Digital BW, The Print

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "pr_roark" 
<pr_roark@...> wrote:
>
> 
> 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   
> 


someone else had mentioned arches to me so it's definitely worth 
trying.  others on my short list includes...
 - Arches Bright White Watercolor
 - Epson Textured Fine Art
 - Museo Max and Museo Crane
 - Moab Entrada Natural
 - Hahnemühle Museum Etching or William Turner
 - Memories by Marshalls Inkjet Photo Paper

i was told it was important to apply some kind of a coat on the print 
prior to tinting as the photo oils are acidic and will deteriorate 
the paper over time without it.  either clear liquitex gesso or an 
acrylic satin varnish.  unfortunately, it yields a very different 
effect than photo oils on the traditional analog papers because it's 
sitting on top of the varnish rather than the print itself.