- I'd bet money on it. Good luck! Very interested in trying this as well. November 2019

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. The coating swells two to three times its original thickness as it absorbs and spreads the applied ink. I'm sure it's not the only solution, but it's working well for me, and preserves the portability of the unit if I ever need to travel with it (I have taken it along to one workshop). I'll try to post some pictures and maybe video of the press in use in the next week or so; I have a student here who will be doing some printmaking so that may be a good opportunity to get some pictures. These blankets can add up to a thickness of 3/4 inch, which is the largest space that the laminator can have between the drums. When it works, the texture of a print is totally unique to the medium. Examples of this are Epson's Ultrachrome Ink with a lightfastness expectancy of 100-150 years when printed on designated paper, and Epson Archival Pigmented Ink with a life expectancy of 200 years. Hi Michael! So Ive found the pressure of the rubber drums to be quite adequate. I see the 3mm black PVC also comes with the self stick adhesive. Papers designed specifically for dye printers include: HP Premium Photo Paper and Ilford Galerie Classic Gloss. Good luck! Photo 6: Water on Porous Coating Oil Painting Thank you in advance, Alice, Hi Alice! The Mounting and Laminating Handbook, Second Edition, 2002, BE ENTERED TO WIN A FREEPRINT+ RECEIVE MEMBER EXCLUSIVE DEALS! Cold mount (Read 12532 times), Quote from: Geraldo Garcia on March 12, 2015, 05:06:52 pm, Quote from: jferrari on March 12, 2015, 10:19:01 pm, Quote from: bill t. on March 12, 2015, 11:41:46 pm. So Ive left out the thick cushion blanket, and use only two blankets: the catcher is a very thin pressed all-wool felt that I purchased from a specialty printmaking supply shop, and the pusher blanket is a thicker wool felt that I got at a local fabric store. This message is not visible to other website visitors. In addition, we offer free local delivery of your finished, framed pieces. digital papers is the key to protecting yourself when mounting, and the bottom But I'm willing to try! All swellable, potentially heat sensitive images. We take the utmost care to offer you the highest quality materials, including acid-free mats, backing boards and mounting tissues, combined with an unrivaled level of personal service in order to ensure your mounted prints will boast the longevity they deserve. If you would like to file a complaint about this seller, please do so here. :-). It looks like a good setup for mounting prints but I can't seem to find any information on what pressure activated adhesive might work. Those all work well in certain situations, and for acetone transfers theyre essential, a press just wont work. Does anyone have any suggestions? The biggest challenge was going to be identifying the inkjet papers (photo 2). Important concept: don't think any of this will be easy until after you have some experience with it, and you have wasted some materials, and you have sworn some mighty oaths. This material is not recommended for fibre base prints, but for general rc based photographs or inkjets. The Art Storefronts Organization has verified that this Art Seller has published information about the archival materials used to create their products in an effort to provide transparency to buyers. Pigment inks are more light stable, are more insoluble in water, and there is a larger variety of paper choices. Do you think the rollers would apply enough pressure for etching prints? 3mm Sintra (aka PVC) is shockingly floppy when you handle your first 4 x 8 foot sheet. We also carryArtcare Restore&RagMountadhesives which both boast 100% acid free, lignin-free rag tissue carrier, Artcare Restore being the only adhesive on the market today that is not onlyremovablebut alsoreversibleand therefore considered of true Long-Term preservation standard, or"Archival". By the way, I've now used the laminator to print not only monotypes, but also lino blocks and drypoint engravings. ), and the saddest, a set of dye transfers from 8X10 camera originals of production stills from C.B. August 2013 I have been teaching about digital printing technologies in relation to framing and mounting for ten years now, and little by little we seem to have a better understanding of them. Understanding [QUOTE=adelorenzo;1276478]To mount or not to mount? And over time color toner electrophotographic and even pigment based inkjet prints have become more stable. I would say that a 50 variable from the center of a platen to the edges is unacceptable after it has had time to equalize. Expected availability: 7-10 business days. There is no sign of lifting on the image. You can never tell around here. Don't worry, your email is safe with us! Photo 4: Color Variations When a drop of water is placed on the surface it is quickly absorbed resulting in minor surface change to the paper, but papers may cockle. So I reckon portrait studios in my neck of the woods were heat mounting all day long,probably with shellac based tissue. Mounting services are available separately or in combination with the vast array of frames all made right in our Cambridge facility. This allows for mounting without an expensive heat press. Anybody who smells even