Digital BW, The Print

I is very important to use an ink that will not fade. Most of these pens that you can pick up 
in office supply stored will fade and shift color. I friend of mine used a lot of text on all his 
type c prints, in a narritive form. After a few years the text on his first set of prints faded 
to the point of not being able to see them at all. How he uses some kind of sharpie that is 
uv protected.

So, just because the ink may adhere and look good initially doesn't mean it will not fade in 
sunlight.

Actually a lot of people use glossy surfaces for exhibition prints and with the new Epson 
inksets such as in the 1800 that trend will become very popular.

John



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Seth" <seth@m...> wrote:
> I have a couple of ways of doing things.
> 
> First, since I don't consider glossy an exhibition medium, what to use is
> not an issue.  I use gel pens or a soft pencil, depending on the surface.
> However, I like the idea of using the Rapidograph filled with ink.  Long
> time ago I used india ink but it became a hassle.
> 
> I guess this is a holdover from silver days, but I leave room.
> Five-by-seven goes in the middle of an 8x10 sheet; eight-by-ten goes either
> in the middle of 11x14 or 8-1/2x11.  If it's a full 8x10 that will be custom
> matted, it goes in 11x14, signature and title below it.  If it's something
> that is thrown out there that may be stuck in an off-the-shelf mat, the
> image is 7-1/2x9-1/2 --the size of the opening in those mats.
> 
> I don't sign everything.  I figure it's worth more.  HOWEVER, I have had
> people buy something then ask if I'd sign it.  I think they like that little
> thrill.
> 
> If I frame it or mat it, it says "Copyright, do not reproduce" on the back.
> Anything I mat also has a piece of mat board hinged to the front mat.  If I
> frame it, the next layer back is waxed paper then foam core.  The foam core
> is marked.
> 
> Authenticating??  Naw. I am not Ansel Adams; nor am I dead yet.  So, I don't
> have a foundation to tell people my prints are really from the original
> negs, etc.  I DO put a small sheet on the back explaining whether:
> 
> 1.  The that the mat board and backing board are acid free or that they are
> pH neutral (usually the later).  And, the linen hinge with removeable
> adhesive.
> 2.  There is a layer of wax paper and why (in case they start
> disassembling).
> 3.  Whether or not the foam core is "archival quality."
> 4.  The reason for metal frames and what they face going to wood or
> composite.
> 5.  The reason I do NOT put brown dust covers OR why there is white paper
> (butcher paper w/o a "sweet" side.
> 
> It's all short and simple and small.
> 
> If you sign the front that's all the copyright notice you need.
> 
> I am also toying with the idea on some of the LE Seri/Lithographs I have.
> They seem to always have their signature in the image.  Truth is it's from
> them signing the original painting, so I am not sure of the validity in a
> photograph.  Then the Seri/Litho is pencil signed, numbered in the white
> border, which authenticates the print edition by the artist.
> 
> I have put out info sheets that explain what "Archival" really is and
> exhibiting problems.  People read those and take them home.
> 
> Seth