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Re: Color copy transfers



the machine used to make the copy is very important. Kodak Coloredge =
worked for me. Graphic Zoomers are best at B/W. Acetone works for =
transfers but evaporate rather fast. I used to Lacquer Thinner (pre-Clean =
Air Act if you can find it.) Best to make the copy on glossy paper - more =
even in coverage, less toner in the fibers.

>>> Barbara Harman <ArtSurvive@AOL.COM> 06/28/00 10:27PM >>>
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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            resources and links go to the Book_Arts-L FAQ at:
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