JP3372539B1 - New hanging system and forehead system that people can easily make - Google Patents
New hanging system and forehead system that people can easily makeInfo
- Publication number
- JP3372539B1 JP3372539B1 JP2001402170A JP2001402170A JP3372539B1 JP 3372539 B1 JP3372539 B1 JP 3372539B1 JP 2001402170 A JP2001402170 A JP 2001402170A JP 2001402170 A JP2001402170 A JP 2001402170A JP 3372539 B1 JP3372539 B1 JP 3372539B1
- Authority
- JP
- Japan
- Prior art keywords
- work
- paper
- glue
- mounting
- mat
- Prior art date
- Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
- Expired - Fee Related
Links
Classifications
-
- B—PERFORMING OPERATIONS; TRANSPORTING
- B44—DECORATIVE ARTS
- B44D—PAINTING OR ARTISTIC DRAWING, NOT OTHERWISE PROVIDED FOR; PRESERVING PAINTINGS; SURFACE TREATMENT TO OBTAIN SPECIAL ARTISTIC SURFACE EFFECTS OR FINISHES
- B44D3/00—Accessories or implements for use in connection with painting or artistic drawing, not otherwise provided for; Methods or devices for colour determination, selection, or synthesis, e.g. use of colour tables
Landscapes
- Mirrors, Picture Frames, Photograph Stands, And Related Fastening Devices (AREA)
Abstract
【要約】
【課題】 一般の人が持つ、自分で簡単に自分の作品や
手芸品、収集品などを専門家乃至表具店と同じように高
水準な表装をしたい、と言う希望を解決すること。
【解決手段】 新工程、新技法、新複合成品材料が構成
する新表装システムは、素人には手が出せなかった、千
年来の伝統的表装工芸の工程中にある最難問を完全に改
変しました。またその新表装システムは、古びた表装工
芸に、突き合わせの接着方法を用いることで新鮮で豊か
な表現を作り出す事を可能にした。Abstract: [PROBLEMS] To solve the desire of ordinary people who wants to easily make their own works, handicrafts, collected items, etc. at the same high standard as professionals or tableware stores. . [Solution] A new dressing system composed of new processes, new techniques, and new composite materials completely changes the most difficult questions in the process of millennial traditional dressing crafts, which were not accessible to amateurs. did. In addition, the new resurfacing system has made it possible to create fresh and rich expressions by using a butt-bonding method on old resurfacing crafts.
Description
【0001】[0001]
【発明の属する技術分野】現在、人々が絵画や書画作品
を額装又は軸装しようとする時、表具店等の専門店で技
術を持った専門家に依頼して表装するというのが一般的
です。この発明は、そうした専門家による表装と同じ分
野に属します。[Technical field to which the invention pertains] Currently, when people try to frame or axis a painting or calligraphic work, it is common to ask a specialist with technology to put it on at a specialized store such as a tableware store. . This invention belongs to the same field as such expert outfitting.
【0002】[0002]
【従来の技術】従来の額装と軸装はそれぞれ、伝統的方
法と現代的方法の2種類に分けられる。伝統的な手表装
は1000年以上の歴史を持ち、現代日本で開発された機械
表装も既に30年余の歴史を持っている。しかし伝統的表
装は勿論、現代の機械表装も1000年来の表装技術の最重
要な基本工程を突破することが出来なかった。それは、
1、 書画作品の裏打ち
2、 表装用の布類の裏打ち
3、 それぞれ裏打ちした作品と布類を必要寸法に裁断
して、額や掛け軸の形態に合わせて接着し組み立てる。
4、 接着、組み立てが完了した時点で、再度裏面に総
裏打ちを掛ける。
と言う工程です。しかし両者の差異は、伝統的手表装は
上述の工程で糊を接着剤として使用し、裏打ちの乾燥は
自然乾燥を待ちます。機械表装は糊を使わず、接着成分
を表面に塗布した裏打ち専用紙を用い、機械的に加熱し
て専用紙上の接着成分を溶かし、スピーディに接着・乾
燥の工程を完成させる。その故に機械表装の出現は、加
工時間を大幅に短縮し作品乾燥に要する場所と乾燥のた
めの板を作業場から追放し、作業効率を高めた。この欠
点は、伝統的手表装の仕事はより繊細であり、又板に張
って自然乾燥させた作品と較べて作品表面のぴんと張り
伸びた感じと光沢に欠ける点です。何故、今に到るまで
1000年来の伝統的な基本的方法と工程の流れを改良でき
なかったか?下段で加工技術の部分的な技法を比較して
この原因を解明します。額装用の表装、軸装用の表装の
加工技術と方法について一、額に入れる作品の表装加工
の基本技術は上述のように2種類あります。この両者の
共通点は、紙或いは絹を用いた書画作品は、その補強と
ぴんとした平面を得るために、必ず裏打ちしなければな
らないということです。(我々は、紙製品に絵や書を描
いた後、水性顔料又は墨汁が接触した作品部分が縮む、
皺が寄るなど変形する現象を知っている。特に水墨画と
書及び水彩画の変形が甚だしい。更に裏打ちして平にし
た作品と布類を接着して組み立てた後再び縮み、皺など
が発生する。)
裏打ちとは、作品に霧吹きで水を散布して軽く湿らせ、
ざっと延ばした作品の背面に糊を刷き、その上に1枚の
裏打ち用紙を張る。これは1枚の紙を糊で作品と一体化
することで、作品を丈夫に又、平にする。前述の「重要
な基本工程3」で述べている接着組み立ての工程は、作
品と表装用の布類の双方とも一定の強度を持ち、平に整
えられた状態でのみ正確な組み立てが行える。とりわけ
水墨画と書に用いられる薄手の手漉きの紙、柔らかい絹
織物は補強が必要です。接着の工程では作品の端0.5cm
〜0.7cmの部分が糊代になるため、正確に接着するため
には作品に一定の強度が要求されます。これが現在に到
るも基本的な表装の工程で裏打ちが重要な存在となる原
因です。この裏打ちの仕事は、訓練を重ねて熟達した技
術が必要です。現在は、機械で裏打ちする設備と表装方
法がありますが、多額の投資と操作のための訓練が必要
とされます。機械の裏打ちの場合も、同様にまず作品に
霧吹きで湿り気を与え平に延ばします。その後作品の背
面に、接着剤を塗布した専用裏打ち紙を被せて、全面に
機械の加圧加熱を与える。この機械表装と手仕事とは接
着剤の種類及び乾燥方法が異なっています。額装に於い
て二つの方法の異なる点a. 伝統的な額装用マットは、
それぞれに裏打ちを施した布と作品の端に糊代を設けて
糊付けする、その後背面に総裏打ちをして工程を完了す
る。しかし糊代を設けて接着する方法は、マットのデザ
イン上の自由な表現を大きく妨げる。b. 現在国際的に
流行している額装専用の紙マットは、その中央部に専用
機械で作品よりやや小さい穴を開け、軸装の場合より厚
い紙を数 枚裏打ちして強度を持たせ
た作品を、マットの裏からセットしテープで留めて仕上
げる。既成のマットを用いた額装の便宜は、作品の裏打
ち加工後の最後の工程に限定されている。又この専用マ
ットは、大小様々な額縁と作品の間に在って、マットの
