Learning From the Great Masters - Carbon Pigment
Because
the carbon printing process uses pigments instead of dyes, it is
capable of producing a far more archivally stable (permanent) print
than any of the other color processes. Digital pigment printing is the
current state of the art in Black & White and color fine-art
printing. While almost everything ultimately fades in sunlight, in
comparative fade testing, the carbon pigments do better than other
pigments rated at 200 years of display life.
Good examples of the color stability of pigments can be found in the paintings of the great masters, the true colors of which, in many cases, have survived all these centuries. A more contemporary example of the color stability of pigments is found in the paints used on automobiles today, which must survive intense daily exposure to very harsh lighting, under extreme conditions.
The useful life of many (but not all) pigment formulations has been projected out to be several centuries and beyond (perhaps millennia, if cave paintings of Lascaux, the wall paintings in the tombs of the Valley of the Kings and the frescoes of Pompeii are relevant examples), often being limited only to the useful life of the particular support used. Additionally, the use of pigment also produces a wider color gamut than any of the other color processes, allowing for a greater range and subtlety of color reproduction.
Good examples of the color stability of pigments can be found in the paintings of the great masters, the true colors of which, in many cases, have survived all these centuries. A more contemporary example of the color stability of pigments is found in the paints used on automobiles today, which must survive intense daily exposure to very harsh lighting, under extreme conditions.
The useful life of many (but not all) pigment formulations has been projected out to be several centuries and beyond (perhaps millennia, if cave paintings of Lascaux, the wall paintings in the tombs of the Valley of the Kings and the frescoes of Pompeii are relevant examples), often being limited only to the useful life of the particular support used. Additionally, the use of pigment also produces a wider color gamut than any of the other color processes, allowing for a greater range and subtlety of color reproduction.
Printing Papers & Framing
For the best results we use heavy weight papers optimized for digital output. Hanemühle quality paper, traditionally considered the best used for fine art reproductions is the paper of choice by Lissa's Exclusive mould-made, 100% cotton rag, acid free, and archival to 100+ years.Paintings © by Lissa Friedman unless otherwise noted. All images herein are the property of the artist noted. All materials are protected under the United States and international copyright laws and treaties which provide substantial penalties for infringement. The use of any images or other materials included herein, in whole or part, for any purpose, including, but not limited to, reproduction, storage, manipulation, digital or otherwise, is expressly prohibited without the written permission of the artist.
Digital Pigment Editions uses two heavy weight papers optimized for digital output. Hanemühle Photo Rag (smooth, bright white surface,) and Hanemühle German Etching paper (lightly textured, warm tone surface.) Both are mould-made, 100% cotton rag, acid free, and archival to 100+ years with carbon pigment printing. We also use a medium weight paper with a toothy texture for some images, Hanemühle William Turner, at 190 gms. This paper is a rough version of Photo Rag and produces an excellent deckled edge for float mounted images.
Digital pigment printing uses the power today's technological advances in digital imaging to free the artist from a ' darkroom', and give the artist a digital 'lightroom' in which high resolution images are scanned, corrected, spotted and adjusted using a a variety of techniques to achieve a final image that conveys an artistic vision of the original scene, or an inner visualization of a moment in time.