faintly of acetic acid and sodium thiosulfate has my respect. They are more high resolution than swellable coatings, and are marketed as quick or instant dry. The Sealector III Tacking Iron features a pre-set, self-regulating temperature control for safety and long life. Most manufacturers do not list type of paper or coating on their packaging, so if a photo is brought in for framing it is imperative you establish brand, printer and ink. I haven't done any etching since college (and my 25th reunion is coming up)! Contains Japanese hinging papers, Mylar separation sheets, jar of pure rice starch adhesive, plus roll of self- Made from acid-free, archival Mylar, these sleeves are great for protecting your photos from fingerprints and other preservation hazards. It may not display this or other websites correctly. Swellable media (papers) include: HP Premium Plus Colorfast Paper, Epson Colorlife Photo Paper, and Ilford Classic Pearl and Gloss Paper. These papers easily replicate the look and feel of traditional RC photos. April 2019 Please call or email us for a price quote for your project. One of the limitations to printmaking in a home studio is the high cost of a printing press. Thanks very much. We can work with you to develop the best combination of materials and approaches to fit your needs from the very beginning of your project to the finished, framed and ready-to-hang piece. Each sleeve Lineco's carefully purified, raw wheat starch makes an outstandingly smooth, archival, museum-quality wheat paste. Until galleries start calling me about my prints I'm not too worried about the collectible or archival nature of mounting them. Hi Wendy! This item is noncancelable and nonreturnable. Some parts of the monotype process are uncontrollable, which is actually great if youre looking for a way to loosen up your work! I highly recommend trying it if youre looking for an alternative to a hand baren! Uncoated papers contain a wide range of weights and surface textures. Old mountings that were half eaten with termites, badly discoloring/decaying, water damage, horrible color choices (harvest, anyone!?!!! I then screwed the bracket to the plywood. Glad you found the information useful! Even when properly framed and secured behind matboard and glazing, oversized prints have a tendancy to curl or buckle over time due to changes in environmental conditions, causing an undesirable and visible ripple and occasionally the need for re-framing. Then there are the coated DFA and photo papers that will work with either dye or pigment inks including Crescent Digital Papers, and Hahnemuhle Photo Rag. Some good discussion here, thanks everyone for the replies. Michael. It would also be great to see your drill press handle alteration! I will try to post a video of this block being printed. Mountings are possible on nearly any type of media and flat backing board imaginable. Powered by vBulletin Version 4.2.5 Copyright 2022 vBulletin Solutions Inc. All rights reserved. Landscape April 2014 Using the GBC SpireIII Roller Laminator (RL) in conjunction with pressure-sensitive (PS) adhesive film, we are able to create a strong, long-lasting bond without the use of heat, which can damage some sensitive pieces. My hands are not up to that present handle. Swellable DFA papers, however, mount at all temperatures and even tolerate laminating with no color shift. Mounting systems are best used for mounting materials where conservation is not a priority, such as for commercial artwork, posters, maps, or reproductions. The entire pigment ink, paper, heat tolerance test will most likely turn into a full blown article later this year, but for now be aware of mounting limitations with digital photos. The surface coatings may be of many different substances including tiny glass beads, silica, clay, calcium carbonate, or assorted polymers. Mounting is also an affordable way to display your prints at your next gallery showing, allowing the buyer to make final decisions upon framing options. I suggest that you have a close look at having that press serviced. To achieve a perfect bond we use the Bienfang 4468h vacuum press along with select heat-activated (HA) adhesive, depending on the the substrate used. We may soon have to make that too. Each 8x10" photo has been divided into six strips and tested for heat tolerance at F 150, 170, 185, 200 and laminated at 225. Hopefully, the adhesive film between a PVC substrate and an inkjet print will have the same effect. Whether you are looking to face-mount your artwork so as to present it in an ultra-contemporary frameless design, or simply back mount to any of our variety of substrates to prepare it for framing, we can help you achieve the look you are seeking, while also making sure it is the right choice to ensure your artwork lasts a lifetime. (Ill link to all the materials at the end of this article.) It also means that buyers can trust that they are buying from a legitimate business. It seems like 3M 568 adhesive (http://www.3mcanada.ca/3M/en_CA/company-ca/all-3m-products/~/3M-Positionable-Mounting-Adhesive-568-60-96-cm-x-12-24-m-24-in-x-50-ft-?N=5002385+8709316+8709380+8710660+8710823+8711017+8711729+3293797112&rt=rud) works for most types of prints but, from what I can tell, it is not recommended for fiber prints. Almost all of our FIne-Art & Photo papers