KENTMERE
The Art Collection
Product Description
An exquisite range of exclusive high quality specialist papers,
crafted for the discerning artistic image maker.
Superior emulsions, carefully selected for each paper type,
are coated on Kentmere's unique Art papers. Each of the papers in
the range, with their rough drawing paper characteristics and textures,
can be used by artists and photographers alike to glue the ultimate creative
medium.
Art Document
A lightweight rough drawing paper, coated with a non-supercoated
bromo-iodide emulsion. Inks, water colours, dyes, charcoal, pencil - all
traditional artists materials will '"take" due to the absence of the usual
supercoat layer. This unique paper will take a variety of specialist treatments,
bromoil, charcoal enhancement ate. Art Document is the creative choice
for artists and specialist photographers.
R. C. Art
The same textured Arf paper surface, but with a protective supercoat
and on an easy to process mid weight resin coated base. Easy to handle
and tone, R.C. Art can be machine processed. Due to the resin coating and
protective supercoat, R.C. Art is less suitable for some of the various
artistic processes.
Art De Luxe
A heavier Art surface with greater surface texture on a
luxury 175 g/m2 weight base. This paper, with its supercoated bromo-iodide
emulsion, is particularly suited to large display/porffolio prints demanding
a more robust paper with a deeper surface indentation.
Art Classic
A luxury 240 g/m2 paper with a soft ivory tone, coated with
a warm tone chloro bromide emulsion. Its soft delicate image rendition
is particularly suited to "contra-jour-" high key subjects. It is equally
suitable for the sympathetic copying of old prints, giving a delightful
"period" feel. Art Classic, with its specialist chloro-bromide emulsion,
is very responsive to warm tone developers which enhance the image warmth.
Toning, lith development (creating warm cream/pink highlights and magenta/red
blacks) and dyeing give endless possibilities to the truly creative - master
printer's choice.
Product Identification
The Art Collection labelling contains the following information
:
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Colour coding: Magenta for the Art Collection
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Paper type: Document Art, RC Art, Art De Luxe, or Art Classic.
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Contrast grade: 2 or 3 (Art Classic is only available in grade 2).
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Recommended safelights: Kodak OC or similar.
Packaging
Kentmere black and white photographic papers are packed in a black
plastic envelope, then an outer cardboard box or envelope and finally sealed
with a label and tape. The plastic envelope helps protect the paper from
humidity and fumes as well as being light proof. Although the black plastic
envelope is light proof, we would recommend that it is also returned to
the outer cardboard container before exposure to white light as small holes
can develop in the bag with use.
Storage
All Kentmere black and white photographic papers should be stored in
their original packaging, including the black plastic envelope. The plastic
envelope protects the paper from harmful darkroom fumes and humidity. Ideally
the paper should be stored in a cool dry environment preferably at temperatures
below 20C. Allow sufficient time for warming up and do not allow condensation
to form on the paper.
Spectral Sensitivity
| Spectral sensitivity of R.C. Art, Document Art and
Art De Luxe papers.
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Spectral sensitivity of Art Classic paper.
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Paper Structure
R.C. Art
Paper Base
The textured base paper has a weight of 1 35 g/m2 coated on both
sides with 1 9 g/m2 of polyethylene giving a base weight of approximately
173 g/m2 and a thickness of approximately 220 ìm.
Coated emulsion layer
The light-sensitive silver halide emulsion layer has a silver content
of approximately 1 .6 g/m2. This is covered with a gelatine supercoat which
protects the emulsion from stress fogging and physical damage and also
contains a developing agent.
Cross section of R.C. Art paper
(Not to scale, for information only)
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Document Art
Paper Base
The textured base paper has a weight of 135 g/m2 and a thickness
of approximately 214ìm.
Coated emulsion layer
The light-sensitive silver halide emulsion layer has a silver content
of approximately 1 .7 g/m2. A small amount of developing agent is
incorporated within the emulsion. This paper does not have a supercoat
layer. |
Art De Luxe
Paper Base
The textured base paper has a weight of 175 g/m2 and a thickness
of approximately 280 ìm.
Coated emulsion layer
The light-sensitive silver halide emulsion layer has a silver content
of approximately 1 .8 g/m2. This is covered with a gelatine supercoat which
protects the emulsion from stress fogging and physical damage and also
contains a small amount of developing agent. |
Art Classic
Paper Base
The textured base paper has a weight of 240 g/m2 and a thickness
of approximately 41 0 ìm.
Coated emulsion layer
The light-sensitive silver halide emulsion layer has a silver content
of approximately 1 .8 g/m2. This is covered with a gelatine supercoat which
protects the emulsion from stress fogging and physical damage and also
contains a small amount of developing agent.
Cross section of Fibre based Art papers
Note: Document Art has NO supercoat layer (Not to scale, for information
only) |
Safelighting
The Art collection uses conventional bromide and chloro-bromide
emulsions, which can be used under standard safelights for non-VC type
printing papers ie. yellow/amber through to red. Good darkroom practices
should be adopted, keeping safelight exposure to a minimum and returning
unused paper to the original packaging.
Box/lantern type safelights, using glass filters should only be used
with a 15 W bulb or less and should be positioned at least 1 metre from
the paper. Filters which are suitable for use with the Art Collection are
Kodak OA, OB, OC, or 1A, and Ilford 902.
Fluorescent safelights are also suitable, these give a brighter, over
all more even lighting. Fluorescent safelights can produce a more evenly
lit and pleasant working environment but still be as safe as the conventional
lantern type safelights. Fluorescent safelights should be positioned at
least 1.5 metres from the paper. Fluorescent safelights which are suitable
for use with the Art Collection are EncapSulite A 10/ND.4 Amber
or R 1 0 Red. (EncapSulite International Ltd., Youngs Trad. Est., Leighton
Buzzard LU7 8QF. Tel. 01525 376974).
