First, the support material sticks to the wall, the pattern of the support material is misplaced, and the support material supports the shell.
1. Supporting materials stick to the wall: This phenomenon mostly occurs when supporting materials with leather paper. Because the leather paper is thin and has good water absorption performance, the paste can easily penetrate into the leather paper when supporting the material. When supporting materials on the wall, the side with leather paper rushes in, which directly causes the leather paper to stick to the wall. In fact, this phenomenon is not uncommon even if it is backed by rice paper. This not only affects the smoothness of the bracket, but also makes the supporting paper fall off, making the bracket unusable.
The method to prevent the tray from sticking to the wall is: after the tray is on the wall, quickly flatten the tray and tidy the periphery of the tray. Then lift a small mouth from the side of the bracket and blow air between the paper and the wall to form an air isolation layer between the bracket and the wall. Because the leather paper is very breathable, the air in the air isolation layer will leak out soon, and then the leather paper will be sucked away with the wall. So it's best to blow once or twice before the paste on the leather paper dries. When blowing, be sure not to blow the air between the leather paper and the silk material. Otherwise, the bracket will appear "empty shell" phenomenon. Even if it is arranged on the wall again, it will inevitably lead to the dislocation of twill patterns and increase the difficulty of blowing. It is also an effective way to avoid sticking to the wall after the supporting material is half dry. In addition, don't forget to leave an opening in the corner of the supporting material, otherwise it will be very troublesome when going down the wall.
2. Pattern dislocation: This is generally caused by incorrect operation methods when supporting materials. The way to avoid it is to fix the twill on the surface with water before supporting the material, and then straighten the warp and weft. When the bracket is on the wall, if the height of both hands is inconsistent or the middle of the bracket hangs down, the bracket pattern will also be misplaced. (Because this paper is devoted to analyzing and solving the problems in the traditional mounting process, I won't introduce some specific traditional operation methods too much. )
3. Supporting materials and supporting shells: In addition to blowing air between supporting paper and twill materials, this phenomenon is generally caused by uneven brushes, wrong arrangement of brushes, or discount of supporting materials when climbing walls. Sometimes, because the slurry is out of date, in the process of painting, we should try our best to ensure the quality of the slurry, and strive to make the thickness of the slurry brush moderate and evenly distributed. Be as solid and even as possible.
In addition, when lifting the material from the platform, both hands should flatten one end of the material and lift it. If the supporting materials are not flattened by both hands, so that the middle of the supporting materials is folded, it is easy to cause the silk at the folded position to be out of sync with the supporting paper when lifting the table, resulting in a shell.
2. Broken brush, ink leakage and cracked bracket.
1, brush the heart.
When holding the painting heart, the painting heart is directly laid flat on the surface of the case face down, dipped in thin paste with a combination brush, brushed on the back of the painting heart, and then covered with life paper and arranged on the wall. Paper is made of plant fibers through special processing. After being wet, the fiber will expand and loosen, resulting in very fragile paper tension. If you are unfamiliar with the performance of paper, unskilled in operation, too much pulp, careless, or too many times of repeated brushing, you may hurt your painting heart. The damage of the painting heart, even if it is repaired, has a great influence on the life of the painting heart itself and its subsequent unveiling. So try to avoid this kind of thing. This requires you to concentrate on centering and master the relationship between paste concentration and paper properties.
2. Another killer of painting the heart when holding the heart-embellish the ink.
The so-called inking and retouching means that the ink on the painting heart wets and falls off when it supports the heart, and the picture is outside the painting meaning. Sometimes the painting heart completely loses its original artistic value because of serious wetting and falling off. So we must nip in the bud and try to avoid this kind of thing. Running inks and colors usually has the following reasons:
(1) The ink or pigment is of poor quality or has expired.
(2) The ink or pigment is too burnt or too thick.
(3) Su Mo is used in writing calligraphy and painting.
(4) Some amateurs don't know the performance of pigments, so they create Chinese paintings with watercolors or advertising colors.
(5) When the ink is dry, mount it.
(6) The quality of the rice paper used is poor, and the color floats on the surface of the work.
At present, there are generally the following methods to deal with ink running and color running:
(1) Pot steaming method: This method is to wrap the painting heart with several layers of newspaper or rice paper, and cook it in a steamer for about 30 minutes to make the ink color fixed. This method is applicable to dry ink paintings and calligraphy works. However, it is worth noting that when dealing with color propaganda works in this way, we must be careful not to let the water drops on the pot cover fall on the painting heart, otherwise the ink color will be fixed, and the color propaganda on the screen will become mottled, which runs counter to the original intention.
(2) Spray a layer of glue alum water evenly on the back of the painting center to fix the ink color.
(3) In the parts that are easy to fade, apply glue alum water locally, with glue: alum: water = 1:3:6.
3. Draw the core wall and then crack.
(1) The climate causes the painting heart to crack, mainly because of the dry climate, direct sunlight or through flow, which leads to the sharp drying of the painting heart, so that the tension that the painting heart can bear is greater than the tension of the painting heart itself, which leads to the painting heart cracking.
