Drymount Press (A lot of detail for the best help, I hope)

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justawhitemat

justawhitemat

CGF, Certified Grumble Framer
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May 12, 2013
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134
Loc
Michigan
The press I'm using now is a 26 x 34 Masterpiece 500T-X by Seal Products. The bottom layer of the heat plate(?) on it was replaced within the past few years, by an experienced professional to my knowledge, before I arrived at this shop. I have been using this dry-mount press for about seven months, and I have very few memories of a piece coming out right the first time without needing a lot of second/third attempts. I figure it has got to be something I'm doing wrong, because I learned dry-mounting with tissue and on a 40 x 60 vacuum press, and this is not air-pressurized.

I use Kool-Tac or Speedmount (both Acid-Free and Regular, though I usually have less issues with acid-free). I usually put things under pressure for 15-45 seconds, and if it starts to bubble I will put it back in for ~10 seconds. The set-up, which always stays in the press, is two 32 x 40 mats below the piece, and two release boards above the piece.

The most common problem I have is bubbling. Even if something is 100% completely even and flat (and believe me I am using a careful eye) when I take it out, even if it has no bubbles for 5-10 minutes after, inevitably I walk away and it begins to bubble. Usually in the center of the image, occasionally at the edges. This happens with magazine pages, whether or not I spray them with de-acidification spray, and even with brand new prints on clean standard printer paper. I keep it at around 180 degrees regardless. The shop is in a building where the temperature is usually somewhat inconsistently heated at around 60 degrees in winter, if that makes a difference.

Do I need a new press? Should I be leaving pieces in for longer/shorter periods with less/more heat? Is my dry-mount board not compatible? It seems the only common factor is something I must be doing incorrectly. Please help, advice is greatly appreciated.
 
It sounds like a pressure problem which is often caused by irregular pressure from the sponge pad or misadjusted hinges. Also, depending of which type of adhesive you are using, some bond upon heating and do not need to be weighted and others bond upon cooling and require direct contact and weight while they are cooling. A 32 x 40 box of glass over a silicone release board makes an excellent weight.

What is the condition of the felt covered sponge pad? Are there soft areas in the center? The rubber can degrade and after years of use, needs to be replaced. Also, are the hinges properly adjusted?

here is a link to the pressure adjusting template: http://www.thepaperframer.com/manuals/SealPressureTemplate.pdf

here is a link to the manual which has a section on pressure adjustment and also a parts list that includes the sponge pad. http://www.thepaperframer.com/manuals/Seal500TX-210m-210m-x=160mManual.pdf

here is a link to a non-contact thermometer which will also allow you to confirm even heating and correct calibration of your thermostat: http://www.harborfreight.com/non-contact-infrared-thermometer-with-laser-targeting-69465-8905.html

you would also benefit greatly from this book: http://www.designsinkart.com/handbook3.htm


At the WCAF/PPFA convention -

Chris Pashke

A7158 - Is Dry Mounting Obsolete?* (A7158)
First you need to know what you have to mount then select the correct process. With more and more heat sensitive images, wide-format printing and open editions printed to canvas, bamboo, acrylic, vinyl, etc., are hot vacuum and mechanical dry mount presses becoming a thing of the past? This session will explore and compare mounting alternatives, adhesives, and substrates to handle art in the 21st century. Problem areas will include: warping and counter-mounting, HA boards, permanent vs. removable, P-S boards, heavy-duty and high-density mounts, encapsulated charts, and aluminum composite materials (ACM). *Meets the requirements for MCPF Continuing Education Credit -- but open to all framers.

M2012 - Mastering Mounting: Sensitive Items (M2012)
This lecture will address the do's and don'ts of mounting everyday sensitive items. Chris will discuss mounting in relation to adhesive absorbency, ghosting, and color tinting; sheer fabrics (wet/dry mount); silk paintings and scarves (pressure mount); papyrus (raised float mount); folded stone rubbings (kozo mount); papercuts (encapsulation); 3D items (sink mount); pastels (lifted mount); HA reversible boards (flush mount); embossed seals (sponge mount); tiles (fitted mount); Cibachromes (static mount); sealed packages; as well as exploring HA boards (130F, 160F, 190F); honeycomb panels (Eaglecell, Falconboard, Hexamount, Tycore); HD boards (Ryno, Mighty Core, Gator); aluminum composite material (DiBond, KoolTack); and pressure-sensitives. and

M201L - Mastering Mounting: Creative Mounting and Laminating (M201L)
This stimulating seminar will showcase a full range of profitable techniques for all kinds of creative mounting and laminating applications. This class is designed for framers who already understand dry mounting and is ideal for new, potential, and existing system owners. Creative mounting, wrapping, and laminating techniques in this session will include tiered matting (surface, under, pin-striped and bevel banding); wrapped and embossed mats; one-step shadowboxes; retexturing and resurfacing laminates; leather-look, contempo panels; faux glass etching; and canvas transferring. There will be extensive samples and diagrams


Jim Miller

F191L - Complete Guide to Basic Mounting Techniques (F191L)
Learn the basics of permanent mounting for documents, posters, photographs, and other replaceable paper items. This session covers the materials, procedures, and equipment for dry mounting, wet mounting, spray mounting, and pressure-sensitive adhesive mounting. Learn how to select the right method for each job. Step-by-step instructions help you achieve secure mounts, minimize risk and avoid mistakes, and solve common problems in permanent mounting. Removal techniques will also be discussed.


