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11-19-2006, 12:03 AM
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#1
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Juried Member
Joined: Sep 2003
Location: Gainesville, GA
Posts: 1,298
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I'd recommend professionally done larger sizes with BEVA. Of course, it could be because I am a klutz, but I tried to use BEVA film inbetween a substrate similar to Dibond and my canvas, and ended up with a lot of bubbles. If I go that route in the future, I will find someone who makes the darn things. We have several companies noted in these archives who do that.
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11-19-2006, 04:19 PM
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#2
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Juried Member
Joined: Jan 2006
Location: Blackfoot Id
Posts: 431
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Quote:
Originally Posted by Julie Deane
I tried to use BEVA film inbetween a substrate similar to Dibond and my canvas, and ended up with a lot of bubbles.
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Dibond and resin-core, aluminum overlaid laminates are not suitable for "dry mount" methods requiring heat. The material "bubbles" because applying heat causes the resin cores to off-gas, causing bubbles and delamination.
Beva-gel is a "paste" suitable for maroflage, essentially the problem to be solved in this instance. It's "spendy", and all told, not much different from water-reducible vinyl/acrylic adhesive compounds used in construction for setting tile. I've used these adhesives, have a few samples in full weather (going on two years) and it seems quite suitable.
The using character including the ability to remove a mounted canvas from panel, reversing the adhesive with modest heat is pretty much the same as Beva-gel - price, about 1/5.
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11-19-2006, 10:01 PM
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#3
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Juried Member
Joined: Sep 2003
Location: Gainesville, GA
Posts: 1,298
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Thanks for the info, Richard. I'll need you to translate some terms, though. What does "spendy" mean? And "maroflage"? I'm afraid I'm not up on these terms. Thanks.
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11-19-2006, 10:17 PM
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#4
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Juried Member
Joined: Jan 2006
Location: Blackfoot Id
Posts: 431
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My 'plogies, Julie for using local slang. "Spendy" means expensive.
"Maroflage" is the term for attaching canvas to other substrates. An example is the murals Sargent produced for the Boston MFA and Public Library, which were painted in his London studio on stretcher frames, shipped to the site, then attached to the walls of those buildings. In those days, the adhesive was a paste of white lead and varnish; the wall would be "plastered" with the lead mixture and the canvas applied over the wall, using pegs to keep it in place 'til the adhesive set up.
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