The Fine Art of Finishing - Hot Press

The Fine Art of Finishing

HOT OFF THE PRESS 

For over 18 years, we at Hot Press have served the framing and photographic 

markets with a wide range of premium laminating films, mounting adhesives and 

substrates. While our greatest claim to fame is undoubtedly the Hot Press brand 

of heated glass top vacuum presses, we think our hands-on technical support and 

legendary customer service is what truly sets us apart. 

Naturally, we regard all this as nothing more than an opportunity to improve…and 

you’ll find ample evidence of that commitment in our new catalogue. 

Inside, you’ll encounter an expanded selection of materials, including new 

laminates, adhesives and accessories. You’ll also find the innovative PlaqDecor 

Edging System as well as a comprehensive range of tools, cutters and other 

ancillary accessories. We now offer such niche products as acrylic panels and 

magnetic sheeting…and the list goes on. 

You’ll also find practical technical resources in this catalogue: product application 

guides and processing tips to help you maximize the performance of our materials 

and equipment. For additional help, rely on the Hot Press sales team or sign up for 

one of our frequently scheduled training seminars. 

At Hot Press, we believe our extensive knowledge of mounting and laminating - in 

partnership with our worldwide network of distributors 

- allows us to provide the ultimate support for 

the “Fine Art of Finishing.” 

COPYRIGHT 

All rights reserved. No part of this publication 

may be reproduced or transmitted in any form or 

by any means, electronic or mechanical, including 

photocopying, recording, or any information storage and 

retrieval system now known or to be invented, without written 

permission from an officer of Hot Press Limited. 

E and OE

1 

CONTENTS 

CONTENTS 

2. Dry Mounting TissueS 

• Unimount Classic Dry Mount Tissue • 

• VISTAMOUNT • Archival Grade Tissue • 

4. HEAT ACTIVATED FILM ADHESIVES 

• Acid Free Mount Film • Dry Mount Film Clear • 

• GICLEEMOUNT • pagemount • 

6. Basic Dry Mounting ProcedureS 

8. Heatseal Laminates 

• Gloss (Lustre) • Satin Matt • Matt • 

• Sand TEXTURE • Fine Linen • Coarse Linen • 

• Canvastex • Polyester GLOSS • 

10. Heatseal LaminatING - 

THE HOWS AND WHYS 

12. Ancillaries 

• Silicone Release Paper • Clear Silicone Release FILM • 

• STANDARD STRETCHER BARS • LUXURY STRETCHER BARS • 

• Foam Plastic • Vacu Foam • Overlay Foil • Velcro ® • 

• Tac CLOTHS • Anti Static ClothS • Anti Static Gloves • 

14. ACRYLIC PANELS 

15. CANVAS 

• Plain Mounting Canvas • Adhesive Coated Canvas • 

• Super White Adhesive Canvas • Heatseal Backing Cloth • 

16. The Canvas Bonding Process 

For Paper Prints 

17. Texturising System 

• Texturing Film • Gloss Release Film • Matt Release Film • 

18. SUBSTRATES 

• White Display Board • Easymount Dry Mount Card • 

• Stikiboard Self Adhesive BOARD • 

• Foam Centred Board • 

20. Pressure Sensitive Mounting Films 

• Self Wound Mount Film • 

• Double Sided Mount Film • 

• Transparency Mount Film • 

• WINDOWTAC • 

22. Top Tips for JetMounter Users 

24. Pressure Sensitive 

LaminatING FILMS 

• Matt • Satin Matt • STANDARD Gloss • 

• Ultragloss • SPARKLE • Sand TEXTURE • 

• ICE • Fine Linen • Coarse Linen • 

• HESSIAN • Crush LEATHER • Kid Leather • 

• ANTIQUE LEATHER • STEEL • Sheentex • crystaltex • 

26. JetMounter rANGE 

28. Hot Glass Vacuum Press 

30. Specialist Presses 

• Cold Glass Vacuum Press • PRESS Stands • 

• HEATED Re-lining Table • HYDRAULIC PRESS • 

32. PLAQDECOR ® 

• PLAQDECOR ® Edging System • 

34. Cutters 

• FSC MULTI SUBSTRATE CUTTER • GEMINI PRO PANEL CUTTERS • 

• ATLAS CUTTING TABLE • INGLET CUTTERS • 

36. Tools Of The Trade 

• Tacking Iron • Piercing Tool • 

• DUST REMOVAL System Roller • Olfa Knives • 

• ANTI STATIC BRUSH • Cutting MatS • Big PURPLE Ruler • 

• Stretcher Pliers • Whip and Mule • LAMINATOR CADDY • 

37. TRAINING DVDS 

38. magnetic graphic systems 

39. Training 

40. TERMS AND CONDITIONS 

Edition 5 

www.hotpress.co.uk tel: 0845 0700660 or +44 (0)117 958 6500

2 

DRY MOUNTING TISSUES 


UNIMOUNT CLASSIC DRY MOUNT TISSUE 

This premium grade tissue is widely regarded as the “industry standard” 

for the permanent mounting of all types of flat artwork. It is 

especially popular among bespoke framers and photo processors 

due to its lay flat properties. Unimount Classic is a high grade 

adhesive on a porous, pH neutral tissue. 

Unimount Classic is suitable for mounting posters, prints, photographs, 

inkjets, pastels, charcoals, colour copies, maps, charts, blue 

prints and plans. 

Unimount Classic is compatible with a wide variety of substrates, 

including mount board, pulp and grey boards, grey boards, foam 

centred boards, hardboard, MDF and of course, Hot Press’s own 

specialist mounting substrate, White Display Board. 

VISTAMOUNT DRY MOUNT TISSUE 

Vistamount is an economy grade dry mounting tissue, which is a 

vast improvement on its predecessor Eco-Bond. Most often used 

by contract framers, this cost effective tissue offers a permanent 

bond for posters and prints. It is suitable for mounting artwork to 

MDF and most types of mounting board. 

ARCHIVAL GRADE TISSUE 

This conservation grade tissue incorporates a chalk-buffered layer 

that prevents acids from migrating through the tissue. Favoured 

by professional conservators and art restorers, this product was 

specifically developed for museum pieces and other archival quality 

artwork. Archival grade tissue has enjoyed a recent increase in 

popularity among framers seeking to enhance their dry mounting 

services with a superior grade service.

3 

Unimount Classic DRY MOUNT TISSUE (ROLLS) 

Code 

Size 

H4011 520mm x 25m (20.5” x 82’) 

H4019 650mm x 25m (25.5” x 82’) 

H4020 650mm x 50m (25.5” x 164’) 

H4021 650mm x 100m (25.5” x 328’) 

H4036 1040mm x 25m (41” x 82’) 

H4037 1040mm x 50m (41” x 164’) 

H4038 1040mm x 100m (41” x 328’) 

H4044 1300mm x 25m (51” x 82’) 

H4045 1300mm x 50m (51” x 164’) 

H4046 1300mm x 100m (51” x 328’) 


Unimount Classic DRY MOUNTING TISSUE (CUT SHEETS) 

Code 

Size (Packs of 100 sheets) 

H4106 127mm x 179mm (5” x 7”) 

H4108 152mm x 204mm (6” x 8”) 

H4110 204mm x 254mm (8” x 10”) 

H4114 254mm x 305mm (10” x 12”) 

H4118 305mm x 406mm (12” x 16”) 

H4122 406mm x 509mm (16” x 20”) 

VISTAMOUNT DRY MOUNT TISSUE 

Code 

Size 

H4150 622mm x 25m (24.5” x 82’) 

H4151 622mm x 100m (24.5” x 328’) 

H4153 1040mm x 25m (41” x 82’) 

H4154 1040mm x 100m (41” x 328’) 

H4155 1245mm x 25m (49” x 82’) 

H4156 1245mm x 100m (49” x 328’) 

ARCHIVAL GRADE TISSUE 

Code 

Size 

H4303 520mm x 27.4m (20.5” x 90’) 

H4306 610mm x 27.4m (24” x 90’) 

H4309 927mm x 27.4m (36.5” x 90’) 

H4312 1040mm x 27.4m (41” x 90’) 

H4315 1232mm x 27.4m (48.5” x 90’) 


4 

HEAT ACTIVATED FILM ADHESIVES 

HEAT ACTIVATED 

FILM ADHESIVES 

Hot Press offers a complete range of heat-activated 

film adhesives, suitable for virtually any combination of 

artwork and mounting substrate. 

GICLÉEMOUNT 

Engineered specifically for dry mounting fine art prints and photo 

papers. GicléeMount is ideal for Giclée prints, photographs and other 

fine art pieces printed with pigment inks. This dry mounting adhesive 

is also ideal for mounting on canvas, linen and other textured fabrics, 

boards and papers. 

DRY MOUNT FILM CLEAR 

The most aggressive film in the Hot Press range, Dry Mount Film 

Clear is coated with an acrylic-based tacky adhesive. Especially 

recommended for wood, plastics and canvas, this adhesive will bond 

well to any highly textured or very smooth surface. 

ACID FREE MOUNT FILM 

Acid Free Mount Film is a true conservation adhesive. The acidfree 

adhesive melts as it is heated and bonds as it cools, therefore 

the bond can, in most instances, be released later by re-heating the 

adhesive. Acid Free Mount Film also conforms to uneven surfaces 

such as watercolour paper and fabrics, making it a highly versatile 

adhesive for all types of artwork and substrates. 

PAGEMOUNT 

Pagemount is the new heat activated mounting tissue, ideal for 

dry mounting in all makes of heated presses. This new tissue has 

been developed for the production of premium photobooks and 

digital photo albums. The low activation temperature of 70ºC to 85ºC 

makes Pagemount the tissue of choice when mounting photographic 

prints that are sensitive to heat. In addition, the 170gsm tissue 

creates a rigid page, giving the album a quality finish. The adhesive 

is dry to the touch at room temperature and therefore requires no 

release liner, enabling ease of use.

5 

GICLÉEMOUNT 

Code 

Size 

FT20082PP 520mm x 25m (20” x 82’) 

FT20164PP 520mm x 50m (20” x 164’) 

FT32082PP 820mm x 25m (32” x 82’) 

FT32164PP 820mm x 50m (32” x 164’) 

FT48082PP 1220mm x 25m (48” x 82’) 

ACID FREE MOUNT FILM 

Code 

Size 

H4326 620mm x 25m (24.5” x 82’) 

H4332 

1020mm x 25m (40.2” x82’) 

H4335 1220mm x 25m (48.5” x 82’) 

HEAT ACTIVATED FILM ADHESIVES 

DRY MOUNT FILM CLEAR 

Code 

Size 

H4346 650mm x 25m (25.5” x 82’) 

H4348 650mm x 100m (25.5” x 328’) 

H4351 1040mm x 25m (41” x 82’) 

H4353 1040mm x 100m (41” x 328’) 

H4354 1300mm x 25m (51” x 82’) 

H4356 1300mm x 100m (51” x 328’) 

PAGEMOUNT (rolls) 

Code 

Size 

PMT-HM25082 650mm x 25m (25.5” x 82’) 

PMT-HM51082 1300mm x 25m (51” x 82’) 

PMT-HM51328 1300mm x 100m (51” x 328’) 

PAGEMOUNT (cut sheets-packs of 100) 

Code 

Size 

PMTS 1 210mm x 210mm (8.3” x 8.3”) 

PMTS 2 210mm x 320mm (8.3” x 12.6”) 

PMTS 3 250mm x 320mm (9.8” x 12.6”) 

PMTS 4 310mm x 420mm (12.2” x 16.5”) 

PMTS 5 360mm x 370mm (14.2” x 14.6”) 

PMTS 6 410mm x 510mm (16.1” x 20.1”) 

Note: Alternative sizes available upon special request. 

Special Tip: 

When using film adhesives with non-porous media or substrates e.g. 

R.C. photos or foam centred board; the mounting film must be pierced 

before application. If you are using either of the Dry Mount Films - 

remove one release liner before piercing the film. If you are using Acid 

Free Mount Film - take extra care when piercing. 


6 

BASIC DRY MOUNTING PROCEDURE 

BASIC DRY MOUNTING 

PROCEDURE 

Dry mounting is the process of bonding an image to a mounting 

substrate. The process is simple and takes only a few minutes, but 

there are a number of issues to be considered. For an in-depth 

understanding of dry mounting techniques, we invite you to attend 

one of our free training schools. 

In the meantime, the important fundamentals of dry mounting are 

summarised below. 

Firstly, consider the artwork you wish to mount. How will it react to 

heat Does it require pre–drying to remove excess moisture Does 

it require pre–pressing to remove any creases Is the artwork clean 

and free from dust / dirt / stickers or tape Is the artwork porous 

Does it have an image that may shift (as in the case of pastels) All 

these points should be considered before proceeding. With a little 

experience they will become second nature. 

Secondly, determine what type of substrate is compatible with your 

artwork. What is the optimum thickness Is quality or price your 

primary objective Will the substrate need to be pre–dried Would 

a smooth substrate benefit the artwork Does the substrate need to 

be coloured or textured Is it porous 

• Set your press for the correct temperature (usually 90 ºC) 

and allow it to warm up. 

• Once the press has warmed up, pre-press your substrate 

or artwork if required. This process requires placing the 

material in the press and pressing it for two or three minutes. 

Remember to let it cool down again after the drying process 

has been completed. 

• Cut the adhesive to size (normally 5mm (1/4”) bigger than 

the artwork). 

• Cut the substrate to size (normally 25mm (1”) bigger than 

the artwork). 

• Make sure you have silicone release film or paper available 

to cover any exposed adhesive areas. 

• If you are going to use the timer, now is the time to set it. 

Don’t set it when your project is already in the press. 

• Now you can assemble your project! 

• Remember to check the front and back of all components for 

dust and dirt and make sure all the components are cool. 

Silicone Release Film or Paper 

Artwork 

Based on these conclusions, identify the best adhesive for this 

combination of artwork and substrate. Please consult individual 

product descriptions, recommendations and charts to arrive at the 

best match - or call us for more technical help. 

When you have decided on an adhesive, you can begin! 

