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Designs Ink Publishing
Article Archive and Reference Library
Articles by Chris A.
Paschke, CPF GCF CMG
"Designer Laminates"
July
1999
Designer laminates are nothing more than laminating films used in
creative applications, which in turn pull in more revenue. In this Mat
Design and Decoration issue it is only fitting that I once again
concentrate on something a little off center from more typical mounting
techniques. Never forget that although
mounting is the mainstay of dry mount presses, laminating makes up the other
half of the profit picture, and decorative or creative aspects of both mounting
and laminating can be a huge source of profits if tapped into.
Surface laminates
Polyester laminates have been around since the 60s, were developed for
the basic protection of paper (both surface and encapsulation), and were
designed for use with roller/laminators found in the commercial market. Vinyl laminates were developed in the early
80s, were introduced as a glass substitute, and had been designed to be
compatible with heat mounting systems specifically found in the picture framing
market.
As a glass substitute laminates open a whole new world to framers when
handling posters and photographs. They
now can be mounted and laminated, still placed into a nice moulding with mats
and hung in previously "iffy" locations, such as a child's room, day
care center, or hospital. They are
available in different finishes for added variation, are washable, and may be
mounted over nonporous surfaces by perforating the vinyl prior to heat
mounting.
designer applications
As wonderful as these vinyl films are when used as manufacturers'
suggest, there are numerous other applications that allow them to modify and
alter other framing materials besides simply protecting a poster or photo. The variations I am illustrating this month
are in honor of mat decoration, and oddly enough there are far more
possibilities available for mat reinvention than often considered. In fact this list and overview is only
representative of a few general applications.
Upcoming articles will explore these in greater depth.
I will begin by discussing basic
resurfacing, retexturing (crinkle-look), contempo panel designs, leather-look
concepts, and end with an explanation of the masthead featured mat by Ray Dwyer
(photo 6).
resurfacing
Often I am asked if it is possible to change the look of any given laminate
from the slightly textural appearance of luster or matte finishes to a
genuinely smoother look. The overlay
foam that is used in the mounting package to help properly fuse a vinyl
laminate is required for three basic reasons: 1) to extend required mounting
time, 2) to help transport air from under and around the laminate to the outer
edges, and 3) to provide even pressure to all the highs and lows of the chosen
smooth to textural laminate. These are
all very viable and important reasons the foam should always be used in
traditional surface or over-laminating.
When foam is not used (or accidentally forgotten) during initial
mounting of a laminate the surface will reflect a scuffed type of appearance
which is thought to be a reaction of the vinyl to the silicone from the release
paper (photo 1). The left half shows a
marred surface (similar to high gloss photo scuffing), the right half
illustrates the slight textural appearance that is transferred from the foam
overlay to the softened heated laminate.
Often (not always) this damage may be corrected by placing the project
back into the press a little longer than initially laminated with the foam in
place.
In order to achieve a smoother surface the vinyl must be protected from
pebbly foam texture. When layering the
mounting package, place the smooth side of the laminate release liner against the surface of the unmounted
laminate (nonperforated only), then the foam on top, then release paper above that
(photo 2). This will still mount the
laminate but will not allow the texture from the foam to embed into the soft
vinyl during heat mounting. Plus the
silicone on the laminate liner works with the vinyl and will not damage or
scuff the surface of the film as in photo 1.
Over a nonporous print or photo the laminating requires two times in
the press. The perforated laminate must
be mounted correctly first with the foam on top to allow for air to escape and
perforations to heal. Then place the
project back into the press for a second cycle with a smooth, nonperforated laminate liner, topped
with foam to remove some of the texture from the foam. This second mounting can be tested with or
without the overlay foam using only release liners as the laminate has already
been mounted.
retexturing
Both resurfacing and retexturing are done on the top purple mat (photo
3). A Luster laminating film (Seal
PrintGuard-UV) was selected and mounted onto the sized but uncut mat blank
first with the foam on top. After
mounting the laminate release liner was wadded into a tight little ball to
excessively wrinkle it. Then it was
opened flat and placed on top of the previously mounted film with regular
release liner on top, using no foam.
Since the foam had already done its job when initially mounted, the
second mounting is to achieve the retextural crinkling of the mat
laminate. If the foam were used during
the second mounting it would contour to the highs and lows of the wrinkled
release liner and create less retexturing of the film would occur. Try different combinations (with and without
foam) to find the technique and process you most like. All laminates in these demos were mounted at
225F degrees for 5-10 minutes during each visit to the press though lower
temperature films of 190F degrees are available and dwell times vary in vacuum
systems. The larger the mat, the longer
the time. These are only raw materials
and will not be damaged by excessive time under heat. The large mats were completed in a
40x60" hot vacuum, using a release board top, paper bottom, the board
helps compress the wrinkles.
contempo panel designing
Another concept of mat design and probably the easiest of all discussed
here is contempo panel designing. This
is merely the process of taking cut laminate strips and patterns of Matte
laminating film, removing the protective release liner from the back,
positioning it onto the mat, placing in a traditional laminating package (top
to bottom: release paper, overlay foam, laminate, mat, release paper) and
mounting it in 190-225F press for 5-20 minutes to set. Dark mat boards best showcase the shadow
stripe appearance.