中央部分に穴を開けて作られる方式その物の故に、工芸
的な表現も限定されざるおえない。それは角部位に対角
線状の模様を入れる、各種各色の布類を平行して繋ぎ合
わせる等の豊かな表現が成し得ない。
二. 掛け軸の表装にも伝統的方法と現代的方法があり
ます。
a、伝統的方法は、小麦粉を原料とした伝統の糊を用い
て裏打ちした布と作品を合わせて糊付けし、最後に裏面
に装裏打ちを掛ける。
b、機械表装は、接着剤を塗布した専用裏打ち紙を用
い、加熱加圧して裏打ち、各部位の接着、総裏打ちを行
う。
機械表装と他の方法との共通点は、作品と布を裏打ち
し、掛け軸の形に整えたところで、最後に総裏打ちを掛
ける事であり、又まず霧吹きで、作品に、或いは接着し
て掛け軸の形が出来た段階の物に、少し湿り気を与えて
平らにすることである。(紙製品は、湿り気があるとき
だけ本来の平らな状態に戻る。無論裏打ちした方がもっ
と良い。総裏打ちは、それ以前の工程が平らに整えられ
て成された基礎の上に展開されて始めて美しい平らな結
果を得ることが出来る。)
その後、接着剤を塗布した専用裏打ち紙を全面に被せ、
全体を加熱加圧して、接着し平らに乾燥させる。作品の
一部分を湿らせて、その部分のみを加熱加圧した場合
は、熱を受けた部位の周辺が縮む、皺が寄るなど変形し
ます。伝統的な方法では、同様にまず霧吹きで作品に湿
り気を与え裏打ちし、布と作品との糊付が完了した後、
裏面全体に糊を刷毛塗りして総裏打ちを掛け、自然乾燥
を待って完成する。総裏打ちの乾燥には通常15日から30
日を要する。この両種の表装方法は、世間で言う水と油
のように相容れない。各自の独特な考え方と材料が違っ
ているだけではなく、最大の理由は、糊で接着加工した
部分に加熱すると、その部位が硬化して掛け軸として巻
いて収蔵出来なくなってしまうからです。以上の点を除
いて、両者の工程と方法は基本的に同じである。いわゆ
る機械表装は、表装の自動化を意味しておらず、在来の
裏打ちと総裏打ちの過程で作品に加圧加熱して平にし、
同時に接着剤を融化して接着し、又同時に作品の湿り気
を速やかに乾燥させる加工を意味しております。2. Description of the Related Art Conventional frame and sash are divided into two types, traditional and modern. Traditional hand-apparatus has a history of over 1000 years, and mechanical surface-apparatus developed in modern Japan already has a history of more than 30 years. However, in addition to traditional tabletops, modern machine tabletops have failed to break through the most important basic process of 1000-year-old tabletop technology. It consists of: 1. Lined work for drawing and painting 2, Lined cloth for outfit 3. Cut the lined work and cloth to the required size, and bond and assemble them according to the form of the forehead and hanging scroll. 4. Once the gluing and assembly are complete, re-line the back side with total lining. Is the process. However, the difference between the two is that traditional hand dressing uses glue as an adhesive in the above process, and the backing waits for it to dry naturally. For the mechanical surface, glue is not used, and special paper for backing with adhesive components applied on the surface is used, and the adhesive components on the special paper are melted by mechanical heating to complete the adhesion and drying process speedily. Therefore, the advent of mechanical surface equipment drastically shortened the processing time, expelled the place required for drying the work and the plate for drying from the work place, and improved the work efficiency. The drawback is that traditional hand-dressing work is more delicate and lacks a stretchy feel and luster on the surface of the work compared to a work that is stretched on a board and air-dried. Why until now
Couldn't we improve the traditional 1000-year-old basic method and process flow? In the lower part, we will clarify the cause by comparing the partial techniques of processing technology. Regarding the processing technology and method for the frame and the frame, there are two basic techniques for the frame processing of the work to be framed. What both of these have in common is that written works using paper or silk must be lined in order to reinforce them and obtain a flat surface. (We draw a picture or calligraphy on a paper product, and the part of the work that comes into contact with the water-based pigment or India ink shrinks,
I know the phenomenon of deformation such as wrinkling. Especially, the transformation of ink painting, calligraphy, and watercolor painting is remarkable. Furthermore, after lining and flattening the piece of work and cloth to be bonded and assembled, it shrinks again and wrinkles occur. ) Lining is a spray of water on the work to lightly moisten it,
The glue is printed on the back of the roughly stretched work, and a piece of backing paper is put on it. This is a piece of paper glued together with the work to make it sturdy and flat. The adhesive assembly process described in "Important Basic Process 3" above has a certain level of strength for both the work and the cloth used for the cover, and can be assembled accurately only when it is in a flat condition. In particular, thin handmade paper used for ink painting and calligraphy, and soft silk fabrics need reinforcement. In the process of bonding, the edge of the work is 0.5 cm
