Archived posting to the Leica Users Group, 2014/12/22
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]I routinely use a pre-coated foam core for heat activated dry mounting glossy inkjet paper. The old Technal at 180 degrees f for 1 1/2 min. works great. I use some release papers on top and a kraft paper sheet under the foam core. The gap has to be adjusted for the thicker substrate relative to the 4 ply mat board that the press was initially adjusted to. I use a formica cut-out from a desk as a cold press after the print package is removed from the press. This lets the package cool under even, flat (easy to clean) pressure. Probably the major issue is avoiding dust being pressed into the surface. Lots of manual air blower action, plus a soft cloth helps. I use Lascaux fixative (non-UV) for some protection prior to the dry mounting. The thicker Print Shield type UV sprays give more protection but interfere with the unique look of the B&W dyes on metallic, RC type paper I use (Red River Polar Pearl Metallic). BTW, I'm refining some new QTR profiles for the Epson 1400 family (1430 and European 1500[?]) that print B&W prints with OEM color dye inks in what I call an "Advanced B&W" mode. The profiles use the black ink not only for the 100% black, but also for 1/3 of the midtones. This controls metamerism/color constancy enough for LEDs and hot wire lights (not for compact fluorescent lights), and the color Claria dyes are stronger than the Claria black. When a UV spray is applied to a good glossy paper, the lightfastness of these is in the Epson UltraChrome class, which is why Epson names the dyes the "UltraChrome D6" inkset for their new SureColor mini-lab machines. I use a wood frame around the foam core -- no glazing or mats. Buying the wood, chopping and nailing the wood frames saves a few more bucks and also allows the image to be cropped to what is ideal for it -- not some pre-ordered, stock size. I have had bad luck with spray glues. A large panorama that was professionally done this way peeled off eventually. Not good. These low cost glossies really appeal to the the tourist walk-by traffic at Gallery Los Olivos. They are also the only technology I've found that can hold its own in a mixed show dominated by paintings. (For my top prints -- 100% carbon pigments on Arches watercolor paper -- I would never consider dry mounting. All good matte papers are tape hung under glazing.) Paul www.PaulRoark.com On Mon, Dec 22, 2014 at 8:52 AM, kyle cassidy on the LUG < leicaslacker at gmail.com> wrote: > > Subject: > > From: reid at mejac.palo-alto.ca.us (Brian Reid) > > Date: Mon, 22 Dec 2014 07:35:45 -0800 > > References: <E7BA96E0-8EB6-4E72-A42C-E8EBAB935580 at gmail.com> > > I drymount to gatorboard all the time. It works well. Nothing to it. My > > trusty Seal drymount press is almost 50 years old and is still as good > > as new. > > > > I don't think I'd want to print directly on gatorboard. > > > Wow. I hadn?t considered mounting them myself, and checking the prices > just now, it looks to be about 1/4 the price of having it done. I don?t > have a dry mounter, but I?ve spray mounted things in the past?. This might > be my new project. > > The LUG solves it again. > > Thanks! > > kc > > > _______________________________________________ > Leica Users Group. > See http://leica-users.org/mailman/listinfo/lug for more information >