Over the years we have worked with all sorts of fine-art inkjet papers. We’ve settled on some real good ones. While we stock the papers listed below, we take interest in printing on new surfaces for specific full-edition projects. We’ve experimented for such artists as Karen Glaser and Louis Gonzales Palma both masters of printing in their own right.
Hahnemuhle Photo Rag 308gsm | Up to 60″ Wide | Normal and Bright White
Harmen Fiber Gloss | Up to 60″ Wide | Warm and Neutral
Ilford Galerie Gold Fibre Silk | Up to 50″ Wide
Epson Exhibition Fiber | Up to 64″ Wide
Epson Premium Semigloss (Facemount Capable) | Up to 60″ Wide
Epson Enhanced Matte (Proofing) | Up to 64″ Wide
Lexjet Hot Press Rag (Alternative to Hahnemuhle Photo Rag) | Up to 60″ Wide
Other Papers We Like
And so many more . . . .
We use Epson Ultrachome Vivid K3 Ink. Eventually we will upgrade to Epson HDR (CMYKOG) ink when they come out with a 64″ capable high-gamut printer. These inks are exceptional in their quality control: a top concern for a printmaking business like ours. We can’t run the risk of an ink dropping out during a massive print-run.
We will soon be using Piezography K7 inks again. This ink will arrive in the coming months as we regain our support for Black and White at the Chicago studio. For unbiased archivability testing, check out Aardenburg Imaging. Mark McCormick-Goodhart has developed an amazingly rigorous test facility and he takes no money from large ink firms (or any ink firms) like Epson or HP; his results can be trusted. If you take value from his data, we suggest you contribute. He runs a community funded organization.