Full Version: Color Images on Acrylic and More
From: Stunt Engraver (DGL) [#1]
15 Aug 2005
To: ALL
In another thread, you mentioned this combination of equipment and paper:
Either Magic Touch paper #6.1 or Powerful Papers M3, (M3 very similar but less expensive).
Heat press and finished product for plaques. Only a bit less scratchable than silk screening, but far better color rendition and less translucent than sublimation.
I tried some of the sample transfers you sent and I have to say I'm impressed!
I placed an image on a piece of .75" thick acrylic. Upon very close inspection, I could see there's a clear film on the substrate, but if I weren't experimenting and specifically looking for such a thing, I would have never noticed it.
One aspect I liked, is, after pressing, the acrylic was cool enough to the touch that I could pick it up, (from beneath), with my bare hands.
Another thing I noticed, it's possible to feel raised lettering, which if I hadn't placed the image on the acrylic block myself, would have me thinking it's silkscreened.
Pretty cool stuff! :-)
EDITED: 15 Aug 2005 by DGL
From: cindy (ROBERTM) [#2]
16 Aug 2005
To: Stunt Engraver (DGL) [#1] 16 Aug 2005
Do you have a contact for the 3M paper?
Thanks Cindy
From: Stunt Engraver (DGL) [#3]
16 Aug 2005
To: cindy (ROBERTM) [#2] 16 Aug 2005
Cindy,
Harvey has that information. I was just trying some sample transfers he sent to me. The paper I tried was Magic Touch.
Edit: On another note, the scratch-resistance of the image was surprisingly durable. I didn't try a toothy safe deposit box key on it, but I couldn't get the image to budge, no matter how hard I tried to remove it with my fingernail.
EDITED: 16 Aug 2005 by DGL
From: LARRY (CENTURYBADGE) [#4]
16 Aug 2005
To: Stunt Engraver (DGL) [#1] 16 Aug 2005
Hello,
I use magic touch but just got a complaint that when it gets wet the imprint comes off. My customer is a large realtor and their people are outside a lot running from house to car. Have anyone had this problem or am I doing something wrong or should a finish be put over it.
Larry
From: Harvey only (HARVEY-ONLY) [#5]
16 Aug 2005
To: cindy (ROBERTM) [#2] 16 Aug 2005
The only thing I found that can remove it is lacquer thinner. It does not hold well on polished nickel, usually will not even transfer. I have not tried it on other bare metals. The lacquer coat on engraving metals just grabs the toner well.
On acrylic, it is not a film left, it is slight distortion of the acrylic from the heat.
Source of the M3 paper is:
Powerful Papers, Inc.
DBA Visual Communications
602 South Third Ave.
Mount Vernon, NY 10550
http://www.visual-color.com
800=624-4210
Tell them I suggested them. They may wonder why they have not heard from me for a while, they will soon, paper is running low.
From: Stunt Engraver (DGL) [#6]
16 Aug 2005
To: Harvey only (HARVEY-ONLY) [#5] 16 Aug 2005
Are you sure there isn't a slight film left behind?
If held to the light at a certain angle, I can see what appear to be thousands of very minute pinholes across the entire area covered by the transfer paper. I also saw the same pattern on the pre-printed piece of aluminum you sent me.
I guess one way to tell, would be to cover only part of the substrate with the paper.
From: Harvey only (HARVEY-ONLY) [#7]
16 Aug 2005
To: Stunt Engraver (DGL) [#6] 16 Aug 2005
I am fairly certain that the film remains on the paper.
I have noticed the dot pattern and wondered if it was from the printer. Maybe it is from the paper but cannot be seen till it is heated. It almost looks like the printer ICM produces a teeny dot of either cyan or yellow for the white/clear areas. It is the one question I still have about the process.
I can guarantee that on glass, no film is left behind.
From: Stunt Engraver (DGL) [#8]
16 Aug 2005
To: Harvey only (HARVEY-ONLY) [#7] 16 Aug 2005
I would think, unless the paper vaporizes in all areas except where toner is present, there would have to be something left behind.
I have plenty of transfers left. I'll do some more experimenting.
EDITED: 16 Aug 2005 by DGL
From: cindy (ROBERTM) [#9]
16 Aug 2005
To: Harvey only (HARVEY-ONLY) [#7] 16 Aug 2005
Harvy,
Can you use the transfer paper on marble or tile? I would think the marble or tile would have to be white or light colored.
Your thoughts?
Cindy
From: Harvey only (HARVEY-ONLY) [#10]
16 Aug 2005
To: cindy (ROBERTM) [#9] 16 Aug 2005
Totally off the top of my head, no basis for this opinion.
