METHOD FOR PRODUCING FINE ART REPLICAS

METHODE POUR PRODUIRE DES REPLIQUES D'OEUVRES D'ART

English Abstract

Photographs have been reproduced on canvas or
canvas-like paper to produce a product resembling a
painting. A product more closely resembling a painting or
original artwork can be produced according to the invention
by gluing a plastic sheet to the outer or emulsion surface of
a print or photograph or line drawing, removing the paper
backing from the emulsion using a solvent or water, and
gluing the plastic sheet with the picture thereon to a canvas
or linen backing sheet, the emulsion appearing on the outer
surface of the plastic sheet. Paint can be readily applied
to the emulsion to repair defects or to enhance the end
product.

Claims

Amendment dated March 5th, 1997
THE EMBODIMENTS OF THE INVENTION IN WHICH AN EXCLUSIVE PROPERTY OR
PRIVILEGE IS CLAIMED ARE DEFINED AS FOLLOWS:
1. A method of transferring a printed-ink image from a first backing to a second backing
comprising:
a) adhesively bonding the printed-ink image to a film to create a laminate
comprising:
i) a film bonded to;
ii) a printed-ink image bonded to;
iii) a first backing;
b) completely removing the first backing from the laminate;
c) adhesively bonding the image-free side of the film to the second backing by
application of heat and pressure.
2. The method according to claim 1 including the step of painting at least portions of the
printed-ink image surface after the first backing has been completely removed.
3. The method according to claim 2 whereby heat and pressure are applied to combine the paint
and printed-ink image.
4. The method according to any one of claims 1 to 3 whereby the second backing is selected
from the group comprising canvas, linen and cardboard,
5. The method according to any one of claims 1 to 4 whereby a varnish is applied to protect the
image.
6. A method of transferring a printed-ink image from a first backing to a second backing
comprising:
a) adhesively bonding the printed-ink image supported on a first backing to a second
backing to create a laminate comprising:
i) a first backing bonded to;
ii) a printed-ink image bonded to;
iii) a second backing;
b) completely removing the first backing from the laminate
c) applying paint to at least portions of the printed-ink image surface;
d) applying heat and pressure to combine the paint and the printed-ink image.
7) The method according to claim 6 whereby the second backing is selected from the group
comprising canvas, linen and cardboard.
8) The method according to any one of claims 6 to 7 whereby a varnish is applied to protect the
image.
9) A decorative product made by the method according to any one of claims 1 to 8.

Description

- 1339616
Amendment to Application No. 570,632
The new method is a further development from the customary image
transfer from a backing to another backing using a thin layer of
celluloid film. This art was mostly used for canvas mounting.
Previous and existing canvas mounting ~rocedures.
Others use a transparent celluloid film of which one side is prepared
with heat-sensitive adhesive. This is then put on top of a photograph or
a print in such way that the adhesive side is attached to the image
~print-ink) ~Fig.1). After pressing these together, with heat
application, the transparent film sticks to the photo emulsion or print-
ink ~Fig.2). A large portion of the backing paper is then removed so
that the remainder is not rigid anymore and is now quite flexible
(Fig. 3?.
It is not necessary to totally remove the hack.ing paper.
Adhesive is applied on a piece of canvas (or adhesive paper may be used)
~Fig.4). Next, the transfer film with the image is then put onto the
canvas. The adhesive layer or adhesive paper is between the canvas and
the back of the image (Fig. 3 + 4). The transparent film which now
carries the image is on top of the canvas and the image is visible
through the transparent film (Fig.5). In order to push the trans~er film
into the grooves of canvas, a piece of foam is put on top of it. This is
then put into a press with a heated platen. The heat melts the adhesive
and the pressure of the press pushes the foam into the film, and the
film adheres securely to the canvas grooves (Fig. 6~.
After the press is released and the foam is removed, the product is a