Adhesive 

Substrate 

The assembly should be set up as shown here, from top to bottom. 

If you are working with a hard or soft bed press, or if the project 

needs to be very precisely positioned, it may be necessary to “tack” 

the assembly together. 

Tacking is used to keep the components of an assembled project 

together and stop them from moving around in relation to each other. 

Tacking may be performed in a variety of ways. 

SPRAYS – If you must use spray adhesive for tacking, spray a 

fine short burst onto the substrate and position the tissue on top. 

Remember, your objective is to position the tissue, not actually bond 

it, so go easy on the spray. Then spray the top of the tissue and 

position the artwork. 

NOTE: We do not recommend spray adhesives for mounting artwork. 

GLUE STICKS – The same procedure may be performed with glue 

sticks, but remember, only use a dab! 

TAPE – Assuming the board is the largest component and the 

artwork is the smallest, you can place a piece of masking tape at the 

edge of the print so it also covers the tissue and board.

7 

TACKING IRON 

All the methods mentioned previously are “make do” ideas that do 

work. However, anyone tacking on a regular basis should really 

consider the use of a tacking iron. A tacking iron is a small spot 

heater and is used as shown below. 

Step 1. 

First, tack the tissue to the back of the artwork. Place a small 

piece of silicone release paper in between the tissue and the iron 

head to prevent the iron from becoming covered in glue. Tack the 

tissue onto the top third of the artwork as shown in Step 1. 

You can then trim away any excess tissue around the print before 

tacking the print into position on the board. 

Step 2. 

PROCESSING 

The following graph provides suggested processing times for basic 

dry mounting procedures. Times shown are in minutes. The graph 

should only be used as a guide, as processing times will vary from 

press to press and are dependant on the specific project. If in doubt, 

always ask for advice or run a test. 

1mm White Display Board 

2mm White Display Board 

5mm Foam Board 

10mm Foam Board 

1mm Easimount Card 

2mm Easimount Card 

3mm MDF 

6mm MDF 

9mm MDF 

Size 

203 x 254mm 1 1 2 2 2 2 1 2 3 4 

254 x 305mm 1 1 2 2 2 2 1 2 3 4 

305 x 406mm 2 2 3 3 3 3 2 3 4 5 

406 x 508mm 2 2 3 3 3 3 2 3 4 5 

508 x 762mm 2 2 3 3 3 3 2 3 4 5 

762 x 1016mm 3 3 4 4 3 4 5 6 

1016 x 1524mm 3 4 4 3 4 5 6 

1219 x 2438mm 4 4 3 4 5 6 

18mm MDF 

BASIC DRY MOUNTING PROCEDURE 

* 25.4mm = 1 Inch 

Trimming the excess tissue away is common when (1) a project 

is to be displayed without a frame, or (2) when a picture will sit in 

the middle of a board with other information on it or (3) any other 

situation that would expose the tissue to the viewer. 

Having tacked your tissue onto the top third of the artwork, the 

tissue should next be tacked onto the bottom third of the board as 

shown in Step 2. 

Step 3. 

SPECIAL NOTES – This time guide assumes that you are working 

with artwork that is porous and that you are using Unimount Classic 

dry mount tissue. For non-porous artwork such as R.C. photographs, 

add 25% more time. The guide assumes that when working with 

Foam Centred Board, you will be using a reduced pressure; again 

the time recommendations are based on this assumption. 

When the time and temperature have been determined, you should 

place the assembled job in the press. After checking that everything 

is clean and lined up properly, processing should be started straight 

away. When using a Hot Glass Press it is possible to view the work 

as it is processed. When processing has been completed, remove 

the finished job from the press and leave it to cool on a flat surface. 

Your dry mount is now complete! 

Only one tack should be used on each surface, so that all the 

components, though secured to each other, are still free to float 

across each other. This method of tacking is often referred to as 

an “S” or “Z “ tack, because when viewed from the side the tissue 

forms an “S” or “Z” between the artwork and board. See Step 3. 

NOTE: Tacking in more than one place on the artwork or substrate 

will lead to tension in the tissue and cause creasing. 


8 

HEATSEAL LAMINATES 


Although this process is sometimes overlooked, 

the Hot Press range of laminates has many 

benefits that can yield higher value orders for 

framers, photographers and print shops. For 

one thing, all Hot Press laminates contain UV 

inhibitors to increase the fade resistance of the 

artwork. They also are unbreakable, easy to keep 

clean and come in a variety of popular finishes. 

GLOSS (LUSTRE) 50µ 

The most popular heatseal laminate, this film offers a unique finish 

that conforms to the surface it is pressed against (under heat). The 

normal result is a lustre finish transferred from the surface of the foam 

blanket in the press, but other textures can easily be applied. This film 

is also used as the top coating when prints are bonded to canvas. 

SATIN MATT 50µ 

This film is often used to laminate posters and prints, as its subtle 

finish closely mimics that of the printed piece. The satin sheen finish 

reduces glare, but does not reduce contrast, as the film is relatively 

thin. Also suitable for canvas bonding. 

MATT 75µ 

This film is characterised by a full matt finish that completely eliminates 

reflections. It offers additional UV protection when used behind glass, 

but is almost invisible. Matt film is most often used where lighting is 

unpredictable and uncontrollable, such as exhibition halls and other 

public areas. Additional heat applied during processing will give the 

matt film a textured surface. 

SAND TEXTURE 90µ 

This film is ideal for graphics that will be subjected to prolonged 

exposure in public places. It displays a pleasing sandy texture that 

is also scuff resistant. Sand Texture film is also ideal for social 

photographers who wish to show samples and copies to clients. 

FINE LINEN 90µ 

This delicate, fabric-textured laminate is often preferred by 

photographers wishing to offer a subtle yet decorative finish to their 

work. It is also useful for disguising minor creases and cracks in 

prints and posters. 

COARSE LINEN 90µ 

This film displays a mid-gauge fabric texture resembling rough 

cotton. It is often used on larger format artwork where a finer finish 

may be lost. The rougher gauge of this film is capable of hiding 

large imperfections in prints and posters. 

CANVASTEX 190µ 

Due to its heavy canvas texture, Canvastex is often used as an 

economical alternative to actual canvas bonding. 

DUE TO ITS THICKNESS THIS FILM IS UNPIERCED, 

BUT SHOULD BE PIERCED BEFORE USE. 

POLYESTER GLOSS 36µ 

This film has a heat-resistant gloss finish that is popular for the 

production of tablemats. It is also useful for imparting a gloss finish 

to paper prints. Please note that the heat resistance of this film is 

only sufficient for hand-hot items, and not items just removed from 

a hot oven. 

THIS FILM IS UNPIERCED and SHOULD NOT BE PIERCED, 

AS IT WILL NOT HEAL. 

All material comes pre-pierced as standard (unless otherwise stated). 

Un-pierced films are available on request.

9 

GLOSS (LUSTRE) 

Code 

Size 

L1305 650mm x 25m (25.5” x 82’) 

L1307 650mm x 100m (25.5” x 328’) 

L1317 1040mm x 25m (41” x 82’) 

L1319 1040mm x 100m (41” x 328’) 

L1320 1300mm x 25m (51” x 82’) 

L1328 1300mm x 100m (51” x 328’) 

SATIN MATT 

Code 

Size 

L1435 650mm x 25m (25.5” x 82’) 

L1437 650mm x 100m (25.5” x 328’) 

L1447 1040mm x 25m (41” x 82’) 

L1449 1040mm x 100m (41” x 328’) 

L1450 1300mm x 25m (51” x 82’) 

L1458 1300mm x 100m (51” x 328’) 

MATT 

Code 

Size 

L1505 650mm x 25m (25.5” x 82’) 

L1507 650mm x 100m (25.5” x 328’) 

L1517 1040mm x 25m (41” x 82’) 

L1519 1040mm x 100m (41” x 328’) 

L1520 1300mm x 25m (51” x 82’) 

L1528 1300mm x 100m (51” x 328’) 

SAND TEXTURE 

Code 

Size 

L1674 650mm x 25m (25.5” x 82’) 

L1673 1040mm x 25m (41” x 82’) 

L1677 1300mm x 25m (51” x 82’) 

L1679 1300mm x 100m (51” x 328’) 

FINE LINEN 

Code 

Size 

L1608 650mm x 25m (25.5” x 82’) 

L1611 1300mm x 25m (51” x 82’) 

L1613 1300mm x 100m (51” x 328’) 

COARSE LINEN 

Code 

Size 

L1643 650mm x 25m (25.5” x 82’) 

L1646 1300mm x 25m (51” x 82’) 

CANVASTEX 

Code 

Size 

L1713 650mm x 25m (25.5” x 82’) 

L1725 1300mm x 25m (51” x 82’) 

L1727 1300mm x 100m (51” x 328’) 

POLYESTER GLOSS 

Code 

Size 

L1574 650mm x 25m (25.5” x 82’) 

L1577 1300mm x 25m (51” x 82’) 

L1579 1300mm x 100m (51” x 328’) 



10 

HEATSEAL LAMINATING - THE HOWS AND WHYS 

HEATSEAL LAMINATING - 

THE HOWS AND WHYS 

Over-laminating artwork with heat-activated films is often referred to as heatsealing. Because many people never 

consider the true benefits of heatseal lamination, it is often overlooked as a method of protecting and enhancing 

artwork…and indeed as a way to increase revenue. 

WHY LAMINATE WITH HEATSEAL LAMINATES 

SURFACE PROTECTION 

FADE RESISTANT 

Lamination guards artwork against fingerprints, moisture, UV light, 

smudges, abrasion. ozone exposure and cigarette smoke. Laminates 

also protect artwork from damage due to handling, rolling and shipping. 

All of our heatseal laminates incorporate UV absorbers and UV 

stabilisers into the formulation, which prevent film degradation and 

image fade. 

ADDED VALUE 

SPECIAL APPLICATIONS 

There are a variety of heatseal surface finishes and textures 

available with which to enhance artwork and graphics. In addition 

to gloss, satin matt and matt finishes, our selection also includes 

linen, canvas and sand textures. Lamination can also deepen and 

brighten the colours of your artwork as well as reduce glare under 

challenging lighting conditions. 

UNBREAKABLE 

Lamination is the only solution for artwork to be displayed without the 

use of a frame - especially plaq-mounted images. (See page 32). 

PROFITABILITY 

Laminating films are more economical when compared to speciality 

(or even plain) glass, yet add a perceived value to the finished 

artwork that means more profit for you. 

Due to the innate qualities of overlaminating 

film, unlike glass it cannot be broken. Therefore 

where safety is a factor, especially in shopping 

centres, airports, schools, retirement homes, 

children’s rooms, hospitals and other public 

places, lamination is superior to glass. 

LIGHTWEIGHT 

Ease of handling, particularly during shipping, 

makes laminating films preferable to other 

protective media. 

MOISTURE RESISTANT 

In high humidity or moisture areas such as in 

bathrooms, kitchens and around swimming 

pools, laminating films are preferred to glass 

due to the probability of condensation behind 

glass-protected pieces.

11 

HOW TO LAMINATE USING HEATSEAL LAMINATES 

Step 1 – Switch on your press and set it to 90°C. While the press warms up, set your timer. More information on 

processing times for different films is shown below. Make sure you have a sheet of silicone release film in the base of the 

press and a sheet of vacufoam or foam plastic (dependant on machine type) over the silicone release film. 

Step 2 – Measure the image to be laminated and cut a piece of heatseal film that is 15mm (1/2”) larger than the image 

all the way round. For a 406mm x 508mm (16” x 20”) image, the film should be cut to 432mm x 533mm (17” x 21”). 

Step 3 – Peel back the release liner of the heatseal film to expose about 25mm (1”) of adhesive and firmly crease 

back the release liner. Place your artwork (face up) on a clean, flat and cool surface and position the film at the edge of 

the artwork. Move the film around until it completely covers the artwork. The creased release liner will hold the exposed 

adhesive away from the artwork while you position it. When you are satisfied with the positioning, press the leading edge 

of exposed film down onto the artwork using very light pressure. Then slowly peel back the release paper, until the entire 

image is covered by the film. Smooth out any wrinkles, lifting and repositioning the film from the corners if necessary. 

Step 4 – Now trim off most of the waste film. Be careful not to trim too close to the image, as the film may shift. Take 

the heatseal assembly and place it in your press, under a sheet of vacufoam or foam plastic and process it according to 

the guide below. 

Step 5 – When all the air has escaped from your heatseal assembly and the adhesive has been activated, remove the 

artwork from the press and allow it to cool thoroughly. 

Step 6 – Any remaining film around the edge of the image should now be trimmed away with a straight edge and craft 

knife or scalpel. 

Note: When working with non-porous artwork (such as photographs and other plastic based media), It is necessary to use 

a pierced heatseal film. Hot Press provide most heatseal films in a pre-pierced variant. Due to its thickness, Canvastex 

needs to be pierced by hand using a piercing tool. 

SUGGESTED PROCESSING TIMES FOR HEATSEAL LAMINATION FILMS 

254 x 305mm 305 x 406mm 406 x 508mm 508 x 762mm 762 x 1016mm 1016 x 1524mm 

Gloss Lustre 5 5 6 7 8 10 

H/D Gloss Lustre 9 9 10 11 12 14 

Satin Matt 5 5 6 7 8 10 

Matt 8 8 9 10 11 13 

Sand Texture 9 9 10 11 12 14 

Fine Linen 9 9 10 11 12 14 

Coarse Linen 9 9 10 11 12 14 

Canvas Texture 15 15 18 19 20 22 

Polyester Gloss 4 4 5 6 7 8 

*25.4mm = 1 inch 

The times shown above are in minutes and are based on artwork that is porous i.e. posters and prints. If your artwork is 

non-porous then it is advisable to increase these times. The operating temperature is another key variable. As more heat 

is used, processing times decrease. Processing times increase with lower temperature settings. It is common for Fine and 

Coarse linen to be processed at lower temperatures (80°C) to maintain the texture of the weave pattern; the same applies 

to Satin Matt and Matt, where a smooth finish is required. 