(2) Joints lead to cracking of the coating center, which generally means that the center is damaged in the process of centering, and the tensile force of the damaged part is necessarily less than that of other parts, resulting in cracking from the damaged part.
(3) Sometimes holding a big picture heart, the size of the paper is smaller than the picture heart, so you need to pick up the paper. At this time, joints are also the cause of the problem. If the joint is not firmly bonded, or because the joint is thick, other parts have dried out and shrunk before the joint dries out, which is also one of the reasons for the cracking of the painting center.
(4) When painting the heart on the wall, it is generally only pulped on the life paper with only one layer of publicity. Sometimes, because the tension of a single propaganda is not enough, the edge of the painting heart will crack.
(5) In the process of supporting the core, if the slurry is too thin or too much water is used, it is easy to stretch the core when brushing the slurry. If the length of the painting is too long, the tension will be greater when it is dried, which may cause the painting heart to crack.
In order to prevent cracking accidents, it is necessary to control indoor air humidity and water consumption during alignment, and avoid direct sunlight and large air flow. For painted hearts with seams and damage, dry them first and then stick them on the wall. After the second wall, sprinkle water outside the seams appropriately, so that the seams can be dried in other parts of the painted heart first.
Third, other problems that are easy to appear when trusting:
1. Shell: In addition to the problems mentioned in the first section, modern painters often use some new techniques to pursue various mechanism effects, such as using soap, saliva and other auxiliary materials. This is often a reason for painting the "shell" of the heart. Once the painting heart is propped up, you won't know if it has shed its shell until you get down the wall. Therefore, once it is found that the painting heart is seriously shelled after falling under the wall, we must lift the trust. If a small area bulges, you can take an injection to remedy it. The specific method is to inhale the thin paste with a medical syringe, inject it from the surface of the paper to the painting core shell, and then dry it with dry rice paper to make it flat. In order not to "dry out" the injection site, it is best to make the whole painting stuffy and wet and rebuild it on the wall.
For works made by new techniques, we must first understand the materials used in various techniques. Generally speaking, in order to prevent the occurrence of "shelling", it is generally necessary to locally increase the slurry concentration in the parts where new materials are used, thus playing a role in local reinforcement.
2. Wrinkle your heart or life paper when holding your heart: This is generally due to insufficient skills.
4. The common problems of the square center are: cutting, oblique cutting, drawing the center into a parallelogram and so on.
Running the knife is generally caused by unskilled operation, incorrect method or carelessness. The correct method is: first, fix the scribing eye on the right side of the painting center near one end on the chopping block with a needle cone, then clamp the right end of the ruler board with a needle cone, and then align the left end of the ruler with the scribing eye corresponding to the left end of the painting center. In order not to run the ruler, you can press a heavy object (such as a stone or ruler) on the right end of the ruler board, and then cut it from back to front with a cutter at a fixed angle (from left to right in the center of the figure). Each trip should not exceed 30 cm. A row of knives is too long or cut from front to back, which may cause knife running or rat tail. This is a taboo in Fang Xin.
5. The common problems of blanking are: the direction or chromaticity of the upper and lower patterns are inconsistent, the supporting blade has stubble, the margin is not standardized, and the folded supporting material is used.
1. The pattern direction or chromaticity of Tiandi Head and both sides are inconsistent, and the material is paved with horizontal stripes: this is generally caused by the carelessness of novices in the material. Sometimes, due to the lack of materials on hand, if the heavens and the earth cross or cross or there are two similar colors, the materials are just enough. At this time, beginners often make do with materials. In fact, this is not desirable. When the two sides of heaven and earth cross or two pieces of similar colors are mixed, after the mounting is completed, the tension is different, which is easy to cause mounting deformation. In addition, the difference between chroma and glossiness is probably unexpected to novices.
The problem of using supporting materials horizontally should be obvious after the mounting is completed-the flatness is extremely poor. Because the two layers of paper are vertical stripes and the support is horizontal stripes, no matter how coated paper is used, its tension is two vertical and one horizontal. Moreover, when twill is woven, it is also designed according to vertical winding suspension. So try to avoid these problems when blanking.
2. Stubble on the blade of the supporting material: The reason for this phenomenon is that the cutter is not sharp, the supporting material is too thin or the supporting material is stored for too long, and the machine mounting material is used for manual mounting.
3. Marginal irregularity: Due to carelessness, the consequence of marginal irregularity of entrusted materials is that all subsequent work errors will accumulate continuously, leading to more and more errors.
4. Use pleated support: Sometimes, beginners use pleated support for installation, thinking that pleats are harmless on the back of twill. Actually, it's not, because the folded bracket will be raised at a discount when it is rolled up after installation. Over time, it will cause local shell opening of the mounted parts, which will affect the flatness of the mounted parts.
6. In the process of the back of the cover, in addition to the problems similar to those when painting the heart, such as ink running, color running, cracking, wall climbing, etc., the following problems are easy to occur:
1, when the back is covered, the kerf becomes sticky.
This is generally due to unskilled operation, too much water in the backing paper, too little paste for inlay and paste deterioration.
