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*** No Subject ***
Responding to msg by email@example.com (Artemis
Bonadea) on Wed, 9 Nov 10:28 AM
>I've recently gained access to a dry mount press. I'm
>not sure just how I plan to use it but I wonder if any
>list members have experience with these machines.
I bought a Seal Jumbo 160 about 1976 and used it to make
Buckminster Fuller's "Tetrascroll", an edition of about 45
copies with 3-foot equilateral triangular pages mounted on rag
board covered with dacron sailcloth. Though the sailcloth was
specially manufactured for this binding with a coating of
self-adhesive (covered with peel-off silicon release paper), it
required the hot press to set the sailcloth into a bubble-free
smooth lamination. The cloth was translucent white. I also had
mounted black elephant hide paper over the rag board with
fusion 4000. This was because Dr. Fuller had given me a grey
seagull feather to match for the surface, and it was the only
way I could get that shimmery effect.
The pages are continuous-hinged with alternating up & down
pointed triangles. It is over 40 feet long and "scrolls" into
an equilateral tetrahedron.
I also used Fusion 4000 to attach the pages (as I recall they
were Rives BFK) to the structure. I kept the book stationary
and moved the press along in sections. It does about 14 inches
at a time, and is 18 inches deep, so I could go up one side of
the 40 foot table and down the other. Fusion 4000 is a
relatively low temperature adhesive, and it had no visible
effect on the surface of the prints, which were stone
lithography. But always test it. The first time they printed
the title page (a solid color) it was affected by the heat
(about 190 F), but they reprinted it with a better ink that
This required developing a technique which has turned out to be
useful for all oversize work (mounting items bigger than the
The trick is to keep from making a mark where the press edge
is. The press itself does not make a mark, as it is open on 3
sides and has a foam pad. But the heat sort of melts the work
on both sides of the press where it hangs out, and it sags out
of shape. Depends what you're mounting how noticeable it is.
Gravity at work. The solution is to make mini tables on either
side of the press to hold up the work, the height of the mini
tables being exactly the height of the work when the press is
closed. Even a slight deviation can leave a mark.
If you do get a mark, it can often be removed by reheating the
work in the press (pressing out the mark) and putting it under
weight while hot until it cools. It's sort of thermoplastic.
Anyway, on normal work I always press it under a weight as soon
as it comes out of the press.
For complete technical info, read "Book of the Century:
Fuller's Tetrascroll" by Polly Lada-Mocarski in "Craft
Horizons" Oct 1977, pp 18-21+.
As far as your Q re using it for board lamination, you get more
pressure from a regular nipping press or, for larger work, a
standing press, which is fine for wet glue, and which doesn't
use electricity. The hot press is not so great for use on
boards with dry pva, because it takes the heat so long to
penetrate the board. I prefer to use a 30 second pressing. I
have used it with Fusion to laminate 2-ply rag boards because
they don't warp & you can make a strong cross-grained "ply
board", but I don't recommend it.
I have used it over the years for projects requiring photo
mounting, and it still is a good press. But now I use the Gudi
adhesive products, which I hope are as archival as they claim.
Does anyone have info to the contrary? I just did a book with
all the pages gudi-mounted, and it's great stuff to work with.
I find the one with the paper substrate is the strongest and
easiest to work with.