F191W - Complete Guide to Basic Mounting Techniques Workshop (F191W)
This practical workshop gives you the opportunity to permanently mount paper items using the methods, materials, and equipment covered in the prerequisite lecture. In addition to typical window-mat presentations, learn how float mounting and inlay mounting can simplify and beautify your framing, especially for multiple items, such as vacation snapshots or multi-part newspaper articles. Make the most of permanent mounting in your frame designs. Class size is limited. You must attend F191L to register for this workshop.

and

Wendy Harris (THE go to person for all things regarding press maintenance) is teaching:

F169 - Care and Maintenance of Mechanical & Vacuum Presses (F169)
Expression drymounting presses, formerly Bienfang Products/Seal Brand, offer an array of choices from traditional mechanical and vacuum presses to the newer roller presses. This class will discuss the proper care and maintenance of Expression/Bienfang/Seal mechanical, vacuum, and roller presses. If you're considering buying a drymount press or already own one but would like to expand your knowledge of the appropriate care and maintenance required, this class is for you.
 
Do you keep the lid down when it sits idle. I use 2 release boards with one above the art and the other below. The bottom board is cut to 30x40 with the top being 32x40 so it is easy to lift the upper. Your temp seems way too high but the boards need to stay hot while not in use. You can pick up the laser thermometer at most stores for around $20 to be sure the temp is accurate and make sure there are no cool spots.

A lot of people leave the lid up when not in use and that means the boards will take a couple of minutes to get up to temp especially since you have 2 above the artwork. I close the lid but don't clamp it when not in use so everything in the press is at a constant temp. I've seen a couple of broken noses by people leaving the lid up and them putting a hand on the lid while reaching over the press while the handle crashes into their face.

Be sure to adjust the pressure of the lid as described in the manual which Larry Peterson has on his manuals page.
 
Are you pre-drying your art before you attempt to mount it? Residual moisture can weaken a bond.


I place my poster/whatever into the heated press for 45 seconds between Kraft paper, lift the platen, “fluff” the Kraft paper to move the air around around a little, then lower the platen again for 45 seconds.


In almost 30 years I’ve never had a problem with bubbling ... and, my felt pad has never been replaced.


I am “old school” and don’t use SpeedMount or Kool-Tac but, rather, sheets of dry mount tissue and FoamBoard.


I might suggest you try using the “old” method for a few times and see if you still have problems. If not, it may be a lousy batch of the Kool-Tac or SpeedMount.
 
justawhitemat said:
The set-up, which always stays in the press, is two 32 x 40 mats below the piece, and two release boards above the piece.QUOTE]

Why two release boards above the piece? The heat may not be reaching the adhesive enough to activate it...maybe try just one release board on top.
Click to expand...
 
Thank you all so much for your advice/input!

To try to respond to everyone at once:

I had two release boards because that is what the previous framer (with 20+ years experience) left in there. I didn't question it until now. I think they may have been mistakenly left in there? I am going to be using just one from now on, thank you. I have never thought to pre-dry my pieces, and am not sure how possible it is given that often I am dry-mounting pieces that extend beyond the 28 x 36 heat press. I very very rarely had issues when using dry-mount tissue/vacuum press at the place I worked previously. Here it seems even simple stuff like magazine articles and plain printer paper struggle to stay adhered. I liked using dry-mount tissue (I think it was called Colorount?) but hesitate to order a roll of dry-mount tissue when I have little faith in my ol' press as it is, and a few boxes of Kool-Tack and Speedmount.

I always keep the press closed when I'm not using it, and allow it to heat up to full temperature for at least 15 minutes before mounting anything.

I also turned down the temperature. I had been instructed to keep it at 180 degrees, but the knob to adjust the temperature read 180 while the thermostat on the piece was reading 200. So assuming the thermostat is most accurate, it is now at closer to 170. Today dared mount a small (6" x 24") piece of paper for the third time today, with the lower temperature and allowing it to sit in the press for about 20 seconds after pressure was lifted. It seemed to work pretty well, only bubbled in one spot so i popped it back in for another 15 seconds and it was smooth to my standards.

Rob - Thank you for all the links. I will borrow or buy a thermometer to test the consistency of the heat, I suspect that could be a big part of the issue. I will have to go back with a flashlight to get a better look at the rubber pad, but it didn't seem to be covered in felt from what I can tell?
I will be buying that book as a Christmas present to myself!
 
I do a ton of mounting in my 500TX and use it for 1-2 minutes at 170 and the only failure ever was a graphic art student's print that did not have enough time to dry after printing. I never pre-dry anything and use Foam Cor brand heat activated board mostly. When I use Kool Tack I don't lower the temp but I do hold the piece face down on the Wizard for a minute to cool.
 
Just to update the thread, Wendy is a live and well and as of today (10/3/23) is still working at the frame place spoken of.
 
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