Carbon transfer prints on aluminum

[sanking]

Over the past year or so I have made a number of carbon transfer prints on white aluminum sheets, usually about 40 mil thick. These prints have a highly distinctive look since the relief is right on top of the surface, which enhances dimensional qualities and gives a print surface that is richly textured.

Most of my prints are 12X17" or 12X18" in size on 18"X24" sheets. I attach an image to give some idea how the prints look.

I have an opportunity to exhibit some of this work and would appreciate advice on how to best present it. One possibility is simply to hang the work as is, with no matting or framing. Another is to place a matte over the front of the print. Another would be to place a frame around the outside of the aluminum sheet. However, whatever method I use the intention would be to use no glass in front of the print since this would greatly diminish the textured surface look that one sees without the glass.

Ideas and comments appreciated.

Sandy King

[Kirk Gittings]

Interesting. Are these white aluminum sheets painted white or powder coated white? How durable is the image itself?

[jb7]

Looks good-
I think I'd be tempted to leave out the mat,
if the surface is as you say-
Seems like a good contrast to the print-

[sanking]

Interesting. Are these white aluminum sheets painted white or powder coated white? How durable is the image itself?

Kirk,

The surface is a white acrylic paint, applied as below in the product description.

"Alliance BRITE-WHITE – Alliance BRITE-WHITE Painted Aluminum is coated utilizing a continuous roll coated process that ensures a smooth consistent color on both sides of the material.
The coating is applied in a controlled environment with rigid specifications that result in an even finish that matches batch after batch. A wide variety of colors, gloss levels and life expectancy are available to meet individual requirements. WHITER and BRIGHTER finish for your printing needs."

To print I first prep the surface with a light rub with Bon Ami, which gives it some tooth. I have had several of these prints on display in my sun room for about eight months and they look just like they did the day I made them. And to get them off the aluminum requires sanding, when dry.

Aluminum has a fairly high co-efficient of expansion so I would be concerned about storing or displaying them in areas that might experience wide changes in temperature over a short period of time.

Sandy

[Vaughn]

Hello Sandy! I tend towards the display of the sheet of Al as is -- attached tastefully to the wall with no further matting nor framing. Besides the images, the sheets of Al with the raised relief images on them are wonderful objects just on their own.

That said, since the greatest dangers to the image are 1) fingers that can't be kept off the images by their owners, and 2) temperature changes that expand and/or contract the Al -- causing the image to crack up.

The first danger might be reduced through signs (and perhaps a "sacrificial print" that people can touch). The second danger might be somewhat reduced by a frame, if the frame helps to insulate the Al from temp changes.

Definitely keep the prints out of direct sunlight, and away from heater vents, but you probably got that figured out.

Vaughn

[sanking]

Hello Sandy! I tend towards the display of the sheet of Al as is -- attached tastefully to the wall with no further matting nor framing. Besides the images, the sheets of Al with the raised relief images on them are wonderful objects just on their own

Definitely keep the prints out of direct sunlight, and away from heater vents, but you probably got that figured out.

Vaughn

Direct display seems very attractive to me as well. There is a great simplicity in the utilitarian aspect of this kind of image.

As for the sun, no problem. As I mentioned, I have had several of these on easels in my sun room where they get several hours a day of direct sun and so far this has not caused any change at all in the prints. It is changes of temperature that most concern me.

Sandy

[sanking]

Looks good-
I think I'd be tempted to leave out the mat,
if the surface is as you say-
Seems like a good contrast to the print-

The surface outside the image area is the same as the highlights of the image. It is a very shiny white surface.

Sandy

[Richard M. Coda]

"A wide variety of colors, gloss levels and life expectancy are available to meet individual requirements."

What is the life expectancy? Under un-protected circumstances?

Acrylic is a plastic, is it not? Will it yellow? Will it become brittle? Will it detach from the aluminum? I know a carbon print will last for centuries, if not more... the trick is to have a support that will last just as long.

As far as framing. I'd prefer no mat, but glass in front, maybe floated, not necessarily in a frame. Maybe fastened by steel rods to the wall (or other support), leaving a 1" space between the print the the inside of the glass... larger than the print. Keep the fingers off the print and might look cool.

[Monty McCutchen]

Sandy,

A good friend and member of this forum David Prifti has shown his wonderful wet plate work recently with great success by floating his work with a wood block behind the image that is slightly smaller than the image itself. He has floated the work inside frames as well as stand alone floats. Both look great, different but equally beautiful. Getting it off the wall though definitely added something to the presentation in my opinion.

Monty

[Kerik Kouklis]

Go rustic and just nail the f-ers right to the wall! :-)