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Articles
by Chris A. Paschke, CPF GCF CMG
"Color Copies: Part 1- Lightfastness to
Laminating"
March 1997
A number of years ago I began hounding dry mounting manufacturers for information
on heat and moisture tolerances of 4-color copiers. No compiled information was
available at that time and I was being asked in return why was this necessary.
As framers in the "computer age" of the 90s, digital prints,
4-color copies and FAXs have joined the ranks of
formal artwork, and at times need to be framed. A simple shadow box might
include a thermographic ticket just waiting for the unsuspecting framer to turn
it black by mounting it in a heat press. Or a FAX for that matter. Color photographs
are routinely being copied on high quality copiers as enlargements and limited
edition series by artists, what's a framer to do?
RESEARCH AND FUNDING
Knowing what to do is the biggest problem. A year ago I began researching
the copier issue and discovered it was only the tip of the iceberg. The project
has since been divided into three parts: color copiers, color digital computer
printers and the digital art market itself. And the attempt to keep up with new
inks, new printers and technology in general appears to be a never-ending
story.
Seal Products agreed to fund this project in their ongoing attempt to
support the framer in his pursuit of knowledge.
Their hopes are to better understand the tolerances and requirements of
new materials entering the framing world.
Especially in relation to handling, mounting, laminating, and the
overall effect of these practices when items are subjected to extreme
conditions. After all, thermographic tickets were never developed for long term
framing, only for the speed and ease of servicing the buying customer.
COPIERS SELECTED
In a randomly selected town, all available 4-color copiers within the
city limits were used to duplicate at regular settings, on general copy modes,
a select grouping of images. Copiers (not printers) used in the study include
Xerox 5775, Xerox Majestik 5765, Xerox Regal 5790, Ricoh NC 5006, Kodak 1525+
Coloredge, Canon 350 and Canon CJ17. They were chosen strictly by mainstream
availability based on what a customer might bring in from local copy/print shop
or photo lab. These would in turn be the same sources if copies were required
to reproduce something for framing due to potential fading or darkening over
time (the thermographic ticket).
PROJECT DEFINITION
The original selected for study was a boldly colored Polaroid supplied by
Gwen Walker-Strahan, an award winning fine art photographer from California. The
bright pink floral photograph was copier enlarged and duplicated on both a
control paper of 20# Southworth Legal Document 100% Cotton Rag and the copier
paper of choice, which varied with each machine.
The idea was to study, compare and assess the COLOR, DETAIL crispness and
overall ACCURACY of each copy as a reasonable substitute for the original. Also test for color permanence (LIGHTFASTNESS)
of images for use in picture framing based upon a 3 month controlled exposure
to 24 hr daily UV light.
Individual copies were tested, examined under magnifier, then rated on a
scale of 1-10 in the following actual categories against the original, 10 being
a perfect reprint:
1) Duplication of Polaroid color,
2) Crispness and detail,
3) Overall accuracy to the original
4) Lightfastness of inks,
5) Heat tolerances at 160F, 190F
6) Laminate tolerance at 220F
7) Copier accuracy with assorted items
If 4-color copies were proven tolerable of press and tissue temperatures they
could be placed into heat. If not, would need to be mounted using cold
alternative methods. Heat tolerance testing was done at 160F, 190F and 220F
with dry mounting presses for reaction of laser/copier inks by basic copier
color change, toner mottling, or high gloss toner loss.
The study was also to determine if the same copies tolerant of
adhesive/heat combination could stand the higher temperatures required by some
manufacturers for use with laminating films (temperatures in excess of 200F).
I also watched for ink reactions to laminating films and/or adhesives
seen as curdling or a visible dot pattern, very similar in appearance to a
technique in art known as pointillism.
OBSERVATIONS
The results were very interesting and frustrating...there are no easy
answers. Duplication accuracy varies dramatically between copiers. Some
machines reproduce color best while others duplicate crisp detail and subtle grays
best. Unfortunately, no one copier appears best for everything. I will
discuss this in more detail in part two, next issue.
All Polaroid images appeared comfortably lightfast after extended and
constant exposure to UV for three months.
No visual fading occurred on any copy from any machine. As little as a
few years ago select copier inks (predominantly personal copiers) were
extremely light fugitive, so light tests should still be done on copiers that
remain untested. Never assume the art or copy brought in is lightfast, check
for brand of copier and glaze with UV protection regardless.
HEAT TOLERANCES
Lightfastness and heat tolerance are two separate issues. Though I've
seen yellow turn green when subjected to heat, it was a few years ago prior to
this project. Little or no color change occurred as the result of heat
application during this particular study. As proven with the above light test
results, it appears inks have improved to higher heat tolerances also. This is not to say that application of a
laminate may not effect the inks, and printers may be another story
altogether. Tests have only begun on
printers, including Iris.
In this segment of the study, the same enlarged color Polaroid copy was
used as in the control. The paper used for copying, however, was the paper of choice
for each copier company. Heat tests needed to be very standardized. The idea was to emulate a framer or customer
simply handing a picture to the man at the counter and requesting a copy. Then test that particular non-specified,
non-altered copy for heat tolerance.
