I am currently varnishing dozens of large prints (A1-A2) for my first exhibition abroad. The varnish used is Breathing Color Glamour II. And everything will go to hell unless I find a way here..

The problem is that even weeks after drying, the prints will stick to whatever they are interleaved with - different kinds of barrier/silk/tissue paper, regular paper, other prints etc... When I attempt to remove the interleaving paper after a day or more, the paper will stick and tear off parts of the gloss. It gets worse the more days it is stored that way. The prints are destroyed anyhow.

I am currently experimenting with glassine paper, though from the feel of it, it doesn't promise any magic..

Now I am running out of time, everything needs to be shipped (in tubes preferrably) real soon.

What materials should be used for shipping in tubes?

regards,
Erlend M.

Have you tried polypropylene sleeves? Not much likes to stick to them. I assume that you have done your best to cure the finish, with good air flow and warm temperatures? What substrate are they printed on?
-Ron H.

It appears to me they have been dried thorougly. I haven't tried Polypropylene sleeves, no. I don't think I have time to find it, order it and test it either. I am wondering about some kind of foam material too..

They are printed on Permajet Papyrus / Hahnemühle William Turner rag paper.

My sympathy goes out to you. What frustration! Wish I could offer you a solution, but I can recommend an excellent shipping tube... the heavy duty tube from Yazoo Mills.

Have you tested a print to see if that varnish will survive a tube without setting the curl or cracking, etc?

What qualities of that varnish made you choose it instead of a spray such as Print Shield?

I have used Print Shield a lot on my earlier glossy prints. This varnish is a completely different product, made to coat matte papers or canvas. It is so thick and tough that you don't need glass on the images. A good coat probably doubles the weight of the print, or more. Print Shield does not make a noticeable difference on matte paper, this one changes it completely.

It doesn't crack, and curling can easily be decurled.

Clearstar ClearShield is another kind of product like this, though from my dealer who keeps both I hear it does not look quite as nice, and is trickier to apply evenly. (but I was just told it was better in regards to my problem)

Silicon release paper like used with marking foil. It is available in sheet sizes 100 x 70 cm or on rolls. Usually with one side siliconised but there are varieties like used for printed transfers, sublimation print etc that are lighter in weight and coated two sided. If you are in a hurry you could ask a sign shop whether they have some waste material left. Be careful as any dirt will adhere to the print as well so the sheets have to be clean.


Ernst Dinkla

Try: http://groups.yahoo.com/group/Wide_Inkjet_Printers/

How did you apply the Glamour II and was it diluted?

As for a material, wax paper might work. I have seen Glamour II do this on canvas prints, but it's always been an issue of the canvas getting hot while being sprayed outdoors. Glamour II will reactivate if it gets too hot and then it gets sticky again.

Since you have had weeks of drying time, your problem seems to be that the Glamour II has substrate that is trapped under the surface and for some reason getting fully dry. The other paper you might consider is what is called butcher paper in the U.S. a white paper that used to be used on meat.

Paul C

Would this be such a product? :
"Silicone Coated Polyester Film, 622mm x 10m
This 36 micron polyester film is ultra-clear and extremely durable. Silicone is coated on both sides, making an ideal release film for hot tables and our Hot Vacuum Glass Press, as it allows work to be viewed during the mounting process. Furthermore it will last longer than release papers."


It was applied by foam roller. Diluted with about 15% added water.
I will check for wax paper. I am currently experimenting with rubbing candles (for wax) into the interleaving paper. MacGyver-methods..

Must be an expensive substitute for what I described. I wouldn't use wax either as it may transfer to the varnish and change the (semi)gloss appearence. Butcher's paper is based on a pulp that stayed longer in the Hollander and is less porose than normal paper + parrafine? is added, so fat, fluid and blood are contained but it may still adhere to the varnish.

Brittains of the UK is a manufacturer of transfer, decal, tattoo decal papers and I would expect they have silicone papers as well or at least the suppliers of papers like that have to have sheets to cover the glue side of decals. I have worked with stuff like that and still use leftover sheets from that time for issues like you describe.


Ernst Dinkla

Try: http://groups.yahoo.com/group/Wide_Inkjet_Printers/

Is this material similar to the backing used for adhesive vinyl? You might even be able to get that material for free, if you find a vinyl sign shop/car wrap company that uses a lot of vinyl.
-Ron H.

This sounds tragic to me. I use Glamour II on canvases and have found nothing like your problems. In fact, I would confidently stack canvases face to face if it wasn't asking for accident trouble. I have also used it on similar papers to what you use with no problems whatsoever. I use acid-free tissue between prints for transport and wouldn't even dream they might stick. I would suggest that you either have a contaminated batch, or that there is some weird combination of under-dilution and humidity? I think 15% seems a little thick, though not enough to stop it drying. Have you had this problem from one pot or is it a regular issue?

This is a shame because I find to be a great product, not only protecting the prints but bringing out the blacks really nicely.

This seems really "thick." I would dilute the Glamour II more----using hot water----30-40%.

About dilution, this is from Breathing Color's instructions:

I however actually feel that a thicker varnish is easier to spread nicely around.

My problem might have something to do with that I apply a very, very generous amount of varnish, in one coat. I think that one thick coat looks nicer than two thinner. Also the first day(s) of drying has usually been in the cold (12-18˚C) cellar I do the coating. Then they have been taken to a warmer room.

Deep: The problem has been so for many pots.. And I do agree it is an excellent product. My prints look great when I don't have to ship them.

Tonight I am experimenting with the silicone film I ordered.

I've never seen printed instructions but my first batch came with a link to a video on the website. Basically, you dilute to a point where the solution is quite runny but if you lift your stirrer it still "holds", i.e. it pours of in a stream and not in drops. This seems to be about 40%. I too apply with a roller. I initially put it on quite heavily and then spend a goodly amount of time spreading it out so that the final coat is always quite thin. I have tried two coats and it was a disaster because it looks obviously uneven, even after a lot of rolling, in terms of shine. Two coats are shinier than one, it seems. In any case, a little goes a long away and it is clearly enough because I have experimented and, done like this, I can put a print under the tap and just watch the water roll off! It must be right. I suppose you are just going to have to experiment in the long term. In the meantime, I hope the silicon film rescues you. I can imagine the sheer frustration you must be feeling!

Just a thought.... were your prints thoroughly dried before you applied the varnish. How long between printing them and varnishing?

I was suprised the first time I put a piece of paper above one of my prints after it came out of the printer. Even for a week of changing the paper, there was visible waving of the paper which indicated out gassing of a substance which in your case may be reacting with the varnish and preventing it from curing.

Julie

Yes!! Someone make a statue of the inventor of the silicone product I mentioned in post no. 8! 2 days of contact pressure (5Kgs on a 15x20cm book) has gone perfectly fine. Now to test for more days, but I am optimistic about it. It is really expensive compared to the usual barrier papers, but I am quite happy still

edit: I use a coarsely textured paper (Permajet Papyrus / Hahnemühle William Turner). I didn't notice that the pressure has "melted" the texture of the varnish down in some places. For my pictures however I actually don't mind irregularities. At least nothing is torn off. And the "melting" thing I am sure has nothing to do with the silicone film, it is merely pressure combined with the unhardened varnish. I will experiment with prints that have been allowed to dry/harden for more than a few days now..