HEATSEAL LAMINATING - THE HOWS AND WHYS 

Due to its thickness and strong weave pattern, Canvas 

Texture is often processed at 110°C to decrease the 

processing time. Similarly Gloss (Lustre), Satin Matt and 

Matt are often processed at 100°C to obtain a heavy texture 

to their surface. 

Remember that Polyester Gloss film should not be pierced 

(as the holes will not heal) and is only suitable for porous 

artwork. This fact is reflected in its processing times. 

If you are laminating artwork that has already been mounted to a 

board, the thickness, moisture content and porosity of the board 

will have an effect on processing times. 

Foam Blanket 

Laminating Film 

Print 

Silicone Release 

From top to bottom the assembly 

should be set up as shown here 


12 

ANCILLARIES 

ANCILLARIES 

To ensure that your mounting and laminating experience is profitable and problem-free, Hot Press offers a complete 

range of accessories to improve performance. 

SILICONE RELEASE PAPER 

A grid patterned paper, coated on one side with a standard quality 

silicone release agent. This economy grade product is used to cover 

exposed adhesives during pressing and can be used in all kinds of 

mounting and laminating presses. 

CLEAR SILICONE RELEASE FILM 

A transparent film coated on both sides with a superior quality silicone 

release agent. This product is used to cover exposed adhesives 

during processing. Though primarily designed for use with 

glass-topped presses, this film can be used in any heated press. Its 

life expectancy is over ten times that of silicone release paper. 

FOAM PLASTIC 

A cream coloured 13mm thick foam used to cover heatseal laminates 

during pressing. This foam may be used with all heated press types 

and is extremely durable. 

VACUFOAM 

A grey coloured 5mm thick foam used to cover heatseal laminates 

during pressing. This foam is only suitable for use in vacuum presses. 

OVERLAY FOIL 

A clear high gloss acetate foil that has been traditionally used to cover 

glossy photographs in order to maintain gloss during mounting. 

STANDARD STRETCHER BARS 

Interlocking high quality wooden bars, which form a frame across 

which canvasses are stretched. 

Bars are supplied in packs of 20 pieces each, 35mm wide and 

approximately 3mm under their nominal size to allow for the thickness 

of the canvas. 

LUXURY STRETCHER BARS 

These 45mm deep luxury stretchers are formed in the same way as 

our normal stretcher bars, but they are designed to be used without 

a frame surround. The canvas artwork is wrapped around the edge 

& back of the stretcher frame & stapled on the rear face. With the 

corners artistically folded and the image covering the face & all 

the sides, the finished article is known as a “Studio” or “Gallery” - 

“Wrap”. The effect is modern & clean, whilst keeping costs down & 

profits high. To enhance this simple yet finished look, the stretchers 

are made from Tulip wood which is beautifully finished, strong & has 

a weight that implies quality. 

VELCRO ® 

The “original” quality brand hook and loop fastener. Velcro is ideal for 

attaching moulding samples to nyloop covered wall boards and is an 

essential product for anyone creating re-useable graphic displays. 

TAC CLOTHS 

A slightly tacky, lint free cloth, used to clean mounting substrates, 

minimising imperfections left by surface contaminants. Tac Cloths 

are designed for use on foam board, MDF, hardboard and other 

mounting substrates. They are not suitable for cleaning printable 

inkjet media. 

ANTI-STATIC CLOTH 

A dry, lint-free cloth used to prepare prints prior to mounting or 

laminating. This special material is composed of a knitted blend of 

non-toxic, soft synthetic fibre incorporating a non-abrasive conductive 

filament. 

ANTI-STATIC GLOVES 

Special conductive fibres on the gloves disperse electrostatic charges 

and eliminate contamination. Gloves come in one-size to fit all.

13 

SILICONE RELEASE PAPER 

Code 

Size 

A2004 650mm x 10m (25.5” x 33’) 

A2005 650mm x 25m (25.5” x 82’) 

A2010 1040mm x 10m (41” x 33’) 

A2011 1040mm x 25m (41” x 82’) 

A2020 1300mm x 10m (51” x 33’) 

A2021 1300mm x 25m (51” x 82’) 

CLEAR SILICONE RELEASE FILM 

Code 

Size 

A2058 622mm x 10m (24.5” x 33’) 

A2059 622mm x 25m (24.5” x 82’) 

A2062 1000mm x 10m (39.5” x 33’) 

A2063 1000mm x 25m (39.5” x 82’) 

A2064 1270mm x 10m (50” x 33’) 

A2065 1270mm x 25m (50” x 82’) 

FOAM PLASTIC 

Code 

Size 

A2201 Full Sheet 2438mm x 1651mm x 13mm 

A2199 Half Sheet 1219mm x 1651mm x 13mm 

A2197 Quarter Sheet 1219mm x 825mm x 13mm 

VACUFOAM 

Code 

Size 

A2208 Full Sheet 2304mm x 1650mm x 5mm 

OVERLAY FOIL 

Code 

Size 

A2189 622mm x 25m (24.5” x 82’) 

A2191 1245mm x 25m (49” x 82’) 

VELCRO ® 

Code 

Size 

A3010 

Hook 20mm x 25m 

A3030 

Loop 20mm x 25m 

TAC CLOTHS 

Code 

Size & Quantity 

ACC9602 Approx 241mm x 457mm ( 9.5” x 18”) - Pkt of 25 

ANTI-STATIC CLOTH 

Code 

Size 

ACC9600 254mm x 457mm (10” x 18”) 

ANTI-STATIC GLOVES 

Code 

Size 

ACC9605 

2 Pairs - One Size Fits All 

STANDARD STRETCHER BARS 

Code Size (pack of 20) 

A2080 204mm (8”) 

A2084 254mm (10”) 

A2086 279mm (11”) 

A2088 305mm (12”) 

A2092 355mm (14”) 

A2094 381mm (15”) 

A2096 406mm (16”) 

A2104 508mm (20”) 

A2112 610mm (24”) 

A2124 762mm (30”) 

A2136 915mm (36”) 

A2144 1016mm (40”) 

A2146 1219mm (48”) 

A2148 1524mm (60”) 

LUXURY STRETCHER BARS 

Code 

Size (per pair) 

A2151 204mm (8”) 

A2152 254mm (10”) 

A2153 305mm (12”) 

A2154 381mm (15”) 

A2155 406mm (16”) 

A2156 508mm (20”) 

A2157 584mm (23”) 

A2158 610mm (24”) 

A2159 635mm (25”) 

A2160 762mm (30”) 

A2161 813mm (32”) 

A2162 838mm (33”) 

A2163 1016mm (40”) 

A2164 1168mm (46”) 

ANCILLARIES 


14 

ACRYLIC PANELS 


Highly fashionable and creating a huge impact these 10mm thick, ultra 

clear acrylic panels are the ideal way to make a statement that is both 

minimalist and modern. Panels come in a variety of popular sizes 

and include wall fixings in the form of “satin” metal studs, which fix 

through the pre-drilled corner apertures and allow your work to “float” 

on the wall. The edges of each panel have been hand finished using a 

technique known as “flame polishing” which gives a three dimensional 

quality to your artwork. Images are applied to the rear of the panel 

using Transparency Mount Film for an “invisible” mount which looks far 

superior to simply sandwiching an image between two pieces of plastic. 

Acrylic panels are ideal for all kinds of wall displays from modern art to 

contemporary family portraiture. They also make fantastic signage for 

modern offices and turn any plain certificate into an “award”. 


Code 

Size 

W5523 10mm polished acrylic 254mm x 254mm (10” x 10”) 









W5532 

A2 

W5533 

A1 

W5534 

A0 

TRANSPARENCY MOUNT FILM 

For more information regarding this product, please see page 20.

15 

CANVAS 

CANVAS 

PLAIN MOUNTING CANVAS 

A heavy-duty beige cotton-based fabric used as the substrate for 

canvas-bonded photographs and prints. This material should be used 

in conjunction with clear dry mount film and is suitable for stretching 

images around stretcher frames. Three styles are available, each with 

its own unique appearance. The modern variant offers a very regular 

weave structure that is quite open and imparts a deep line pattern. 

The coarse variant is more irregular in its weave pattern, with a definite 

slub* to the threads, producing a very heavy impression. The traditional 

variant also has a slub pattern, but with a closed weave. This 

version imparts a softer, though still distinct impression. 

ADHESIVE COATED CANVAS 

A cotton-based beige canvas, coated with a heat activated adhesive. 

This is used for canvas bonding images and comes in three weave 

types: coarse, modern and traditional. 

PLAIN MOUNTING CANVAS 

Code Type Size 

C2508 Coarse 1270mm x 10m (50” x 33’) 

C2510 Modern 1270mm x 10m (50” x 33’) 

C2512 Traditional 1270mm x 10m (50” x 33’) 


A cotton-based beige canvas, coated with a heat activated adhesive. 

This is used for canvas bonding images and comes in three weave 

types: coarse, modern and traditional. 



C2526 Coarse 635mm x 10m (25” x 33’) 

C2528 Coarse 1270mm x 10m (50” x 33’) 

C2529 Modern 635mm x 10m (25” x 33’) 

C2530 Modern 1270mm x 10m (50” x 33’) 



SUPER WHITE ADHESIVE CANVAS 

Similar in style to adhesive coated canvas, but bleached and starched 

to produce a brilliant white base for canvas bonded work. This canvas 

is coated with a heat-activated adhesive, which is protected by a silicone 

release liner. It is preferred by photographers producing high key 

or bridal work. Only available in coarse and modern weave. 

SUPER WHITE ADHESIVE CANVAS 


C2546 Coarse 635mm x 10m (25” x 33’) 

C2548 Coarse 1270mm x 10m (50” x 33’) 

C2549 Modern 635mm x 10m (25” x 33’) 

C2550 Modern 1270mm x 10m (50” x 33’) 

HEATSEAL BACKING CLOTH 

A fine white cotton-based fabric, coated with a heat-activated adhesive 

and protected by a silicone release liner. This cloth can be used 

for the preservation of items that will be rolled or folded on a regular 

basis. This product is often used for protecting maps and charts, but 

collectors of movie posters have discovered that adding backing cloth 

to their posters prevents damage to old and brittle artwork. Heatseal 

backing cloth can also be used to reline damaged fabric or oil paintings. 

It can also be used to hinge two substrates together. 

HEATSEAL BACKING CLOTH 

Code 

Size 

C2564 622mm x 25m (24.5” x 82’) 

C2565 1245mm x 25m (49” x 82’) 

* Slub = A soft thick nub in yarn that is either an imperfection or purposely set for a desired effect. 


16 

THE CANVAS BONDING PROCESS FOR PAPER PRINTS 

The Canvas Bonding Process 

For Paper Prints 

Step 1 – Set the press temperature to 90 °C. While it warms up, set the timer for 5 to 10 minutes. Make sure you use a 

sheet of silicone release film in the base of the press and a sheet of vacufoam over the silicone release film. 

Step 2 – Measure the image to be bonded and cut a piece of heatseal film that is 76mm (3”) larger than the image all the 

way round. For example, with a 406 x 508mm (16” x 20”) image, the film should be cut to 559 x 660mm (22” x 26”). Gloss 

Lustre, Satin Matt or Matt heatseal laminates may be used for this process. 

Step 3 – Cut a piece of coated canvas to the same dimensions as the film. 

Step 4 – Peel back the release liner of the film to expose about 102mm (4”) of adhesive. The film should be face down 

with the adhesive face up. Line up your image so it is centred within the film (image faced down), then lightly tack down the 

leading edge of the image to the adhesive. Peel back more release film until the entire image is in contact with the adhesive. 

This should leave you with 76mm (3”) of film still attached to the release paper. Allow the free release paper to fall back and 

cover the back of the image and exposed edges of adhesive, smoothing as you go. 

Step 5 – You now have a “heatseal envelope” with the image trapped between the film and its release liner. Place the 

envelope into your press and under a sheet of vacufoam. Process it for 5 to 10 minutes at 90°C. 

Step 6 – When all the air has escaped and the adhesive has activated, remove the envelope from the press; then remove 

the silicone release paper from the back. 

Step 7 – Completely immerse the heatsealed image in a bath of room temperature water and soak it until the back of the 

image turns a uniform grey. This will happen when the water has completely soaked into the image. Generally speaking, 

thicker prints and larger prints take longer to process. The whole procedure will require anywhere from around 3 minutes 

(for small thin images) up to an hour (for large thick prints that have been lightly crumpled). 

NOTE: Lightly crumpling the print before soaking will break the paper fibres and speed up the process, but do not overdo this. 

Step 8 – While your print is soaking, prepare a work area with a smooth surface. The area should be larger than your 

whole assembly. Glass, Perspex, Melamine and Acrylic are all good working surfaces. 

Step 9 – When your print is completely soaked, lay it on the smooth work area, picture face up, wet paper side down. 

Smooth the image onto the surface to remove any air, then lift a corner of the film. As the back-side of the wet print grips 

the smooth surface, you should find the picture is now starting to delaminate. Place your thumb on the delaminated corner 

and peel the image and film back until it has completely delaminated from the paper backing. 

Step 10 – Before proceeding further, allow your delaminated image to dry naturally, Do not force dry with heat. When 

the image has dried, peel back 100mm (4”) of the release paper on your coated canvas and line up your image squarely. 

Remove more release paper about 50mm (2”) at a time. As you do this, smooth your image onto the exposed adhesive of 

the canvas, avoiding air bubbles and wrinkles as you go. When this process is complete, trim off 6mm (¼”) to 13mm (½”) 

all around the edge of the assembly and place it back in your press for 2 to 5 minutes. The assembly should be placed on 

top of the foam, with the image face down and the back of the canvas facing up. This completes the process.

17 

TEXTURISING SYSTEM 

This is a special system, which requires the use of a thermo plastic 

texturising film, in conjunction with either the use of a gloss or matt 

release film. The aim of the system is to provide extremely deep 

textured surfaces to the face of flat artwork. The texturing film 

softens under heat and becomes gelatinous and receptive to texture. 

The use of a release film over the top is to protect this surface. 