Since the portion of ~ 0.7cm is the glue margin, a certain level of strength is required for the work in order to bond it accurately. This is the reason why the lining becomes an important part of the basic surface mounting process even today. This lining work requires trained and skilled technology. Currently, there are mechanically lined equipment and dressing methods, but they require significant investment and training for operation. In the case of machine lining as well, the work is first sprayed with a moist spray to lay it flat. After that, the back of the work is covered with a special backing paper coated with an adhesive, and the entire surface is heated and pressurized by a machine. The type of adhesive and the drying method are different between this machine cover and handwork. The difference between the two methods of framed a. Traditional framed mats
Each piece is lined with a cloth and glued to the edges of the work for gluing, and then the back is fully lined to complete the process. However, the method of adhering with a margin of glue largely hinders the free expression on the mat design. b. The paper mat for exclusive use of frame, which is currently popular internationally, has a slightly smaller hole than the work in the center, and is lined with several thicker papers to give strength. Set the work from the back of the mat and tape it to finish. The convenience of framed outfits with prefabricated mats is limited to the last step after the work is lined. In addition, this special mat is located between various large and small frames and works, and the method of making a hole in the central part of the mat makes it impossible to limit the artistic expression. It is not possible to make rich expressions such as putting diagonal patterns in the corners and connecting cloths of various colors in parallel. two. There are traditional and modern methods for hanging scrolls. a. In the traditional method, the cloth and work lined with traditional glue made from wheat flour are glued together, and finally the back side is lined with cloth. b. For the mechanical covering, a dedicated lining paper coated with an adhesive is used, and the lining is performed by heating and pressurizing, each part is bonded, and the total lining is performed. The common point between the machine cover and other methods is that the work and cloth are lined, and the shape of the hanging scroll is arranged, and then the total backing is put on the work. It is to give a little dampness to the object at the stage where the shape of is completed and to flatten it. (Paper products return to their original flat state only when they are moist. Of course, it is better to back them. The total backing is developed on a foundation that has been flattened in the previous process. You can get a beautiful flat result for the first time.) After that, cover the entire surface with a special backing paper coated with an adhesive,
The whole is heated and pressed to bond and dry flat. If a part of the work is moistened and only that part is heated and pressed, the area around the part that receives the heat contracts, wrinkles, and other deformations occur. In the traditional way, the work is first moistened and lined, and after the cloth and work are glued together,
Brush the entire back side with glue and apply a total backing, wait for it to dry, and complete. Usually 15 to 30 days for total backing dry
It takes days. These two types of mounting methods are as incompatible as water and oil are used in the world. Not only are they different from each other in their unique way of thinking, but the biggest reason is that if you heat the part that is glued and processed, the part will harden and you will not be able to store it as a hanging scroll. Except for the above points, both steps and methods are basically the same. The so-called mechanical cover does not mean automation of the cover, but in the process of conventional backing and total backing, the work is pressure heated and flattened.
At the same time, it means the process of melting and adhering the adhesive and at the same time drying the dampness of the work quickly.
