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Re: Color copy transfers



I am usually a lurker on this list, but love the discussions.
I have always used Laquer Thinner for transfers, not a very freindly agent
for skin or for breathing in but it seems to be the most agressive. I have
also had luck with an orange based cleaner that I can't rember the name of
at the moment. You still need good air ventelation though. And I have found
in my experiences that pressure is very important in a good transfer and
that using a freshly made (that day) copy is a factor as well.

Good luck.

Kevin Zak



> ----------
> From:         Barbara Harman
> Reply To:     Book_Arts-L: READ THE FAQ at http://www.philobiblon.com
> Sent:         Wednesday, June 28, 2000 9:27 PM
> To:   BOOK_ARTS-L@LISTSERV.SYR.EDU
> Subject:      Color copy transfers
>
> Dear list members - I recently completed monotypes (of the printmaking
> variety) to which I would like to add color copy transfers. I have used
> type
> wash, bestine, alcohol and paint thinner (all variously recommended from
> several sources) to no avail. The copies themselves are not on the
> standard
> copy paper, but on Lana Royal Classic Laid. Is this, or could this be part
> of
> the problem? What other variables (e.g., relative newness or age of the
> copy)
> could be affecting the transfer. I am applying the various solutions
> (individually, not in combination) to the back of the copy, inverting it
> onto
> the print paper sample (Rives BFK) and running it through my Dickerson
> Combination press. I seem to recall having had a similar problem with
> merely
> black and white copies in the past, such that my attempted demo to an
> experiemental printmaking class was totally unsuccessful. Any suggestions
> would be much appreciated.
>
> Continuing in this vein, and supposing I am able to effect a transfer, how
> permanent is it? If I am unable to transfer the color copy, my alternative
> is
> to use it as is, collaging in onto the print. How permanent is this likely
> to
> be. It will not be on top of any of the print and thus will not be
> affected
> by inks, solvents, modifiers, etc. Ideally, I would like it to last as
> long
> as the monoprint itself (lithographic inks, of the artist variety, heavy
> coverage, and burnt plate oil). Thanks again, Barbara Harman
>
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             ***********************************************
            BOOK_ARTS-L: The listserv for all the book arts.
      For subscription information, the Archive, and other related
            resources and links go to the Book_Arts-L FAQ at:
                      <http://www.philobiblon.com>
             ***********************************************


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