TEXTURISING SYSTEM 

By placing textured objects on top of the release film, their texture is 

impressed into the soft surface. Canvas, leaves and textured papers 

are just some of the things that can be used to create your own 

unique finishes. 

The use of the matt release film gives a matt finish to the texture and 

the gloss release obviously produces a gloss finish. 

The removal of the release film should only be undertaken once the 

film has completely cooled and solidified. It should be noted that 

though the texturising film is pierced, when used in conjunction with 

non porous artwork, such as photographs, the matt release should 

be used first, to set the film and release any air. This may then be 

exchanged for the gloss release, for a second pressing, when a 

gloss finish is required. 

Foam Blanket 

Embossing Material 

Matt Release Film 

Texturing Film 

Artwork 

Silicone Release 

From top to bottom the assembly 

should be set up as shown here 

TEXTURING FILM 

Code 

Size 

T5805 520mm x 25m (20.5” x 82’) 

T5806 520mm x 50m (20.5” x 164’) 

T5814 820mm x 25m (32.3” x 82’) 

T5815 820mm x 50m (32.3” x 164’) 

T5826 1220mm x 25m (32.3” x 82’) 

GLOSS RELEASE FILM 

Code 

Size 

T5855 622mm x 25m (24.5” x 82’) 

T5859 1245mm x 25m (49” x 82’) 

MATT RELEASE FILM 

Code 

Tip 1: 

Increase the heat of your press to 100°C 

Tip 2: 

If you aren’t happy with the textured result, re-cover 

with the Gloss or Matt release film, replace in the 

press and start again. 

Size 

T5868 540mm x 25m (21” x 82’) 

T5869 540mm x 50m (21” x 164’) 

T5870 840mm x 25m (33” x 82’) 

T5871 840mm x 50m (33” x 164’) 

T5876 1245mm x 25m (49” x 82’) 


18 

SUBSTRATES 

SUBSTRATES 

Hot Press adhesives will adhere 

to many kinds of boards. For the 

best mounting results, however, 

we recommend using boards 

that have been developed with 

mounting in mind. Hot Press 

specialise in over- sized boards 

and popular cut sizes. 

WHITE DISPLAY BOARD 

This popular board has won a multitude 

of fans in recent years. White Display 

Board is a 2000 micron board with a 

very dense core. Unlike many mount 

boards - which are softer and more 

open structured - White Display Board 

does not absorb moisture, Additionally 

the core is smoother than ordinary pulp 

boards, reducing the effect of orange 

peel on glossy work. The clay-coated 

high white board liners act as a good 

key for adhesives and also help repel 

moisture. As with all Hot Press boards, White Display Board is a pH 

neutral product, priced competitively for such a specialised product. 

A 1250 micron version is also available. 

EASYMOUNT DRY MOUNT CARD 

This is a heat-activated board that really works! Easymount Dry 

Mount Card has the same properties and advantages as White 

Display Board – with the addition of a dry adhesive coating. 

FOAM CENTRED BOARD 

For high-gloss photography or situations where weight is a 

consideration, we recommend our Foam Centred Board. Our 

standard version is 5mm thick, faced with high-quality clay coated 

liners for a good adhesive key. The dense core of this board is 

suitable for processing in a glass top vacuum press. 

The coating works best at 90ºC, the same as all other Hot Press 

products. At this temperature your work has time to breathe, which 

helps prevent air becoming trapped beneath your artwork. 

STIKIBOARD SELF ADHESIVE BOARD 

As its name implies, this 2000 micron board has a permanent, 

pressure-sensitive adhesive coating. For best performance, we 

suggest that this board be used in conjunction with a JetMounter 

or other type of laminator. A laminator will help assure a strong bond 

and smooth finish, even on photographs and other smooth-backed 

artwork. A 1300 micron version is also available.

19 

WHITE DISPLAY BOARD 

Code Size Thickness Quantity 

V5080 815mm x 1120mm (32” x 44”) 2000µ 10 

V5081 1040mm x 1550mm (41” x 61”) 2000µ 10 

V5018 204mm x 254mm (8” x 10”) 2000µ 20 

V5022 254mm x 305mm (10” x 12”) 2000µ 20 

V5024 279mm x 355mm (11” x 14”) 2000µ 20 

V5028 305mm x 406mm (12” x 16”) 2000µ 20 

V5032 406mm x 508mm (16” x 20”) 2000µ 20 

V5036 508mm x 610mm (20” x 24”) 2000µ 20 

V5085 815mm x 1120mm (32” x 44”) 1250µ 10 

SUBSTRATES 

EASYMOUNT DRY MOUNT CARD 


W5246 815mm x 1120mm (32” x 44”) 1000µ 10 

W5256 815mm x 1120mm (32” x 44”) 2000µ 10 

STIKIBOARD SELF ADHESIVE BOARD 


W5266 815mm x 1120mm (32” x 44”) 2000µ 5 

W5274 204mm x 254mm (8” x 10”) 2000µ 20 

W5277 254mm x 305mm (10” x 12”) 2000µ 20 

W5278 279mm x 355mm (11” x 14”) 2000µ 20 

W5280 305mm x 406mm (12” x 16”) 2000µ 20 

W5284 406mm x 508mm (16” x 20”) 2000µ 20 

W5289 508mm x 610mm (20” x 24”) 2000µ 20 

W5310 815mm x 1120mm (32” x 44”) 1300µ 10 

FOAM CENTRED BOARD 


V5371 508mm x 762mm (20” x 30”) 5mm 25 

V5375 762mm x 1016mm (30” x 40”) 5mm 25 

V5380 1016mm x 1524mm (40” x 60”) 5mm 25 


20 

PRESSURE SENSITIVE MOUNTING FILMS 

Pressure sensitive 

mounting films 

SELF WOUND MOUNT FILM 

A “self-wound” 12 micron polyester carrier film, coated on both sides with a 

strong acrylic adhesive and protected by a single release liner. The liner is 

siliconised on both sides. As the roll is unwound, the adhesive is exposed. 

Self-wound films are intended for use with laminators that feature an 

unwind shaft. 

DOUBLE SIDED MOUNT FILM 

A pressure-sensitive adhesive coated on either side of a clear 50 micron 

PVC film. Each side is protected by a paper liner. This film is used in 

conjunction with the JetMounter or other laminators to pre-coat mounting 

boards in order to produce a self-adhesive mounting board. It is also suitable 

for basic hand application and cuts easily into manageable sheets. 


This mount film features ultra-clear adhesives, coated to each side of an 

optically clear polyester film. In order to maintain their smoothness, the 

adhesive layers are protected by high quality filmic release liners on both 

sides. A primary application for this film is face-mounting images onto the 

rear of acrylic panels. 

WINDOWTAC 

A revolutionary mounting film with a host of uses. This film has a permanent 

smooth adhesive on one side and a textured peelable adhesive on the 

other. Its primary use is as an adhesive for applying artwork and signage 

to glass and other transparent surfaces. The permanent side is applied 

to the face of the artwork and then the textured side is hand applied to 

the glass. The texture within the adhesive allows for any trapped air to be 

easily pushed away and the peelable nature allows for accurate positioning. 

When required, the artwork can be removed cleanly from the glass with 

no residue being left behind. This film is also suitable for application to 

the back of artwork or photographs that need accurate positioning within 

albums and a stronger bond can be achieved with the use of a hairdryer 

and hand roller to cure the adhesive.

21 

SELF WOUND MOUNT FILM 

Code 

Size 

M3005 650mm x 25m (25.5” x 82’) 

M3006 650mm x 50m (25.5” x 164’) 

M3007 650mm x 100m (25.5” x 328’) 

M3020 1040mm x 25m (41” x 82’) 

M3060 1040mm x 100m (41” x 328’) 

M3021 1300mm x 25m (51” x 82’) 

M3061 1300mm x 100m (51” x 328’) 

PRESSURE SENSITIVE MOUNTING FILMS 

DOUBLE SIDED MOUNT FILM 

Code 

Size 

M3165 650mm x 25m (25.5” x 82’) 

M3167 650mm x 100m (25.5” x 328’) 

M3174 1040mm x 25m (41” x 82’) 

M3176 1040mm x 100m (41” x 328’) 

M3180 1300mm x 25m (51” x 82’ ) 

M3182 1300mm x 100m (51” x 328’) 


Code 

Size 

M3210 650mm x 5m (25.5” x 16.4’) 

M3200 650mm x 25m (25.5” x 82’) 

PSF41164 1040mm x 50m (41” x 164’) 

PSF51164 1300mm x 50m (51” x 164’) 

WINDOWTAC 

Code 

Size 

PWD25082 650mm x 25m (25.5” x 82’) 

PWD41164 1040mm x 50m (41” x 164’) 

PWD51164 1300mm x 50m (51” x 164’) 


22 

TOP TIPS FOR JETMOUNTER USERS 

Top Tips For 

JetMounter Users 

• Always make sure that you prepare your materials and artwork 

on a flat area. Never try to prepare your work on the laminator, 

as this will lead to poorly aligned jobs. 

• Always prepare your work on a clean surface, as dust or dirt 

could become trapped in your job, leading to lumps and bumps. 

The best work surface is a professional cutting mat (page 38), 

which is blade proof, easy to keep clean and readily shows dirt. 

• Other great accessories for keeping your boards and prints 

clean are: Tac Cloths (page 12) for cleaning dust from boards, 

and the Dust Removal System roller for removing specs of dust 

from your artwork (see page 38). 

• When you are laminating, remember to include a waste edge of 

laminate film along the leading edge of your work. Laminates 

should never be pressed directly onto your image, as finger 

marks and air will be trapped in this leading edge. 

• Remember, when you mount and laminate images that are to 

be framed, you only need to purchase the frame itself. The cost 

saving in terms of glass and frame backs “not-purchased” will 

enhance your profit margins. 

• When processing long prints on your JetMounter laminator, 

make sure you position yourself to the side of the machine so 

you can easily remove silicone release liners. The silicone release 

liner should always be removed by pulling it back over the 

roller, while maintaining a tension in the film. If the print is really 

big, ask a helper to assist you until you are more experienced. 

• When working with linen finishes, take extra care to line up your 

film’s “weave” with the edge of your images. 

• When using gloss finishes, such as Standard Gloss or Ultra 

Gloss, it is pointless to mount to anything other than the 

smoothest of boards. Foam Centred Board, Rigid Plastic 

Board, Plexiglas, Aluminium and even smooth MDF are all recommended 

substrates - mount board is not! Any board that 

is even slightly textured will cause imperfections in your gloss 

surface. This is known as ‘orange peel’ and is most unflattering 

to your work. 

• If you are using soft substrates with laminated images, remember 

to always laminate the image first using a carrier board. 

If you attempt to laminate an image that has already been 

mounted to foam centred board or mouse mat material, the 

soft substrate will absorb all the pressure and result in a poorly 

laminated image. 

• When you are opening a new roll of material, remember to pull 

the special label off your box and insert it into the core of your 

roll. It contains the batch number and product code for your roll 

and saves time when you reorder. 

• Always keep your materials at room temperature (20°C). If 

pressure-sensitive materials are used below this temperature, 

their adhesive will be quite hard and may not flow properly. This 

may result in a weak bond. On laminates this can cause “silvering”, 

which is minute speckles of air that have not been filled 

with adhesive. Should you experience silvering, the condition 

can sometimes be “fixed” by allowing the piece to “cure itself 

out” in a warm place for a few hours. Try passing a hairdryer 

over the work, then process it through your JetMounter 

again while it is hot. Pressure-sensitive materials only become 

stronger when exposed to heat - so give it a go. Also, if you 

are working with lustred or stippled papers - warm the film up 

before applying it to the artwork. 

• When you are using roll materials, store the waste from cut 

material inside the roll core. It will come in handy for smaller 

jobs and is often used by photographers for laminating prints in 

family albums and Portfolio prints. You can even use off cuts to 

improve the look of your business cards and hand-outs. 

• After using roll materials, make sure you tighten up the roll and 

tape it. Failure to do so may result in the materials picking up 

moisture. Pressure-sensitive materials are made up of a combination 

of plastics and papers. When moisture gets in, the paper 

swells, but the plastic doesn’t. This results in the paper liner(s) 

lifting from the film and causes “pipes”, making the materials 

difficult to work with. Why not make a Velcro ® reusable strap by 

sticking 650mm lengths of hook and loop Velcro back to back. 

As an extra protection, store your materials back in the original 

plastic sleeve. 

• Remember to always leave your JetMounter rollers apart 

when the machine is not in use. Rollers left under pressure 

may develop a “flat spot”, which can show on future work. 

• When not in use, the JetMounter is compact enough to be 

removed from your work bench and stored on the floor or in a 

cupboard. 

• If you are working in a dusty environment it is advisable to cover 

your JetMounter with a dust sheet. 

• To clean the rollers of your JetMounter we recommend lighter 

fluid, isopropyl alcohol or adhesive removers. Use a soft cloth 

for cleaning. 

• Finally, remember that Hot Press provide the best technical 

back-up of any adhesive supplier in the UK. With dealers nationwide, 

a team of on the road technical specialists and free 

training schools, we are here to make your JetMounter experience 

a pleasurable and profitable one.

23 

Making A Carrier Board 

Carrier boards are essential tools for mounting and laminating. They are 

used to “carry” fragile or flimsy work through laminators. It is common 

practice for users to stock carrier boards in several different sizes on 

hand to accommodate various artwork formats. Whatever the size, the 

procedure for making them is the same. 

If we assume we want to process work that is 406mm x 508mm (16” x 

20”) or smaller, we would need a carrier board that is at least 432mm x 

533mm (17” x 21”) - but ideally 457mm x 610mm (18” x 24”). 

FIGURE 1 

TOP TIPS FOR JETMOUNTER USERS 

Step 1 - Cut a piece of hard card or white display board (page 18) to the 

minimum or ideal size, as described above. 

Step 2 - Cut a piece of double-sided mount film (page 20), to the same 

size as your card. 

Step 3 - Place the board between the rollers of the laminator and adjust 

the pressure accordingly, then remove the board. 

Step 4 - Fold back 25mm (1”) of release paper on one side of the double-sided 

mount film. Firmly crease the fold of the release paper and 

line up the film squarely on the board. 