【0003】[0003]
【発明が解決しようとする課題】以上に述べたところか
ら、我々は現存する表装方法に共通する技術的特徴を見
出すのは難しくない。つまり工程中鍵となるのは、必ず
霧吹きで湿らせた状態で仕事をしなければならないと言
うことです。この特徴こそが表装技術の普及を妨げ、表
装の改良にとって致命的な欠点と難度の一つとなってい
ます。致命的欠点について言えば勿論、書画作品は全て
裏打ちが必要であり、更に額装用マットと掛け軸が共に
最後に総裏打ちを必要とすると言うことです。これこそ
が普通人が超えられない高い敷居となっています。この
工程の最後は、マット又は掛け軸の形態の半製品に霧吹
きで霧を掛け、湿った後に平にし、それから糊を引き、
総裏を掛ける。或いは裏面全体に専用裏打ち紙を被せ全
面を加熱して表装加工の重要部分を完成させる。その複
雑な工程の故に、正確に施工して表装を完成するために
は高度な技術的訓練を必要としております。普及と言う
点に関して、以上両種の方法は共に一個の巨大な現実的
欠点を持っています。人々が作品を表装しようとすると
き、表装環境に投資するか、技術を勉強して身につける
か、或いは表具店の職人に依頼するか、のいずれかを考
えるしかありません。且つまた、表装材料と書画作品の
接着組み立て時に、糊代を付けて接着する方式は、今日
まで表装芸術の豊かな表現を阻んできた。結論的に言え
ば、上述の表装の工程が霧吹きで湿り気を与えねばなら
ない、裏打ち、総裏打ちを必要とする、表装環境への投
資等の難点を持ち、又糊代を必要とするために表現が限
定されている、これらの事が、普通の人が期待している
自分の作品などを自分で簡単に、専門家と同じ水準の芸
術的な表装をしたいと言う願望を阻む障害となってお
り、超えるべき課題ともなっています。From the above, it is not difficult for us to find out the technical features common to the existing mounting methods. So the key to the process is that you must always work in a fog-moist condition. This feature hinders the spread of surface mounting technology and is one of the fatal drawbacks and difficulties for improving surface mounting. Speaking of the fatal drawbacks, of course, it is said that all calligraphic works must be lined, and that both the frame mat and the hanging scroll must finally be lined. This is a high threshold that ordinary people cannot exceed. At the end of this process, a semi-finished product in the form of a mat or hanging scroll is sprayed with a mist, flattened after moistening, then glue is applied,
Hang the whole back. Alternatively, the entire back surface is covered with a dedicated backing paper and the entire surface is heated to complete the important part of the surface mounting process. Due to its complicated process, it requires a high degree of technical training in order to carry out the construction accurately and complete the surface mounting. In terms of dissemination, both methods have one huge real drawback. When people try to display their work, they have no choice but to invest in a dressing environment, study and acquire technology, or ask a craftsman at a clothing store. In addition, the method of adhering with a margin for bonding when assembling the surface material and the calligraphic work has hampered the rich expression of surface art until today. To conclude, the above-mentioned covering process must be moisturized by spraying, requires backing, total backing, has problems such as investment in the covering environment, and also needs a glue margin. However, these things are the obstacles that prevent the desire for ordinary people to easily make their own works, etc., to the same level of artistic appearance as professionals. It is also an issue to be overcome.
【0004】[0004]
【課題を解決するための手段】本発明 (「0007 発
明の実施 3」で述べるような)の技法は、表装から書
画作品を平にするために、霧吹きで水を掛けて平にする
工程、裏打ちの工程を取り除きました。作品を平にする
方法を用いて平にした後、局部を加熱しても変形しない
複合製品材料(「0006 発明の実施 2」で述べる
ような)の上に平にした作品を乗せ乾燥状態でアイロン
などの加熱器で加熱して貼り付け、表装の全工程を完成
する。この工程には、霧を掛けて湿らせる工程、総裏打
ちの工程は取り除かれ、千年来の特殊技能を要した難関
を持つ表装工芸の方法を完全に一変させました。表装の
工程、技術、使用材料、そして装飾的表現の領域におい
ても完全に斬新な方法によって、普通人が簡単に高水準
の表装工芸を楽しめる新表装法方です。The technique of the present invention (as described in "00073" of the Invention) is a process of spraying water with a fog to flatten a calligraphic work from its cover, Removed the lining process. After the flat using the method of the works flat, dry placing the work that the flat on the composite products material which is not deformed even when heated locally (as described in "0006 CARRYING OUT THE INVENTION 2 ') Then, heat and paste with a heater such as an iron, and complete the whole process of covering. In this process, the process of moistening with fog and the process of total lining have been removed, completely changing the method of facing craft that has required special skills for 1000 years. A completely new method in the area of dressing process, technology, materials used, and decorative expression is a new style of dressing method that allows ordinary people to easily enjoy high-level dressing crafts.
【0005】[0005]
【発明の実施の形態】1. 一定の高温下においても、
安定した柔軟性を保つ表装用の接着剤を開発しました。
その主成分は、動物の膠、動物の油、小麦粉、防腐剤な
どです。BEST MODE FOR CARRYING OUT THE INVENTION 1. Even under constant high temperature,
We have developed an adhesive for outer packaging that maintains stable flexibility.
Its main ingredients are animal glue, animal oil, flour, preservatives, etc.
