Testing Fredrix 777 canvas

[Peterretep]

I've used both Ilford Smooth Gallerie Pearl and Epson lustre paper for making test prints for Epson Exhibition Canvas Satin using PK black. The paper tests were a good aid for getting the image in the ballpark prior to testing on the Epson Canvas. Testing on canvas seems to waste a lot of the media.
Does anyone use paper for initial testing for Fredrix 777 canvas? If so what paper works best?

Thanks,

Peter

[TSJ1927]

Do remember that a matt type canvas will have a BIG jump in contrast & saturation apperance after a varnish coat.  So it may be fine to use the proofing material you are currently using.  At least it will get you in the "infield".  I suggest a final test strip on the final media.  I set up a min. 5 inch test strip on my Epson 11880 an an 8 inch on the ipf 8300.  Give it a force dry with a hair dryer then varnish the test strip.  The final print should dry/cure properly before varnish.

[Peterretep]

Thanks for that heads up regarding contrast and saturation.
What is the primary reason to spray canvas?

Peter

[John Nollendorfs]

Protection.
Canvas' are typically not framed under glass. All microporous pigmented ink substrates are prone to atmospheric degradation unless they are sealed with a protective coating, lamination, or sealed under glass.

Epson found out the hard way about this many years ago with their 1280 series printers. People were complaining about an "orange fade" problem within weeks of being printed. Even though Wilhelm had tested the ink/paper combination for light fade, with good numbers, he wasn't aware of the potential of micro-porous papers to fade due to high ozone environments. Of course the 1280 printer used dye inks, which are much more susceptible to this, but pigmented inks also can significantly degrade with atmospheric pollution.

If you think you can avoid the "hassle" of spraying your canvas prints, by using gloss canvas'--think again!

[langier]

With good profiles, a good coated stock will get you close IF you coat the 777.

For me, I coat with Clearjet LL (or whatever the right Clear Star liquid canvas coating is!). You can get coatings that run from gloss to matt and you can always blend to get in between. I use the Semi-gloss, one step below the gloss.

Several reasons for coating include sealing and protection of the pigments from moisture and gasses, adding flexibility for stretching, adding protection from abrasion during framing, and most importantly, adds richness and depth that uncoated canvas just can't give you.

I coat using a Daige EZ-Glide when i do production, otherwise I use a roller. Sometimes I lucky and can do a single coating, otherwise plan on two lighter coats, letting the canvas dry for an hour or so.

In the past year, I've printed nearly 700 prints on the 777 with better than 90% great results on the finished product. The rest succumbed from blocked nozzles and a few with bad technique in coating.

A key to good results is simply practice the craft and learn from your problems.

Another solution to testing is simply gang a few smaller images on a linear foot or two of material, then coat it. If it looks good there, then run your larger pieces. It slows you down and you can look at your testing with fresh eyes if you let it sit a day to dry, coat it and let it sit another day. Fresh eyes find the issue!

HTH,

[Peterretep]

John and Larry, thank you for your replies which are both helpful and appreciated.
I think that for the purpose I bought the Fredrix 777 canvas, the prints may be coated with their texturing gel as they will be painted over to a small degree.

Peter

[bill t.]

You can very quickly evaluate matte canvas test strips by spraying them with the various Glossy and Satin sprays available from Lowes, etc.  Gives a very good approximation of how proper coating affects the dark areas.  My personal favorite is Deft Gloss Wood Finish because it has a nice fan shaped spray pattern.  Dries in about 5 seconds.  The appearance is on the matte side of satin.  Wear a mask to avoid even more brain damage than most photographers already suffer.