It’s hard to back a work like this!
Urauchi (backing) is an indispensable process in mounting work.
However, depending on the size and condition of the work, the process can be very difficult. It would be good if the difficulty could be seen from the appearance of the work, but often the difficulty is not revealed until the work is actually started.
In this issue, we would like to introduce some examples of backing work and explain its difficulties and innovations.
Backing of Kakejiku and Makiko (scrolls)
Kakejiku and makiko (scrolls) need to be able to be rolled up due to their nature, and they should be lined with thin and strong paper to prevent them from breaking or getting a ・ winding habit even if they are repeatedly rolled up and opened.
Also, it may be necessary to back the work not once, but twice ・3 times.
Furthermore, if the work is on silk (kenpon), unlike a work on paper (kamihon), it must be thoroughly dampened and stretched before backing, and then allowed to dry.
In any case, all processes are very delicate and require careful work.
Backing considering humidity and temperature at the time of work
The climate in Japan (Kanto) varies greatly in terms of humidity and temperature between summer and winter, so it is necessary to be creative during the backing process depending on the season.
In humid and dry seasons, the paper stretches and shrinks and the glue dries differently, and the result may vary even if the work is done in the same way.
Therefore, while controlling the environment using a thermometer ・ hygrometer, humidifier, or dehumidifier, the “amount of humidity” (the amount of moisture to be added by misting the work) and “open time” (the time after the work has been humidified, also called umase) should be determined by assessing the environment at that time. It is necessary to make detailed adjustments to the “amount of dampening” (the amount of water used to moisten the work by blowing mist), “open time” (the time after the work is dampened, also called “umase”), and “glue density.
In addition, because air-conditioning winds can cause the paper to dry out, we sometimes work with the air conditioner turned off even in mid-summer or mid-winter. If sweat drips onto the paper, it can cause stains later on.
Backing of works with thick pigments and sumi ink
When backing a work with thick ink or raised paints, it is very important to be careful that the ink or paints do not come off during the backing process.
In addition, works with thicker sumi ink often have wrinkles in the paper around those areas. In order to avoid leaving wrinkles, it is necessary to loosen the sumi ink by adding water to the paper to extend the wrinkles and flatten the paper. However, doing so may change (albeit slightly) the impression of the work.
It is also very difficult to determine the balance between leaving the wrinkles or preserving the impression of the work.
Backing a work with sumi ink, brush pen, or watercolors
These works will almost certainly bleed. To prevent blotting, we apply an anti-bleeding treatment, but when the anti-bleeding spray is applied, the water from the spray may cause blotting, making wet backing impossible.
In such cases, dry backing, which does not add water, is a candidate. these is an iron press backing, in which the resin is melted by high-temperature heat and adhered.
In this case, even if the work itself has wrinkles, they cannot be extended by adding water, so the backing is applied with the wrinkles remaining as they are.
In addition, once the backing is iron-press lined, it is basically impossible to remove it again. Although it is possible to remove the backing by using a special chemical, problems may occur, such as the loss of the color of the signature.
If you would like to check whether or not the backing will bleed, please provide us with paper and ink ・ pigments in the same condition as the work, and we will check the bleed and verify the type of backing possible in advance.
Backing of large works
Large format works of more than _2,400mm in length and more than _1,000mm in width are physically more difficult to work with.
First of all, you will need a large workspace just to spread out the work. Furthermore, when drying the work,
You will also need a board on which to hang it to dry.
Even if there is space, two or more people are generally required to work on a backing of that size, to ensure that the work is carefully laid out.
Older works ・When a work is badly damaged
If an existing hanging scroll ・ or frame ・ or folding screen is in need of restoration due to severe damage to the original paper, we will remove the backing, make the necessary repairs, and re-back the paper.
The main paper of a hanging scroll is folded, lifted, stained, or soiled. For frames and folding screens, if the paper has tears, stains, or stains, the work may be very difficult depending on the condition of the paper,
The work will be very difficult depending on the condition of the paper.
Conclusion. The backing of any work is not easy.
It is sometimes said that mounting is what makes or kills the work (this paper), and the most important process of mounting ・ technology can be said to be the backing.
It can also be said that the most important process of mounting is backing.
Although it may seem like simply applying glued paper over the work, there are actually many elements within these process that require a great deal of experience and intuitive judgment.
The condition of the work, the amount of water added to the work, the selection of backing paper, the density of the glue, the humidity ・ temperature and other environmental factors, the tools used, the personnel involved, etc., all contribute directly to the finished product.
These factors directly affect the finished product.
If you are considering lining your work, please contact us.
Please also see this page for more information about lining.