【0006】2. この表装用接着剤と、伝統的材料
(強さと柔らかさを持つ手漉きの紙)と現代の材料(表
面に加熱して溶ける接着剤を塗布した紙)を合成した、
一定の強度を持ち、又一部分を加熱しても変形・変質し
ない額用マットと掛け軸用成品材料。この複合材料は、
過去の材料には無い利点を持つ。現在までの糊代を付け
て接着する方法の限界を突破し、額用マットや掛け軸に
用いる布類を糊代無しの突き合わせで接着してゆくこと
が出来る。その故に、各種各色の布類を任意な形状に繋
いで表現する自由を得られた。そして又、乾燥状態で作
業が出来るために、継ぎ合わせ部分の精度は0.05cm以内
に抑えられる。今日までの作業工程中では、必ず霧を噴
いて湿らせなければならなかったので、完成品は布と紙
が濡れた後に発生する湾曲、収縮と言う自然現象が産み
出す誤差を免れなかった。2. Synthesized with this adhesive for covering, traditional materials (handmade paper with strength and softness) and modern materials (paper coated with adhesive that heats and melts on the surface),
Forehead mat and hanging shaft product material that have a certain level of strength and do not deform or deteriorate even if a part of them is heated. This composite material
It has advantages not available in past materials. It is possible to break through the limitations of the pasting method with a glue allowance and to bond the cloth used for the forehead mat and the hanging scroll with a butt without a glue allowance. Therefore, I was given the freedom to express various colors of cloth by connecting them to arbitrary shapes. Also, since the work can be done in a dry state, the accuracy of the spliced part can be kept within 0.05 cm. During the work process to date, it was necessary to spray the mist with water to moisten it, so the finished product inevitably suffered from errors caused by the natural phenomena of bending and shrinking that occur after the cloth and paper get wet.
【0007】3. 裏打ちをせずに、誰もが簡単に紙を
平らにすることが出来る技法を開発しました。この技法
は(1)セロハンテープ又は接着剤(剥がすことが出
来、水分の乾燥が速いもの)を作品の周辺に端から巾約
0.5cm程付ける。(2)作品に霧吹きで水を少々与えて
湿らせ、その後平らな板又はガラスの上に、刷毛か手で
平らに均しながら貼りつける。セロテープ又は糊で板面
に貼りつけた部分を軽くたたいて、確り接着させる。
(3)放置して乾燥させる。天気が良い時は15分くら
い、遅くて30分で乾燥します。作品の紙が自然乾燥の過
程で収縮しようとする時、周辺の接着した個所が紙を引
っ張り抵抗を与え、紙は収縮しながら、繊維の構造が自
然に変化して、平らになる。この技術は表装の基本工程
である裏打ち工程を変革しました。又この方法で平にさ
れた作品はその一部に一定の高温を受けても変形しない
特性を持つ。この技術を用いることは、素人でも、職人
のように美しい軸装と額装をしたいという夢の実現の重
要条件である。又この技術の発明は、人々の長年の悩み
であった水彩やガッシュで描いた紙が描画後に変形して
しまう問題も同様にして解決します。更に日常生活の中
で、乱れた紙類を平に整えたい時にもこの方法を用いて
簡単に平に戻すことが出来ます。3. We have developed a technique that allows anyone to easily flatten paper without backing. In this technique, (1) cellophane tape or adhesive (which can be peeled off and quickly dries water) is applied to the periphery of the work from the edge by about 0.5 cm. (2) Moisten the work with a little water to moisten it, and then apply it evenly with a brush or a hand on a flat plate or glass. Gently tap the part attached to the plate surface with cellophane tape or glue to firmly bond it.
(3) Leave to dry. It takes about 15 minutes when the weather is nice and 30 minutes at the latest to dry. When the paper of the work tries to shrink in the process of natural drying, the adhered parts around the paper give tensile resistance to the paper, and while the paper shrinks, the fiber structure naturally changes and becomes flat. This technology has revolutionized the lining process, which is the basic process of covering. Moreover, the work flattened by this method has a characteristic that it does not deform even if it receives a certain high temperature. The use of this technique is an important condition for realizing the dream that even amateurs want to wear beautiful frame and frame like a craftsman. The invention of this technology also solves the problem that paper drawn with watercolors and gouache is distorted after drawing, which has been a problem of people for many years. In addition, when you want to flatten out disordered paper in your daily life, you can easily flatten it using this method.
【0008】4. この新成品材料を使用する人は、簡
単な説明書を読みながら、あらかじめ上述の平にする方
法で平に延ばし、必要寸法に裁断した作品を、アイロン
等を用いて、マット或いは掛け軸製品材料上の作品のた
めに設けられた空間に直接貼りつける。この作業は何ら
の特別な訓練も必要とせず、しかも完成した表装は職人
の仕事と同様に美しい。4. People to use this nascent product material, while reading a brief description, extended to the flat in a way that in advance of the above-mentioned flat, the work that was cut to required dimensions, using the iron, etc., mat or hanging scroll products material Paste it directly into the space provided for the above work. This work does not require any special training, and the finished outfit is as beautiful as the work of a craftsman.
