Digital BW, The Print

I just had a customer bring in a stretched canvas done with Cone's  
selenium inkset with portfolio black in December of last year and the  
top 1/3 has gone brown. I would like to blame it on sunlight hitting  
the top 1/3 of the image but even the black parts that are stretched  
around back have gone brown. Part of the problem is the image has  
been traveling to different galleries so no idea what the viewing  
conditions were. It came back packed in bubble wrap and a cardboard  
box (well packed) but certainly not archival packaging. I would like  
to blame the packaging, but why is only 1/3 of it effected?

Any ideas?
Mark

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Mark Savoia
<mark@c...> wrote:
> I just had a customer bring in a stretched canvas done with Cone's  
> selenium inkset with portfolio black in December of last year and the  
> top 1/3 has gone brown. I would like to blame it on sunlight hitting  
> the top 1/3 of the image but even the black parts that are stretched  
> around back have gone brown. Part of the problem is the image has  
> been traveling to different galleries so no idea what the viewing  
> conditions were. It came back packed in bubble wrap and a cardboard  
> box (well packed) but certainly not archival packaging. I would like  
> to blame the packaging, but why is only 1/3 of it effected?

Wild guess, the printer ran out of one of the inks 1/3 through the
print, and did an ink change. The old ink (top 1/3) had a fade
problem, the new ink didn't.

That's my best theory, but I have others...

They decided to protect the print by hanging it vertical and dunking
it into a big tnk of fixative, but the tank was only deep enough to
accomodate the lower 2/3 of the print.

They displayed the print with a display that had it popping up from a
giant toaster. The top 1/3 was exposed continuously, the bottom 2/3
displayed only when someone pressed the "toast" button.

The print was stored upside down in the basement of one gallery, and
there was a flood, immersing it in, well, less than clean water up to
the height of 1/3, for long enough to effect the color change.

Hello koloshor,

I like the giant toaster version.  :)


Regards,
Clayton


Info on black and white digital printing at    
http://www.cjcom.net/digiprnarts.htm

I wish I could laugh.
Mark (original poster)

On Jun 21, 2005, at 7:37 PM, Clayton Jones wrote:

> Hello koloshor,
>
> I like the giant toaster version.  :)
>
>



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

Fading of the Portfolio Black.  Doesn't this ink have a dye component?

On Jun 21, 2005, at 8:45 PM, Mark Savoia wrote:

> I wish I could laugh.
> Mark (original poster)
>
> On Jun 21, 2005, at 7:37 PM, Clayton Jones wrote:
>
>
>> Hello koloshor,
>>
>> I like the giant toaster version.  :)
>>
>>
>>
>

Carl wrote:

> Fading of the Portfolio Black.  Doesn't this ink have a dye component?

I think Carl is correct that there is dye in Portfolio Black.  If the
problem was some kind of gas attack, that would cause the discoloration to
be even on the parts of the canvas that were not exposed to bright light. 

I must confess that I cringe thinking of a hybrid dye-pigment print being
shown in galleries.  Trying to get the reputation of B&W inkjet prints up to
where high end galleries will accept them requires, I believe, prints that
have as much carbon as possible, and no dyes.  Cone's Museum black is a pure
carbon black that should hold up fine.

Paul
www.PaulRoark.com 
 


______________

> -----Original Message-----
> From: DigitalBlackandWhiteThePrint@yahoogroups.com
> [mailto:DigitalBlackandWhiteThePrint@yahoogroups.com] On Behalf Of Mark
> Savoia
> Sent: Monday, June 20, 2005 12:13 PM
> To: piezobwpro@yahoogroups.com;
> DigitalBlackandWhiteThePrint@yahoogroups.com
> Subject: [Digital BW] Creeping brown into black
> 
> I just had a customer bring in a stretched canvas done with Cone's
> selenium inkset with portfolio black in December of last year and the
> top 1/3 has gone brown. I would like to blame it on sunlight hitting
> the top 1/3 of the image but even the black parts that are stretched
> around back have gone brown. Part of the problem is the image has
> been traveling to different galleries so no idea what the viewing
> conditions were. It came back packed in bubble wrap and a cardboard
> box (well packed) but certainly not archival packaging. I would like
> to blame the packaging, but why is only 1/3 of it effected?
> 
> Any ideas?
> Mark
> 
> 
> 
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My experience with MIS Eboni is that it is capable of
the same Dmax as Portfolio Black. If what I'm assuming
is correct (that Eboni has no dye in it), Eboni would
be a better choice for a black ink than Portfolio
Black.
-John

--- Paul Roark <paul.roark@...> wrote:

> Carl wrote:
> 
> > Fading of the Portfolio Black.  Doesn't this ink
> have a dye component?
> 
> I think Carl is correct that there is dye in
> Portfolio Black.  If the
> problem was some kind of gas attack, that would
> cause the discoloration to
> be even on the parts of the canvas that were not
> exposed to bright light. 
> 
> I must confess that I cringe thinking of a hybrid
> dye-pigment print being
> shown in galleries.  Trying to get the reputation of
> B&W inkjet prints up to
> where high end galleries will accept them requires,
> I believe, prints that
> have as much carbon as possible, and no dyes. 
> Cone's Museum black is a pure
> carbon black that should hold up fine.
> 
> Paul
> www.PaulRoark.com 
>  



		
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