First you must get all of the wax off the tile from the polishing, or it will not have a chance of holding.
I would expect the bond to be fairly good. Expect is far from knowing. The surface temp must reach 160-180 degrees for good adhesion.
It is far less translucent than sublimation. It might, (might), give a good result on black marble, therefore marbled marble also. It should work on white marble.
From: cindy (ROBERTM) [#11]
16 Aug 2005
To: Harvey only (HARVEY-ONLY) [#10] 16 Aug 2005
From: logojohn [#12]
16 Aug 2005
To: Stunt Engraver (DGL) [#8] 16 Aug 2005
It peaked my interest when I saw color on acrylic (or glass ?) as it
would come in handy at times.
Is the transfer paper the only thing special you are using.
In other words are you using normal sublimation ink in an ink jet printer and then just using this new transfer paper but still using a heat press?
Doesn't the heat damage, melt, stick to or cloud the acrylic or do you use a very low temperature?
______
Or is it using something totally different, using a laser printer or something else or regular printer ink. I searched the visual color site for m3 and other terms used but nothing comes up. There are so many products I don't know what I am looking for. Do you have the exact product code or a link to the exact page. Thanks.
Is this something that would work on premade acrylic awards such as what tropar and acrylic idea sells or on acrylic sheets only.
From: Harvey only (HARVEY-ONLY) [#13]
16 Aug 2005
To: logojohn [#12] 16 Aug 2005
It is called M3 paper.
It is not sublimation at all. The only similarity is that it uses a heat press.
It is the standard toner that comes with the color laser printer. (Konica Minolta). No special color profiles either.
The special paper holds the toner in place while the toner remelts and adheres to the substrate. Then the paper releases the toner when peeled.
You can do impressive color plaques on standard engraving aluminum, both silver color and gold color. Cheap materials.
You can also do acrylic rectangles for a plaque in full color. Such as a marble tone background with lettering overlaying that in the graphics program. (If you use white lettering or photos with this method you will need to use white acrylic latex primer over the back. One coat of primer does the job.)
From: Ken D. (KDEVORY) [#14]
16 Aug 2005
To: Harvey only (HARVEY-ONLY) [#13] 17 Aug 2005
Is there any reason you are limited to rectangles?
1) After printing a page, can it be cut prior to pressing?
2) Can the image be larger then the substrate to aid placement?
From: Ken D. (KDEVORY) [#15]
16 Aug 2005
To: Harvey only (HARVEY-ONLY) [#13] 17 Aug 2005
From: UncleSteve [#16]
16 Aug 2005
To: Harvey only (HARVEY-ONLY) [#13] 17 Aug 2005
From: Stunt Engraver (DGL) [#17]
16 Aug 2005
To: logojohn [#12] 17 Aug 2005
Although this process can be used for a variety of substrates, acrylic and glass are the substrates I'd be interested in printing.
The opacity of the toner is dense, but has somewhat of a flat, non-glossy look. If printed on the back side of a piece of glass or acrylic, it looks fine. Not that it looks particularly bad if surface-printed.
The piece of acrylic I printed was traditional 3/4" material from American Acrylic. Doesn't have to be sheet stock.
It does help to have a swing away press with the capability of printing thicker objects. I'm not sure how a clamshell press, even with a floating platen, would react, in regard to remaing perpendicular to the piece.
EDITED: 16 Aug 2005 by DGL
From: Stunt Engraver (DGL) [#18]
16 Aug 2005
To: Ken D. (KDEVORY) [#14] 17 Aug 2005
Substrates aren't limited to rectangles. One of the test pieces Harvey sent was a custom-shaped, laser-cut acrylic piece.
You can make a full-bleed transfer and the paper will break free at the edges of the substrate.
From: Engravin' Dave (DATAKES) [#19]
16 Aug 2005
To: Stunt Engraver (DGL) [#17] 16 Aug 2005
David,
Does this process also produce the background on white substrates, similar to the result you get with magnetic laser sublimation?
From: Stunt Engraver (DGL) [#20]
16 Aug 2005
To: Engravin' Dave (DATAKES) [#19] 16 Aug 2005
I'll try that as an experiment. From what I saw on acrylic, the background remains very clear.
That fact, would point to a printer using an oil fuser, as opposed to a heat fuser, which I'm sure would turn the Magic Touch or M3 paper to taffy inside the printer. >.<
Side note: I was trying to tear a small transfer from the main sheet of transfers and the coating which holds the toner separated from the carrier sheet. The active ingredient is a very thin, very pliable plastic of sorts. Feels a little waxy.
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