The question was, would 4-color copies generally tolerate heat
applications, and if so what are the limitations. Copies from all the selected
copiers were tested at 160F, 190F and finally 220F. Then laminated at the last
high temperature to test for laminate adhesive reactions in addition to heat
levels.
MOUNTING RECOMMENDATIONS
Based on the findings there appears to be no constant. Powdered toners
are originally heat set during the copying process. Since they are set at temperatures well above
dry mounting, copy colors remain stable. Gloss is created within the mechanics
of the copier using heat and pressure. This toner gloss may or may not be
effected by heat mounting.
Gloss damage is no more than the removal of the gloss itself. At low heat
sensitivity levels it appears as a blotchy or mottled look. At higher more
damaging temperatures it may remove the overall gloss. In either event the colors remain constant and don't appear to be
altered by the application of heat. Bottom line, though many are heat mountable
at low end 160F temperatures, my recommendation is to mount with a pressure-sensitive
adhesive, or hinges. Stay away from wet glues for the moisture, and sprays for
the same reason.
If wet or spray adhesives remain your mounting application of choice and
your skill level is high, they might be fine if moisture is carefully
controlled. Warping and cockling can occur with excess moisture, it's better to
be safe than sorry.
LAMINATING OBSERVATIONS
Tests were all completed on mounted copies at 220F using vinyl surface
laminates. Full manufacturer recommendations were followed for each application
(overlay foam, time and temperature), and the same brand of film and finish
(Seal
PrintGuard-UV Matte) was used as a control. Since glazes were already effected by the
190F temperatures even lower temperature laminates would react to the
application.
The interesting thing about laminates over 4-color copies is the reaction
of the toner, or inks, to what appears to be the adhesive. Since the higher heat only seems to effect
the gloss level of the toner, it must be the adhesive/heat combination that
curdles or creates a blotchy pointillism appearance to the inks when laminated.
Surface laminates seem to react with almost all copier inks in some form of
pointillism or curdling of the inks.
LAMINATING RECOMMENDATIONS
If laminating is a "must do" be sure to control which machine
the copy is from. The Xerox 5775 rated 8 (on the 1-10 scale for laminate
application) while Canon's CJ17 was the only rated 10. The problem with Canon
remains it's extremely low ratings for duplication color, detail and overall
accuracy, coming in at an average 2.
If a customer brings in a color copy for mounting and laminating, it may
not be in your best interest to be playing lotto with the project. Pressure-sensitive
mounting and cold laminating might be the solution, though testing has not yet
verified cold laminating as a clear option. There's always glass.
WHAT ABOUT THE OTHER STUFF?
The project goal was first to determine which copier would most
accurately duplicate an original (the Polaroid) in terms of color and detail
using a controlled paper, then establish if the findings would hold true for assorted
commonly framed items. Items selected for the second part of the test included:
1) B/W studio photo, vintage 1960, yellowed
w/age
2) Newspaper clipping
3) Contemporary certificate
4) Marriage license, 1947
5) Promotional fine art postcard
These items were also tested for color, detail and overall duplicate
accuracy on the same 1-10 scale, to determine if any given copier would stand
out should the need for framing duplicates arise. So next month I'll continue
this report with PART TWO, "COLOR COPIES...THE REST OF THE STORY".
DISCLAIMERS THROUGHOUT
The results printed here are not scientifically nor laboratory
controlled. They were completed in a traditional frame shop setting with
routine framing equipment. They are merely a structured set of givens and
controls testing the mainstream most common commercial 4-color copier equipment
found in use today. Next year, perhaps even six months from now, details and
results could change.
It's a matter of understanding how and when to use appropriate materials
that have been designed to work together and when the limits are being
challenged that is important. The world of digital imaging appears here to stay
and we must adapt to handling both the art and the small, quick mountings so as
not to damage the original. Whether fine
art, decorative art or 4-color copy the framer must be dedicated to enhance and
protect whatever is presented as a project.
END
NOTE TO READERS: It is extremely
difficult, nearly impossible, to reproduce through photograph or 4-color copy
the results of this study so they would show in a magazine article print. Color
would not duplicate the differences, only neutralize them to look alike, the
same with the clarity and detail.
For more articles on design see the Design Series under Articles by Subject.
Additional information on mounting basics is found
in The Mounting and Laminating
Handbook, Second Edition, 2002,
and The Mounting And Laminating
Handbook, Third Edition, 2008. Creative
Mounting, Wrapping, And Laminating, 2000 will teach you everything you need to know
about getting the most from your dry mount equipment and materials as an
innovative frame designer. All books are available from Designs Ink Publishing through this website.
For live consultations with Chris Paschke, CPF GCF
call Designs Ink, 661.821.2188. A flat fee of $25 will be charged for each new
technical problem. Unlimited calls or emails are allowed for each established
mounting problem.
Chris A Paschke, CPF GCF
Designs
Ink
Designs
Ink Publishing
785 Tucker Road, Suite G-183
Tehachapi, CA
93561
661.821.2188