ULTRASTABLE COLOR SYSTEMS,INC SANTA CRUZ, CALIFORNIA ULTRASTABLE PROCESS INSTRUCTIONS UltraStable Prints are made by combining four

specially made pigmented gelatin films -Cyan, Magenta, Yellow and Black - onto a white polyester base sheet or by transferring the combined colored image to a gelatin coated paper support. Each color sheet is exposed using ultraviolet light and is laminated in precise registration with the other color layers to form a high-quality, permanent color print. The presensitized, non-toxic color films can be used under UV shielded fluorescent lamps, yellow bug lites, or low level incandescent illumination. 1. Separation Negatives The color image (transparency, color negative, color print or original digital file), must first be converted into a set of high-resolution separation negatives (300 - 600 Ipi or random dot) made to the exact size of the final print. These separations are typically produced on digital electronic color workstations which are capable of the most exacting color correction and image enhancement. Separation negatives to be used for prints on the UltraStable smooth white base are made wrong-reading, emulsion down. Negatives for prints on paper are made right-reading, emulsion down. Gray balance is similar to conventional offset lithography: the cyan highlight dot (3%-5%) should be slightly larger than the magenta and yellow and the skeletal black should have a 5% dot in the midtone and a 80% dot in the shadow. System specific modifications for dot gain and color correction may also be required. Optically produced, continues tone separation negatives can also be used for the process, but some loss of highlight detail may occur.

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2. Preparing the Separation Negatives for Printing Once the separations have been produce?!, it is necessary to register and punch the films to insure that when printed, all the color layers will exactly coincide. First, a window is cut in a sheet of 5 mil red pealable masking film cut to the desired size of the final image with a one inch border on three sides and a two inch border on one of the on sides. Next punch the sheet the register punch and place it membrane side down on pins taped to a light table. A two-inch wide strip of 5-7 mil polyester is cut the length of the mask, punched and then positioned on the register pins over the mask. Place the Cyan separation negative (emulsion side up) on the register strip and move it around until it is correctly positioned over the window in the mask. Tape the separation negative to the strip using several pieces of half-inch lithographers (red) tape. Remove the separation negative and the mask under it, and replace the separation negative on the register pins. Now cut and punch another register strip and place it over the Cyan negative. Take the Magenta negative, lay it on the register strip, and move it around until the register marks on the two films are in exact register and tape the film to the register strip. Next, remove the Magenta separation, and repeat this procedure for the Yellow and Black negatives. 3. Exposing the Color Films The UltraStable films are exposed to a UV rich light source - metal halide or mercury vapor - of at least 1000 watts with a peak of 3650 (Photopolymer) nanometers. A conventional graphic arts platemaker, consisting of an exposing light, and light integrator (to monitor the light reaching the sensitive materials) and a vacuum frame to keep the films in close contact is recommended. Each color sheet is placed emulsion up on register pins, the separation negative is placed emulsion down over it, and the mask is placed on the pins, membrane side up, over the two films.

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Standard exposure is established with the Cyan film. A correctly exposed Cyan sheet will have a Solid Ink density of 1.34 - 1.39 and when this exposure time is determined, it can be used for all four colors. Density of the printed film is determined by exposure: the longer the exposure the greater the density. When exposed correctly, the materials will produce a balanced gray scale with a density range in excess of 2.0. 4. Combining the Color Layers Following exposure, each pigment film is laminated onto the smooth white base in the following sequence: Yellow, Black, Magenta, and Cyan. The white base is cut to the appropriate size, punched and placed emulsion up on a transfer/register board which has a strip of register pins cemented to it. (Typically, this is a large sheet of 3/4 glass, carefully leveled and placed in a sink. ) Pour sufficient cold water on the white sheet to cover it thoroughly and after briefly wetting the exposed pigment film in a tray (not more than 10 seconds), place it emulsion side down on the pins over the white base and using a print roller, combine the two sheets is a smooth roll-out with moderate pressure. Allow the two sheets five minutes transfer time without being disturbed. 5. Wash-off Place the combined films in a tray of hot water (115F) with the pigment film on top for five minutes. At the end of this time, carefully peel off the color sheet from the white base, making sure to keep the films underwater when separating . Discard the color film backing base and proceed to wash the print by shaking it vigorously in the water (2 minutes). Now place the print in a second tray of clean hot water, and wash for an additional minute . This washing should completely remove the soluble (unexposed gelatin)and when the print is hung to dry, the water running off it should be clear and free of color). If hung in a drying cabinet with moderate heat (105F), each color layer will dry in less than ten minutes. When the yellow image is completely dry, the magenta film is then mounted, washed-off and dried in exactly the same procedure as the Yellow image, followed by the Cyan and Black colors. 3.

If the laminated color layers do not adhere well to the white base, it may be useful to prepare a special mounting solution to use for wetting the pigment films instead of plain cold water: Stock Mounting Solution: Water (at 110 F) Chromium Potassium Sulfate (Chrome Alum) Glacial Acetic Acid 790 ml 10 g 200 ml

For use: Cool after mixing and use by adding 5 ml of the stock solution to 1 liter of water. 6. Clearing When all four colors have been processed and fully dried, residual chemicals are removed by immersing the print in Clearing Bath A for 1 minute, followed by a brief cold water rinse and then placed in Clearing Bath B for an additional minute. After a final rinse, the print is dried and ready for finishing. Stock Clearing Bath A: Water (at 11O F) Potassium Permanganate Sodium Chloride (Table Salt) Stock Clearing Bath B: Water (at 11O F) Sodium (Meta)Bisulfite Sodium Sulfite 930 ml 6g 14 g 940 ml 30 g 30 g

To make working solutions of A and B, dilute each in cold water at 1:20. 7. Finishing Water color pigments may be used for spotting UltraStable prints. A small amount of dilute gelatin on the brush can be used to match the finish gloss. 4.

PRINTS ON PAPER The UltraStable Transfer Paper, a mold made, 100% Cotton Fiber, acid free gelatin coated paper, is used to produce prints on paper. This is accomplished by first assembling the UltraStable print on a plastic temporary support sheet and then transferring the pigment image onto the coated paper. The plastic sheet (typically 5-7mil clear polyester) should be washed thoroughly with powdered soap (Comet) and a soft sponge before use. This will give a slight tooth to the plastic which will help pigment film adhesion. Cut the plastic sheet at least one inch larger all-around than the final paper size. Lay down each color pigment onto the temporary plastic support in the order Cyan, Black, Magenta and Yellow. Adhesion to the plastic carrier can be aided by the use of 10 ML of the Stock Mounting Solution per liter of water in the pigment wetting bath . All other processing steps through clearing and drying the 4-color image remain unchanged. Soak UltraStable Transfer Paper face up in a tray of water for 1 minute at 68F . Slide the plastic support with the pigment image under the paper, turn the paper over (face down) and soak both for 30 seconds more. Remove both sheets from the water together, holding them face to face while lifting from the tray. Lay the combination on the transfer board with the plastic on the bottom and the paper on top. Squeegee firmly 2 - 3 times , wipe off excess moisture with a towel and let sit for a few minutes. Hang the print to dry without heat for at least 30 minutes. It will take several hours (overnight) for the print to dry, and so drying can be speeded up by using moderate heat and a fan . When fully dry, the paper will easily peel off the plastic with the pigment image embedded in the gelatin coating . The print will have a high gloss which can be made matte by soaking the print in cold water for a few minutes and redrying. 5.