Digital BW, The Print

I would take this information to imply that coating is a good idea for 
any inkjet ink on any paper that one wants to last. Yes? The only 
question remaining is the aesthetic one regarding the look and feel of 
over coated fine art papers.
Cheers,
Jim
San Diego

On Saturday, September 21, 2002, at 12:03 AM, Martin Wesley wrote:

> ----- Original Message -----
> From: "Mr_Misty_44" <jharvey@...>
> To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
> Sent: Friday, September 20, 2002 11:17 PM
> Subject: [Digital BW] Photogravure and InkJet
>
>
> >
> >
> > I guess I'l simplify the question. What would make a simple etching,
> > say drypoint, More archival than an InkJet print using the "Archival
> > Carbon Pigment" inks and Archival paper. Is it the ink we use, the
> > solvent , the paper we use or the coating.What is the weak link here
> > or do simple etchings or Lithos suffer from the same archival
> > problems. I don't see people screaming about the archival qualities
> > of a Picasso print be it an etching or litho.
> >
> >                            John H
>
> John,
>
> Ernst summed it up pretty well in his earlier post which I have copied
> below. Simply put the carbon particles in the inks used for etchings 
> are
> heavily encapsulated and protected from oxidation. The ink is the big
> difference.
>
> Martin
>
> ----- Original Message -----
> From: "Mr_Misty_44" <jharvey@...>
> To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
> Sent: Friday, September 20, 2002 6:08 PM
> Subject: [Digital BW] Photogravure and InkJet
>
>
> (snip)
>
> Photogravure uses inks with an oil medium and bigger pigments 
> particles. The
> oil (linseed, alkyde) will harden on oxidation and that results in a 
> strong
> resin. That is in art printing on good quality papers,
> no coating at all on the paper in any intanglio process.
> In commercial photogravure on rotating presses (rotogravure) the ink 
> is an
> alcohol based varnish for faster printing with cheaper colorants. The 
> paper
> is bad as well. Nation wide magazines were printed that way till the 
> 1970's
> when offset replaced rotogravure.
> Photogravure has long been considered the best printing process for
> photography reproduction.
>
> The weak link is in the inkjet ink medium mainly, very little medium, 
> lots
> of water, alcohol, glycol based solvent. The last disappears and the 
> pigment
> doesn't have a strong bond with the paper, the pigment particles are 
> not
> embedded in the varnish either. Epson pigment inks have an acryl
> encapsulation of the pigment particles (Ultrachrome matte black is the
> exception) that helps to protect the pigment, it gives a better bond 
> and
> makes gloss  printing possible.
>
> All the processes to get a better protection of the inkjet pigment 
> layer
> like laminating or varnish coatings are done to get that same bond and
> encapsulation of the conventional printing processes. A nice example 
> for
> outdoor prints is the First foil. Pigment ink is printed on that foil 
> and
> after printing the foil is heated in a tunneloven. The coating is made 
> of a
> resin with an reasonable low melting point (150 C.) the pigment sinks 
> in the
> caoting and the coating hardens when it gets cool again. Ilford had
> something similar in the pipeline but it hasn't been released yet.
>
> Ernst
>
>
>
>
<image.tiff>
>
>
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