Digital BW, The Print

For what it's worth, the watercolorist I've been working with puts 
Arches Hot Press, un-coated watercolor paper at the top of her list.  
The paper will not print as smoothly as coated paper, nor have the deep 
dmax, but as a base for further painterly work, the combination of 
Arches and watercolors may be a very nice medium.  

The Eboni-6 is actually an outgrowth of a project to make a "workable" 
carbon-to-watercolor mixed media.  Unique partitioning of a K6 can 
optimize the smoothness.  The dmax can be in the 1.5+ range, depending 
on printer and workflow.  

I, unfortunately, failed to achieve one goal of the "workable" carbon 
image -- that the inkjet image could be smeared with a wet brush.  Even 
with one of my custom, non-binder dilution bases, the carbon image is 
still too water-resistant to smear.  The carbon, by itself, is 
apparently so tiny that it embeds itself in the paper without the need 
for hardly any binder.  That low binder level for matte carbon inksets, 
of course, might also be relevant to the issue of printer head clogging.

Paul 
www.PaulRoark.com   


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "c1asia" 
<c1asia@...> wrote:
>
> has anyone had any experience with hand tinting inkjet prints using 
> marshalls photo oils or pastels on either piezo selenium mps or sepia 
> k7 inks?  just wanted to get some good paper recommendations.  i'm 
> looking at medium to heavy weight warmtone matte papers with a smooth 
> texture.  i'm thinking hahnemuhle museum etching maybe?  is there a 
> better paper?  moab?  museo?
> 
> and also, what's the best prep varnish to use prior to coloring?  
> gesso, acrylic satin varnish?  any ideas?
>