC makes all the difference to getting clean corners, I would not see an advantage.
Any links are helpful.
It also sounds like my first batch will be rolling on a coat of protection.... any that are matte I should look for? Avoiding any haze, cloudiness would be key. If it lasts 20+ years without yellowing/uv stable fantastic!(although I will suggest to keep away from directSL.
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I don't have much of a problem with the locking mechanism of the BC Stretch Relief pliers. They work like vice grips, so if you adjust them for the tension, they're not difficult to work with. If you tighten the tension too much, yes, they're hard to unlock, but after a while you'll get the hang of it.
I'll also 2nd Bill.t's comments about the FujiSpray system. I have the Mighty-Mite 3 he refers to and love it. I use the gravity feed canister (above the gun). It's smaller, but I've never had to refill the tank for a canvas and I've done up to 36x54 easily. Rolling takes a lot more patience, and skill... and you can still make a mistake or get dust, or roller marks... etc.
Oh... and I use Timeless by BC fro the coating.
spraying can be quite the learning curve, but not daunting. I scraped three 16x20 before getting the spray where I wanted it and although I was happy with the results after that, in the next few weeks following my technique and results were even better. I have some spraying coming up next week I believe. I'll see if I can video it.
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Thanks Mike, that would be great!
That Fuji is pricey for me, and I have seen all alum and rather nice kits for $150-300. Wonder what makes the Fuji so special. Regardless, I have sprayed with an HVLP before. I remember it being a case where to keeep the start and finish off the piece. Bring the head in on the canvas when the spray pattern is clean. and don't let off the trigger on the canvas. Clean after each use.
Is there a specific pressure or fineness that the Fuji does that others don't?
As long as it doesn't clog up with what I pour in..... and the trigger has a nice smooth gradation in pressure, I think I would be happy with the gun.
I have airbrushed for over a decade, about 2 decades ago :-) ....so I know the slight differences between different makes in precision. In a overall coating, I don't think I need to spend over $200 for a quality unit. I already have a compressor.
Here are some I found on Amazon....
Fuji 2203G Semi-PRO 2 - Gravity HVLP Spray System
or
http://www.amazon.com/Fuji-2250-Hobby-PRO-Spray-Filters/dp/B0091R7TES/ref=sr_1_35?ie=UTF8&qid=1421727647&sr=8-35&keywords=HVLP
or
http://www.amazon.com/DeVilbiss-802405-StartingLine-Touch-Up-Gravity/dp/B0015PKQDK/ref=sr_1_20?ie=UTF8&qid=1421727689&sr=8-20&keywords=HVLP
or
http://www.amazon.com/Neiko-1-5mm-HVLP-Air-Spray/dp/B000UVLAM6/ref=sr_1_47?ie=UTF8&qid=1421727718&sr=8-47&keywords=HVLP
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The cheap Fuji looks suspiciously like the gun came from Harbor Freight or Lowes. Maybe it's great, maybe not. I am familiar with the excellent T75 gun on the $600 system, it's very precise while having only two adjustments to think about. If I screw the needle out 1.75 turns I can predict exactly how much paint I will lay down on each coat, and I can easily adjust the fan to my favored 8 inch oval. It gives me exactly the finish I like, every time. That's also why I greatly prefer the turbine to a compressor, turbines never run out of air. The turbine I use now is several years old, and I only a year ago upgraded from a gun that was still working well after at least 1000 uses. Was due to a lost part on the very old gun that was out of stock.
With a compressor, you need at least 8+ CFM at no less than 40 PSI for the gun to complete any size of print in a single pass. With the typical 4 CFM nailer compressors you'll lose it after about a 24 x 36, and it will take a few minutes for the compressor to recover.
With the DeVilbiss gun you also need a relatively cheap regulator to take your 40 PSI line down to roughly 12 PSI for the gun. I see some of the other guns on your list come with regulators. It's a well regarded gun but like all that category of compressor driven systems there are a lot of knobs to set right.
The main skill you need to develop is to keep your distance and rate of motion exactly the same. Newbys have a really hard time keeping the same distance, and always speed up during a pass, which I why I pace myself with a metronome clipped to my shirt. They also develop stylistic things like flicking the gun suddenly up or down at the end of a pass. Nice and even and nothing fancy, that's the ticket.
