Laminating Inkjet Prints

[jetcode]

I am interested in eliminating the standard frame style for a series of prints. I want to mount the inkjet prints to a 1/4 piece of hardcore and laminate them. It would be neat if I could do it myself and save the cost but I am open to professional mounting.

In the past I had Calypso mount a 40x50 (if you can't make it good make it big) ilfochrome on foamcore and it had a nice quality to it.

Any experience to share?

[mrladewig]

There are several places in Colorado that do excellent lamination work. One is Artist Showcase who have an inexplicable web address.

http://www.constructivehealing.com/Artist/Home/

The other is "picture this superior" who are easy to find on Google.

I've seen a good amount of work from both vendors and will probably have one of them do something for me soon. I'd say I've seen 3 dozen finished pieces mounted by one of these companies or the other. I just prefer to do framing myself as its much cheaper (so long as I'm not using museum glass). I have the impression that the dry mount presses they use would not be economical for personal use.

But basically that is what you're getting at. If you want to do mounting on gatorboard or a similar substrate yourself, you need a dry mount press. Small size ones can be purchased for a reasonable amount. I'd check with the art supply stores like Dick Blick or Meiningers.

Mel-

[Greg Lockrey]

I am interested in eliminating the standard frame style for a series of prints. I want to mount the inkjet prints to a 1/4 piece of hardcore and laminate them. It would be neat if I could do it myself and save the cost but I am open to professional mounting.

In the past I had Calypso mount a 40x50 (if you can't make it good make it big) ilfochrome on foamcore and it had a nice quality to it.

Any experience to share?

I do my laminating with a Seal flatbed press and do it in overlapping sections. I happen to use Seal brand laminate. The hard part is laying the laminate down without putting too much pressure on it without causing it to adhere before the press is ready to be put into action. I laminate to inkjet paper and mount to foam core with one pass at around 200 degrees F. With my 19x24" platen I am able to handle up to about 37" wide to 8 feet. If I had a wider press, then we could go wider. The length is not a problem. FWIW when I use Epson Enhanced Matte with the Seal Gloss laminate, the laminate makes the gamma look like it picked up a stop or two. Almost looks like a print done on Harman FB but with a little less detail and color accutance. Another good brand of laminate is made by GBC. I'm just starting to use this stuff, it's a lot cheaper than Seal and doesn't have that sticky side that has the protective sheet that has to be pealed prior to use. And it's a lot easier to position once on the surface.

[eyemagicphoto]

We encourage our customers to use Gatorboard because of how sturdy it is compared to foamcore. I have had foamcore bow on me and when trying to frame it, and it becomes quite the task. We outsource our laminating, usually we go with a semi-gloss, or matte for the our Inkjet prints (EPSON9800). We tend to create "realistic" prints though, so the less the laminate sticks out the better in our case. The laminate can really change the "look" of your images.. so keep that in mind as well.

Thanks,
eyemagic

[jetcode]

as crazy as this sounds I am considering mounting on 3/8" gatorboard (which appears to warp a bit too), laquering the print with Hahnemuhle spray and gluing some kind of surface around the framed edge.

[Greg Lockrey]

As a follow up to my previous post about laminates. For about six weeks now I've been using GBC brand laminate called Octivia Gloss . I find that it is much easier to use than Seal in that there is no protective sheet to remove. The laminate is "cleaner" in that it doesn't have a yellowish tint. You can position it after placing it on the work. The Seal has a sticky side that tends to grab the work which makes it more difficult to reposition prior to hot mounting. You have to look pretty close to see the difference with using Epson's Enhanced Matt and Gloss laminate and Harman's FB Gloss paper. The Harman does have better detail but at 4x the cost. I got a roll of 38"x 500 ft for about $90.00 shipped. Seal was 200 feet for $160.00.

[jetcode]

Greg how do you handle cutting inkjet paper? I had some prints recently mounted and the mounter sheered the foam core and print at the same time and the inkjet paper shredded slightly. I am noticing this on the Ilford Galerie Silk paper.

[Ben R]

How archival is lamination?

[Greg Lockrey]

How archival is lamination?

I don't know specifically, for the applications that I use are for commercial applications for protecting displays and that sort of thing. I have some Seal laminate examples that are dangling on my studio walls in hard traffic areas that don't seem to have any lose for wear for the past 8-10 years.

[Greg Lockrey]

Greg how do you handle cutting inkjet paper? I had some prints recently mounted and the mounter sheered the foam core and print at the same time and the inkjet paper shredded slightly. I am noticing this on the Ilford Galerie Silk paper.

Joe, I didn't see your post till now. I mount everything together and cut afterward. I use a razor knife that is specifically designed to cut foam core. It has a handle similar to a bicycle grip and perpendicular to a plate that holds the knife blade at a 45 degree angle. Don't know the brand name off hand but I got it at Michael's arts and crafts store. The blade is a razor and I can get about 10-15 long cuts with it before I need to turn the blade over. They have to be sharp. If mounter used a shear, that could be troublesome. Foam core doesn't like to be cut with a shear. I never ever noticed a problem with the paper, but sometimes the bottom of the foam core gets ragged if the blade is dull. That's my signal to change the blade. For really intricate work like a life size stand-up display of people I have a battery operated jig saw (Black and Decker) fitted with a scalpel blade. Works like a charm. Yeah, not everything done here is what you call fine art. ;)

[Greg Lockrey]

It's called "The Straight Cutter" Model 701 made by Logan and uses #270 blades.