FIGURE 2 

Step 5 - Attach the adhesive to the board, applying pressure from the 

centre and then outwards towards the sides. (Always check to make 

sure your board is clean before applying any adhesive). 

Step 6 - Feed the leading edge of the board into the rollers, with the double-sided 

mount film upper most. Feed until the rollers grip the board. 

Step 7 - With the double-sided mount film held firmly over the top roller, 

pass the assembly through the laminator, removing the release paper 

as it travels through. 

Step 8 - IMPORTANT - Do not dispose of the release liner you have just 

removed, as you will need it to complete your carrier board. From this 

point on we will call this liner Release A. Figure 1 

FIGURE 3 

Step 9 - Fold back 25mm (1”) of the release paper covering the adhesive-coated 

board and crease it back to form a fold. From this point on 

we will call this liner Release B. 

Step 10 - Using Release A siliconised side up (grid side down), carefully 

line it up with the edges of the board. Attach it to the exposed adhesive 

on the leading edge, applying pressure from the centre and then outwards 

to the left and right. 

Step 11 - Feed the leading edge of the board into your laminator and 

pull Release A over the top roller. Pass the board through the laminator, 

maintaining a smooth tension against the roller with Release A, while 

simultaneously removing Release B. Figure 2 

You now have your siliconised carrier board. Figure 3 


24 

PRESSURE SENSITIVE LAMINATES 


The Hot Press range of pressure-sensitive laminates is 

designed for use with the JetMounter and other quality 

roller laminators. The films provide superior protection 

from mechanical abrasion, moisture and pollutants. All 

contain UV stabilisers and absorbers to inhibit fading and 

discolouration from sunlight. Both decorative and plain 

finishes are available. 

MATT 75µ 

This film is characterised by a full matt finish that completely 

eliminates reflections. It offers additional UV protection when used 

behind glass, yet is almost invisible. Matt film is most often used 

where lighting is unpredictable and uncontrollable, such as exhibition 

halls and other public areas. 

SATIN MATT 50µ 

This film is often used to laminate posters and prints, as its subtle finish 

closely mimics that of the printed piece. The satin sheen finish reduces 

glare, but does not reduce contrast, as the film is relatively thin. 

STANDARD GLOSS 40µ 

A polypropylene film with a gloss finish that is both strong, yet 

economical. It can be used to impart a gloss finish to any flat 

artwork, regardless of its original finish. 

ULTRA GLOSS 50µ 

This ultra gloss polyester laminate offers a finish similar to 

Cibachrome prints. With the highest degree of gloss available, it 

delivers an almost mirror-like finish. This film is preferred where 

impact and vibrant colours are the key elements of the artwork. For 

best results, it should be used only with ultra smooth boards. 

SPARKLE 50µ 

A specialty polyester film with a digitized pixelated effect. It’s 

holographic nature is designed to create an impact and is therefore 

ideal for point of sale applications. 

SAND TEXTURE 90µ 

This glare-resistant film is ideal for graphics that will be subjected 

to prolonged exposure in public places and exhibit halls. It displays 

a pleasing sandy texture that is also scuff resistant. When used in 

conjunction with the right adhesives, it can be used to create durable 

floor graphics. 

ICE 80µ 

This film has the same scuff-resistant properties as Sand Texture, 

but with a heavier, crystal-like finish, that resembles crushed ice. 

FINE LINEN 90µ 

This delicate, fabric-textured laminate is specified by photographers 

wishing to impart a subtle-yet-decorative finish to their work. It is also 

useful for disguising minor creases and cracks in prints and posters. 

COARSE LINEN 90µ 

This film displays a mid-gauge fabric texture resembling rough 

cotton. It is commonly used on larger format artwork where a finer 

finish may be lost. The rougher gauge of this film is capable of hiding 

large imperfections in prints and posters. 

HESSIAN 80µ 

A heavy-texture film, resembling hessian or canvas. The rough, 

embossed surface of this film is capable of hiding quite large 

imperfections in prints and posters. 

CRUSH LEATHER 90µ 

A soft PVC film embossed with a crushed leather finish. This film 

offers an opulent look and is widely used by wedding and portrait 

photographers to enhance the quality and beauty of their work. 

KID LEATHER 90µ 

A soft PVC film embossed with a kid leather finish, Kid Leather offers 

an attractive, elegant finish that is reminiscent of fine Italian leather. 

ANTIQUE LEATHER 80µ 

A soft PVC film, embossed with an antique leather finish that imparts 

a luxurious look. 

STEEL 80µ 

This film imparts a unique brushed steel finish to your artwork and can 

be used with modern style frames to create a contemporary feel. 

SHEENTEX 90µ 

Sheentex is a textured satin overlaminating film with an acrylic 

adhesive. The built in texture gives added protection from abrasion 

and helps reduce glare. This is the closest finish to the heat-activated 

film ‘Gloss Lustre’. 

CRYSTALTEX 90µ 

This film has a tiny diamond faceted surface texture that scatters 

light to give a deep lustrous finish to print surfaces. It is reminiscent 

of our very popular Gloss Lustre heatseal finish and offers a high degree 

of scuff resistance. It is especially well suited to photographic subjects.

25 

MATT 

Code 

Size 

P3306 650mm x 25m (25.5” x 82’) 

P3320 1040mm x 25m (41” x 82’) 

P3322 1040mm x 100m (41” x 328’) 

P3330 1300mm x 100m (51” x 328’) 

SATIN MATT 

Code 

Size 

P3356 650mm x 25m (25.5” x 82’) 

P3358 650mm x 100m (25.5” x 328”) 

P3373 1040mm x 25m (41” x 82’) 

P3372 1040mm x 100m (41” x 328’) 

P3381 1300mm x 100m (51” x 328’) 

STANDARD GLOSS 

Code 

Size 

P3456 650mm x 25m (25.5” x 82’) 

P3471 1040mm x 25m (41” x 82’) 

P3473 1040mm x 100m (41” x 328’) 

P3482 1300mm x 100m (51” x 328’) 

POP51082 1300mm x 25m (51” x 82’) 

FINE LINEN 

Code 

Size 

P3735 650mm x 25m (25.5” x 82’) 

P3750 1300mm x 25m (51” x 82’) 

COARSE LINEN 

Code 

Size 

P3705 650mm x 25m (25.5” x 82’) 

P3720 1300mm x 25m (51” x 82’) 

HESSIAN 

Code 

Size 

P3725 635mm x 25m (25” x 82’) 

CRUSH LEATHER 

Code 

Size 

P3854 650mm x 25m (25.5” x 82’) 

P3872 1300mm x 25m (51” x 82’) 

KID LEATHER 

Code 

Size 

P3838 650mm x 25m (25.5” x 82’) 

P3847 1300mm x 25m (51” x 82’) 


ULTRA GLOSS 

Code 

Size 

P3490 650mm x 25m (25.5” x 82’) 

P3496 1300mm x 50m (51” x 164’) 

ANTIQUE LEATHER 

Code 

Size 

P3850 635mm x 25m (25” x 82’) 

P3860 1300mm x 25m (51” x 82’) 

SPARKLE 

Code 

Size 

P3890 635mm x 25m (25” x 82’) 

SAND TEXTURE 

Code 

Size 

P3798 650mm x 25m (25.5” x 82’) 

P3800 650mm x 100m (25.5” x 328’) 

P3805 1040mm x 25m (41” x 82’) 

P3806 1040mm x 100m (41” x 328’) 

P3812 1300mm x 100m (51” x 328’) 

PST51082 1300mm x 25m (51” x 82’) 

ICE 

Code 

Size 

P3815 635mm x 25m (25” x 82’) 

STEEL 

Code 

Size 

P3892 635mm x 25m (25” x 82’) 

P3897 1300mm x 25m (51” x 82’) 

SHEENTEX 

Code 

Size 

PSTM-25082 650mm x 25m (25.5” x 82’) 

PSTM-25164 650mm x 50m (25.5” x 164’) 

PSTM-41164 1040mm x 50m (41” x 164’) 

PSTM-51164 1300mm x 50m (51” x 164’) 

CRYSTALTEX 

Code 

Size 

PGL10 650mm x 25m (25.5” x 82’) 

PGL20 650mm x 100m (25.5” x 328’) 

PGL30 1040mm x 25m (41” x 82’) 

PGL40 1040mm x 100m (41” x 328’) 

PGL50 1300mm x 25m (51” x 82’) 

PGL60 1300mm x 100m (51” x 328’) 


26 

JETMOUNTER 

JetMounter 

JETMOUNTER LAMINATORS 

Initially developed to offer a cost effective solution for 

finishing inkjet & other digital media, the Jetmounter 

range of laminators has evolved to offer a complete 

solution for print finishing with machines to suit all 

business types & sizes. Jetmounters are designed 

to be simple to operate, whilst producing work to the 

highest professional standards & are compatible with 

our complete range of pressure sensitive adhesives & 

over lamination films. Jetmounters can handle all types 

of flat artwork from photographs & paper posters to 

delicate plastics & vinyls. They are ideal for processing all kinds of board stock from simple card or foam centre 

board to rigid plastic boards & perspex or even M.D.F. & Masonite. The features of the Jetmounter range have been 

well thought out to offer simplicity, without compromising versatility. 

OPERATING WIDTHS 

Jetmounters come in a variety of sizes with maximum operating widths from 457mm up to 1630mm. The length 

of your work is only limited by your choice of board & your available workspace at the front & back of the machine. 

Small jobs can be processed on larger machines with ease, but it is important to consider the maximum width you 

will require. 

FORWARD AND REVERSE OPERATION 

JM18 

Though Jetmounters are designed to feed your work 

through from the front to the back, they incorporate a 

useful reverse operation switch that allows for accurate 

positioning of precision jobs. 

VARIABLE SPEED CONTROL 

For new laminator users the variable speed control is a 

great feature which allows you to build your confidence by using the machine at lower speeds. As your expertise 

grows you can move to faster speeds & when producing work in volume the top speed will save you time & money. 

BOARD THICKNESS ADJUSTMENT 

To maximize their versatility, Jetmounters are fitted with 

variable height adjusters. From the thinnest graphic to the 

thickest panel, it is simple to set up your Jetmounter to offer 

the right amount of pressure, uniformly across your work. 

Please consult the specification panel for more details. 

JM26

27 

AUTO OR FOOT OPERATION 

Jetmounters can be set to run automatically for the continuous feed of 

boards, but foot switch operation is preferred by most users, as it allows 

you to stop & start the machine at will & with both your hands free you 

can handle even large work with ease. 

JM44 

JETMOUNTER 

SAFETY FEATURES 

Safety in the workshop is vital & the Jetmounter range of 

laminators use “magic eye” technology to stop the laminator 

when they detect possible obstructions entering the rollers. 

Additionally, emergency stop buttons & reset procedures ensure 

safe working for operators. 

JM54SHA 

MACHINE POSITIONING 

Smaller Jetmounters are designed to be operated on any desk 

or work bench & are of a weight that allows them to be “stowed 

away” when not in use. Larger laminators can be bench 

mounted or fitted to a custom designed stand that has wheels 

for moving the machine around the work area & a facility for 

storing extra rolls of film. The largest Jetmounter is built on a 

permanent stand that offers safe & rigid support, but allows the 

operator access to the underside of the machine for easy set 

up of materials. 

JM63 

JETMOUNTER LAMINATORS 

Model JM18 JM26 JM44 JM54SHA JM63 

Code S6202 S6204 S6206 S6208 S6230 

Max Laminating Width 464mm (18.25”) 667mm (26.2”) 1121mm (44.12”) 1375mm (54.125”) 1630mm (64”) 

Width 648mm (25.5”) 845mm (33.25”) 1540mm (60.6”) 1790mm (70.5”) 2080mm (82”) 

Depth 299mm (11.75”) 310mm (12.2”) 480mm (18.9”) 480mm (18.9”) 820mm (32.3”) 

Height 330mm (13”) 312.5mm (12.3”) 480mm (18.9”) 480mm (18.9”) 1270mm (50”) 

Weight 23kg (51lbs) 24kg (53lbs) 110kg (242lbs) 150kg (330lbs) 420kg (925lbs) 

Roller Diameter 63.5mm (2.5”) 63.5mm (2.5”) 102mm (4”) 127mm (5”) 140mm (5.5”) 

Max Opening 19mm (0.75”) 19mm (0.75”) 25mm (1”) 25mm (1”) 50mm (2”) 

Speed Range 

76-305cm/min 

(2.5-10fpm) 

76-305cm/min 

(2.5-10fpm) 

91-550cm/min 

(3-18fpm) 

61-550cm/min 

(2-18fpm) 

0.5-10m/min 

(1.6-33fpm) 

Please note, all equipment is subject to freight charges. Please refer to the Hot Press price list for details. 


28 

HOT GLASS VACUUM PRESSES 

Hot Glass VACUUM PRESSes 

Based on our unique, patented heating technology, Hot Glass 

Vacuum Presses set the standard for excellence in mounting, 

heatsealing and canvas bonding. The top panel of the press 

is comprised of two sheets of reinforced tempered glass. The 

inner surface of the lower sheet has an invisible conductive 

film embedded in it. A controlled electric current is passed 

through this conductive film, creating a highly efficient heating 

system. A sensor on the glass monitors and controls the 

temperature by means of a digital thermostat. The result is an 

even distribution of heat across the work surface, assuring the 

ultimate in mounting and laminating performance. 

The transparent top panel provides a high level of operator confidence, as work can be viewed throughout most 

bonding processes. The glass is extremely smooth and scratch resistant. 

The Hot Glass Vacuum Press handles a wide range of presentation materials - from foam board and wood to photos, 

art prints and delicate fabrics. All models feature: 

AUTOMATIC ELECTRONIC TIMER 

With manual override switch. 

ADJUSTABLE TEMPERATURE CONTROL 

So that all kinds of artwork can be mounted – even those that may 

be subject to damage by heat. 

ADJUSTABLE TIMER CONTROL 

When processing large volumes of work, the programmable timer 

can be set to the minimum time required for each batch of work, 

increasing productivity. 