Whatever the reason, once this happens, don't panic. First, carefully re-align the slurry mouth, and then arrange the mounting piece and the backing paper evenly and firmly. After leveling and compaction, re-attach the opened adhesive with thick paste. This step can't be omitted, otherwise the future trouble will be endless. After handling it properly, it is best to dry it on the wall. If you are wet on the wall, you should pay attention to spraying water on the painting center at any time to prevent the slurry mouth from being too wet, and then wait until the slurry is dry. Otherwise, it is easy to cause the mounting piece to crack from the opening.
2. Wrinkles appear in the corner of the painting center or in twill materials.
(1) Folds appear at the four corners of the painting center: This is generally because the painting center is too thin or the painting center has been under the wall for too long. The painting heart is too thin, and it will expand rapidly when it meets water. This problem will occur when its expansion speed and amplitude are greater than twill. If you paint under the wall for a long time, because the width is reduced, it will expand when it meets water, which is also one of the reasons.
(2) The twill fabric is partially wrinkled: this is generally because the twill fabric is too thin or the twill fabric has been under the wall for too long. If the twill material is too thin, it will expand rapidly when it meets water. This problem will occur when its expansion speed and amplitude are greater than that of the painting center. If the twill stays under the wall for a long time, because the width shrinks, the expansion range will increase when it expands in water, which is also one of the reasons.
(3) The joint slurry is too large: the joint slurry is too large and the slurry mouth shrinks seriously. If the pulp mouth is not completely spread when brushing the back, wrinkles will occur in the center of the painting or the twill material.
In order to avoid this phenomenon, it is best to flatten the long-standing painting heart or silk material on the new wall before mosaic. When covering the back, let the pulp mouth fully extend, but be careful not to let the pulp mouth be too wet, otherwise it will easily cause the pulp mouth to open and stick. We should also pay attention to the proper selection of the thickness of the paper when supporting the heart and the material, so that the thickness of the painting heart and the material can be adjusted to make them consistent.
3. When lifting the stage, the lining paper and the mounting piece are layered.
When loading films, pay attention to lifting them along the stubble. That is to say, first pick up one end of the first backing paper spread on the desktop. In this way, the next backing paper and the first backing paper are connected together, and it is not easy to produce stress. In this way, the covering paper is prevented from sticking to the desktop, so that the covering paper and the mounting piece are layered.
4. After the mounting piece is mounted on the wall, local protrusions will occur.
This is also a serious problem if the mounting parts partially protrude after being mounted on the wall. Because the installation parts will be fixed on the installation parts after long-term wall drying, it will directly affect the flatness and aesthetics of the installation parts.
Generally speaking, the reason for this problem is that the operator did not clear the edge of waste paper inclined on the wall before installing the installation piece on the wall. Therefore, we must not be careless and cause regrets that should not happen.
5. The mounting piece is deformed and arched.
Due to gravity, moisture naturally sinks after the installation piece is installed on the wall, resulting in higher humidity in the lower part of the installation piece than in the upper part. In this way, the drying speed of the upper part of the base is faster than that of the lower part of the base. The dry upper part shrinks before the wet lower part. Its tension will make the bow installed. In this way, the mounting parts will be deformed, which will affect the appearance. Moreover, due to the different shrinkage amplitude of the whole surface, the probability of warping deformation in the future is also increased.
In order to prevent it from happening, we should start by controlling the moisture in its upper and lower parts. Before the moisture in the lower part is wet, the drying speed of the whole body is controlled by sprinkling water on the upper part. And put a ruler board on the upper and lower joints of the installation parts for verification. If there is an arc, the installation has been deformed.
6. Mould appeared on the surface of the installation part.
This phenomenon mostly occurs in rainy days and cold and humid low-grade mounting studios. This problem may also occur because the paste used has not been gluten-washed. Because gluten is easy to mold.
Therefore, the indoor air should be properly circulated after painting and calligraphy works are on the wall in rainy days. Pay attention to the use of paste, and gluten must be extracted from flour. Don't use fermented sauce. Avoid using moldy walls, because moldy walls may spread mold to the base. The stacked walls are often turned over to prevent the installation parts from being stuck at the inner ends of other walls for a long time, resulting in poor ventilation.
If mildew spots appear, you can gently wipe them with clean soft rubber or absorbent cotton balls. You can also roll the dough at the mildew spot (the surface does not stick to your hands) and let the mildew spot stick to the dough. Washing with water can also remove mildew spots.
7. Going down the wall, going up the wall for a long time, if something goes wrong when going down the wall, you really have to stop. So, what problems will appear under the wall?
1. Artificial shell
This is really something that should not happen. Because the screwdriver was inserted in the wrong position and accidentally inserted between the ring paper and the backing paper ... even if you hang up, it's too late to regret it.
2. The surface of twill is not clean
Due to the negligence of mosaic work, the paste was stained on the silk material; Or when painting with a brown brush, stick the paper on the brown brush to the silk.
In this case, you must not clean it with a knife or other hard objects. Because this will make the twill be scraped out of stubble or white road, which is even more indecent. The treatment method is: first wet the paste or confetti with clear water, and then gently wipe it with a wet towel. Then wet the frame again and hang it on the wall.