Digital BW, The Print

I have used Premier Art Spray for about 12 months and have the best results holding the can vertically and about 8"-10" from the surface, always moving parallel to the print at a constant distance. I use two coats, one horizontal ;dry for a few minutes; then vertical.
Alan Zimmerman

  ----- Original Message ----- 
  From: Allan Chen 
  To: DigitalBlackandWhiteThePrint@yahoogroups.com 
  Sent: Friday, December 16, 2005 11:38 AM
  Subject: [Digital BW] spraying technique


  Hi all,
        I am hoping someone can help me with archival spraying technique.

        I did a quick search on this and found several posts on how many times 
  to spray, how fast to go, etc.  However, I'm having an issue with the 
  premier art spray where it runs out as you spray.  I hold the can 
  parallel to the print, so that the nozzle is straight down.  After a 
  while, the nozzle runs dry because, presumably, the liquid is sitting 
  below the feeder tube running into the can.  This not only causes a few 
  spurts as it peeters out, but it also means I have to stop halfway 
  through a print, wait a bit, then start spraying again.

        Is there a better way to do this?  Should I hold the can upright  and 
  kind of long-range it to the print?

  allan
  -- 
  http://allan.kaiyen.com
  http://photos.kaiyen.com


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

I've been placing my prints parallel to the ground (sometimes in a
half open box) and holding the can at a small angle so it is not quite
parallel to the print (nozzle higher than bottom of can).  No problems
with uniformity so far.

QUESTION:  I recently discovered that I can get two different effects
with Print Shield  on Epson 7800 prints.  Anyone else try this...
1-  If I hold the can about 12 in above the print and move fast enough
to get a light spray (almost a mist) I get a sort of mild gritty
surface on glossy papers (perhaps it could be described as a frost).
This is fine on luster papers but I don't care for it on glossy papers. 
2-  However, if I get the can closer to the print (maybe 8 in) and go
slower I can lay down one dense layer that has a definite wet look
(under glancing light). On Kodak Pro Glossy paper (and perhaps on some
other glossy papers?) the wet lacquer drys very uniformly despite
looking like it could be problematic while still wet.  On the Kodak
Pro Glossy paper I am left with a much shinier surface, uniform, and
gloss differential is significantly or entirely eliminated.  I have
not tried this 'wet approach' on prints larger than letter size yet,
but I hope I can get it to be uniform on 16x20s (on Kodak Pro
Glossy)... it should look great.

Comments or suggestions anyone?
Ken

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Alan Zimmerman"
<azimmerman1@c...> wrote:
> I have used Premier Art Spray for about 12 months and have the best
results holding the can vertically and about 8"-10" from the surface,
always moving parallel to the print at a constant distance. I use two
coats, one horizontal ;dry for a few minutes; then vertical.

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "kenseidman"
<Seidmank@e...> wrote:
> ... I hope I can get it to be uniform on 16x20s (on Kodak Pro
> Glossy)... it should look great.

I'm sure with enough practice you might be able to get very even coats
but I think it's tough especially for a wet coat. You're likely to get
enough prints with uneven coats that makes it pretty discouraging. For
consistent results and much superior coats for such a large print you
need either an HVLP system or an air sprayer using a regular
compressor. I use a cheap sprayer/air-compressor system and got
excellent atomization of the coating liquids I use.

I pin the print corners to a foam board, place on an artist painting
tripod, then spray using a water-based solution, then remove the
print, quickly wipe off the overspray using a damp cloth, pin another,
spray, and so on. It's alot easier using pins than tapes to attach the
print to the easel.

--nick

I would say the gritty look destroys a print and is my main reason for not
using Lyson Print Guard at all.

then remove the
> print, quickly wipe off the overspray using a damp cloth, pin another,
> spray, and so on. It's alot easier using pins than tapes to attach the
> print to the easel.

Nick,
	Is the "overspray" the spray you've put on the paper beyond the edges 
of the actual print, or do you mean areas of the print where you have 
sprayed too much?  I feel like it must be the former because it would be 
almost impossible to do the latter.

allan
-- 
http://allan.kaiyen.com
http://photos.kaiyen.com

Yes. For a "wet" application the overspray that lands on the support
may stick to the next print. Since I use a water-based solution a damp
cloth works great. I only need to rinse the cloth at the end of the
session.

And you're right that it'd be impossible to do the later. The only
possible thing to do then is to make another print and coat again  :)

--nick

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Allan Chen
<allan@k...> wrote:

> Is the "overspray" the spray you've put on the paper beyond the edges 
> of the actual print, or do you mean areas of the print where you have 
> sprayed too much?  I feel like it must be the former because it would 
> be almost impossible to do the latter.

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Nick H. Nugent"
<nghin@p...> wrote:
> ...For consistent results and much superior coats for such a large
print you need either an HVLP system or an air sprayer using a regular
> compressor. I use a cheap sprayer/air-compressor system and got
> excellent atomization of the coating liquids I use...

Nick,
Could you tell me what coating liquids you use and have you
successfully applied it to any glossy paper surfaces?  Also which
cheap sprayer/air-compressor would you suggest?

I've had good success so far up with prints up to 14x17 inch on Kodak
Pro glossy with lacquer based Print Shield from the can but as I said
earlier I don't yet know what will happen when I try to spray 16x20 or
larger prints.
Thanks,
Ken