Sign Up for Email to Stay Connected	Then we have got the answers for you. From cleanly cutting foam-boards, to running a combination vacuum press safely and expertly, our tech help service stands ready with the solutions you need. Move your cursor over the appropriate heading, and you’ll be one click from the answers you need.   What is the life of a release board? Approximately 50 hours.   I have a general question about a product, whom do I contact? Please contact our Consumer Customer/Tech Service toll free at 1-888-240-6021. Hours of operation are 8:00 a.m. – 5:00pm EST   What are the four most important aspects when dry mounting? Time, temperature, moisture and pressure.   Can dry mounted art be removed from substrates? It is never a good idea to permanently mount original artwork or numbered prints. In this case, it would be much better to hinge the art using conservation/archival products such as cotton rag or acid-free foam board, Japanese Rice Paper with starch paste or linen gummed tape.   The process to remove art after it has been dry mounted to a substrate may leave a layer of adhesive to the art as well as the substrate. Most permanent adhesives are considered inert, or pH neutral, and even a small amount soaked into the paper fibers of the artwork or fabric will alter the piece from its original state.   Heat-Activated Adhesives:   Some heat-activated adhesives are reversible, and may be reactivated by putting them back into the heated press 10 degrees hotter and 5 minutes longer than the original settings to reliquify the adhesive. Because adhesives travel towards the heat source, reheat the project face down in the press. Remove the project from the press and separate the artwork from the adhesive leaving the adhesive tissue still mounted to the substrate. If this is a large piece, and the project cools before you completely remove the artwork, place a piece of release paper silicone side to the removed artwork, and reheat the project again to remove the remaining section. Once you have the artwork removed, adhesive residue may remain on the back of the piece. Liquid solvents may be used only if the artwork has been tested for color permanence, or you may continue placing the art face down in the press with a clean substrate until most of the adhesive has traveled away from the artwork and into the substrate. *** If archival tissues were used in the press and become too hot for an extended dwell time, the adhesive may excessively absorb into the artwork and the substrate making it extremely difficult to remove.   Pure Film Adhesives:   The directions above will also work for pure film adhesives with no tissue core. However, adhesives that bond upon cooling set very quickly. Therefore, once removed from the press, begin separating immediately!   Permanent Adhesives:   Coated papers and RC photos resist absorbing all adhesives, so removal tends to be easier than porous, rag paper stocks. Solvents are required to remove permanent adhesives and are very toxic and may not be regarded as acid-free. Solvents you may use to remove a permanent adhesive are Bienfang® UnStik®, Bestine thinner, or Toluene®. Saturate a cotton swab with the solvent and touch various colors on the artwork/print for color permanence. If the colors do not bleed, you may submerge the piece in the solvent for approximately 5 minutes to dissolve the adhesive. If the colors do bleed, do NOT use the solvent on the artwork! Try placing the project back in the press face down 10 degrees hotter and 5 minutes longer than the original settings to draw the adhesive into to substrate and away from the artwork. This is not a guarantee!!! "The Mounting and Laminating Handbook" by Chris Paschke p.24   What is the best way to adhere mats to a board? Spray mount, glue sticks, double-sided tape.   What are the basic procedures to follow when dry mounting? Standard Dry Mounting Operation Allow the press to stabilize at the temperature setting, or set a new temperature by pressing the "Set Temp" key, press the appropriate numbers for the temperature setting and "Enter" and wait for the temperature to stabilize. Set the time desired using the "Set Min" or "Set Sec" key, press the appropriate numbers for the time and press "Enter" Note: If you used the "Program" shortcut, the time and temperature are already loaded and these Steps 1 and 2 can be disregarded. Place a suitable dry mounting adhesive on top of the board. To save time, cut the adhesive slightly oversized to make lining up easy. Place the artwork on the adhesive. If exact positioning of the artwork is necessary, tack the artwork to the adhesive and board in one spot using a tacking iron through release paper. With glossy or soft artwork surfaces, tack the adhesive to the rear of the artwork, and then the opposite edge of the adhesive to the board. This avoids touching the tacking iron to the face of the artwork. If a high-gloss RC photograph is being mounted, trim the adhesive to the exact size of photo and place a ColorMount® Cover Sheet over the face of the photo to preserve the glossy surface of the emulsion. Place the assembled materials in the press on the bottom sheet of Release Paper. The materials should be placed in the center of the press platen for optimum results. Position the remaining sheet of Release Paper (or a Release Board) to completely cover the materials. Visually check to ensure all materials are inside the recessed area of the base frame. Close the vacuum press and press the "Start/Repeat Cycle" key immediately to withdraw the air and apply pressure before the heat starts activating the adhesive. The timer will sound when the cycle time has ended. Note: If more time is desired, press "Stop" and set the new time using the "Set Min" or "Set Sec" keys, a numeric entry and "Enter". Press the "Start/Repeat Cycle" key to restart the cycle. Press the "Stop" Key to turn off the pump and reset the timer. Open the press, remove the materials and allow them to cool under a flat weight (glass, metal, etc.). You may now reload the press and start the next cycle. If you will not be mounting for the next several minutes, close the press to conserve heat and electrical power.   