and Canvas are archival certified for 100-200+ years and many are OBA Free. Photo 3: Swellable Coated vs. Uncoated DFA It was my job to do the copy work, but some of the old mounted works would send a chill down my spine!!! These may also come with different surface finishes including rough, cold-press (CP) and hot press (HP), and most of these work with both thermal and piezo printers using either dye or pigmented inks. And until recently my ISO scientists seemed to believe and agree with my hypothesis. A real press has a heavy metal bed that rolls back and forth between the drums to support a plate and paper, and several specialized felt blankets to cushion the work and spread the pressure evenly. Don't take life so serious, son. Bill said pretty much everything I would say and more. We carry only the highest quality print media from names such as Hahnemhle, Harman & Breathing Color. I use three blankets, plus some newsprint, and dampened paper, and I make sure that the edges of my plate are well beveled and sanded so I don't tear or damage anything. Creative Mounting, Wrapping, And Laminating, 2000 will teach you everything you need to know about getting the most from your dry mount equipment and materials as an innovative frame designer. Dry Mounting Dry Mounting uses a heat activated adhesive to permanently affix a piece to a sturdy support, such as foamboard. We offer both back and face mounting services, as well as film overlaminates. The print is far less likely to become creased or torn. December 2015 I have done/do plenty My point is that there are other options to explore also, and it's good to do research for the good/bad points of any process before jumping in headfirst Oh, and let me add that you will have to hot press the prints to flatten them before mounting, so that press might be redundant (if you have a hot press). Apply 4 or more transparent strips around picture to mount work. These pores suck the ink droplets into the open spaces as the water in the ink evaporates (diagram 2). I'd love to hear how it goes for you if you give the laminator a try. www.pacificmount.com/products/laminators-and-accessories. Peeling the paper away from the plate is like opening presents on Christmasanticipation, some trepidation, sometimes glee and sometimes disappointment. Photo 2: DFA and Photo Papers Once the coating has dried it returns to its original thickness while encapsulating the ink droplets. Create your own unique website with customizable templates. If so, you may be able to do the same thing I did, if you have the tools to machine a new retaining bolt (we used a drill press). Valuable or collectible original artwork should not be permanently mounted, as this will decrease the value of the artwork. For a better experience, please enable JavaScript in your browser before proceeding. "You have to be relatively intelligent to realize how stupid you are" John Cleese. I've been looking for a way to print at home since I no longer have access to the press at school since graduating. If at all possible, my guess is one would be restricted to pieces that fit under the press in one pass - is that correct? Water droplets on coated RC paper will sit on the surface coating until the air evaporates it with no change to the paper once dry. Though it is true most any image may be preservationally mounted using hinges, corner pockets, or edge strips, more times than not, a digital photo or canvas may actually look better when mounted to a rigid substrate. It's a workhorse, hasn't failed yet! November 2013 This is why it takes longer to dry once printed and is what makes them more lightfast than porous coatings (diagram 1). As scale has increased in the contemporary art and photography markets the demand for critical print mounting as part of the framing and presentation of finished work has as well. One of the basic differences between good and cheap laminators is the way pressure is applied to the artwork package. I don't know. By bringing together mounting and framing in house we are able to deftly control both quality and scheduling, while also offering competitive pricing. Uncoated papers have two components: the base and the sizing. You aren't going to have any protection, at least I don't see any glass or acrylic in front of the print. When the ink dries out, an embedded layer of colorant remains in the coating. We hate SPAM too! Today's 21st century framer needs a more comprehensive understanding and working knowledge of the composition of printing papers, their coatings, and the behavior of inks printed on these papers in order to make the correct decisions about how to mount them. Upper left top three photos are uncoated DFA papers; top center eight are coated DFA papers; upper right seven are swellable; second row from bottom are porous; and bottom row are all porous on resin coated media. Someone near me is selling a commercial Neschen cold mounting/laminating press quite cheaply. AFAIK, some potential issues with inexpensive forms of cold mounting are the possibility of air bubbles under the print and potential long term issues with the adhesive used. Also has a non-stick, coated base. Some kind of star handle idea or a regal crank handle? I believe people typically use a vacuum press for this kind of thing. Tips And Tricks If you like, I can send you some