Application Instructions is a super strength, permanent bonding liquid adhesive that can be sprayed or brushed on when mounting film or photographic paper (especially resin-coated paper) to almost anything. It may be applied, allowed to dry and then heat mounted, or used wet and unheated to bond two surfaces together if one of the surfaces is porous. dries clear and transparent and is excellent for mounting prints on mount board, masonite, wood, plastic, or metal. APPLYING is sold in concentrated form to prevent freezing during shipment. Follow the directions on the container to dilute with water. Brush or Roller Application A foam rubber brush similar to those used for water-based paints, rather than a bristle brush, is preferred. Apply a smooth, medium to light coat of. may also be applied with a paint roller. Roll it on sparingly, but do not skip any areas. Wash brushes or rollers in water before dries. that has dried may be removed with lacquer thinner. Do not clean foam rubber brushes with lacquer thinner as it will disintegrate them. Spray Gun Application Set spray gun to operate in the pressure-feed mode (open the side adjustment knob to allow air pressure to be directed into the cup and to force out when the trigger is squeezed). Set the pressure regulator to 30 pounds. Strip resin-coated coating from back of print and attach print to a sheet of flat cardboard that has been cut 1/2 under the size of the print. Paper clips, clothes pins or wire clips may be used to attach the print to cardboard. Spray a thin, even coat of on the back of print. Move clips to ensure even coverage. Do not allow heavy coat of to soak through. Water content will stain and discolor emulsion, requiring artwork. Cleaning Spray Gun is water soluble while it is wet. It is recommended that, whenever possible, the spray gun be cleaned with hot water while is still wet. However, if has dried on the spray gun, it can be removed by soaking the metal parts (for a maximum of 12 hours) in a weak (5%) solution of Tri- Sodium Phosphate dissolved in hot water. Rinse and dry all parts thoroughly to prevent rust. Some parts may turn dark, but this will not affect proper operation of the spray gun. HEAT MOUNTING WITH Use a mounting press that will provide adequate, even pressure and even heat (no hot spots ). Although a press is generally recommended for most print mounting, occasional mounting of small prints can also be done with a household iron on a low or wash and wear setting. A cover sheet between the press and the print - such as release paper, Teflon film or kraft paper that has been thoroughly dried - is recommended to protect the press platen from adhesive marks. Allow to completely dry before mounting any two non-porous surfaces. Moisture must evaporate before applying heat. If moisture remains, steam bubbles may form. Mount Board Brush or spray on the back of the print or on the mount board, applying a smooth, even, not-too-wet coat. Allow to dry until clear. Position the print on the board, place both in the press with the print face down on a felt-covered pad, and press for one minute at minimum pressure or 20 psi at 210 F. Masonite Brush or spray on the masonite or on the back of the print, applying a smooth, even coat. Allow to dry thoroughly. Position the print on the masonite, place both in the press with the print face down on a felt-covered pad, and press for 5 minutes at minimum pressure or 20 psi at 210 F. Wood Seal the wood thoroughly, both in the edges and the mounting surface, using several coats of lacquer. Allow to dry thoroughly. Coat the mounting surface with and allow to dry. Position the print on the wood, place both in the press with the print face up and covered with a Teflon-covered, 1/4 neoprene rubber pad on top. Press for 3-4 minutes at minimum pressure at 210 F.
Plexiglass or Sheet Metal Strain through nylon hose or a paint strainer. Be sure the mounting surface is clean. For metal, clean the surface with lacquer thinner to ensure there is no dirt or oil present. Apply smoothly with a foam rubber brush or spray gun. Allow it to dry thoroughly. Position the print and work out air bubbles, beginning at one edge and working toward the opposite edge. Place both in the press with the print face up and covered with a Teflon-covered, neoprene rubber pad on top. Press for 3 minutes at medium pressure at 210 F. After removing the mounting from the press, carefully place a flat weight over the face of the print while cooling to ensure flatness. UNHEATED WET MOUNTING Excellent mounting with can be obtained without a press. It can also be done with wet and unheated, provided that one of the mounting surfaces is porous. This method is especially recommended when the print is glossy or filmic, such as Cibachrome, or for any resin-coated paper applied to a porous surface. the corner will begin to separate. You may also use a sharp knife or X-acto blade to begin the corner separation. 2. Lay the print face down on a table with the started corner on the left nearest to you. Peel the backing from the corner for about 3, holding the print down to the table with your left hand as shown below. NOTE: Wood must be well sealed with lacquer. It should be considered non-porous and should not be mounted using this method. Double strain. Spray or brush it onto either surface with a light, even coat. Allow it to become slightly tacky but not dry. Place the print in position and roll it down with a rubber squeegee roller, taking care to keep the print surface clean. 3. Make a tear in the resin-coated backing along the left hand edge, about 3 in from the corner. MOUNTING WITH ON TEXTURED SURFACES Whenever the texture of the mounting surface is intended to show through the print, such as in canvas mounting or mounting on a wood grained plaque, the resin coating on the back of the print must be removed. The greater the pressure applied, the more the texture will show through the mounting. Stripping the Resin Coating (RC) from the Back of the Print Method A: Stripping from the Back 1. Start by gripping the corner of the print with the thumb and forefinger of your left hand so that about a quarter inch sticks out. With a back and forth motion, rub hard on the corner of the print with the forefinger of your right hand. The layers of 4. Strip off the 3 wide piece up to the full length of the print by doing the following: Pull the resin-coated backing from the print upward at a 40 angle with your right hand, while pressing down on the print with your left hand as close as possible to the point of separation. Pull slightly away and to the right so that the strip will be uniform in width. Strip only a couple of inches at a pull before moving your left hand up to the peel line.