【0009】[0009]
【実施例】発明の実施部分について図面を参照して説明
します。図1と図2は伝統的表装方法で作品とその他の表
装材料を接着、組み立てる場合に、それぞれに糊代を設
けて重ね繋ぎされている状態を示している。図1と図2両
図のaは、ともに表装材料を構成している装飾的部分を
表示しています。bは裏打ちされた書画作品を示す。実
線は接着部分の目に見える交接点、点線は、糊代部分の
表からは見えない交接点、この点線と実線の間の糊代巾
は一般的に0.6cm位です。[Embodiment] An embodiment of the invention will be described with reference to the drawings. 1 and 2 show a state in which a work and other covering materials are adhered and assembled by a traditional covering method, and they are overlapped with each other with an allowance. Both a in Fig. 1 and Fig. 2 show the decorative part that constitutes the covering material. b indicates a lined drawing work. The solid line is the visible contact point of the glued part, the dotted line is the contact point that cannot be seen from the front of the adhesive margin part, and the adhesive margin width between this dotted line and the solid line is generally about 0.6 cm.
【0010】図3と図4は、本発明の額装用マットと掛け
軸用表装製品材料で、糊代なしの突き合わせで接着した
完成品の形を示しています。図3と図4両図の実線c、
d、eはともに異なる色合の表装用布一片一片の、接着
済みの突き合わせ口を示す。両図の実線eはそれぞれの
装飾部分aと作品bとの接触辺を示す。この周辺部分に
点線がないのは、糊代なしの突き合わせで接着している
からです。図1及び図2と比べて、突き合わせで接着して
いるために、多角と多色の表現が為されています。[0010] FIG. 3 and 4, in mounting products material for framed mat and hanging scroll of the present invention, shows the shape of the finished product, which was adhered in the butt with no margin. A solid line c in both FIG. 3 and FIG.
Reference characters d and e respectively show the abutted joints of the individual pieces of the covering cloth having different colors. The solid line e in both figures indicates the contact side between the decorative portion a and the work b. The reason there are no dotted lines around this area is because they are glued together with no gluing margin. Compared to Fig. 1 and Fig. 2, since they are glued in a butt, polygonal and multicolored expressions are made.
【0011】図3と図4両図のbの部分が表示しているの
は、本発明のマットと掛け軸用製品材料中の、作品貼り
付け用空間部分です。[0011] The b part of FIGS. 3 and 4 both figures are displayed, the mat and hanging scroll for the product material of the present invention, is a space portion for the paste work.
【0012】図5と図6は、作品を表装製品材料の作品
用中央空間に貼りつける際に、加熱器で加工を開始する
のに最も良い開始位置を示す。両図の実線aは、ともに
表装製品材料の作品貼りつけ用空間の外周線を示す。両
図の実線bは、作品貼り付け用空間と平に整えられて置
かれた作品の、位置調整した外周線。c点は貼りつけ加
熱開始点。[0012] Figures 5 and 6, when pasting works the work for the central space of the mounting products materials show the best starting position for starting the processing in the heater. Solid line a in both figures, both showing a peripheral line of work pasted space of mounting products materials. The solid line b in both figures is the position-adjusted outer peripheral line of the work placed in a flat space with the space for pasting the work. Point c is the starting point for pasting and heating.
【0013】図7は、「実施状態3」で述べた作品を平
らにする方法において、セロハンテープまたは糊を貼る
面を示す図である。aは作品、bはセロハンテープまた
は糊部分、点線cは作品の外周線、実線dとeはセロハ
ンテープの外周線、実線dと点線cの間部分はセロハン
テープまたは糊と作品の接着部分、点線cと実線eの間
の部分はセロハンテープまたは糊と板の接着部分。この
板との接着部分を確り接着させる事が、作品を平らにす
るために重要な点である。FIG. 7 is a view showing a surface on which cellophane tape or glue is applied in the method of flattening the work described in "implementation state 3". a is the work, b is cellophane tape or glue, the dotted line c is the outer circumference of the work, solid lines d and e are the outer circumference of the cellophane tape, and the portion between the solid line d and the dotted line c is the adhesive part between the cellophane tape or glue and the work. The part between the dotted line c and the solid line e is a cellophane tape or an adhesive part between the glue and the plate. It is an important point to make the work flat by firmly adhering the adhesion part with this board.
【0014】図8は、図5、図6で示したように、平に
整えた作品を表装製品材料上の貼り付け位置に置き、加
熱器で作品を貼る工程の加熱器の運動方向を示していま
す。加熱した加熱道具(アイロンなど)を加熱開始点
(図8のa点)から、ゆっくりと、巾の中央から左右に
なでるように往復し、前方の段へと移動し、また左右に
往復しては前方へ移動するといった作業を紙の終点(図
8のb点)まで繰り返し加熱していく。線の方向に流れ
るように加熱道具を移動していく。b点に到着したとこ
ろで表装は全て完了する。[0014] Figure 8 is, as shown in FIG. 5, FIG. 6, place the work trimmed earnestly to application position on the mounting products material, the direction of movement of the heater steps pasting works heater is showing. From the heating start point (point a in Figure 8), slowly move the heated heating tool (iron etc.) back and forth from the center of the width to the left and right, then move to the front step and back and forth from side to side. Is the end of the paper (Fig.
Repeat heating up to point 8). Move the heating tool so that it flows in the direction of the line. All the mounting is completed when the point b is reached.
