Materials and Methods


Paper


Museo® MAX —    Archival (exceeds Library of Congress standards for permanence; ISO 1108, 9706 certified for permanence)  using 100% cotton linters (from cotton rags) and Artesian well water.  It is a true rag paper made from the manufacturing rag waste of high quality 100% cotton fabric.  This is made using a non-chlorine process and is internally buffered (to prevent long term environmental acidification).  It contains no optical brightening agents (OBA’s).  OBA’s fade, yellow and shift color over time.  They will also look yellow if the print is properly framed under UV blocking glazing since they work by absorbing UV light and fluorescing in the visible spectrum.  This is a mould made 100% cotton paper producing a random texture.  It is a heavy weight paper...   prints on 17 x 22 in. paper are 365 gsm weight and 0.021 in. (530 µm) thick.  Technically advanced (1.66 Dmax with K3 ink; 91 brightness), it can produce exceptional blacks with a wide tonal rage and color gamut.  The paper stock used for my prints was developed and distributed by Crane & Co in Dalton, MA (before they stopped distributing it and sold the license). This company has continually supplied the United States Treasury with its currency paper, the most durable in the world, since 1879.  In 1770 Stephen Crane took over Massachusetts’ first paper mill. *   




Ink


UltraChrome K3 ink —   A high-density archival pigment based ink set using a pressurized system. *  I have been asked many times if this is a “giclée” print... I prefer not to use that term to describe an inkjet print since it is an unregulated generic neologism of product marketing that only serves to confuse.




Print


Color Management —  Performed reading a 1,600 block array using a Gretag Macbeth i1 spectrophotometer.


Fixative —    Lacquer based designed for and tested with K3 ink.*




Framing


Museum Glass® —   98% UV blocking (300-380 nanometer), <1% light reflection.  This is achieved with optical coatings such as used on optical lenses.  Acrylite® OP-3 is used as an alternative.*


Rising Museum Board —   100% rag (cotton linters) internally buffered matte in Antique 8 ply / 120 pt.  Archival (exceeds library of Congress standards for permanence).  Mill is ISO 14001 certified for environmental management... it generates it’s own hydroelectric power and uses a chlorine-free process.  This is a tree free product.


All materials, except for the solid wood frame, are acid free... even the backing paper.  The print is mounted using Lineco archival mounting strips, so no adhesive ever comes in contact with the print.  The museum board is hinged using linen tape.




* Stability and preservation testing by Wilhelm Imaging Research, Inc.  Longevity for paper and ink determined to be 200+ years (they do not test beyond that point) in indirect sunlight without the additional protection of fixative and UV blocking used in the framing.