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Glossy liquid laminate on matte papers?

Glossy liquid laminate on matte papers?

2007-09-09 by Richard Smallfield

Hi,
I wondered how a glossy uv shield (water-based) would look on a matte paper such as Entrada.

I use exclusively matte papers, but for some night shots a glossier finish might be nice and wondered if this might be a way to get a lustre finish with the art papers.

I attended a wonderful exhibition at Two Rooms Gallery in Auckland (NZ) of Fiona Pardington's work. And lamented my inability to replicate that FB lustre finish, which made me think ...

thanks,
Richard
--
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Re: [Digital BW] Glossy liquid laminate on matte papers?

2007-09-09 by Patrick Carr

Richard Smallfield wrote:
> 
> 
> Hi,
> I wondered how a glossy uv shield (water-based) would look on a matte 
> paper such as Entrada.
> 
> I use exclusively matte papers, but for some night shots a glossier 
> finish might be nice and wondered if this might be a way to get a lustre 
> finish with the art papers.
> 
> I attended a wonderful exhibition at Two Rooms Gallery in Auckland (NZ) 
> of Fiona Pardington's work. And lamented my inability to replicate that 
> FB lustre finish, which made me think ...
> 
> thanks,
> Richard

Hi Richard;
I've been doing just that for a few years now with my work--on German 
Etching, Innova Smooth Fine Art, and I am currently using Entrada. I'll 
apply a couple coats of Breathing Color's water-based varnish and finish 
up with one coat of DCP System's "Giclee Varnish." The last coat with 
this particular varnish gives me the surface I like--a soft gloss with a 
leather-like texture.

-PC

Carr Imaging
patcarr@...

Re: [Digital BW] Glossy liquid laminate on matte papers?

2007-09-10 by James Haney

Richard,

After a lot of testing I finally settled upon ClearStar Clearshield  
Water based varnish.

I mix equal parts ClearShield 20° Satin LL and ClearShield Matte LL.

I am printing on Han. Photo Rag with Cone Piezotone inks.

I have found that key is to apply two very thin coats of the varnish.
I find the 50:50 mix described above to be very good at preserving d- 
max, minimal print darkening and virtually no change in the highlight  
density.
Too much Matte and the blacks loose density. Other varnishes I have  
tried darken the mid-tones and hilights.
If I plan to varnish the print, I add an adjustment curve in  
Photoshop to the image. The curve has only one point. It moves the  
50% to about 42%. This compensates for the mid-tone density increase  
you will get from the varnish.

The correct and consistent application of the varnish is key.

Application technique I use:

To coat an 8x10 size print:

I use a 1" diameter foam roller.
Pour a 3-4 in inch diameter pool of varnish mixture in the center of  
a tray (I use an old porcelain coated metal tray)
Roll the roller to ensure it is equally distributed around the roller.
If the Roller is dry (as at the beginning of a varnishing session)  
you may need to use a bit more varnish to get the proper saturation  
of the roller.

I apply one very light initial coat. Not so light that you have to  
roll over and over and over to get it covered, but not so thick that  
you have bubbles or white milky patches. The milky appearance will  
dry down clear, but applying too much varnish affects the finish and  
the print tone. The key is that putting too much varnish on causes  
more problems than too little.

However, if your roller is too dry it becomes tacky and can actually  
pull flecks out of the print and leave whit specks.

It isn't nearly as difficult as it sounds to get this right.

One of the great things about this varnish is that it dries quickly.  
You can apply the second coat about 5 minutes after the first. As  
soon as it is dry to the touch.

I make sure that I haven't left any small particles or lint in the  
surface of the print. If there is anything there, I use a set of  
needle nosed tweezers or an X-acto knife to carefully take it out  
without damaging the surface of the print.

The second coat is nearly identical to the first. You can actually  
have the roller a bit more saturated than the first. The key is to  
not leave apparent lines in finish where the roller edge rolled. You  
want to apply the second coat quickly, if you have to go back over a  
rolled area to smooth it out and it has dried for 20-30 seconds the  
may cause more problems than it helps.

If you are using nice, light coats it isn't a problem to apply  
another light coat on time you you need to even things out.

Be careful if you are doing a bunch of prints. The varnish can dry on  
the roller, in the tray, and in the container you use to store the  
varnish and show up as big white blobs on the print when you roll it  
on. This is easy to remove and fix as you are putting it on and is  
usually only a minor nuisance, but if you let it dry on the print it  
is a pain to remove. I actually use a light sandpaper to smooth it  
down and then apply another coat on top.


I have been very happy with this product and technique.

Positive impact to the look of the print
Increased longevity
Non-toxic,
Easy to apply
Easy to fix problems or issues during and after application
Clean-up with soap and water
Very fast dry time
Prints can be stacked the next day with no concern of prints adhering  
to each other.

James Haney



<<

> On Sep 8, 2007, at 10:59 PM, Richard Smallfield wrote:
>
>> Hi,
>> I wondered how a glossy uv shield (water-based) would look on a  
>> matte paper such as Entrada.
>>
>> I use exclusively matte papers, but for some night shots a  
>> glossier finish might be nice and wondered if this might be a way  
>> to get a lustre finish with the art papers.
>>
>> I attended a wonderful exhibition at Two Rooms Gallery in Auckland  
>> (NZ) of Fiona Pardington's work. And lamented my inability to  
>> replicate that FB lustre finish, which made me think ...>>
>>
> >>



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