I promised to show some of the different papers I have experimented with as I begin producing some of my own fine art prints. I took this photo under a cloudy sky with the papers resting on a blank canvas. I found it interesting to see that the Somerset Velvet White is the same color as the canvas on which I paint. I can see why watercolorists often use this paper for their prints. It is soft, thick, and luxurious. The Radiant White is not quite as white I would like for my prints, but shares the same tactile qualities the Velvet White is admired for. These two papers are fine art papers which have been treated (enhanced) with a coating which makes them very receptive to the printing inks. They are wonderful to touch, but for most of my work, reproduce too softly and are too yellow.
On the right side of the picture are two much brighter papers and I find that truer whites really work best for reproducing the highlights in my paintings. Working in acrylics is a bit different form other media in that it is often most effective to paint dark to light, with the lights resting on top. This is very natural for me and I really enjoy the last few strokes of each painting as I watch the highlights bring it to life. The Moab Entrada Bright White is heavier than the Epson paper and has a very nice feel, but it is also a little too white for my work. You can see the washed out appearance of the greenish yellow color in this photo and the white highlights are much brighter than they were in the actual painting. I’m really happy with the quality of the reproduction on the Epson paper. While it was developed for photography and professional presentations, it has many qualities which make it superior for much of my fine art printing. It was created to work with the Epson pigment inks I use and when used together these prints are archival in nature. Tested to withstand 100 years under glass or 200 in an album. I choose to print this image, and most of my work, on this paper for the color and quality. It is white, but not too white, it shows the color of the highlights as they appear in the original. It is also very smooth and provides a very crisp reproduction.
While there are some paintings of mine which reproduce well on the Somerset Enhanced Radiant White, and others which I print on the Epson Watercolor Radiant White (not pictured), most of my reproductions are done on the Epson heavyweight matte paper picture above. I first presented these prints to the public at last Friday’s White Street Art Walk and I heard all sorts of comments and questions to indicate I had chosen wisely. “Who’s the photographer?” “Are these original pastels?” And my favorite, “What is this done on? Did you paint all these on fabric?”
2 Comments
in reading your comments about making prints from paintings id like to ask if you have had any trouble with screen ,printer and original matching.i use r1800printer epsonv700 scanner and epson velvet fine art paper.do you use gregtag mcbeth or eye one,etc calibration kits?
i work in watercolor and am embarking on making prints. some came out good others not,looking for consistency-please send tips
Hi Judith,
You bring up a very good point. I have looked into the calibration software, but at this time I do not use a calibration program. The way I get the correct color is by adjusting settings in the printer control panel for each painting and making small prints until I find what works best for that painting. You can control a large number of options in the printer control panel, right down to the amount of a particular color of ink. After working with a few pieces, it becomes easier to predict the best settings for each painting. It is possible to save the settings in the printer control panel and name them individually, but I prefer using a list of paintings and their best settings on paper because each time I print, I get a refresher in what works and why and it helps me be more accurate when I begin working with a new painting. As with most things, I find that patience and practice are the most essential skills! Of course, a good eye for color and an ability to recognize patterns are required, but as artists, we have a lot of experience to draw on in that area.
The one thing I find calibration kits cannot do is control the variations between different monitors. I never know what my images look like online when viewed on other systems and when someone orders a print there is undoubtedly some variation from what is viewed on their screen. I remind myself that I am the choosiest person about the color reproduction of my prints and some things are simply out of my control. Happily, everyone who has ordered a print from me after viewing my work online has been pleased with the quality. And I am pleased to know that I am offering them a print that does justice to the original.
If you decide to invest in a calibration kit, I would be interested in hearing about your results. Thanks for reading my blog and thank you for your thoughtful question, Kathryn
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[...] Photographic papers offer phenomenal quality and longevity, but unless your paintings are truly off-beat, an off-beat paper can hinder your sales. Although most art buyers do not handle the packaged print, matte paper with some weight to it is preferred. I have posted an entry with a photo about some of the papers I’ve been experimenting with and you can read that here. [...]
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