Digital BW, The Print

Ken,

Robert, Martin, Nghi and others on this list have done far more than I with
varnishing.  I'm just starting to experiment.  So far I see varnishing as
good to physically protect prints, to raise the Dmax where there is going to
be no glass in the framing, and for a variety of aesthetic reasons.  I do
not see it as something I'll be doing with a high percentage of my prints.

One can achieve a number of different finished looks depending on the number
of coats that are applied and the materials that are used.  I personally
like a luster rather than a high-gloss finish.  Also, since I like to be
done with the process as fast as possible, I've been leaning toward the
one-coat solution.  And for that, we're talking about just a few minutes of
work.  (Eclipse gives me a nice finish with a Dmax of about 2.17 with only
one coat.)

So far, I favor Robert's recommended #15 wire-wound ("Mayer") rod (from
Diversified Enterprises 800-833-4644) for applying the coatings.  I've been
using a 16" (12" of winding) 1/2 inch thick rod that sells for $22.  It's
the only process I've tried that can do a perfect finish in one coat.

For coating material, most on this list like the Golden water-based acrylic
for the first coat. l have some on order, but so far have just tried the
Liquitex version -- readily available.  At 3 parts Liquitex to 1 part water
it goes on perfectly.

Frankly, however, I think a water-based polyurethane might be a better
choice.  The acrylic first layer is favored by conservators because at least
the Golden version is removable -- in theory.  However, I don't think that
factor is important in this application.  I see the coating as part of the
product, not an after-thought that is applied just to protect the artwork.
I think the polyurethane's superior toughness and resistance to humidity and
chemicals may make it a better choice.

Varathane makes several water-based "Diamond Wood Finishes" (blue can at
your local hardware) that appear to work very well -- no dilution needed.
The "Outdoor" version has UV inhibitors that could be useful (in fade
testing now).  However, I don't like much yellowing, and, like UV filters,
these UV inhibitors are slightly yellow.  The Eclipse, however, is bright
enough and blue enough that with one coat it stays bright and 0.01 units
cool.

EAM just gets too yellow with the UV inhibitors.  So, to get rid of them
with polyurethane, use Varathane "Interior."  This formula was made for
maximum clarity.  With EAM the first coat remains almost a matte and the
Dmax is only up to 1.72.  However, with a second coat EAM is a nice luster
with up to 2.33 for the Dmax.

I have no idea how others are applying these coatings with a rod, but I just
tape the top 1/8 inch of the print to a piece of glass using Scotch
Removable tape.  (The glass is for a smooth, flat surface that I can razor
off dried coating if necessary.)  I've been using a couple sheets of copy
paper under the print.  I also tape down the bottom corners.  About 7 cc of
Varathane pulled straight form the can with a syringe is used to lay a
"bead" on the tape and glass above the print.  Pull some water into the
syringe and discharge it immediately a couple of times to stop the
polyurethane from setting up.

Just before pulling the rod across the print, use a blower to be sure there
is no dust on it.  Since you always use fresh coating from the can, which is
only open long enough to pull out what you need, there should never be dust
in the coating material.

After the "bead" (or small, long, center-weighted pool) of coating is on the
tape and glass above the print, just pull the rod through the bead and down
across the print.  The weight of the rod supplies most of the downward force
needed.  Don't roll the rod, drag it smoothly and not too slowly.  Keep the
speed of the pull as constant as possible.  After you've pulled the excess
coating away from the bottom of the print, immediately rinse off the rod.
Don't allow the material to set-up on the rod.  I then use a squeegee to
pull the beads of coating off about 1/8 inch of the print and away from the
print.  A damp sponge soaks up the excess coating material and will clean
the glass easily after you're done.

For the first coat, the material will be tacky enough to hang the print in a
stretcher or just pin its corners to a board by the time you've done all
this.  You do want to keep it flat while it dries a little.  You'll lose
about 1/4 inch of the print, but you still have a good 8x10 print area.

Again, I've just started this, so I'm sure Robert and others have far more
refined methods and materials than I'm using.  But at my crude level, this
is really easy to do.  Whether the aesthetics are appealing is subjective.
However, the finishes that are possible once you've protected the print with
that first good layer is really wide open -- and where a lot of the creative
stuff is going to be done.

Paul
http://www.PaulRoark.com

________________________________________



 -----Original Message-----
From: Ken Carney [mailto:kcarney1@...]
Sent: Monday, October 14, 2002 5:56 PM
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Subject: Re: [Digital BW] Is there a difference?


  Paul, could you please give some detail as to the varnishing, if possible
with different papers?  Forgive me if this has been covered before.   I have
used Renaissance wax on silver prints with some success, and I know Paul
Strand would sometimes varnish his prints.  Thx for any info.

    --Ken
    Everyone wants darker blacks, but the difference is really just a matter
of
    glossy versus flat matte finish.  Mounted under glass, the flat
pigmented
    prints look like silver prints in most lighting.  Only in perfect spot
    lighting with no reflections do you really see the difference.  Also,
one
    simple coat of varnish takes an Eclipse print Dmax from 1.58 to 2.17.
At
    that point, more black isn't worth worrying too much about.



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