1339616
textured, laminated picture with a right-side and not a mirror ~reverse~
image. Some have put sticky liquids like gelatin, varnish, etc. to apply
brush strokes giving the impression of a real painting.
With such a process, the image is covered and protected by the clear
transparent film.
Qf note:
A. The su-rface of the product is textured and even if it does have
brush tracks, it looks artificial and is quite distinguishable from
an original painting.
~~ B. The varnish and brush strokes cannot create a real impression of an
original painting because
The transparent film is hetween the printed ink and the newly- applied
paint or varnish, and separates the new paint or varnish from the
original printed ink.
The applied paint or varnish on top of the film surface peels off after
a period of time.
New Invention
- The new method is using a similar ~ilm but white in colour and not
transparent. It can also be clear if the adhesive layer on the film
~0 or on the canvas has a white colour (Fig.I). The adhesive side of
the film will then be pressed to the image side of the print using
a press with heated platen, as in canvas mounting ~Fig.IT).
- Adequate heat and pressure must be applied to ensure that the
image ~print-ink) thorough].y sticks to the adhesive and when the
backing paper is removed it is not damaged.

I339616
.
- The ~acking paper now is th~n totally removecl, so that the i.nage of
th.-e prln,, ~pririt~ ls r-iuite -~71slbLe from the bac'~ ~Fig.III,.
- The film wlll be~ mf~llnted onto the canvas, linen, cardboard or the
1 ikf', the same way as iri canvas r~ourlting.
~ - The imag_ appears as a mirror-imagc-. To have a "ri~ht-ima~e", the
p~ i Ilt mllst ~e prlnted 1 Il mirror-image fashlon. A photograpl-l is not
suitable for this process becau~-~ th~ image wi'l nGt appear on th.e
kack even whf-ri tlle kacking paper is totally remo~ed, There is a
wliite la~Jer coating ~etweerl the photo chemifal~ arld thC .~acl~in~
1Q paper whlch cannot be removed and it sticks to the photo emulciorL.
By this new method, the lma~e (pri~t ink~ that sticks to the adllesive is
then r~ri ~hlf surface of the trarlsfer film. The resultant pic,tllle is now
ci l.'~ im2g'_. ThC p~ is on top inst~a~l o-~ the transpareIlt ~ilm,
as in can~7as mollntlnO.
Tt is preferable to use a dcuble sided al-lh2sive coated fllm aIld,~Or a
canva~ that is prepaI-ed wlth a one-sided adhe~ive k~Jer insteac' of nsing
adhesive pape,~,-. The prodllct will t~.en be more flexible cand ~7ery
for ~ra~.nin~.
Th~ imzOe rlow ls not cc~ered and is not protected by any fllm For
example th~ lmage can ~ washed off with a solvent.
Real palnt, is then applied, as appropriat2, on top o~ t,he image
~-ig.'~''TT~ ~. The CC''TIl~irlatiC''l Qf f-esh palnt, print-ink $iveC 2n imp~-e~sio
of an origlnal paint,inO. After t,~.n~ ne,~ paint has dlr.lost, bllt nl~t ~ lte
drif~d, the picture -~lLl a~Oain be put in the heat preSC.
To prevent, the new pairit from belnO remo-~Jed by the foam, a tliln n~7lon OL'

1339616
plastic film must be put between the fresh paint and the foam.
The print-ink will mix with the paint and adhesive as soon as the heat
is applied and the adhesive melts. The combination of the three
compoIIents (paint, print-ink and a~hesive) c.reates an impression of a
real authentic painting. For touch llpS, real paint can again be applied
in certain areas where it has to be thicker and a final varnish can also
be applied thereafter.
A better product can be achieved by using white adhesive pre-coated
canvas (Fig.VIII~. The a~hesive side of the canvas is then put directly
on the print-ink of a print ~Fig.IX~. When the backing paper has been
totally removed (Fig. X~, then the picture is immediately ready for an
application of fresh paint. The procedure continues then as before. The
transfer film is not needed at all and the finished product looks even
more like a real painting ~Fig.XI)
This creation is rarely distinguishable from an original. Handling of
this replica should be like a real piece of art-work because the image
and the surface paint are not protected.
;. 4