5. Go back to the left edge. Start with the second strip of resincoated backing sticking up and repeat the procedure noted above. Continue to remove the backing in strips until the coating is completely off. If the backing breaks as you peel it and leaves no started portion to get ahold of (usually caused by pulling back and not up), it can be started again with a sharp knife blade. You can also start again with a new corner. Stripping too parallel or flat to the print will result in strips that are too thin. Try to pull the backing at a 40 angle. Pulling straight up will strip too much backing off. Method B: Stripping from the Front 4. Cut a second length of masking tape about 4 long. Place it diagonally (with the sticky side up) under the separated corner of the emulsion side of the print and press the print to the tape. 5. Next, use two pieces of electrical conduit pipe (1/2 inside diameter, 5/8 outside diameter) or any solid smooth rollers with an outside diameter of 5/8. The rollers should be at least as long as the diagonal of the print you are stripping. Lay one piece of the pipe on the face of the print and roll toward the taped corner so that the ends of the tape adhere the corner to the roller. 1. Start by separating the back from the print at the corner, as previously noted in Method A, Step 1. 2. Separate the back from the print to a depth of about 1-1/2. Lay the print face down on a table with the corner you have started closest to you. 3. Using masking tape, tape the separated corner of the backing to a smooth-surface worktable. 6. Place the second roller immediately behind the first. Keeping them in contact with each other, roll both rollers together and away from you with slightly more pressure on the first roller. 7. The print will roll up on the first piece of pipe, while the second keeps the resin-coated backing flat on the table. If slack develops between the rollers, stop and take up the slack. Failure to do so will cause a crease in the print.
8. When the print has been completely stripped off the backing, remove the tape very carefully from the print and roller to avoid tearing the print. Stripping a print too thin will result in possible tearing and/or shrinkage of emulsion. Over time, the print will not hold up after being stretched. Remove only as much backing as is needed for good texture or canvas transfer. Bonding Prints to Canvas Using Pre-coated Canvas 1. Strip the print using either Method A or Method B noted above, depending on the maximum pressure of the press being used and the amount of impression desired. 2. Adjust your manual mounting press for maximum pressure. Place only a Teflon-covered, 1/4 neoprene rubber pad on the slide-out tray. 3. Check the canvas for knots or large threads that can be removed with a razor blade or sharp knife. If the weave is crooked, straighten it by pulling in the direction needed. 4. On a work table, use a mist-type atomizer bottle to moisten the coated side of the canvas with water. Be sure the entire area of canvas to be covered by the print is evenly damp, but not saturated. 5. Place the print on the moistened canvas and carefully align it with the weave of the canvas. Hold the print and canvas by the lower corners between the thumb and forefinger of each hand. Place both the print and canvas on the Teflon-covered neoprene pad in the mounting press with the print face down on the pad and the canvas on top. Place a cover sheet of release paper or Teflon over the canvas. 6. Slide the work tray into the press. 7. Close the platen and press at a maximum pressure of 210 F for a minimum of 3 minutes, increasing the time for larger sized prints. If the print is larger than the press platen and must be done in multiple pressings, tack all of the sections first by pressing at a minimum pressure of 210 F for 15 seconds. Come back and apply full pressure again at 210 F. Do not press for more than 5 minutes per bite. 8. After removing the print from the press, allow it to cool for at least one minute. It may then be stretched on stretcher frames or mounted as desired on masonite or other surfaces. It is best to stretch the print while it is barely warm. Bonding Prints to Canvas Using & Uncoated Canvas 1. Strip the print using either Method A or Method B noted above, depending on the maximum pressure of the press being used and the amount of impression desired. 2. Adjust your manual mounting press for maximum pressure. Place only a Teflon-covered, 1/4 neoprene rubber pad on the slide-out tray. 3. On a work table, place the print face down and clip it to a piece of corrugated cardboard trimmed 1/2 smaller than the print size. This will prevent the print from curling when is applied. Clips may be made using clothes pins, coat hanger wire or other stiff wire. Cut a piece of wire 5 long. Hold the center of the wire with pliers and bend each side down. While still holding the center with pliers, use a second pair of pliers to bend about 3/8 of the ends slightly out so that the points will not damage the print. Tighten the clip so that it will hold the print to the cardboard without creasing the print. 