What is the best recommended temperature when mounting and laminating foam board? The temperature should not exceed 200°F.   Bienfang® MightyCore® is not recommended when using a vacuum or mechanical press.   How do I cut foam board with clean lines? The key to a good clean cut is a sharp blade. Change your blades often to keep them sharp.   What is the difference between a resilient foam and a pillowcore, crushable foam? Bienfang® PilloCore® is made with a softer foam that allows the edges to close completely when die cut. You can also create effects by embossing and debossing the foam creating a "pillowed" look. Resilient foam is also known as a memory core, when die cut resilient foam will bounce back to its original thickness. You can not create effects in this foam by embossing, debossing or scoring the foam as you can with Bienfang PilloCore.   How can you route foam board?How can you route foam board? Routing is generally not recommended for our foam board products. However customers may wish to cut cost from buying pvc boards such as Gator®, yet continue using their existing machinery. THERE ARE SPECIAL BITS AVAILABLE.   C.R. ONSRUD CUTTER, INC. (800) 638-8185 Scott Feimster   Onsrud cutters has recommended a "compression spiral router bit" also known as "up-shear/down-shear". This means that the spirals work in both directions, cutting up as well as down. This bit is specially designed for double-laminated materials so that the top surface and bottom surface result with a clean, finished edge. The retail price is under $50 and can be sold for less when ordering quantities.   1/4", 3/16", 1/2" Boards: request part # 60-111   MAGNATE (800) 827-2316 1/2" Board: request part # 2202 1/4" Board: request part # 2201 Magnate, a company in Walnut, CA, also offers "up-shear/down-shear" bits.   Is foam board flammable? Yes! Bienfang® Foam Board is flammable and may constitute a fire hazard if improperly handled. Do not expose to an open flame or other ignition source.   What are the basic steps to follow when using Bienfang® Texturing Film? How to use Bienfang® Texturing Film   Step 1   For a mechanical press, preheat press and pre-dry by placing artwork and substrates, separately, and insert into closed, not locked, press for 15 seconds.   Step 2   Assemble materials from top to bottom: sponge foam overlay, textured material, Matte Release Film, Texturing Film, artwork (face up). Note: To dry mount at the same time, simply place a substrate and dry mounting adhesive under the image.   Step 3   Laminate artwork by placing materials between two pieces of Bienfang® Release Paper and inserting into the press. Press at required temperature for suggested time (see Time Chart).   Step 4   Cool Materials by placing a Bienfang® Weight on top. Do not bend or flex until fully cooled. Check the results after peeling off and discarding the Matte Release Film.   Step 5 (For a gloss finish, for photographs and non-porous artwork)   Cover the already laminated artwork with Gloss Release Film, the new texture material and sponge overlay film.   Step 6   Place into press for required time, remove and then cool under a Bienfang Weight.   What are the basic steps to follow when using Bienfang® Finish Guard™ UV Lamination Films in a dry mounting press? How to use Bienfang® Finish Guard™ UV Laminating Films.   Step 1   Warm the mounting press to 200º-215ºF. Position the print and mounting adhesive onto the substrate and tack in place.   Step 2   Peel back the Bienfang® Finish Guard™ UV release paper backing about 1" to expose the adhesive. Position the film on the print and smooth into place: gradually peel off the remaining backing paper. The repositionable adhesive lets you easily remove ripples and creases, if necessary.   Step 3   Cover the assembled materials with a Sponge Foam Overlay and place inside a Release Folder. Insert materials face up into the press, close and wait 3 to 5 minutes for a mechanical press, 7 to 9 minutes for a vacuum press.   Step 4   Remove and place under a Bienfang® Weight to cool. Do not bend or flex until fully cooled   Is it always necessary to perforate laminates like Bienfang® Finish Guard™ UV in vacuum press applications? The concept behind perforating is to allow potentially trapped air to be forced from between non-porous layers prior to bonding or mounting. If you are mounting and laminating a non-porous item such as a RC photo, perforation is required. Although paper is considered porous (breathable), many posters are printed on clay-coated stock that does not allow air to pass through. Keep in mind too, that our Foam Boards are also clay-coated. Even high-end prints with heavy inks or lacquered glazing are not truly porous.   Rule of thumb, "it is better to be safe than sorry"...always perforate!   For more in-depth information regarding mounting, laminating, and texturing you may refer to:   Mounting Methods, Volume 5 of the Library of Professional Picture Framing by Vivian C. Kistler, CPF, GCF, from Columba Publishing Company www.columbapublishing.com   The Mounting and Laminating Handbook (2nd edition) by Chris A. Paschke, CPF, GCF, from Designs Ink Publishing www.designsinkart.com   Mounting, Laminating and Texturing (1990), published by Seal Products Inc.   Mounting, Laminating and Texturing (1986), published by Seal Products Inc.
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