【0015】[0015]
【発明の効果】以上述べたように、本発明は、現代文明
の発展に伴い、表装業の伝統的職人がはなはだしく減少
してゆく中で、表装芸術が再び新しい命を得て、普及発
展する機会を与えるものです。人々が自分の絵画、書
画、子供の切り紙、年賀状、写真等を簡単に平にして、
この高い芸術的付加価値をもつ既製額用マットを使って
額装し、或いは掛け軸を表装することができる。この発
明の産業上の意義は、額装や軸装のこれまでの限られた
領域を越え、広範な生活領域に普及することである。As described above, according to the present invention, as the number of traditional craftsmen in the exterior decoration industry has decreased remarkably along with the development of the modern civilization, the exterior art has gained a new life and is widely spread and developed. It is an opportunity. People can easily flatten their paintings, calligraphy, children's cutting paper, New Year's cards, photographs, etc.
You can use this ready-made forehead mat with high artistic added value to frame or display the hanging scroll. The industrial significance of the present invention is to spread to a wide range of living areas, beyond the limited areas of framed and axial sashes.
【0016】糊代無しの突合せ接着の実現は、古びた表
装工芸の面目を一新して限りない魅力ある表現を表装に
齎し、社会と人々とに喜んで迎えられるだろう。その故
に、その市場もまた広大だと言えます。The realization of butt-bonding without a glue margin will renew the face of old-fashioned surface crafts and bring endlessly attractive expressions to the surface, and will be welcomed by society and people. Therefore, the market is also vast.
【0017】[0017]
【図1】伝統的な額用マットの糊代付きの接着を表す図FIG. 1 is a diagram showing the adhesion of a traditional forehead mat with a glue allowance.
【図2】伝統的な掛軸の糊代付きの接着を表す図[Fig. 2] A diagram showing the traditional adhesion of a hanging scroll with a margin.
【図3】新額用マット製品材料の突き合せ接着部及び作
品貼りつけ部分を示す。Figure 3 shows the adhesive portion and work pasted part butt of new forehead mat products material.
【図4】新掛軸製品材料の突き合せ接着部及び作品貼り
つけ部分を示す。Figure 4 shows the adhesive portion and work pasted part butt of the new hanging scroll products material.
【図5】作品を額用マット製品材料の作品貼りつけ空間
に接着する手順。FIG. 5 is a procedure to adhere to the work pasted space of mat products material for the amount of work.
【図6】作品を掛軸製品材料の作品貼りつけ空間に接着
する手順。[6] procedure to bond the work to work pasted space of hanging scroll products material.
【図7】作品を平らにする方法を示す図[Figure 7] Diagram showing how to flatten a work
【図8】作品の加熱手順[Figure 8] Heating procedure for the work
───────────────────────────────────────────────────── フロントページの続き (56)参考文献 特開 平9−103347(JP,A) 特開 昭55−39331(JP,A) 特開 昭55−99220(JP,A) 特開 昭52−130764(JP,A) 実開 昭62−15266(JP,U) 実開 昭55−24917(JP,U) 実開 昭59−72966(JP,U) 実開 平4−34961(JP,U) 実公 昭59−5414(JP,Y2) (58)調査した分野(Int.Cl.7,DB名) B44C 5/04 A47G 1/06 ─────────────────────────────────────────────────── --Continued from the front page (56) Reference JP-A-9-103347 (JP, A) JP-A-55-39331 (JP, A) JP-A-55-99220 (JP, A) JP-A 52- 130764 (JP, A) Actually open 62-15266 (JP, U) Actually open 55-24917 (JP, U) Actually open 59-72966 (JP, U) Actually open 4-34961 (JP, U) S. 59-5414 (JP, Y2) (58) Fields investigated (Int.Cl. 7 , DB name) B44C 5/04 A47G 1/06
Claims (3)
をせずに、(1)剥すことが出来、水分の乾燥が速い、セ
ロハンテープ又は接着剤を作品の周辺に巾0.5cmほど付
け、(2)作品に霧吹きで水を少々与えて湿らせ、その後
平らな板又はガラスの上に、刷毛か手で平らに均しなが
ら貼りつけ、セロテープ又は糊で板面に貼りつけた部分
を軽くたたいて、確り接着させ、(3)放置して乾燥さ
せ、作品の紙が自然乾燥の過程で収縮しようとする時、
周辺の接着した個所が紙を引っ張り抵抗を与え、紙は収
縮しながら、繊維の構造が自然に変化して、平にする方
法で処理し、作品を平に延ばし、次にこの作品を専用製
品材料の作品部分のサイズに合わせて切り、最後に、ア
イロンなどを使用して局部的に加熱しても変形せずに表
装でき、又糊代無しの突合せで多種多色の布を、線状に
又角度を持たせて等、任意の形状に、糊代無しの突合せ
で接着して、継ぎ合わせた表現で飾られた額用表装マッ
ト、又は掛け軸製品材料、即ち、一定の高温下において
も、安定した柔軟性を保つ、主成分を、動物の膠、動物
の油、小麦粉、防腐剤など、とする表装用接着剤を用
い、強さと柔らかさを持つ手漉きの紙である伝統的材料
と表面に加熱して溶ける接着剤を塗布した紙である現代
の材料を合成した、一定の強度を持ち、又一部分を加熱
しても変形・変質しない額用マットと掛け軸用製品材料
に作品を合わせて加熱し、その表装の全工程を完了する
表装方法。1. A piece of calligraphy drawn on a piece of paper or cloth can be peeled off (1) without backing, and moisture can be dried quickly. cm, and (2) moisten the work with a small amount of water to spray it, then apply it evenly on a flat plate or glass with a brush or a hand, and then stick it on the plate surface with scotch tape or glue. When the paper of the work tries to shrink in the process of natural drying,
