Ink jets are fine cold or hot.Originally Posted by Chester McCheeserton
Ink jets are fine cold or hot.
He was asking Drew.
got it , I am surprised to hear people saying inkprints cannot be hot pressed.He was asking Drew.
Thanks for the advice Bob. Keep in mind that Drew is immortal. I've only got a few good years left, so testing a product exhaustively for long term effects before using is not in the cards. I just look at the best available information and go with it. Maybe it would be different if the MOMA was chasing after my prints. But then I would let them worry about mounting them.
Please bear in mind that Bob has a great deal of experience and specialized equipment. Save your scrap prints and experiment. Quite a few people have adopted Scotch PMA repositionable cold mount for prints up to 16X20 or so. But the pro cold mount tissues are utterly unforgiving. There are specific techniques with all of these which involve a learning curve. How do I know? I've done all kinds of mounting and framing over the years - not just my own
prints. I also research and experiment with all kinds of things I might not ever find necessary personally; but certain of these things do turn out invaluable
now and then. With inkjet mounting, its not just a case of reliable bonding, but the esthetic issue of "orangepeel" becoming a higher risk the glossier the
print is. Having a relatively thick rag paper mounting tissue doesn't help. That concept was once marketed for cold mounting too - note the past tense.
FWIW when inkjets were first introduced to the market, hot pressing was dicey as there was a lot of lifting of ink and therefore everyone moved to cold mounting.
I use Hahnemule Bayrta Papers and Epson Enhance matt and these two papers have proven to be very good for mounting applications. When cold mounting in the past with Cprints the paper stock was thin
and suspect to issues of showing any problems with the adhesive layer, any board problems and any dust in the work area.
With the ink jet paper which are much thicker (Baryta) these problems are very low, and as every one who does a lot of framing knows a matt print is super forgiving.
Drews point of past tense is correct, and yes there are still cheaper papers on the market that are bad for mounting, but if you keep with Canson, Hahnemulhe, or Epson they have worked out a lot of the bugs.
Good to know. I'm not hearing anyone sound the air horn in favor of Ragmount so will continue to use Colormount and my heat press for up to 22 x 28 inches, the rough size of the Seal 500T that I've only had for a coupe of years but have moved twice and built a rolling cart for so I'm sort of determined to get some use from it.
Drew perhaps you are right and it might be worth experimenting with some scraps and the Scotch PMA stuff, though that windshield scraper looking thing does not inspire confidence in terms of perfect flatness...I usually print on Artista Baryta which is very close to the Canson Baryta Photographique – it used to be way cheaper although Freestyle recently jacked the price and it's not as much of a great deal as it was. I'm just used to heat mounting silver prints with MT5 which is how I learned. Will still take larger prints to a professional mounter with one of the big cold laminators.
Bob have you used heat press to mount onto dibond? Do you do any work for E Burtynsky or does he have a setup to do it all in-house?
Last edited by Chester McCheeserton; 27-May-2018 at 18:50.
My point was simply that Colormount has been around a long time, so we hopefully know what to expect, though there is still a question in my mind if some of the D&K current marketing label came from China; so I'll be sure to test my fresh batch. And rag paper, which is allegedly at the core of Ragmount, is infamously difficult to make truly flat. And as far as heat goes, ink can be printed on all kinds of substrates including some properly sized plastics, and not just the ordinary store-bought versions; so that's why I'm not going to gamble on a generic answer about heat. Some people like 3M PMA, some hate it. That
little squegee thing - just a Bondo applicator - is indeed a joke. But you can use a Formica laminate roller. I have a big roller machine that works for permanent acrylic adhesives too.
Yes we have used a product called flo bond (I think) crazy expensive . I placed about 10 pieces in the George Eastman House exhibit for Elizabeth Seigfried a few years back. They were 30 x40 silver gelatin and we did them on dibond. This worked well but I have to say difficult.
If I remember right we had to sand the surface of the diabond to create a surface that the tissue could blend into the tissue is very flimsy and the chance of screw ups high, but for silver gelatin to aluminum I think the only way.
I am not a big fan of mounting these days but I do it as a lot of my clients have me make monster size prints, I am particular to Sintra , Dibond and of course the old favourite Museum Rag for large work. We never use gator board and for some clients they tell us not to use acid free foam board.
Face mounting then dibond back mounting is very popular these last 10 years, I absolutely hate doing it and today refuse these types of jobs.
I have found that for all my alternative printing there is no need to mount and I love the workflow of corner mounting prints in a beautiful matt presentation.
Regarding Ed , He built Toronto Image Works specifically to answer all his printing , mounting , framing , crating and shipping needs, Ed is on a complete other level IMHO and I respect him and his work tremendously, I have never done any work for him.
Is there a problem with acid free foam board? I print small (10x15 max) and mount my work using corners on 16x20 acid free foam board with a 4-ply acid free mat overlay.
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