ADJUSTABLE PRESSURE CONTROL 

Minimises even heavy creases and wrinkles – while ensuring that 

delicate items such as foam board and embossed prints are not 

crushed. 

DEDICATED VACUUM PUMP 

The factory-matched vacuum pump ensures that pressure is never 

pulled too quickly or slowly.

29 

Hot Glass Vacuum Presses 

Model HGP260 HGP360 HGP560 

Weight 72 kgs 111 kgs 210 kgs 

Width 975mm 1194mm 1422mm 

Depth 1300mm 1800mm 2615mm 

Height 160mm 160mm 950mm inc. stand 

Time to vacuum (secs) 20 30 30 

Time to Temperature (mins) 12 12 15 

Working dimension 890 x 1195mm 1095 x 1705mm 1276 x 2496mm 

Packed Weights and Dimensions 

Weight 90 kgs 145 kgs 447 kgs 

Width 1400mm 1920mm 2800mm 

Depth 1150 mm 1360 mm 1620 mm 

Height 320 mm 320 mm 620 mm 

Voltage 230 V 50/60 Hz 230 V 50/60 Hz 230 V 50/60 Hz 

Wattage 2500 W 4200 W 5750 W 

Current (amps) 11 18 25 

HOT GLASS VACUUM PRESSES 

Code S6030 S6050 S6064 

Vacuum Press Stands HGP260 HGP360 HGP560 

Code S6130 S6135 Stand included 

Please note, all equipment is subject to freight charges. Please refer to the Hot Press price list for details. 


30 

SPECIALIST PRESSES 

Specialist Presses 

COLD GLASS VACUUM PRESS 

A basic vacuum press, designed for mounting artwork with the aid of 

wet adhesives or aerosol sprays. Ideal for lower volume operations, 

our cold glass press utilises many of the same quality components 

as the hot glass press. In this system, pressure is applied to squeeze 

the air from between the artwork and substrate layers, thus bonding 

the image to board. Please note that a cold glass press will not 

remove creasing from artwork and is not suitable for lamination. 

PRESS STANDS 

Hot Press offer a range of custom-built stands for use with both hot 

and cold glass presses. These easy-to-assemble units are shipped flat 

packed, and are designed to reliably support the weight of a press. 

HEATED RE - LINING TABLE 

This specialist machine is engineered to meet the exacting needs of 

restorers and conservators. Mainly used for repairing fabrics and 

oil paintings, this equipment features a heated glass bed, vacuum 

air removal system and integrated cooling system - all of which 

combine to enable delicate work to be processed safely. 

Please note that all specialist presses are built to order. 

COLD GLASS VACUUM PRESSES 

Code Model Size 

S6105 CGP260 890mm x 1195mm (35” X 47”) 

S6110 CGP360 1095mm x 1705mm (43” X 67”) 

PRESS STANDS 

Code 

For Models 

S6130 CGP 260 

S6135 

CGP 360 / HRT360 

HEATED RE-LINING TABLE 

Code Model Size 

S6057 HRT360 1095m x 1705mm (43” X 67”)

31 

HYDRAULIC PRESS 

Specifically designed for high volume production and large format work, this heavyduty 

Hydraulic Press is reliable and extremely efficient. Generating more than twice 

the pressure of a standard vacuum press, this work horse significantly reduces 

dwell time. Durable platens distribute heat and pressure evenly and consistently, 

resulting in a perfect finish each time. 

The press is easy to control, with an electric timer and automatic opening feature. 

Adjustable pressure and temperature settings accommodate a wide variety of 

mounting substrates. 

Safety features include a perimeter trip wire for emergency shut-off, dual close 

switches and a manual release valve. 

SPECIALIST PRESSES 

TECHNICAL SPECIFICATIONS 

Model: 5151 

Total Thrust 

Maximum Hydraulic Pressure 

50 tons 

3300 psi (240 bar) 

Platen Size 1300mm x 1300 mm (51” x 51”) 

Maximum Work Piece 

1300mm (51”) by any length in multiple insertions 

Stroke 305mm (12”) 

No. of Rams/ Diameter 4 @ 70mm (2.75”) 

Pump 

Safety Features 

Voltage 

Wattage 

Current 

Weight-net/ shipping 

1 hp 2 stage 

Perimeter trip wire for emergency shut off, Dual close switches, 

manual release valve 

220/240v;1 phase;50/60 Hz 

3750 watts – single platen 

20 amps – single platen 

1350 kg (3000 lbs) / 1590 kg (3500 lbs) 

Dimensions Length 156cm (61.5”) Width 156cm (61.5”) Height 156cm (72”) 

Model: 5198 

Specifications as above except:- 

Platen Size 1300mm x 2500 mm (51” x 98”) 

Maximum Work Piece 

Wattage 

Current 

Weight-net/ shipping 

2440mm (96”) by any length in multiple insertions 

6500 Watts – single platen 11000 Watts – dual platens 

20 amps – single platen 50 amps – dual platens 

2722 kg (6000 lbs) / 2954 kg (6500 lbs) 

Dimensions Length 300cm (118”) Width 156cm (61.5”) Height 183cm (72”) 


32 

PLAQDECOR ® 

PlaqDecor ® PLAQDECOR ® FLUSH MOUNT FLOAT MOUNT 

PlaqDecor ® is a profitable new way to create 

stunning visual presentations from artwork of 

almost any kind. This imaginative process is a 

less expensive alternative to framing, but with 

an elegant, yet understated visual impact. 

Virtually anything that can be framed is suitable 

for PlaqDecor ® : photographs, prints, 

posters,drawings, certificates… Unusual types 

of art and novel visual subjects are perfect 

for PlaqDecor ® , for example 3D items such as 

leaves and flowers. 

Producing PlaqDecor ® 

Creating a PlaqDecor ® is a two step process: 

1. A subject is dry mounted to 9 mm MDF and protected 

by a clear or textured overlaminate film. For mid-volume 

production environments, PlaqDecor® can be mounted 

using the Hot Glass Vacuum Press. For mid-volume to 

high-volume commercial businesses or for large format 

production work, PlaqDecor® can be fabricated using either 

the 5198 Hydraulic Press or the 5151 Hydraulic Press. 

2. The edges are then simultaneously bevelled and finished 

with foils, which are available in solid colours, wood grains, 

marble and other specialty patterns. For the most consistently 

professional look, finishing foils achieve the best result, but 

for low volume projects paint can be manually applied. 

PlaqDecor ® Variations 

Float and flush mount presentations expand the possibilities 

for custom plaque products. Both concepts use 3 mm (1/8”) 

tempered hardboard as a substrate, minimising total weight 

for larger images. 

PlaqDecor ® offers a clean professional look, 

and a wide range of possible surface finishes 

and textures. For challenging display application 

in, for example, museums and galleries, Plaq- 

Decor ® allows specific lighting conditions to be 

accommodated with special textured effects. 

Unlike glass- faced artwork, PlaqDecor ® is safe 

for shopping centres, schools, medical hospitals 

and similar locations. It is ideal in high humidity 

environments such as kitchens and bathrooms, 

as there is no problem with condensation, which 

can build up behind glass frames. 

Float mount – This method creates the illusion that the 

image is floating away from the wall. This is achieved by 

glueing two or more strips of 2.5 cm or 5 cm pine or MDF to 

the back of the substrate. 

Flush Mount – A MDF boxframe is attached to the back of 

the tempered hardboard, flush with the edges, creating a 

three- dimensional effect. After adhering the MDF frame, 

foil is applied in one pass to the edge and beveled surfaces 

of both hardboard and frame. 

Interior designers, property managers and high 

volume customers increasingly choose PlaqDecor 

® for its combination of pleasing visual characteristics 

and reasonable cost.

33 

PlaqDecor ® EDGING SYSTEM 

PLAQDECOR ® 

The DES-1 Edge Finishing System is a unique production 

system for mid-volume to high-volume work. Simply 

insert the mounted plaque, the DES-1 system bevels the 

edges and then applies the coloured edge foil creating 

a professional end product. The continuous feed unit is 

easy to set up and operate, performing both shaping and 

foil application steps in a single pass. The in-line DES-1 

first trims and bevels the mounting substrate, then applies 

the thermal set decorative edge foil. 

• Specifically designed for high 

volume production 

• Spent foil rewinds on 76mm (3”) core 

for easy disposal 

• Key safety features protect operator 

• Infrared thermocouple monitors 

for consistent heat 

• Quick and easy adjustment for 

thickness and bevel depth 

• High speed shaper eliminates saw 

chatter marks on the substrate 

• Allows 30 second set 

up for the accommodation of 

varying substrate thickness 

• Works on 220 v single phase power. 

• Adjustable support rail accommodates 

oversize formats 

• Accommodates substrates 5mm – 32mm 

Number of Carbide Blades 

Shaper speed 

Shaper Motor 

4 top 20mm (0.787”); 

4 bottom 30mm (1.18”) 

7200 RPM 

3450 RPM, 220 V, 60 HZ 

Maximum Thickness Of Cut 32mm (1.19”) 

Conveyer Belt Speed 

Temperature Range 

5.5m (18 feet) per minute 

Room temperature to 

204°C (400°F) 

Rewind Mechanism Torque Range 0 – 100% 

Safety Features 

Dust Collection Requirements 

Voltage 

Wattage 

Current 

Weight Net/ Shipping 

Emergency and master stop 

illumination buttons 

Hood and 76mm (3”) OD 

manifold furnished for 

connection to customer’s 

dust collection system 

220 Volts – 60 Hz – single 

phase (supplied with HUBBEL 

PLUG #HBL2621CN 250V 30A) 

3584 W 

30 amps service required 

430 kg (950 lbs) / 

477 kg (1050 lbs) 

Space Requirements 762mm x 2286mm (30” x 90”) 

Ground Clearance 

102mm (4”) may be moved 

with standard pallet truck 

• Blades are easily replaced 


34 

CUTTERS 

CUTTERS 

FSC MULTI SUBSTRATE CUTTER 

The FSC (Fletcher substrate cutter) facilitates 

quick and accurate cutting of a wide variety of 

substrates including glass, aluminium, acrylic, 

Dibond, polystyrene and much more. Engineered for 

toughness and durability, the FSC will provide years of 

flawless cutting performance. A unique cutting process 

ensures virtually no debris making it a perfect match 

for any flat bed printer. 

GEMINI PRO PANEL CUTTERS 

The Gemini Pro is our most accurate cutting and trimming product; laser aligned and guaranteed 

straight within 0.2mm over its length. Quick release magnetic blade magazine offers multiple 

blade adjustment to cut materials up to ½” thick. This time-tested and proven open magazine 

design combined with state-of-the-art cutting head will not jam in any environment. 

ATLAS CUTTING TABLE 

The Atlas workbench is designed to provide a strong, straight and 

stable foundation for all of your cutting and trimming needs. 

Specifically designed and constructed to work with the Gemini and 

Gemini Pro cutter and trimmer, the Atlas clamp mechanisms offer 

a unique lift and shift process to switch from cutting to trimming in 

seconds. When accuracy counts, you can rely on the Atlas. Unlike 

wood workbenches, the Atlas won’t warp or bow. 

INGLET CUTTERS 

This range of vertical circular saw cutters is designed to make easy 

work of MDF, Hardboard, Acrylic, Rigid PVC’s, Aluminium Composite 

Boards such as Dibond and many other types of substrates – most 

up to 22mm thick. As well as the materials mentioned 

above, with the addition of the Pneumatic cutter, foam 

board and card stock can also be easily trimmed down. 

This machine is available in four sizes, all of which 

use the same circular saw design. The two smaller 

models (122cm and 157cm ) have a manually 

operated cutting head while the larger machines 

(244cm & 305cm) machines are electrically 

operated. For unusual shaped items or when 

very accurate trimming is required, we 

recommend the optional laser cutter. For 

very large peices of work the extension 

arm may be needed. A dust collector 

and compressor are essential tools 

for the operation of this machine.

35 

FSC MULTI PANEL CUTTER 

Code 

Size - Max. cutting length 

S6524 165cm (65”) 

CUTTERS 

GEMINI PRO PANEL CUTTERS 

Code 

Size 

S6501 1m (40”) 

S6502 1.5m (60”) 

S6503 2m (80”) 

S6504 2.5m (100”) 

S6505 3m (120”) 

ATLAS CUTTING TABLE 

Code 

Size 

S6515 1m (40”) 

S6516 1.5m (60”) 

S6517 2m (80”) 

S6518 2.5m (100”) 

S6519 3m (120”) 

INGLET CUTTERS 

Code 

Size 

S6540 

1220mm (48”) Basic machine 

S6541 1220mm (48”) Optional pneumatic cutter 

S6542 



S6544 



S6546 



ACCESSORIES 

S6548 

S6549 

S6550 

S6551 

Optional Laser Guide 

Optional 1m (120”) Extension Arm 

Dust Collector 

Silent Compressor 


36 

TOOLS OF THE TRADE 

TOOLS OF THE TRADE 

Hot Press offer a comprehensive range of finishing tools 

designed to make mounting and laminating easier and 

more efficient. 

TACKING IRON 

Used to tack Dry Mounting 

Tissue to the back of prints and then to a substrate. 

The small shoe iron is pre- set at a fixed temperature. 

CUTTING MATS 

This cutting mat is a tri-layered, 

self-healing PVC (vinyl) mat 

designed to protect your work 

surface from blades or knives. 

Ideal for covering all of your 

worktables, this anti-slip, PVC (vinyl) surface self-heals scars and 

scratches and helps to keep cutting tools and perforators sharp. 

PIERCING TOOL 

A metal roller with perforating 

spikes, used to create pin - 

sized holes in unpierced PVC 

films, allowing moisture and air 

to escape during the laminating process. 

DUST REMOVAL SYSTEM ROLLER & PADS 

A great tool for any mounting or finishing room, the Dust Removal 

System (DRS) roller removes dust and dirt from prints, substrates 

or film without leaving a tacky residue. The 

roller is durable with a steel handle and can 

be cleaned easily by rolling over a special 

adhesive pad (sold separately). 

