Full Version: Color Laser for the future
From: Pete (AWARDMASTERS) [#15]
26 Mar 2005
To: Engravin' Dave (DATAKES) [#14] 26 Mar 2005
How much work is involved in cleaning the plate when you press directly to the metal?
From: John (JOHNRMONTG) [#16]
26 Mar 2005
To: Stunt Engraver (DGL) [#13] 26 Mar 2005
Are you also implying that you can 'dye-sub' directly onto a, say an aluminum or brass plate without the special coating? The class and the reading I have done about sublimation utilized, as you said, sublimation cartridges in the printer which then is printed onto a 'transfer sheet', which is then pressed onto a specially treated plate, placque or other similarly prepared object.
From: John (JOHNRMONTG) [#17]
26 Mar 2005
To: Engravin' Dave (DATAKES) [#14] 26 Mar 2005
From: Engravin' Dave (DATAKES) [#18]
26 Mar 2005
To: Pete (AWARDMASTERS) [#15] 26 Mar 2005
Pete,
Since I started using odorless mineral spirits with a paper towel (another great tip received from this forum) the process has been very simple.
What works for me when pressing directly to metal is to press for about 25 seconds at 375 degrees, through the metal with transfer face up. I then remove the transfer immediately from the metal plate, let the plate cool for about 15-20 seconds, then clean with the mineral spirits. I try to wipe the plate in the same direct as the brush grain on the metal. Don't wait too long to clean or the residue will become harder and more stubborn to remove.
My pressing time is a bit longer than when transferring through the protective tape because I have found that it produces more solid coloring, especially in the large coverage areas and with some of the more challenging colors like gray and maroon.
My last project involved a logo made up entirely of a dark maroon and medium gray. That was a fun one, but my client was thrilled.
To find the correct colors, I went ahead and pressed onto brushed silver aluminum the Corel Draw file I had that displays 1,000 RGB colors. In the near future, I plan to do the same with the brushed gold aluminum. It makes good plain sense to have these color references available. It will save me a great deal of time and material waste in the future.
From: Engravin' Dave (DATAKES) [#19]
26 Mar 2005
To: John (JOHNRMONTG) [#17] 26 Mar 2005
John,
I use Alpha Supply sublimation toners made for my HP 4550 laser printer. With this process you can heat press the printed transfer directly to the brushed metal or you can press through the protective tape that is on the metal.
Pressing through the tape eliminates any need for clean-up, although, produces a slightly lower quality edge to the printed image.
For trophy plates I will typically press through tape, but for plaques and larger plates, I go direct.
With this process you are not printing directly on the metal, you are still heat pressing a printed transfer to the metal via the two options mentioned above.
From: John (JOHNRMONTG) [#20]
26 Mar 2005
To: Engravin' Dave (DATAKES) [#19] 26 Mar 2005
From: Engravin' Dave (DATAKES) [#21]
26 Mar 2005
To: John (JOHNRMONTG) [#20] 26 Mar 2005
John,
What is nice about magnetic laser sublimation is that you use plain old paper. Alpha recommends a 24 lb. white paper. I use a 24 lb. white laser paper from Office Depot.
The other nice thing about magnetic laser sublimation is that you don't have to use any specialty sublimation metal. You can use the regular brushed gold and silver aluminums that cost around $3.00 a quarter sheet.
My most recent laser sublimation job was for fifty 8"x10" piano-finished plaques. My complete material cost per plaque was under $6.00. My customer gladly paid $31.00 per plaque for this order, which was completed in less than one day.
From: John (JOHNRMONTG) [#22]
26 Mar 2005
To: Engravin' Dave (DATAKES) [#21] 26 Mar 2005
From: Engravin' Dave (DATAKES) [#23]
26 Mar 2005
To: John (JOHNRMONTG) [#22] 27 Mar 2005
John,
There are two different types of laser sublimation. Below are a few links to some excellent DSSI discussions on those types, magnetic and polymer. These posts will give you great details on the differences between the two processes.
http://www.dyesub.org/forum/?msg=753.38
http://www.dyesub.org/forum/?msg=895.1
I would also suggest visiting www.colourmagic.info. This is one of Alpha's websites, full of interesting ideas.
EDITED: 26 Mar 2005 by DATAKES
From: Ken D. (KDEVORY) [#24]
26 Mar 2005
To: Engravin' Dave (DATAKES) [#21] 26 Mar 2005
David,
I never realized there were dye sub inks that did not require a polyester coating. Is it safe to assume that these inks only work with metal? (Is it easier to list the metals they work with, or the metals that won't work?) Do you have another set of inks for doing the usual coated items? (1 printer, 3 inks: normal, metal, coated?)
edited to add: you posted the above post as I was writting this, I'll check out the links.
EDITED: 26 Mar 2005 by KDEVORY
From: Engravin' Dave (DATAKES) [#25]
26 Mar 2005
To: Ken D. (KDEVORY) [#24] 27 Mar 2005
Ken,
I did not have the time to wrestle with the challenges of inkjet dye sublimation, that is what lead me to laser toner sublimation.
You will get some great information when you read the information under the links listed in my previous post.
You don't need to use the metal that is specially coated to receive sublimation inks, but you still have to use metal with its normal coating. Bare metal will not receive and hold the sublimation toner when pressed and handled.
EDITED: 26 Mar 2005 by DATAKES
From: Stunt Engraver (DGL) [#26]
26 Mar 2005
To: John (JOHNRMONTG) [#16] 27 Mar 2005
John,
I haven't seen the Aluma Jet process on display since their appearance at the ARA Show in Las Vegas a few years ago. I don't think the process ever got traction.
The sample I brought home was very crisp. I left it in my show bag for a few weeks and when I took it out the image was blurred. Probably would have been OK with an overcoat, but that's another production step. Not to mention, if you're not a very good spray-painter, the finished product wouldn't look very professionally done.
I perform both ink jet and laser sublimation. Each has its pros and cons.
My recommendation to anyone entering the sublimation industry, is to start with monochrome (fancy word for single color:-) sublimation.
No color correction issues, which can be a completely separate can of worms.
Once you develop a knack with your graphics programs, you'll be better prepared to take the step into full color sublimation.
Even if you do step up to full color sublimation; guess what?
Your monochrome printer will remain very, very busy :-)
David "The Stunt Engraver" Lavaneri
DGL Engraving
Port Hueneme, CA
From: John (JOHNRMONTG) [#27]
27 Mar 2005
To: Engravin' Dave (DATAKES) [#23] 27 Mar 2005
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