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Permajet Jet Mercury Ultra White Matt Canvas - part 2 of 1 2 3

by Mike McNamee Published 01/12/2012

Colour Audit

The audit statistics are tabulated. The varnish changes the quality of the data from rather ordinary to extremely good; few canvas media achieve this level of reproduction accuracy especially when OBAs are involved. Even the OBA-vulnerable skin tones held up. The only patch values that fell back from the overall very high standard were the deep black and darkest tones, like all matt substrates they cannot hold the high Dmax values obtainable with a glossy paper media. For all that an average of around 3.5 is very good for the unvarnished state and outstandingly so at 2.55 for the varnished product (anything below 3.0 we regard as a bonus!). As you would expect the HiGAM patches suffered the most, the matt surface cannot quite reach so far out into the gamut and it was the chroma (saturation) component which dragged the average down.

We also made some real prints which were also varnished. They looked very rich indeed and would stand alongside the best. We particularly like the effect of the varnish coating; it brightened the image, increased the depth of the blacks but retained the essential structure of the canvas weave and did not make it over-glossy or plastic they way that some varnishes can.

Monochrome

We extracted separate monochrome data from prints made using the PermaJet profile. The Dmax was a moderate 1.73 after varnishing, not among the top fliers but more than adequate in a print. The metamerism as measured by Colour Inconstancy Index was very low at 0.8. The PermaJet profile mapped the greys a little closer to neutral than the white point and everything was pretty tidy and correct. The maximum black that remained detectable in a print was 20 RGB points in the unvarnished state and this drifted to 25 points after varnishing.

The highlights were unchanged by the varnish at 249 points - about normal for a canvas, the surface structure always 'loses' some detail at the high end. The shadows flattened out coming into 20% luminance for unvarnished and 14% after varnishing. The mid grey was placed within 0.3% of the 50% mark with varnish applied. Overall then these were near flawless data for monochrome and the media could be used with complete confidence for your black and white work.

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1st Published 01/12/2012
last update 09/12/2022 14:57:34

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