pictures by email--just let me know if that would be helpful. Monotype Great read, and Im thinking of getting one! This is only visible to you because you are logged in and are authorized to manage this website. Post update: Ive gotten many questions about how the laminator performs with various kinds of plates. I didn't meant to start a debate on mounting, although it has been very interesting to follow the conversation. The water is puddled on the paper but will dry flat. When mounting to substrates which are non-porous (such as DiBond or Acrylic) or when mounting items which are heat sensitive, we utilize Cold Mounting techniques. But its a good idea to put a few sheets of newsprint under your plate and on top of your paper as you run it through the press, just to catch any stray ink and spare your blankets. January 2015 Mounting corners, strips, and sleeves provide an archival option for cold mounting of photos and other materials in photo albums, scrapbooks, and presentation books. Hi again Will, I did test out an old flat bit plate, and after some trial and error with pressure and inking managed to pull a decent print. Printmaking is a very malleable process, that rewards you for experimentation and for thinking through your process before you start. The test results indicated that thermal technology, as opposed to piezo inkjet technology, was what allowed for the heat sensitivities when dry mounting. They are more photographic, glossy, and better geared to dye based inks, though images may appear more grainy producing a more noticeable dot pattern. It costs more in labor as well as materials, it is invasive, and it isn't usually necessary. Photo 5: Water on Swellable Coating Why permanently mount a photo in good condition? For dry cold mounting we utilised Crescent Perfect Mount Basically the curl or waviness will cause creasing in the mount. This issue is especially noticeable on prints made on gloss, semi-gloss and luster coated photo (RC) papers. I have to say that at this moment I don't know if the laminator can apply enough pressure for etchings. April 2015 This silicone-treated paper can be used as a cover sheet in most dry mounting and laminating jobs. To spare stress on the crank handle, I also push on the bed a bit as I crank. When a drip of water is placed on the surface , it does not absorb and when rubbed it creates a slippery film removing the ink from the coating. preservation techniques to be safe. So in October 2005 NielsenBainbridge agreed to sponsor the fourth in my series of heat tolerance tests, this one to compare Epson piezo inkjet technology, paper coatings, and inks under heat. At least you're handling the board and not the print itself. It has two knobs to adjust the pressure, and enough space for a flat bed to support the work, plus some cushioning material. Inkjet papers may be uncoated, or coated with a surface receptor. I have used the laminator to print drypoint engravings on plexiglas plates. All of that gave me a base so that I could use C clamps to clamp the laminator to a tabletop so it won't move. Hi Aaron, Photo 7: Water on Porous Resin Coated Paper January 2014 This method works especially well when a bleed-mount is desired, that is, mounting a print which extends all the way to the boards edges. They create a set of pores that act as inkwells trapping the ink just below the coating surface. This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register. June 2020 I do think this could be used for woodblocks, depending on the size and thickness of the block. For more articles on mounting basics look under the mounting section in Articles by Subject. Our mounting specialists come to us with decades of experience and that experience, combined with our 35+ years in the framing industry sets us apart from the competition. Photo 8: Water on Microporous RC Paper There are two types of coating: swellable and porous, plus either may be applied to 100% paper base or resin-coated paper base. Believe me, it would be helpful. And it worked! Some good discussion here, thanks everyone for the replies. My oldest original print dates from around 1920. It ain't nohow permanent! Darko - what year was that published?, the adhesives made a major change and are continuing to change. What are your thoughts on that? The traditional combination of blankets is a thin sizing catcher next to the paper, a thick cushion blanket, and a thin pusher blanket on top. That is a good point and important to consider. For a variety of reasons I'd love not to use heat, and instead use starch or spray type adhesives. Call us today @ 310.876.3933 to set-up an appointment. This is much like the adhesives we use except we apply to the substrates. Correct me if I am wrong. Interesting question. The drums are rubber, and while the pressure knobs are plastic, the rest of the threaded pressure adjustment is metal, and the whole thing feels robust. June 2016 My issue is that I can never get fiber prints totally flat so I'd like to mount them before framing or otherwise displaying. Hi Will, Dry mounted? DeMille epics that were pasted to decaying mounts that were soaking sulfur into the prints, but could not be removed as it would require soaking or steaming the mount, and 'ya can't get that dye transfer wet!!!!!

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