Don't try to modulate the coating spray! Go pedal to metal on the handle every time. Canvas coating is no place for gradations, just get it done.
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Sounds like a turbine would be great, but since I have a large compressor with plenty pressure with a 5 gallon tank, it maybe easy enough to jump in with one of those and see if it will do the job for now. If I see the need I can adjust later.
thanks Bill. Great insight as usual. (as well as other posts, like Mikes...thank you. Would be great to see the vid!)
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Phil, HVLP stands for "High Volume, Low Pressure." That means you need a LOT of air at low pressure. Also the air coming from your compressor has moisture and oil in it - not good for finishing. Your compressor is not the best choice for this type of finishing. Get a turbine. Buy once, cry once. Anything worth doing is worth doing correctly. - Jim
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Good point Jim. I forgot about that !
Although I was thinking of a moisture trap. :-)
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My 4.6 gallon tank is worthless for HVLP. The gun starts running down from the very first blast. After about 6 square feet it's a squirt gun.
That's so true about buy once! I sure have replaced a lot of cheap stuff with the real thing. The poor man pays twice, as they say. I'm slowly learning.
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Fwiw, there are also suitable air filters that will remove moisture and contaminants from the air supply. Northern Industrial and Harbor Freight (and others) have some great candidates An air supply filter for the air gun and a good respirator for the operator are recommended...
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Good point about the respirator, needed even for non-solvent spraying. Cheap masks that merely filter dust are not enough, I found that out the hard way. You need filters for organics even with water based sprays.
A ways back Justan recommended a respirator with eye protection, which I think is very important as well. Unfortunately all the ones I looked at would not allow a good seal when wearing glasses. My one attempt at gluing reading glasses to the mask cover was less than successful. So now I coat semi-blind without my glasses, relying mostly on big black number along the top and bottom of my panels to advance the gun the correct distance.
Can anybody recommend an eye-protecting, eyeglass-friendly respirator with organic filters?
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IIRC mine is a 3M brand and it gets along fine with my glasses. I got it new from ebay for about half the list price. It also came with several clear replaceable lens covers which comes in very handy. I’ll find the model number if it’s on the respirator and get it to you. You can also google “ full face respirator that can be worn with glasses ” but without the quotation marks and find several good candidates.
I refinished pianos when I was much younger and found the first day that there are some major and unnecessary risks to exposing lungs and eyes to any kind of vapor/fumes, and this risk exists when there is an osha approved high air volume exhaust spraying room used. Most home environments don't even come close. Many don’t think about this kind of thing unless there are immediate vision/lung issues....................................................... cough
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I use a breatheasy powered air system and Tychem Air-Mate White Headcovers:
http://ecx.images-amazon.com/images/I/41ludSj2aKL.jpg (http://ecx.images-amazon.com/images/I/41ludSj2aKL.jpg)
You can find the head covers here:
http://www.amazon.com/dp/B00NTOLZ8K/?tag=MWTSAL-20
The main unit is an earlier model of this:
http://www.amazon.com/3M-Versaflo-Easy-Clean-TR-300-ECK/dp/B007PB4BFW/ref=pd_sim_sbs_indust_4?ie=UTF8&refRID=0MEK77QR71E40WSENWMX (http://www.amazon.com/3M-Versaflo-Easy-Clean-TR-300-ECK/dp/B007PB4BFW/ref=pd_sim_sbs_indust_4?ie=UTF8&refRID=0MEK77QR71E40WSENWMX)
Mine is actually an older Racal unit. They can be found on eBay.
I like the Tychem Airmate hoods because they are very lightweight, and positive air pressure is moving in front of your face so glasses don't get fogged up.
They're expensive but if handled gently can last a long time. There are removable and replaceable face shield plastic protectors as well.
The main thing is you can find a PAP (Filtered Positive Air Pressure) unit and customize it for your use.
Believe me, the one thing I have learned after 45 years of finishing in woodworking, is NOT to skimp on respirator equipment.
DO NOT USE A COMPRESSOR TO SUPPLY AIR TO YOUR MASK EVER UNLESS IT IS PROFESSIONALLY FILTERED - (see post below). OIL will KILL you.
This is tricky stuff. You can get a 3M full face mask with VOC filters (Volatile Organic Compounds) and that will work fine for most people.
If you wear glasses, sweat and are uncomfortable with masks - try the Tychem Headcovers - you'll never go back.
