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Canvas and Paper Descriptions:
We use artist materials supplied by Epson® , Fredrix, Strathmore Artist Papers, or Legion Paper. These materials are available in sheet or rolls. Not every size is available in every surface. As mentioned, we will recommend certain image and surface combinations as being preferred for a specific painting.
· Photo Glossy, Semi-Gloss, Lustre: hese are resin coated, plastic, or synthetic base papers. Most contain optical bighteners.
· Artist Canvas: This is just as the name implies, a canvas material, soft and limp when not mounted. May be either glossy or matte appearance. These may be attached to a traditional stretcher frame or surface mounted to foam-core or archival mount board.
· Canvas Cover has a less pronounced canvas texture on a moderately stiff substrate. No supportive mounting is required.
· Watercolor paper is a traditional artist paper with a subtle texture as in traditional watercolor paintings.
· Smooth or Enhanced Velvet are smooth finish, matte papers for sharp photographic images.
· Fiber or Weave Papers with the texture of rice paper.
Information regarding digital artist papers may be found on line at:
Print Life Expectancy
We produce most of our photographic prints onto Epson®, Kodak® or Legion® brand professional ink jet papers. These manufactures provide information regarding the fade resistant qualities of their papers.
Brighteners
Most papers have a slightly warm tone in their natural state. During manufacture the paper fibers are bleached. The "Pop" that we see in our photographs and other printed materials typically comes from UV eneabled optical brighteners. When exposed to UV light from sunlight or flouresent light sourtces the images have more of this "Pop".
For archival purposes this presents a couple pf problems. Archival mounting and framing entails protecting the image from UVlight by means of an over spray or UV protectant glass. Although this protects the image from UV damage to the pigments it prevents the optical brighteners from being activated by teh UV light source. Museum display lighting will aslo have a UV filtration to protect the artwork.
These brighteners also deteriorate over time adding to the degredation of the appearance of our artwork.
Many archival papers use non-UV or mineral brighteners to acheive the maximum brightness posible. This provides a level of brightness that will be consistant no matter the framing and protective spray or the light source. Plus the artwork will maintain it's orginal tones over a longer period of time.
Recently several paper manufacturers have been using Baryta to brighten the paper. Baryta, (barium sulfate), is a chromatically neutral powder that does not disolve in water. It provides a neutral white base that is pretty impervious to moisture and time.
Baryta was used in fine B&W papers from the chemical photographic darkroom processes.
More information regarding print life and fade resistance is available at:
© 2010 R and J Photography