4. Apply a medium coat of to the back of the print. Follow application instructions above, making sure the edges of the print are evenly coated as well as under the clips. 5. Let the dry until slightly tacky (when lightly touched with a finger). 6. Check the canvas for knots or large threads that can be removed with a razor blade or sharp knife. If the weave is crooked, straighten it by pulling in the direction needed. 7. Lay the print face up on the canvas with the cardboard still clipped on top of the print and the side of the print faced toward the canvas. Press firmly on corners. 8. Pull out the work tray on the press. 9. Carefully align the print with the weave of the canvas. Remove the clips and cardboard. Hold the print and canvas firmly between the thumb and forefinger of each hand. Place both the print and canvas on the Teflon-covered neoprene pad in the mounting press with the print face down on the pad and
the canvas on top. Place a cover sheet of release paper or Teflon over the canvas. and insert 3 more staples at the center of this side and in both corners. 10. Slide the work tray into the press. 11. Close the platen and press at a maximum pressure of 210 F for 3 minutes. If the print is larger than the press platen and must be done in multiple pressings, tack all of the sections first by pressing at a minimum pressure of 210 F for 20 seconds. Come back and apply full pressure to each section at 210 F for 3 minutes. If the print is too dry to effectively transfer the canvas texture, moisten the back of the canvas with a light mist of water and re-press for 2 minutes. 12. Remove canvas-mounted print from the press and allow it to cool to the touch before stretching or mounting on masonite, mount board or other surfaces. Mounting on Canvas Board 1. Follow instructions noted above, using Steps 1-2 for stripping. Coat canvas board with a medium coat of. 2. Pull out tray on press and place the canvas board directly on the slide-out work tray (no pad). The canvas should be facing up. 3. Lay the print down on the canvas board. Line up the edge of the print with the edge of the canvas board. 4. Place Teflon-covered neoprene pad face down on print emulsion. Cover with release paper to protect platen. 5. Slide tray into press. 6. Press at full pressure at 210 F for 3 minutes. 7. Print is now ready for a finishing coat of photo lacquer. 8. Print may be further enhanced by brush texturing. Stretching Canvas Prints on Stretcher Frames After putting the stretcher frame together so that all mitre joints are tight and square, start with the top center and line up the print, from side to side and top to bottom. Staple with 3 large staples in the top center, 1/4 apart, then both corners. Turn the print and stretcher frame to the opposite side (bottom) and line up the print. Using canvas stretching pliers, pull the canvas Prints stripped from the front are very thin, and the emulsion may split if excessive pressure is applied while stretching. Staple and stretch the left and right sides in the same way. Finish the top, always working from the center outward, pulling the canvas out from the center and down. Staple only in the stretched area. Staples should be driven deep and firm so that the web of the staple is holding, not just the two prongs. Finish on bottom, then each side. If the print appears to be pulling too much in one direction, start working on the opposite side. Fold the canvas over the edges of the stretcher frame and staple to the back. Cut off excess canvas at corners. The print should now be sprayed with photo finishing lacquer. Helpful Hints on Canvas Mounting Dye and pencil corrections should be done before canvas mounting. All other corrections may be done either before or after mounting. Prints may be removed from canvas at any time by applying lacquer thinner on the back of the canvas. Keep it wet with lacquer thinner for about 5 minutes to allow to soften. Carefully pull the print up from the canvas. If part of the print is still adhered to the canvas, use more lacquer thinner. Prints on a paper base (instead of resin-coated) may be mounted using the same method as described above, but they do not need to be stripped. Use of a cover sheet will help keep the surface of the press platen clean. However, the platen may be cleaned. Disconnect the press from the electrical outlet and let cool completely. To clean the platen, use lacquer thinner on a rag. Do not reconnect the press until fumes from the lacquer thinner have completely cleared from the air. Rags and paper towels soaked with lacquer thinner are a fire hazard and should be immediately disposed of safely. Do not bunch together in a waste container. IMPORTANT NOTE: The technical information, recommendations and other statements contained in this document are based upon testing and experience Drytac believes to be reliable, but the accuracy and or completeness is not guaranteed. Drytac recommends a small test be performed to determine suitability beforehand. This document does not constitute a warranty of any kind.