The sample (photo 4) shows simple strips that have been cut on a
professional mat cutter to ¼" and 1" then aligned onto the window mat
with the opening already cut. The
laminate is then permanently mounted to the board to set the films. Though all textures and finishes may be used
for this the best visual effect is achieved using a matte or nonglossy finish
laminate. Gloss or luster films give
more of a wet-look than the more monotone painted panel appearance of the matte
or nonglossy films.
Both resurfacing with the smooth laminate liner and retexturing with a
wrinkled liner as crinkle-look both described earlier may be done to vary the
end effect (masthead/photo 6). Then
taking this last project even one step further...if a perforated matte finish
laminate is mounted to glass using the above contempo method the resulting faux
glass etching is spectacular!
Another article another time.
leather-look
The ultimate in textural laminate achievements for use with shadowboxes
on foam, wrapped foam mats, or basic 4-ply window mats, is called leather-look
(photo 5). Laminate a smooth lightfast
piece of art paper (Strathmore Acid Free Charcoal Paper, black, 20-28#) about
an inch larger around than the completed project dimensions. Layer with overlay foam before mounting, bond
at 190-225F degrees for 5-10 minutes.
Once laminated, wad the laminated paper into a tight ball as was done
with the liner above. The more this
sheet is wrinkled and worked the softer it will become and the better the
veining of the imitation leather will look.
It is also impacted by either being mounted onto a solid mat board vs. a
soft pliable foam surface. The first
creates veining that raises above the board, the second (as in the sample photo
close-up) is more depressed into the soft surface of the foam board box.
This is very masculine design and may be done with any colored art
paper that will not fade, and dark colors work best. After creating the leather-look sheet, mount
it to the substrate of choice for the project using a pure film adhesive (ie:
Seal Fusion 4000, Hot Press Acid Free Mounting Film) and standard times and
temperatures. Both matte and gloss films
may be used. Gloss film has a tendency
to look most like polished leather when done.
putting it all together
This article was initially inspired by a mat sample designed and
executed by Ray Dwyer CPF, Dwyer's Framing Gallery, Whitefish, Montana (photo
6/masthead photo). At a weekend workshop
in Montana I taught the local PPFA Chapter how to resurface laminates by
layering the laminate release liner over the film when mounting. The concepts
of both contempo panel designing and resurfacing with release liners was added
together by Dwyer to create this horizontal accent panel (photo 7/detail).
Being the over-achiever he is, Dwyer not only applied the laminate in a
horizontal panel across the mat, but inlaid two v-grooved strips of green board
into the two center v-grooved stripes executed on the burgundy mat surface. This left the two outer v-grooves as barriers
to the design and the laminate worked as a capper to trap the added inlaid
v-grooves. He then used the laminate
release liner to prevent added overlay foam texture which could fight with the
delicacy of the v-grooved inlay. A
really effective pattern.
I added the carousel horse photo (ok, not the best choice)...the mat
had been designed as a sampler and had been given to me as a gift with no
photo. What can I say, often the pupil
outshines the teacher. It's said to be
the sign of an excellent teacher! So in the age of going for it all see what
you can do with these designer ideas and start thinking of your laminates than
more as just a pretty glass substitute.
END
photo 1
Left side of this laminated poster clearly illustrates the damaged
surface of the film
when overlay foam was forgotten during mounting. Right half shows the slight pebbly texture
which occurs when the laminate picks up the texture of the foam during
mounting.
photo 2
Top mat is a mottles Crescent laminated with matte film and resurfaced
to allow the texture of the paper to show.
photo
3
The wrinkled retextured
purple mat was laminated first using manufacturer methods.
The wrinkled release liner from the laminate was layered with top
release paper and
mounted again to press the retexture the soft vinyl film surface.
photo 4
A corner detail of a simple contempo panel design mounted at 220F
degrees
for 5 minutes in a 210M-X mechanical press using traditional methods.
photo
5
Detail close-up of a leather-look
foam board one-piece shadowbox using laminated black
Strathmore Acid Free Charcoal paper, wrinkled and mounted with film
adhesive to the box blank.
photo
6
Designer mat by Ray Dwyer CPF, Whitefish Montana
showcases the ultimate in creating design applications on a mat
board.
photo
7
Close-up of Luster PrintGuard-UV mounted over a multiple inlaid v-groove
of green.
For more articles on encaustic, design or mounting search your desired
topic under Articles by Subject.
If you already know the specific title then
search under Articles by Title.
Additional information on shipping boxes is found in my book
Creative Mounting, Wrapping, And Laminating, 2000.
The two most recent mounting books are
The Mounting and Laminating Handbook, Second Edition, 2002, and
The Mounting And Laminating Handbook, Third Edition, 2008.
All books are available from Designs Ink Publishing through this
website.
Chris A Paschke, CPF GCF
Designs Ink
Designs Ink Publishing
785 Tucker Road, Suite G-183
Tehachapi, CA 93561
661.821.2188
info@designsinkart.com