EDIT: Other Head Covers available at Graingers:
http://www.grainger.com/product/3M-Head-Cover-WP107772/_/N-jmo/Ntt-Triton+Air+Respirator?adgrpID=17007253118&gclid=CODK3Kffo8MCFYc7gQodi50Ahg&kwdID=113982396038&sst=All&ts_optout=true&s_pp=false&picUrl=//static.grainger.com/rp/s/is/image/Grainger/6PPG9_AS01?$smthumb$ (http://www.grainger.com/product/3M-Head-Cover-WP107772/_/N-jmo/Ntt-Triton+Air+Respirator?adgrpID=17007253118&gclid=CODK3Kffo8MCFYc7gQodi50Ahg&kwdID=113982396038&sst=All&ts_optout=true&s_pp=false&picUrl=//static.grainger.com/rp/s/is/image/Grainger/6PPG9_AS01?$smthumb$)
A less expensive PAPR (Powered Air Purifying Respirators) here:
http://www.grainger.com/product/4DA48?cm_sp=HIO-_-HIDP-_-RR_VTV_P&cm_vc=IDPRRZ11&zoneId=IDPRRZ11 (http://www.grainger.com/product/4DA48?cm_sp=HIO-_-HIDP-_-RR_VTV_P&cm_vc=IDPRRZ11&zoneId=IDPRRZ11)
Check them out here:
http://www.ebay.com/sch/i.html?_from=R40&_trksid=p2050601.m570.l1313.TR0.TRC0.H0.XPAPR&_nkw=PAPR&_sacat=0 (http://www.ebay.com/sch/i.html?_from=R40&_trksid=p2050601.m570.l1313.TR0.TRC0.H0.XPAPR&_nkw=PAPR&_sacat=0)
Many different kinds to be seen.
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Thanks Mark for that detailed reply. I thought those things only existed in Michael Crichton movies.
Kinda pricey, but less that the cost of replacement eyes and lungs. I think I'm going to go for it. The idea of having nothing hanging off my face is very attractive. Even after several years of use I feel very awkward and constrained using those 3M facehugger masks. But I'll have to be careful not to alarm the neighbors or attract attention from the DEA.
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Thanks Mark for that detailed reply. I thought those things only existed in Michael Crichton movies.
Kinda pricey, but less that the cost of replacement eyes and lungs. I think I'm going to go for it. The idea of having nothing hanging off my face is very attractive. Even after several years of use I feel very awkward and constrained using those 3M facehugger masks. But I'll have to be careful not to alarm the neighbors or attract attention from the DEA.
As you said, Bill, the poor man buys twice. If you do a lot of this, I recommend going for a really great unit that uses Ni-Cad batteries.
Don't know how much you do, and or if you work in a woodshop to make frames, or what, but I've used Positive air pressure for many years as a sculptor and woodworker, and have used the lightweight headgear for applying finishes. Wouldn't be without it.
Here's a photo of me using a Racal unit in my studio in the late 80's:
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Thanks Mark for that detailed reply. I thought those things only existed in Michael Crichton movies.
Kinda pricey, but less that the cost of replacement eyes and lungs. I think I'm going to go for it. The idea of having nothing hanging off my face is very attractive. Even after several years of use I feel very awkward and constrained using those 3M facehugger masks. But I'll have to be careful not to alarm the neighbors or attract attention from the DEA.
You might look at this:
http://www.tecnosupplies.com/html/wilson_clearflow.html
(http://www.tecnosupplies.com/html/wilson_clearflow.html)
Racal is also good for professional systems:
http://www.tecnosupplies.com/html/constant.html (http://www.tecnosupplies.com/html/constant.html)
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Wow Mark, that's some seriously hard core wood butchering! What were you making?
I coat 4 x 8 sheets of media around 300 times a year, and sometimes 2 or 3 sheets. So I'm in and out of the mask a lot for about 5 to 10 minutes periods. Oh, and I also cut about 700 frames a year, some of it polystyrene which has the nastiest sawdust on the planet. Right I now I just wear a 3M 8511 paper mask for that, it's pretty marginal. That may be reason enough all by itself for something better.
It sorta looks like I could put one of those fancy masks on and off pretty fast. Is that right? Which mask is best in that regard?
