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Paper Chase - Breathing Color Lyve Canvas - part 2 of 1 2 3

by Mike McNamee Published 01/08/2010

Audit Testing

We made profiles using 728-patch targets using spectro-input prints both before and after a coating of Glamour Gloss Veneer (more of which later). This then enabled us to make our gamut volume measurements and then, from the audit prints, make error analysis in the usual way for Paper Chase.

The most direct comparison that we could make with 'the competition' was to use Permajet's Fine Art Matt Canvas 360. This shows an uncanny resemblance in the error statistics and the 'signature' of the error spread. Both reproduce with reduced saturation values but accurate hues, typical of this class of material. For example the de-saturation in a red with a nominal saturation value of 70% is a little under 20%.

In summary then, the uncoated Lyve Canvas shows slight improvements in most statistics compared to its peer group but they are some way short of those created using semi-matt or gloss canvasses and way short of the record breaking baryta ultra-gloss surfaces (now they were eyepopping statistics - see table on the right).

The raw statistics, though, do not tell the full tale. Lyve Canvas has claims for additional longevity and better fade resistance due to the absence of OBAs. This case, though, may also be made for Permajet Matt Fine Art and a host of other canvas media. Of the six Permajet canvasses we tested last year, four were OBA free anyway

Another important criterion is the crack resistance under stretching conditions, claims are made (and seem to be independently verified) that this is better. There is also the matter of varnish; the improvements are so huge when you apply a varnish that it is difficult to imagine not doing so to a matt media.

This smells like other aqueous, air-drying varnishes typified by DCP's Giclee Varnish or ClearShield varnish. It does also smell exactly the same as Ronseal water-based varnish. The similarities seem to end there though. Glamour II is very much thicker than any other varnish we have seen apart from one of the PremierArt products. Glamour II is available in both matt and gloss finishes and they may be mixed to create in-between effects. In use, it is diluted with distilled water by 25% (ie 1 part water with 4 parts varnish) and this gives the opportunity to warm the water to a recommended 90°F, as the varnish acts better when slightly warmed. There is an excellent tutorial video on the Breathing Color website which demonstrates the application and use of the varnish. In essence you make up the mixture, pour out a puddle about a quarter the area of the print and then push the varnish about with a foam roller using only the weight of the roller. The varnish then self levels as it dries - it really is that simple. In many cases one coat of varnish is sufficient. The effect of applying a varnish is usually described as adding more 'pop' to an image. In scientific measurements this can be quantified as an increase in gamut volume, an increase in Dmax, a reduction in overall colour error, an increase in saturation and a slight deepening of the base- white tone of the substrate. Some or all of these attributes may be measurably affected and the effects are greater with gloss varnishes, compared with matt and semi-matt varnishes. For our tests we applied two coats of Gloss Glamour II before re-making our measurements. The varnish produced a very clean, smooth coating. There was the tiniest amount of 'drag out' when a brush was used to apply the varnish, that is, a little bleeding into the white surroundings away from darker areas of tone. For this reason the roller is still the preferred method of application, certainly for the first coat. The finish seems to be very elastic, important if cracking under the tension of stretcher-bar mounting is to be avoided.

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1st Published 01/08/2010
last update 09/12/2022 14:51:57

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