Water Slide Decals / Transfers

Above: Original
and reroduction 
transfers		 All the transfers on the frame were photographed, in most cases from three different angles in oder to capture the full image around the tube.

Once scanned into a computer, these photos were used as a template to "trace" a replica design over the top. In my case I used Adobe Photoshop as this was the tool I had to hand. However, it would have been better to used a vector-based editor such as Adobe Illustrator, or Microsoft CorelDraw, because these were preferred tools that the print-shop used.

Below is a sample image, showing:

  • The surviving "Hallmark" decal on the down-tube 
  • In the middle, is a semi-transparent overlay of the final design, to simulate how the "tracing" process takes place (the second down tube transfer on the other side assisted to fill in some missing parts, but not all) 
  • The final, replica design at the bottom
At the left is shown the original decal on the seat post. The reproduction transfer is beside it, along with new chequered bands which are placed over the join in the paint-work (where red-meets-black).

In producing new transfers, there are anumber of options:

  • Gold-size (laquer) transfers, as used prior to water-slides: these types now seem un-obtainable. They were applied using "gold-size" (also used to apply gold-leaf in artistic works), and were usually printed back-to-front. 
  • Water-slide transfers: produced by traditional screen-printing processes with stable inks, and in common use in the 60's & 70's. Applied after the colour coat, but before the final clear coat is applied. Requires substantial financial outlay to do a small run. 
  • PVC self-adhesive clear film, applied over the top of the final clear coat on the frame, and usually shows a "lip" where the PVC substrate starts. Popular these days, but not really for that "traditional look". 
  • Computer-printed water slides, using ALPS or OKI special printers. One-offs can be made at low cost (US$15 per A4/USletter sheet. Inks are not "light-fast" and may fade, although UV-protection layers may solve that.
In my case I chose the second option - traditional, screen printed water slide transfers.

To reduce costs I prepared all the artwork, as five "colour-separations" ready for use by the print shop. To do this, the ink-sequence must be known - in my case it was: blue, red, black, gold, white.

In additon, "colour-trapping" or "blocking" was incorporated into the artwork. This is the colour overlap required to ensure that positional variations during printing don't result in areas with no ink where two colurs meet each other.
Below: The complete transfer set for the Hallmark bicycle. In the
final print, metallic-gold ink was used, as per original.

Return to Hallmark restoration page.
Return to Stephen Spicer's home page.

Join the "Roll Britannia" discussion group on British Roadsters.
See also the Canberra Bicycle Museum, Australia.