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Wow Mark, that's some seriously hard core wood butchering! What were you making?
I coat 4 x 8 sheets of media around 300 times a year, and sometimes 2 or 3 sheets. So I'm in and out of the mask a lot for about 5 to 10 minutes periods. Oh, and I also cut about 700 frames a year, some of it polystyrene which has the nastiest sawdust on the planet. Right I now I just wear a 3M 8511 paper mask for that, it's pretty marginal. That may be reason enough all by itself for something better.
It sorta looks like I could put one of those fancy masks on and off pretty fast. Is that right? Which mask is best in that regard?
I was making THIS (http://lindquiststudios.com/ICHIBOKUS/Hompashiki%20II-900.jpg)
Actually, you do a lot of work in short spurts, so the lightweight head cover would work well for finish spraying, and the adjustable mask would do well for nasty dust. All in all I'd probably recommend this:
http://www.grainger.com/product/4DA48?cm_sp=HIO-_-HIDP-_-RR_VTV_P&cm_vc=IDPRRZ11&zoneId=IDPRRZ11 (http://www.grainger.com/product/4DA48?cm_sp=HIO-_-HIDP-_-RR_VTV_P&cm_vc=IDPRRZ11&zoneId=IDPRRZ11)
But if you really want to do it right, this system might do you best, from the standpoint of versatility, longest lasting and ease of use:
http://www.tecnosupplies.com/html/constant.html (http://www.tecnosupplies.com/html/constant.html)
It boils down to a unit you wear on a belt and a comfortable head covering, or a special head gear that plugs into a filtered air system. I like the filtered air system because you can adjust the flow, and it works in tandem with the spray sysytem - you plug in in one area and replug in another.
It may just boil down to money, ultimately. The PAPR system might work well for you, but those head covers are expensive and they don't last forever.
That's my quick take on it Bill. You might want to do your homework on this, however.
-Mark
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I was making THIS (http://lindquiststudios.com/ICHIBOKUS/Hompashiki%20II-900.jpg)
Don't feel bad about your log Mark, it's nothing a little wood filler and some heavy sanding won't fix!
(I'm just messing with ya, nice job really!) - Jim
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Heh heh, Jim, heard it all before, LOL.
This one was recently purchased by Yale University Art Gallery (http://lindquiststudios.com/Mark_Lindquist_News.htm)
They bought it from the collector who purchased it from my gallery back in the mid-80's.
I heard the asking price was $100,000.00 but I don't know what the final purchase price was.
So much for wood filler and heavy sanding, eh? LOL
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$100,000? Artists usually have to be dead to command that kind of price! Congratulations!
Edit: I just paged down through that URL (http://lindquiststudios.com/Mark_Lindquist_News.htm). Terrific work, and lots of it. I never suspected.
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Glad you liked it Bill.
-Mark
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Hi Mark
Your work is stunning, absolutely beautiful
Hugo
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Appreciate the kind words Hugo :-)
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$100,000? Artists usually have to be dead to command that kind of price! Congratulations!
Edit: I just paged down through that URL (http://lindquiststudios.com/Mark_Lindquist_News.htm). Terrific work, and lots of it. I never suspected.
That's how I felt when I first learned of your work as well, Bill:
This URL (http://www.unit16.net/oscar.htm) and This URL (http://www.unit16.net/Adobe%20Web%20Gallery/content/index.html)
Never know who you're going to meet on this forum.
Fantastic work and a lifetime of achievement - congratulations back!
-Mark
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I use a HVLP spray gun for my canvas. Always wear your respirator when coating canvas!! When I started out I sprayed once without a respirator, I was high for hours. It is terrible for you. Now I use a full face respirator.
I suggest stretching your own canvas. You will make more money and you can ensure the product is perfect. I use to spray the canvas 3 times with PrintShield then stretch. It was really hard to stretch, I ended up bruising my hand trying to get stretch the canvas tight enough. Now I spray it once or twice, stretch it and then coat it 1 or 2 more times. It doesn't crack if you spraying it 1 or 2 good coats, the third is mostly for the finish. I did buy a Canvas Stretching machine, it save a lot of time, blood, sweat and tears...
This is the respirator that I use for spraying lacquer, working with anhydrous ammonia and cutting MDF.
(http://ecx.images-amazon.com/images/I/51vb1bcJuqL.jpg)