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Fine Art & Creation Reproduction - part 7 of 1 2 3 4 5 6 7 8

by Mike McNamee Published 01/10/2011

Pick of the papers

Finding, choosing, testing and then discussing paper is one of the topics that we share with traditional paint-on-paper artists. For fine art papers there is a preference for matt or 'art' papers rather than gloss, lustre or satin types (which we will call GLS for the purposes of this feature). The specialist class of baryta and barytalike papers share the preference of Epson Photo Black ink with the GLS papers, but have a strong following for the reproduction of photographic images (monochrome in particular). Other than that, matt art papers and the use of Epson Matt Black ink tend to rule the roost. There are other, non-Epson solutions of course including some systems with hybrid gloss-matt inks, and the use of gloss optimisers. As part of the selection process, hundreds of papers have to be whittled down to a more manageable number. In the table opposite the numbers of papers available are estimated. They are estimates - some of the websites are sadly lacking in clarity when it comes to answering the simple question, 'How many papers do you offer?' The total of more than 500 is almost certainly an underestimate, even though there is cross-over and reboxing to consider.

Choosing to ignore all GLS products, halves the candidates. Choosing just baryta reduces the candidates to a little over 30 products. Significant sorting can also be achieved by, for example, removing all papers which contain optical brightening agents; specifying the base fibre (eg rag only) or by limiting the choice to a particular brand name. Paper weight, thickness and archival permanence are not very efficient sorting criteria, most quality art papers are lignin and acid free, buffered and archivally permanent, most art papers exceed the 250gsm specification of the Fine Art Trade Guild.

As soon as a manageable list of candidates has been developed the additional features such as base colour and surface texture can be examined. These are vitally important as they impart a 'feel' to the final print. Swatch books or sample packs will now be needed. Cost would not normally be a consideration for fine art prints as an art print is sold for much more than the intrinsic values of the paper and ink. If, however, cost is a vital selection criteria you might as well screen for cost first, as most of the premium products will be quickly eliminated.

Once you have arrived at your short list you should also ensure that your choices are available in roll or sheet form (as required) and that the transport mechanism of the printer is capable of taking the weight and thickness (the 500+ options in the table include weights up to 500gsm and boards up to 1.5mm). You should also check that your printer driver will handle the size of finished print you are proposing, there is no point in planning to use Museo pan paper at 40" on an Epson 3800 as its size limit is 37". This information may be gleaned from the printer driver; it may also be worked around by different driver software (eg the use of QImage or Epson's Mirage).

Test packs are the best way to explore final choices. Typically containing two or three sheets of each type, the major players such as Hahnemuhle, Fotospeed, Permajet and on-line paper provide this service. An even better solution, if time permits, is to systematically visit the trade stands at the Convention - almost every big player on the paper market will be in attendance and their stand will have both examples and samples.

You can perform generic testing using a test image, possibly backed with instrumental measurement if you are really keen. If, however, you are seeking a paper for a specific limited edition then you are probably better to proof the subject on a candidate stock. Remember to keep your proofs and make accurate, detailed notes about setting employed. If you are printing a limited edition 'on demand' it is surprising how your memory fails you in regard to icc profiles and settings employed.

You should be critical and vigilant during this phase of the testing. Do not make decisions in haste. Show proofs to trusted colleagues for comment, check out the mounting and framing work flow. The worst case scenario is the client being the first person to tell you that your prints have an issue. A good starting point is to instruct the clients to treat the prints as though they are original watercolours. The purchaser of a print is at liberty to hang their print wherever they choose, but they should at least understand the consequences of installing it in their sunlit Florida conservatory!

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1st Published 01/10/2011
last update 21/07/2022 08:46:23

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