Digital BW, The Print

Harold and Tyler, et al-

I seldom post but this topic really gets me going.

Archival is an artificial construct. Yes, I understand how and why it 
is used. But Tyler made an excellent point in an earlier post: if an 
artist's reputation is good enough, any issue related to "archival" is 
either minimized or completely ignored. No one asks a painter. I've 
rarely heard intaglio printmakers discuss the issue.

I use the best products available (for my own work and our customers), 
and I gladly pay more for the privilege. I have learned and used "best 
practices". But if I felt that making a print on newsprint or kraft 
paper was the correct aesthetic decision, I have and will do it. And 
will gladly disclose my process to a prospective buyer.

Lastly, to use "archival" to market images, and then use Wilhelm's 
reports to justify it, doesn't make any sense to me. It isn't as bad as 
asking the tobacco industry about health issues, but it's in the same 
neighborhood.

Bill Kennedy
K2 Press
Austin, Texas


-----Original Message-----
From: Tyler Boley <tyler@...>
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Sent: Mon, 18 Feb 2008 1:21 pm
Subject: Re: [Digital BW] Permanence Ratings for Fine Art Media






Harold, with respect I have to disagree, and this is fodder for

another thread entirely- the impact of people like Wilhelm on the

marketplace...

anyway, my point is that in my subjective opinion, for my own work and

offered services, my artistic vision would be severely compromised by

having to stick with materials combinations rated by Wilhelm.

Obvioulsy I belong to a small niche group and the majority may

disagreee. I still think it would serve the manufacturers well to help

us out a bit with this issue.

Tyler



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Harold Jackson

 wrote:

>

> I try to remove the permanence question from the conversation by

using papers that have been rated by Wilhelm.  In other words start

from the end and work back.  What papers have been tested and, of

those papers, which ones fit my artistic vision?  Only after

concluding that none of the rated papers is a match would I venture

into the unrated papers.  It's already hard enough to sell our work at

a good price, why add to the difficulty?  I recognize that this is a

pretty commercial approach but there are so many rated papers that it

is rarely necessary to compromise artistic vision for commerce.

>

>

>

>

> [Non-text portions of this message have been removed]

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