OLFA KNIVES 

Hot Press offers 

different types of 

cutting knives: 

an ergonomically 

designed heavy duty cutting 

knife featuring rubber grip inserts, and 

more economical standard utility knife. Both use 

replaceable snap-off blades. 

ANTI-STATIC BRUSH 

a 

two 

A special cleaning brush with conductive fibres, which gently whisk 

away harmful dust, lint and dirt and dissipate static. 

Used to clean prints prior 

to lamination. 

A Grounding cord 

is included. 

THE BIG PURPLE RULER 

A cutting edge safety ruler ideal for 

trimming. Its non skid pads prevent 

twisting and keep the trim straight and a 

safety guard prevents the cutting blade 

from riding up onto fingers and hands. 

The bright purple colour makes it easy to find. 

STRETCHER PLIERS 

Metal jawed pliers used to clamp 

the canvas when applying it to stretcher bars. 

MULE AND WHIP 

The Mule is a safe and convenient mobile storage cart, which can 

hold up to 12 rolls of Hot Press laminating 

films, mounting adhesives canvases and 

specialty media. It fits through 

standard commercial doors (36”, 

914 mm), holds up to 800 lbs. 

(363 kg) and accommodates 2” 

and 3” (51mm and 76mm) cores. 

The Hot Press Whip can be used 

in conjunction with the Mule to 

allow easy lifting of heavy rolls of 

laminate and media from either the Mule or the floor. 

MAGNETIC LAMINATOR CADDY 

Keeps gloves, eraser blocks, tape 

measures, Zippy Cutter and pencils 

close at hand, yet away from the 

laminator nip and emergency stops. 

Strong rubber-covered magnets 

attach the black basket firmly while 

protecting the surface finish.

37 

TACKING IRON 

Code 

A2226 

A2228 

PIERCING TOOL 

Code 

A2236 

PE7022 

Product 

Tacking Iron 

Tacking Iron Stand 

Product 

Piercing Tool 5 wheels 

Piercing Tool 10 wheels 

DUST REMOVAL SYSTEM ROLLER AND PADS 

Code 

Size 

ACC9050 DRS Roller 305mm (12”) 

PCRPAD DRS Replacement Pads (50) 

OLFA KNIVES 

Code 

ZC8020 

ZC8021 

ZC8030 

ZC8031 

ANTI-STATIC BRUSH 

Code 

Product 

Standard Knife 

Spare Blades - Standard (10 pkt) 

Heavy Duty Knife 

Spare Blades - H.D. (10 pkt) 

Size 

ACC9610 279m (11”) 

TRAINING DVDs 

JETMOUNTER 18/26 

CUTTING MATS 

Code 

Size 

A2174 620mm x 900mm (24.4” x 35.5”) 

A2176 1000mm x 1500mm (39” x 59”) 

A2179 1000mm x 2000mm (39” x 78”) 

THE BIG PURPLE RULER 

Code 

Size 

ACC9058 710mm x (28”) 

ACC9065 1016mm x (40”) 

ACC9068 1320mm x (52”) 

ACC9075 1625mm x (64”) 

ACC9080 2438mm x (96”) 

STRETCHER PLIERS 

Code 

A2241 

MULE AND WHIP 

Code 

MUL0012 

HOK0012 

MAGNETIC LAMINATOR CADDY 

Code 

ACC6000 

This instructional DVD helps you to set up and operate desk top laminators, specifically 

the Jetmounter 18 and Jetmounter 26. 

Product 

Stretcher Pliers 

Product 

Mule 

Whip 

Product 

One size 

TRAINING DVDS 

Subjects covered include: 

• Mounting to various board types 

• Mounting of various art types 

• Various methods of over-lamination 

• Face mounting to Perspex 

• Creating floater frames and image wraps on MDF 

• Mounting images within wedding albums 

This is an essential for anyone wanting to maximize their work and revenue flow. 

JETMOUNTER 44/54 

This instructional DVD covers the set up and operation of larger laminators, with roll 

feed and take up bars, specifically the Jetmounter 44 and Jetmounter 54. 


• Setting up a laminator for continuous feed mounting 

• Setting up a laminator for continuous feed laminating 

• Using removable films for creating temporary displays 

• Mounting to various board types 

• Mounting to various art types 

• Various methods of over-laminating 

• Face mounting to Perspex 

This is an invaluable guide for anyone who is new to large laminator operations. 

HOT GLASS PRESSES 

This unique DVD covers the set up and operation of heated vacuum presses, 

specifically the HGP260/ HGP360 and HGP560. 


• Setting up a press and control feature explanation 

• Overview of essential accessories and tools needed for successful operation 

• Mounting techniques for various board and artwork combinations 

• Various over-laminating techniques 

• Canvas bonding of photographs and paper prints 

• Protection of inkjet canvases by the application of ultra thin laminates 


38 

MAGNETIC GRAPHIC SYSTEMS 

MAGNETIC GRAPHIC SYSTEMS 

Use our magnetic systems to create changeable graphic environments 

Our new line of magnetic substrates, magnet-receptive primers and printable magnet-compatible materials is the latest trend 

in visual communications. They can be combined to create innovative changeable graphic environments or simply used as 

individual components in a wide range of display applications, including trade show stands, interactive showrooms and even 

for hanging pictures in art galleries. 

SOLUTION 1 

Preparing the wall 

Prepare the wall with FerroCoat paint, a commercial grade latex 

coating that transforms virtually any wall into a metal surface that 

magnetic materials “stick” to. The surface can then be covered with 

a standard paint to match the surroundings. 

Preparing the graphic 

To prepare the graphic, print the chosen image on printable eclipse 

150μ for water based printers or 165μ for solvent printers. Laminate 

the front of the graphic with our Sand Texture laminate. Apply 

magnetic tape on the reverse of the graphic and position on wall. 

SOLUTION 2 


Prepare the wall with FerroCoat paint (unless wall is already 

magnetic receptive e.g. steel), a commercial grade latex coating 

that transforms virtually any 

wall into a metal surface that 

magnetic materials “stick” to. 

The surface can then be 

covered with a standard paint 

to match the surroundings. 


Print the image directly onto the magnetic sheeting, a multipurpose 

white ink receptive vinyl suitable for solvent inkjet, UV or screen 

printing. Laminate the surface with Sand Texture laminate and 

apply the sheeting to the wall. 

Product Code Size 

FerroCoat Paint FC/Q 1.14 Litres 

FerroCoat Paint FC/G 4.55 Litres 

Magnetic Sheeting DMS3950 1000mm x 15m (39.5” x 50’) 

Sand Texture Laminate P3805 1040mm x 25m (41” x 82’) 


SOLUTION 3 


FerroCoat Paint FC/Q 1.14 Litres 

FerroCoat Paint FC/G 4.55 Litres 

Magnetic Tape DMT1200 13mm x 30m (1/2” x 100’) 

Printable Eclipse 150µ PRE36100-5m 914mm x 30m (36” x 100’) 

for water-based printers PRE50100-5m 1270mm x 30m (50” x 100’) 

Printable Eclipse 150µ PRE36100-5s 914mm x 30m (36” x 100’) 

for solvent printers PRE50100-5s 1270mm x 30m (50” x 100’) 



Sand Texture Laminate PST51082 1300mm x 25m (51” x 82’) 



Apply DisplayMag to the wall, a self adhesive magnetic sheeting 

to create a permanent magnetic surface. 


Print the image directly on FerroJet, a magnetic compatible media 

that allows direct printing via most types of print technology. Laminate 

the with Sand Texture laminate or Sheentex and position on wall. 


DisplayMag DMW39025 1000mm x 7.62m (39.4” x 25’) 

FerroJet Matt 225µ 

for thermal dye or pigment 

FerroJet Gloss 225µ 

for eco-solvent inks 

FerroJet Polyester 225µ 

for uv curable/offset/screen 

FJM60050-9 1524mm x 15m (60” x 50’) 

FJG60050-9 1524mm x 15m (60” x 50’) 

FJP54100-5 1370mm x 30m (54” x 100’) 

Sand Texture Laminate PST51082 1300mm x 25m (51” x 82’) 


Sheentex PSTM51164 1300mm x 50m (51” x 164’)

39 

Training 

TRAINING 

Hot Press UK Training Schools 

Have you ever attended the famous “Hot Press Training School” Do you want to be able to get more from your press than 

just beautifully mounted prints Are you up to date with all the latest techniques for adding value to your work Do you have 

staff members that want to learn about mounting - laminating and more Well this is their chance and yours!!! 

If you have a hot press of virtually any description it can be used for a whole host of things. Mounting and laminating 

techniques are constantly being improved and new techniques are being developed all the time. So with this new catalogue, 

we thought it would be a great time to remind everyone about our free training opportunities. We cover everything – from basic 

mounting and laminating – to fabric wrapping of mounts and transferring photographs or paper posters to canvas. 

With such a comprehensive range it is easy to miss products that could make your life so much simpler and increase the value 

of the products that you produce. Additionally, we will guide you through the maze of artwork types that you may encounter 

– telling you how to approach each kind of media and offer valuable tips that will improve the quality of your work. 

Many companies experience staff changes from time to time and vital knowledge is often lost when people move on. Allow 

us to train your staff how to use your machinery to its full potential. Training is a great motivator and shows your people that 

they are valued members of your team. 

“Seeing is believing” as they say – but watching and doing are two very different things. In our hands on sessions you will 

learn how to tackle all kinds of projects and then actually produce them for yourself. We provide everything you need – 

including lunch – so why not take the time to catch up on all the latest products and techniques, on our superb training days. 

For details of your nearest training school - please consult our website at www.hotpress.co.uk. Then, simply go to the training 

section and view the current dates available. 

If you have any specific questions about what is covered in our training schools just call our customer service department 

and ask. If you want to learn about something that is not normally covered then we would be pleased to try and add it into 

your session. 

We look forward to seeing you there. 

Steve Goodall 

Hot Press 

FANTASTIC 

NEW TRAINING 

FACILITIES 

NOW 

OPEN! 


40 

TERMS AND CONDITIONS 

HOT PRESS LIMITED - STANDARD CONDITIONS OF SALE 

N.B. THESE CONDITIONS CONTAIN LIMITATIONS AND EXCLUSIONS OF LIABILITY 

1. Interpretation 

1.1 In the Contract (as defined below) the following terms will have the following meanings: 

“Conditions” the standard terms and conditions for the supply of goods set out in this document and (unless the context otherwise requires) including any special terms and conditions agreed in writing by Hot 

Press and the Customer; 

“Contract” the contract for the sale and purchase of the Goods comprising these Conditions and either a quotation of Hot Press for the supply of goods which is accepted by the Customer or an order for the 

supply of goods which is accepted by Hot Press; 

“Customer” the person who accepts a quotation of Hot Press for the sale of Goods or whose order for Goods is accepted by Hot Press; 

“Hot Press” Hot Press Limited (registered in England number 1580451) whose trading address is Hot Press House, Filwood Road, Fishponds, Bristol BS16 3RYl; 

“Goods” the goods (including any instruction manual or other documentation to be supplied with them) which Hot Press is to supply in accordance with these Conditions. 

1.2 In the Contract, unless the context otherwise requires: 

1.2.1 any reference to a person will be construed as a reference to any person, firm, company, corporation, government, state or agency of a state or any association or partnership (whether or 

not having separate legal personality) or one or more of the foregoing; 

1.2.2 any reference in the Contract to any legislation or provision of any legislation will be construed as a reference to that legislation or provision as amended, re-enacted or extended at the 

relevant time; 

1.2.3 any reference to the singular will include the plural and vice versa; 

1.2.4 any reference to the masculine gender will include the feminine and neuter and vice versa; 

1.2.5 the headings in the Contract are for convenience only and will not affect its interpretation. 

2. Basis of the Contract 

2.1 Hot Press will supply and the Customer will purchase the Goods in accordance with any quotation of Hot Press which is accepted by the Customer or any order of the Customer which is accepted 

by Hot Press, subject in either case to these Conditions which will govern the Contract to the exclusion of any other terms and conditions. No conduct by Hot Press will constitute acceptance of any terms put 

forward by the Customer. 

2.2 No variation to the Contract will be binding unless agreed in writing between the authorised representatives of the Customer and Hot Press. 

2.3 The Contract will constitute the entire agreement and understanding between the parties with respect to all matters which are referred to in it and the subject matter of it and will supersede any 

previous agreement(s), prior drafts, undertakings, representations, warranties and arrangements of any nature whatsoever whether or not in writing between the parties in relation to the matters referred to in 

the Contract or in connection with the subject matter of it. 

2.4 The Customer acknowledges and agrees that it has not been induced to enter into the Contract in reliance upon, and waives all remedies in respect of, any warranty, representation, statement, 

agreement or undertaking of any nature whatsoever other than as expressly set out in the Contract. Save for any advice given in any written instructions supplied with the Goods, or any other advice that Hot 

Press expressly confirms in writing that the Customer may rely on, the Customer agrees that it will not rely on, and that Hot Press will not be liable for, any advice or recommendations given by Hot Press or any 

of its representatives in relation to the storage, application or use of the Goods. 

3. Orders and Specification 

3.1 No order submitted by the Customer is to be treated as having been accepted by Hot Press unless and until confirmed in writing by an authorised representative of Hot Press. In the case of any 

written quotation submitted by Hot Press, authorisation to proceed with the delivery of the Goods, whether verbal or in writing, will constitute the Customer’s acceptance of the Contract. 

3.2 The Customer is responsible for ensuring the accuracy of any order submitted to Hot Press and must give Hot Press any necessary information relating to the Goods within a sufficient time to 

enable Hot Press to perform the Contract in accordance with its terms. 

3.3 No order which has been accepted by the Hot Press may be cancelled by the Customer except with the written agreement of Hot Press and on terms that the Customer will indemnify Hot Press 

in full against all loss (including loss of profit), costs (including the costs of all labour and materials used), damages, charges and expenses Hot Press incurs as a result of cancellation. 