The glued area around the paper gives tensile resistance to the paper, and while the paper shrinks, the structure of the fibers changes naturally, it is processed by a method of flattening, the work is flattened, and then this work is made into a special product. Cut to the size of the work piece of the material, and finally, it can be mounted without deformation even if it is locally heated using an iron, etc. In addition, the forehead mounting mat or hanging shaft product material that is adhered to an arbitrary shape such as with an angle by a butt joint without a glue margin and is decorated with a jointed expression, that is, even at a constant high temperature Keeping stable flexibility, the main ingredient is glue of animals, animal oil, flour, preservatives, etc. using the adhesive for exterior decoration, the traditional material that is handmade paper with strength and softness. A modern material that is a paper coated with an adhesive that melts when heated is synthesized. It has the strength of the constant, also heated to match the work on hanging scroll for the product material and the mat for the amount that even if the heating is not deformed and deterioration of the part, mounting how to complete the entire process of the mounting.
局部的に加熱しても変形せずに表装でき、又糊代無しの
突合せで多種多色の布を線状に又角度を持たせて継ぎ合
わせた表現で飾られた、請求項1記載の表装方法に用い
られる、額用表装マットと掛け軸製品材料。2. People use works, irons, etc.
The surface can be mounted without being deformed even when heated locally, and a multi-colored cloth is displayed linearly or at an angle with a butt joint without a margin, and it is decorated with an expression. Forehead mat and hanging scroll product material used in the surface mounting method.
装、額装の工程で、書画作品或いは複製品、水彩画等
を、平に伸ばす方法。3. A method for flattening a calligraphic work or a duplicate, a watercolor, etc. in the step of frame and frame mounting used in the surface mounting method according to claim 1.
Priority Applications (3)
Application Number | Priority Date | Filing Date | Title |
---|---|---|---|
JP2001402170A JP3372539B1 (en) | 2001-11-28 | 2001-11-28 | New hanging system and forehead system that people can easily make |
PCT/JP2002/012298 WO2003045706A1 (en) | 2001-11-28 | 2002-11-26 | New mounting system of hanging scroll and frame easily manufactured by people |
AU2002365358A AU2002365358A1 (en) | 2001-11-28 | 2002-11-26 | New mounting system of hanging scroll and frame easily manufactured by people |
Applications Claiming Priority (1)
Application Number | Priority Date | Filing Date | Title |
---|---|---|---|
JP2001402170A JP3372539B1 (en) | 2001-11-28 | 2001-11-28 | New hanging system and forehead system that people can easily make |
Publications (2)
Publication Number | Publication Date |
---|---|
JP3372539B1 true JP3372539B1 (en) | 2003-02-04 |
JP2004344177A JP2004344177A (en) | 2004-12-09 |
Family
ID=19189984
Family Applications (1)
Application Number | Title | Priority Date | Filing Date |
---|---|---|---|
JP2001402170A Expired - Fee Related JP3372539B1 (en) | 2001-11-28 | 2001-11-28 | New hanging system and forehead system that people can easily make |
Country Status (3)
Country | Link |
---|---|
JP (1) | JP3372539B1 (en) |
AU (1) | AU2002365358A1 (en) |
WO (1) | WO2003045706A1 (en) |
Families Citing this family (1)
Publication number | Priority date | Publication date | Assignee | Title |
---|---|---|---|---|
GB0725142D0 (en) * | 2007-12-22 | 2008-01-30 | Lawrance Clifford J | Picture frame with variable-aperture mount |
Family Cites Families (3)
Publication number | Priority date | Publication date | Assignee | Title |
---|---|---|---|---|
JPS52130764A (en) * | 1976-04-24 | 1977-11-02 | Kyodo Printing Co Ltd | Surface decorating of hanging picture |
JPS5539331A (en) * | 1978-09-14 | 1980-03-19 | Kazuaki Kawamura | Backing method |
JPS5599220A (en) * | 1979-01-20 | 1980-07-29 | Mitsuo Nishina | Production of kakemono |
-
2001
- 2001-11-28 JP JP2001402170A patent/JP3372539B1/en not_active Expired - Fee Related
-
2002
- 2002-11-26 WO PCT/JP2002/012298 patent/WO2003045706A1/en active Application Filing
- 2002-11-26 AU AU2002365358A patent/AU2002365358A1/en not_active Abandoned
Also Published As
Publication number | Publication date |
---|---|
AU2002365358A1 (en) | 2003-06-10 |
JP2004344177A (en) | 2004-12-09 |
WO2003045706A1 (en) | 2003-06-05 |
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