Debate - Making two-colored paper by gluing or painting?

[origamifreak_1.6180339889]

PS: Can you explain what "sizing" means?

sizing just means treating it with methyl cellulose

[bethnor]

really, this is apples and oranges. mainly because painting is a helluva lot harder!

[Hank]

Here are some things I have learned from experience:
Using an inkjet printer makes it easy to study the effects of color and pattern (e.g. in tesselations). I've used inkjet printing with modulars and been able to "simulate" the result in the computer. I'll be glad to send the Adobe Illustrator templates I've used for this on request. This has mostly been with simple icosahedron model with 30 pieces. I number the faces and indicate the tab-slot order and have been able to "map" complex designs. For this, I used pigment based ink on inkjet paper, which was then sealed with acrylic medium using an airbrush (either Golden Airbrush Medium or Golden Airbrush Transparent Extender). The airbrush makes it easy to control the thickness and evenness of the paint film, and generally slightly improves the foldability of the paper as long as it is given time to dry.

I've used the airbrush to apply color, and generally it is possible to get minimal bleed through this way. However, my practice has been to first seal the paper with a transparent medium. Even with a single thin coat, the paper is protected from bleeding. Some acrylics with stay slightly tacky even after curing, but this is less true with thin films, and can be a result of a drying retarder that is incorporated in some brands. Heat drying with a hair brush can help.

Since moving last summer, I no longer have a space for spray-painting, and have found that I can get similar results applying acrylic medium more directly, using a lint-free pad or sponge, again in thin layers. I often do this on a silicone baking sheet. The silicone is light weight, easy to store, and is easy to clean. I've used it for methylcellulose, acrylic, and polvinyl alcohol.

I prefer to use acrylic inks. I've used the Daler Rowney inks, Liquitex artists acrylic ink, Golden Fluid Acrylics, and Higgins Fadeproof Pigmented Drawing Ink. I often apply the Higgins using a lint-free applicator (Webril pad). I've applied the Golden Fluid Acrylics with Montana markers, which you can get empty in various widths. The ink/paint stays good for at least 3 months. These use a felt-like applicator that gives good results. I've also used Copic alcohol markers, and prismacolor markers. The copics come in a wide-nib, and in many colors and shades. These do NOT cause cockling or distortion of the paper like some water based media do, and are refillable. I sometimes use the ink refills available. Other alcohol based inks are available in many colors and shimmer/pearl/metallic finishes. Many markers can be used directly over a dried acrylic base layer.

I've personally had poor luck with double tissue using methylcellulose or sodium carboxymethylcellulose, but admit that I have not put the time in to master this technique, which is basically lamination. I too get bubbles and wrinkles, and since I have lately been focusing on tesselation and modulars, I haven't felt the pressure to double double-tissue. I have been mulling over the idea of doing this using pressure. Vacuum presses and vacuum bagging are well proven in the lamination arena, as is using nipping rollers. There is a fine art technique called chine colle which is an offshoot of engraving, which uses high-pressure rollers in an etching press. I suspect that vacuum bagging would solve a lot of problems, including bubbles and uneven application of the adhesive.

I sometimes wonder if anyone has tried using paper-making techniques, such has using pulp and couching it directly on an already formed sheet, and then pressing/drying it.

I've experimented with papers that are already designed to prevent bleed-through, such as paper designed for colored marker. Strathmore and Bienfang make cotton marker paper, and I've found that there is little bleed through using inks or markers. However, I am not so thrilled with the paper itself -- creases well but does not reverse well, even if you precrease it in both directions. I've even seen some the this marker paper tear more easily after coloring. However, using the Higgins inks or the alcohol based inks, the paper is fairly translucent. I have used the markers and ink on glassine too.

Other untried techniques: use sublimation (transfer) inks and use a heat press to transfer to your favored origami paper. User a pattern roller with permanent ink on one side of the paper. Daub (dab?) paper with an inkpad (one with the inking surface raised above the edges of the container). Use classic woodblock or linoleum block printing techniques -- ink up a plate and then use your hands, wooden spoon, squeegee, or baren to rub the back of the paper onto the plate to transfer the ink. If you use a flat, plain surface such as glass, you can effectively make a monoprint, and have more control over the final appearance.

[Gerardo]

Hank!

All that sounds amazing! Many ideas are totally new to me, and I had never thought many of them before. That's true to both the ones you already do and the ones you are just proposing. I don't even know some of the products you mention !

It would be awesome if you ever showed a video, or a couple, sharing some of your painting ideas. Using the printer with tessellations would make a cool video .