4. Prices 

4.1 The price of the Goods will be the price stated in the agreed quotation or order form or, where no price is stated (or a quoted price is no longer valid), the price listed in Hot Press’s published price 

list as at the date on which the Contract is made. All prices stated in any quotation given by Hot Press, but not yet agreed by the Customer, are valid for 30 days only, after which time they may be altered by 

Hot Press without giving notice to the Customer. 

4.2 Hot Press reserves the right, by giving notice to the Customer at any time before delivery, to increase any prices for Goods to reflect any increase in the cost to Hot Press of supplying the Goods 

which is due to: 

4.2.1 any factor beyond the control of Hot Press (such as, without limitation, any foreign exchange fluctuation, significant increase in the costs of labour, raw materials or other costs of 

manufacture); and/or 

4.2.2 any change in delivery dates, quantities or specifications for the Goods which is requested by the Customer; and/or 

4.2.3 any delay caused by any instructions of the Customer or failure of the Customer to comply with Clause 3.2 above. 

4.3 Unless otherwise agreed in writing between the Customer and Hot Press: 

4.3.1 all prices for Goods include packaging but are otherwise given by Hot Press on an “ex works” basis; 

4.3.2 where Hot Press agrees to deliver the Goods otherwise than at Hot Press’s premises, the Customer must reimburse Hot Press in respect of all transportation costs incurred by it, including, 

but not limited to all freight and related shipping and carrier charges, insurance, customs clearance, payment of any taxes and duties payable on the Goods, warehousing and storage in transit; 

4.3.3 all prices and any other amounts payable by the Customer are expressed exclusive of any value added tax or other applicable sales tax. 

5. Terms of Payment 

5.1 Hot Press will be entitled to invoice the Customer for the price of the Goods on or at any time after delivery of the Goods in accordance with Clause 6.1 above. 

5.2 The Customer will pay the price of the Goods within 30 days of the end of the month in which Hot Press’s invoice was raised. The time of payment of the price will be of the essence of the 

Contract. 

5.3 If the Customer fails to make any payment on the due date then Hot Press will be entitled (but without prejudice to any other right or remedy it may have) to: 

5.3.1 terminate the Contract or (without prejudice to its right to terminate subsequently) suspend any further deliveries of Goods to the Customer; and/or 

5.3.2 appropriate any payment made by the Customer to such of the Goods (or the goods supplied under any other contract between the Customer and Hot Press) as Hot Press may think fit 

(notwithstanding any purported appropriation by the Customer); and/or 

5.3.3 charge the Customer interest (both before and after any judgement) on the amount unpaid, at the rate of 8 per cent per annum above the Barclays Bank base rate from time to time from 

the due date until the date of actual payment in cleared funds. 

5.4 The Customer must pay all sums due under or in connection with the Contract without deduction, set-off or counterclaim of any description. 

6. Delivery of Goods 

6.1 The supply by Hot Press of the Goods will be on an “ex works”, Bristol basis and accordingly delivery of any consignment of Goods by Hot Press will be made by Hot Press making available the 

consignment at Hot Press’s premises for collection by the Customer at the time specified by the Customer in its order or otherwise notified by Hot Press to the Customer giving reasonable advance warning. 

6.2 In relation to delivery time-scales:- 

6.2.1 Hot Press will use its reasonable endeavours to meet any delivery dates specified by the Customer in its order (subject to clause 3.1), but subject to Hot Press having used such endeavours, 

it will not be liable to the Customer for any failure to meet such dates; 

6.2.2 for the avoidance of doubt, time for delivery will not be of the essence; 

6.2.3 any consignment of Goods may be delivered by Hot Press in advance of the delivery date specified in the relevant order upon Hot Press giving reasonable notice to the Customer. 

6.3 If the Customer fails to take delivery of any consignment of Goods (except where the failure was the result of a default by Hot Press) then, without prejudice to any other right or remedy that Hot 

Press may have, Hot Press may: 

6.3.1 store the Goods until actual delivery and charge the Customer for the reasonable costs (including insurance) of storage; and/or 

6.3.2 after more than 28 days, sell the Goods at the best price readily obtainable and (after deducting all reasonable storage and selling expenses) account to the Customer for the excess over the 

price or charge the Customer for any shortfall below the price. 

6.4 Where the Goods are to be delivered in instalments, each delivery will constitute a separate contractual obligation. Failure by Hot Press to deliver any one or more of the instalments in accordance 

with these Conditions, or any claim by the Customer in respect of any one or more instalments, will not give the Customer the right to treat the Contract as a whole as repudiated

7. Risk and Property in Goods 

7.1 Risk of damage to or loss of the Goods will pass to the Customer on delivery (as determined by Clause 6.1 above). 

7.2 Notwithstanding delivery and the passing of risk in the Goods or any other provision of the Contract, the legal title to the Goods will not pass to the Customer until Hot Press has received in cleared 

funds payment in full of the price of the Goods and any other sums due to Hot Press from the Customer (whether under this Contract or otherwise). 

7.3 Until such time as the legal title to the Goods passes from Hot Press, the Customer will hold the Goods as Hot Press’s fiduciary agent and bailee, and will keep the Goods: 

17.3.1 separate from those of the Customer and any third parties; 

17.3.2 properly stored, protected and insured; and 

17.3.3 clearly identified as Hot Press’s property; 

but (for the avoidance of doubt) the Customer will be entitled to resell or use the Goods provided that resale or use is in the ordinary course of its business. 

7.4 Until such time as the title in the Goods passes from Hot Press, Hot Press may at any time require the Customer to deliver up the Goods to Hot Press and, if the Customer fails to do so forthwith, 

enter upon any premises of the Customer or any third party where the Goods are stored and repossess the Goods. 

7.5 The Customer must not pledge or in any way charge by way of security for any indebtedness any of the Goods which remain the property of Hot Press. 

7.6 Hot Press will be entitled to maintain an action for the price of the Goods, notwithstanding that the legal title to them has not passed to the Customer. 

7.7 Without prejudice to any other rights Hot Press may have, if the Customer fails to comply with Clauses 7.3. 7.4 or 7.5 above, all sums owing by the Customer to Hot Press will immediately become 

due and payable. 

8. Warranties and Liability 

8.1 Hot Press warrants that the Goods will be of satisfactory quality at the time of delivery but does not warrant that the Goods will be suitable for any particular purpose and all other warranties, 

conditions or terms implied by statute or common law are excluded to the fullest extent permitted by law. 

8.2 Hot Press will not be liable to the Customer in respect of any defect in the Goods that arises, at any time after delivery of the Goods, out of fair wear and tear, wilful damage or negligence, 

inappropriate or abnormally hard use, failure to follow Hot Press’s instructions (whether oral or in writing), or alteration or repair of the Goods without Hot Press’s approval. 

8.3 The Customer will notify any defect in or damage to the Goods to Hot Press in writing:- 

18.3.1 in the case of any defect or damage which should have been apparent on delivery, within 48 hours of delivery; 

18.3.2 in the case of any defect or damage which was not apparent on delivery, promptly and in any event within 14 days of that defect or damage becoming apparent or 12 months of delivery, 

whichever is the earlier; 

failing which all liability on Hot Press’s part in respect of such defect or damage is excluded. 

8.4 For the avoidance of doubt, save as provided by Clause 8.5 or otherwise expressly agreed in writing by Hot Press, the Customer will have no right to reject any Goods delivered by Hot Press or 

otherwise to return any Goods to Hot Press. 

8.5 In respect of any defect in or damage to the Goods for which Hot Press is liable to the Customer (whether under Clause 8.1 or otherwise), Hot Press’s liability to the Customer will be limited, at 

Hot Press’s discretion, to: 

18.5.1 the repair or replacement of the defective or damaged Goods (or any parts) in question; and/or 

18.5.2 a refund or credit of the price, or a proportion of the price, attributable to the defective or damaged Goods. 

8.6 Hot Press will not be liable to the Customer by reason of any negligence or any other tortious action or any representation (unless fraudulent), or any implied warranty, condition or other term, or 

under the express terms of the Contract, for any: 

18.6.1 loss of anticipated revenues; or 

18.6.2 loss of anticipated savings; or 

18.6.3 loss of profits; or 

18.6.4 loss of contracts or business opportunities; or 

18.6.5 loss of goodwill; or 

18.6.6 damage to reputation; or 

18.6.7 indirect, special or consequential loss or damage, costs, expenses or other such claims for compensation whatsoever; 

(whether caused by the negligence of Hot Press, its employees or agents or otherwise) which arises out of or in connection with the Contract. 

8.7 The entire liability of Hot Press in respect of any and all claims made against it by the Customer under or in connection with the Contract will not in any event exceed the total price payable under 

the Contract. 

8.8 Nothing in this Contract will be deemed to limit or exclude either party’s liability for death or personal injury caused by its negligence, or for fraud. 

18.9 Hot Press will not be liable to the Customer or be deemed to be in breach of this Contract in respect of any delay in performing, or failure to perform, any of its obligations under this Contract 

where the delay or failure was caused by circumstances beyond its reasonable control, including (but not limited to) any shortage of raw materials. 

9. Termination 

9.1 This Clause applies if: 

19.1.1 the Customer makes any voluntary arrangement with its creditors or (being an individual) becomes bankrupt or (being a firm) one of the partners becomes bankrupt or (being a body 

corporate) enters administration or goes into liquidation (otherwise than for the purposes solvent of amalgamation or reconstruction); or 

19.1.2 an encumbrancer takes possession, or a receiver or administrative receiver is appointed, over all or any of the property or assets of the Customer; or 

19.1.3 anything analogous to any of the foregoing occurs to the Customer under the law of any jurisdiction; or 

19.1.4 the Customer ceases, or threatens to cease, to carry on business; or 

19.1.5 Hot Press reasonably believes that any of the events described above is about to occur; or 

19.1.6 the Customer commits any material breach of any of the provisions of the Contract and in the case of a breach capable of remedy fails to remedy the same within 30 days (or such other 

notice period as Hot Press thinks fit) after receipt of a written notice specifying the breach and requiring it to be remedied. 

9.2 If this Clause 9 applies then, without prejudice to any other right or remedy available to Hot Press: 

19.2.1 Hot Press will be entitled to terminate the Contract or suspend any further deliveries of Goods without any liability to the Customer; and 

19.2.2 if any of the Goods have been delivered, but not paid for, the price payable by the Customer under the Contract will become immediately due and payable notwithstanding any previous 

agreement or arrangement to the contrary. 

10. General 

10.1 Any notice under the Contract will be in writing and will be sent by first class registered post, hand delivery or fax to the address/number for the relevant party as stated in the Contract or otherwise 

notified to the other party for this purpose. Any such notice shall be deemed to have been duly received (provided it was sent to the proper address/number): 

110.1.1 if despatched by first class, registered post - 48 hours from the time of posting; 

110.1.2 if delivered by hand - at the time of actual delivery; 

110.1.3 if despatched by fax - 24 hours after the time of the despatch 

10.2 The Customer will not be entitled to assign or sub-contract or otherwise dispose of any of its rights or obligations under the Contract without the prior written consent of Hot Press. Hot Press may 

assign, sub-contract or otherwise dispose of any of its rights and obligations under the Contract without the consent of the Customer. 

10.3 Hot Press will be entitled to perform any of the obligations undertaken by it and to exercise any of the rights granted to it under the Contract through any holding company or subsidiary or any 

other subsidiary of any such holding company but any act or omission of any such company shall for the purposes of the Contract be deemed to be the act or omission of Hot Press. 

10.4 No delay or failure on the part of Hot Press in enforcing any provision in the Contract will be deemed to be a waiver or create a precedent or in any way prejudice Hot Press’s rights under the 

Contract. The rights and remedies provided in the Contract are cumulative and are additional to any rights or remedies provided by law. 

10.5 The Customer will keep confidential any confidential information relating to the Goods and/or to Hot Press and its business affairs. 

10.6 All intellectual property rights of whatever kind subsisting in, on or in relation to the Goods are to remain, as between Hot Press and the Customer, the absolute property of Hot Press. 

10.7 If any provision in the Contract is declared void or unenforceable by any court or other body of competent jurisdiction, or is otherwise rendered so by any applicable law, such provision will to the 

extent of such invalidity or unenforceability be deemed severable and all other provisions of the Contract not affected by such invalidity or unenforceability will remain in full force and effect. 

10.8 Unless expressly stated in the Contract, nothing in the Contract will confer any rights on any person under the Contracts (Rights of Third Parties) Act 1999. 

10.9 The Contract will be governed by and construed in accordance with English law and will be subject to the exclusive jurisdiction of the English Courts, to which each of the parties irrevocably 

submits. 

LIMITED WARRANTY AND LIABILITY 

All statements, technical information and recommendations in this catalogue are based on our research and are believed to be accurate, but do not construe a guarantee or warranty. (Note: All specifications are subject to change without notice.) 

All Hot Press products are sold with the understanding that the purchaser has independently determined the suitability of such products for their particular purpose under their own operating conditions. The purchaser assumes all risk and liability 

whatsoever in connection with their use of any Hot Press product. The products in this catalogue are sold without any warranty as to merchantability or fitness for a particular use, or any other warranty expressed or implied. No Hot Press 

employee or representative has any authority to waive or change the foregoing provisions, and no statement or recommendation not contained herein shall have any force or effect unless made in writing and manually signed by a director of Hot 

Press Ltd. The following is made in lieu of all warranties, expressed or implied: Hot Press’s only obligation shall be to replace or credit such quantity of the product proven to be defective at its discretion. In no event shall Hot Press be responsible 

for any incidental or consequential damages whether foreseeable or not, caused by defects in such product and whether or not such damage is caused by Hot Press’s negligence. 

TRADEMARKS 

TM trademarks of Drytac Corporation, Drytac Canada, Drytac Europe Ltd, or their respective manufacturers. ® trademarks of Hot Press Limited and Drytac Corporation, Drytac Canada, Drytac Europe Ltd or their respective manufacturers. 


HOT PRESS Ltd 

Filwood Road 

Fishponds 

Bristol 

BS16 3RY 

Tel: 0117 958 6500 

Fax: 0117 965 4411 

www.hotpress.co.uk 

info@hotpress.co.uk

The Fine Art of Finishing - Hot Press

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?