[bob carnie]

We do most of our lamination cold we have problems with some of the textured papers .
A technique I have seen and really like is a pure resin/epoxy that is very thick and clear over the print and edges are box with wood .. very impressive method.

I think a cold or hot mount is done on a box mount that is supported with braces from behind .. I think a dibond material *aluminum* could be used as the material to mount to.
any photographic material or inkjet material would work , but for this application it is very high gloss so a glossy stock may be prefered.

the resin ** not sure on this ** is then poured onto the mount,, there must be a lip that is stopping the resin from flowing over the edges. The resin needs to cure in a very clean dry place as it hardens.

The look is spectacular, with large prints and gives the face to plexi look but the edges can be high quality wood and basically the whole unit hangs from cleats on the back. Imagine a wrap around canvas mount on a 3 inch square stretcher material with a beautiful wood finish on the sides.

Anyone doing this???
I would like to try as its a beautiful look .

[Greg Lockrey]

We do most of our lamination cold we have problems with some of the textured papers .
A technique I have seen and really like is a pure resin/epoxy that is very thick and clear over the print and edges are box with wood .. very impressive method.

I think a cold or hot mount is done on a box mount that is supported with braces from behind .. I think a dibond material *aluminum* could be used as the material to mount to.
any photographic material or inkjet material would work , but for this application it is very high gloss so a glossy stock may be prefered.

the resin ** not sure on this ** is then poured onto the mount,, there must be a lip that is stopping the resin from flowing over the edges. The resin needs to cure in a very clean dry place as it hardens.

The look is spectacular, with large prints and gives the face to plexi look but the edges can be high quality wood and basically the whole unit hangs from cleats on the back. Imagine a wrap around canvas mount on a 3 inch square stretcher material with a beautiful wood finish on the sides.

Anyone doing this???
I would like to try as its a beautiful look .



WOW! Sounds impressive to be sure, but then we are only talking about ink-jet prints, Bob. ;) I've used a product called "Frog Juice" that rolls or sprays on thick and dries with a nice thick coating that sounds similar. It's mostly used for outdoor vinyl signage applications though but you can use it on canvas and rag papers.

[jetcode]

thanks greg ... joe

[bob carnie]

Hi Greg

Frog Juice,, I hope no frogs were destroyed in making this product. I will google to see if I can find it.


If it is for outdoor applications I wonder that the UV ratings are pretty good. Do you have any more info on this product??
I am going to make some box mounts and try to duplicate the look and would give this product a try.

Bob



WOW! Sounds impressive to be sure, but then we are only talking about ink-jet prints, Bob. ;) I've used a product called "Frog Juice" that rolls or sprays on thick and dries with a nice thick coating that sounds similar. It's mostly used for outdoor vinyl signage applications though but you can use it on canvas and rag papers.

[Greg Lockrey]

Hi Greg

Frog Juice,, I hope no frogs were destroyed in making this product. I will google to see if I can find it.


If it is for outdoor applications I wonder that the UV ratings are pretty good. Do you have any more info on this product??
I am going to make some box mounts and try to duplicate the look and would give this product a try.

Bob

Hey Bob,
Only the very endangered species are used. :D I get mine from DTGWeb.com but there is a direct to manufacture number for info at 1-800-877-1907 and their website is www.far-from-normal.com . The type I got was called Sunscreen Clear 7000. I was told that the UV rating was something like 8-10 years for outdoor with ink-jet, but I could be wrong since I bought this stuff about two years ago to make license plates and my memory ain't what it used to be. (Yep, not everything is fine art ;) )

Oh... when you roll it on there will be ten million bubbles, but not to worry. It dries slow and clear. You can also spray or brush it on too. There's good instructions on the can.

[bob carnie]

Hi Greg

So if you were making licence plates, was that at Rikers??

thanks for the link I will follow through ,
I have done some local sniffing and a product called envirotex lite,, does exactly what I have described , the only kicker is that it may turn slightly amber with lights, but seems to be the product I am looking for.
I will give it a go over the next few weeks to see how it works.

Bob


Hey Bob,
Only the very endangered species are used. :D I get mine from DTGWeb.com but there is a direct to manufacture number for info at 1-800-877-1907 and their website is www.far-from-normal.com . The type I got was called Sunscreen Clear 7000. I was told that the UV rating was something like 8-10 years for outdoor with ink-jet, but I could be wrong since I bought this stuff about two years ago to make license plates and my memory ain't what it used to be. (Yep, not everything is fine art ;) )

Oh... when you roll it on there will be ten million bubbles, but not to worry. It dries slow and clear. You can also spray or brush it on too. There's good instructions on the can.

[Greg Lockrey]

Hi Greg

So if you were making licence plates, was that at Rikers??



Bob

Nothing so exciting as that, was for Dentist' office, he had an artist paint a smile for a billboard and they hired me to put it on about 100 license plates. I done it with stick on vinyl and had to had mount them on plate blanks by hand. After the first ten or so I got pretty good and laying these down. ;) I made $1000.00, a little less than minimum wage. :o