Glossy overcoat for Epson wide format prints?

[Ken Allen]

I am wondering if anyone has a way to apply a glossy overcoat (to selected areas only) to large format prints from Epson printers. As a reference I see this on four color press printed items, especially high quality marketing materials. For example a image area containging a portrait will be glossy, but then the black background is the normal uncoated matte.


I appreciate any input.

Best,

[Greg Lockrey]

Did you try painting said area with "Frog Juice"?

[Helen Bach]

I've tested a few different coating methods and materials for matte and glossy paper, and settled on Krystal Topkote for glossy paper, applied by a printer on a second pass. For matte I still use hand-applied coatings. I'm trying Glamour2 at the moment. I don't try for a matte border though. Getting an even, dustfree coat is difficult enough, as is coping with the dampening of the paper.

Best,
Helen

[matthew blais]

On commercial offset, it is known as spot varnishing, and requires a separate plate to lay that down after the ink run. An overall varnish can be laid down on offset as a last application, typically nowdays as an aqueous coat, or UV for real glossy.

I don't have a clue ghow you'd do a spot varnish on an inkjet other than by hand and very carefully (and painfully). Perhaps print out a mask and cut for back then spray.

[Wilbur Wong]

On commercial offset, it is known as spot varnishing, and requires a separate plate to lay that down after the ink run. An overall varnish can be laid down on offset as a last application, typically nowdays as an aqueous coat, or UV for real glossy.

Blaze-On is correct about the commercial processes whether offset or intaglio. The increasingly differentiation of gloss differential may involve 2 spot varnishing plates, one for gloss varnish and the second for an intentional matte varnish using both increases the perceptual difference. The ultimate gloss is often achieved by applying a UV cured varnish. UV varnishes achieve their smooth mirror like surface because they do not cure by air drying or absorption of the carrier into the paper substrate. An undercoat is printed on to the substrate first to prevent the liquid UV compound from soaking into the paper. The second or so of time between the UV application and exposure to the UV light allows the coating to "flow" out to a smooth surface then the exposure to ultraviolet light catalyzes the coating instantly to a solid. (UV light exposure is extremely harmful to eyesight and commercially this is done under very controlled conditions.)

[roteague]

I just print on Fuji Crystal Archive or Ilfochrome, and don't have to deal with such issues.

[tim atherton]

I just print on Fuji Crystal Archive or Ilfochrome, and don't have to deal with such issues.

Hope you give a good fade guarantee... why only media with such relatively short predicted longevity?