We would also use the Colorplan for any colors where the artist wants the paper to be colored beyond the more subtle hues that are available from the rag paper makers. The Somerset is the only rag paper that we can get that comes in that Radiant White so we've used that a few times. Colorplan also has some bright white papers that are useful, as most of the cotton papers are a "natural" white. The Arches Cover black, although not as black are Sirio Ultra Black, is also great as a more traditional choice for black paper, at a higher price point. ![]() When it comes to color, Sirio Ultra Black is our new go-to black paper. We’ve also used Yupo to recreate art that was originally painted on matte mylar. We’ve used Arturo Cover for a light cold press watercolor paper texture, and Arches Rough for an extreme texture (although it was difficult to get the printing consistent). If the artist chooses something other than Coventry, it is usually because they are looking for a different texture or shade or even weight. Arches and Rives are more expensive, but have a very soft texture that is beautiful. Stonehenge 22x30 is a good alternative for smaller prints. The cotton fibers are more durable, and receive the ink well. Some of the commercial papers on the market, even though they are made for silkscreen printing, react in unexpected ways and can cause problems such as mis-registrations, waviness of the paper, and can sometime make the ink colors look dull. Since we do fine art serigraph printing using water based inks, we prefer 100% cotton paper, since that is what is used traditionally for fine art printing. Most of the time, it comes down to pricing and size for the artists. We like the Coventry because it comes in different sizes and can accommodate larger print sizes at a great price and quality. In general, here are some key things their responses had in common: How do they collaborate with artists to choose the right paper? Which paper fit their needs and why? Although there are similarities among many of the printers, each printer has their own unique methods and favorite substrates. Over the years, we've continued to improve our papers to meet the demands of our customers.įor this article, we asked some accomplished screenprinters to share some information that could help guide your paper decision-making. ![]() Our papers have been used for screenprints by a wide range of artists & printers - from small poster shops to some of the 20th and 21st century icons. We're fortunate to have worked with hundreds of printers around the world going back fifty years. More "commercial", poster-type papers can react in unexpected ways, causing printing issues, as well as not being able to stand up to sunlight and the test of time. But beyond that there are other aspects to consider as paper quality plays a large role in the value and quality of your print. There's always personal preference - what look are you trying to achieve? This will help determine the color, texture and possibly weight. ![]() But when it comes to making a high-quality print - something to be sold, something that will last, something to hang on a wall or in frame, something to show in a gallery - it's a little more involved. Choosing a paper for screenprinting should be easy, right? If you can screenprint on a t-shirt or a piece of wood, how hard can choosing a paper be? If you're making a quick, inexpensive poster - choosing a paper can be simple.
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