Other safelights can be used but tests should always be carried out
first.
Sensitivity / ISO Paper Speeds
(ISO speeds to ISO 6846 - 1 992)
| Paper |
Grade 2 |
Grade 3 |
| Document Art |
ISO P250 |
ISO P250 |
| R.C. Art |
ISO P250 |
ISO P250 |
| Art De Luxe |
ISO P250 |
ISO P200 |
| Art Classic |
ISO P1 60 |
- |
Contrast range
(ISO range to ISO 6846 - 1 992)
| Paper |
Grade 2 |
Grade 3 |
| Document Art |
ISO R70 |
ISO R50 |
| R.C. Art |
ISO R70 |
ISO R50 |
| Art De Luxe |
ISO R70 |
ISO R50 |
| Art Classic |
ISO R85 |
- |
Maximum density
The papers in the Art Collection will achieve the following maximum
densities:
| Document Art |
1 .40 |
| R.C. Art |
1 .40 |
| Art De Luxe |
1 .50 |
| Art Classic |
1 .60 |
(the texture of the paper surface and malting agent content reduce the
maximum density achievable on all the papers within the Art Collection)
These figures represent an average of the achievable results. A small
amount of production tolerance is included. Actual results achieved may
differ depending on processing, paper age and storage conditions.
Density/Characteristic curves
Document Art
 |
 |
Art De Luxe
 |
Art Classic
 |
Results achieved using Kentmere VC Select Plus Developer 1 +
12 at 20C as recommended under processing instructions. Other recommended
developers and fixers (see Processing) should give comparable results.
Processing
The Arf Collection can be processed in Kentmere VC Select Plus
Developer and Fixer with excellent results. Also recommended, in alphabetical
order are Agfa Neutol, Champion B&W Multicontrast, ilford Ifospeed,
Kodak Polymax, and Tetenal Variospeed developers, together with their appropriate
fixers. Equivalent products from other manufacturers should give similar
results, as will most high quality standard and multicontrast paper developers.
R.C. Art can also be processed in roller transport machines intended
for black and white materials. Art Classic will react with warm tone developers
such as Agfa Neutol WA, intensifying image warmth.
The following table shows recommended dish processing conditions for
use with Kentmere VC Select Plus Developer and Fixer. If using another
manufacturer's chemistry, refer to their instructions for recommended processing
conditions, to achieve similar results.
| Chemistry |
Dilution |
Temp. |
Time |
Kentmere VC Select Plus Varaible Contrast
Developer |
1 + 6
1 +9
1 + 1 2 |
20C
20C
20C |
60 - 80 s
90-110s
1 00 - 1 20 s |
| 2% Acetic acid stop bath |
- |
20C |
1 0 s |
Kentmere VC Select Plus Varaible Contrast
Fixer |
1 + 4
1 + 9 |
20C
20C |
90 - 1 80 s
1 20 - 240 s |
Wash in running water:- Fibre base Arts
R.C. Art |
-
- |
-
- |
30 - 40 mins
4 mins |
(note: R.C. Art should NOT be given excessive washing, as
this can cause shrinkage in the base when it is dried.)
Drying Fibre based Art papers
Fibre based Art papers can be dried using any standard fibre base
paper drying methods, these include:
Atmospheric drying, either at room temperature or using warm air, having
removed excess surface water using a suitable print squeegee. Prints will
dry flatter if hung back to back in pairs.
Print drying racks or plastic mesh screens can also be used to hold
prints flat during drying. If using a heated glazing surface for drying
prints, back of print to the glazing surface, excessive temperatures should
not be used, as this can cause the emulsion to melt and adhere to the glazer
blanket.
Drying R.C. Art paper
Resin Coated Art can be dried using any standard resin coated paper
drying methods, these include:
Warm air drying up to temperatures of 80C. Infra-red dryers such as
the llford Ilfolab 1 250 Dryer or similar.
Atmospheric drying, having removed excess surface water using a suitable
print squeegee. Warm air drying as in purpose made print drying cabinets.
Note: R.C. Art, as with all resin coated papers, should NOT be used
with a rotary glazing/drying drum or flat bed glazing/drying press.
Toning
The Art Collection papers tone well with Kentmere Sepia Toner.
Kentmere Sepia Toner offers infinitely variable tones, according to dilution
and time.
Prints to be toned should be thoroughly fixed and washed prior to any
toning.
Kentmere Sepia Toner comes as parts A + B : a bleach
and toner. By varying the dilution of the toner a range of tones can be
obtained. Used neat a rich chocolate colour is produced, the colour moving
towards yellow/brown with increasing dilution.
Method
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Immerse print in the bleach'A' solution until all the black image is bleached.
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Wash in water until the water is no longer coloured.
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Tone in solution 'B' diluted as req vi red.
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Wash for 40 minutes in running water (R.C. Art 4 minutes).
Detailed technical sheets covering toning and cross-processing of our product
range are available separately.
Mounting
The Art Collection papers can be mounted using any of the standard
methods for print mounting.
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Cold adhesive films/cold mounting
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Hot adhesive films/dry mounting
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Spray adhesives such as:-
3M Spray Mount Adhesive
3M Photo Mount Adhesive
Technical enquiries
Please address any technical enquiries on this or any of our products
to:
Kentmere Limited Photographic Division Staveley,
Kendal, Cumbria LA8 9P8.
Tel: O1 539 821365 Fax: O1 539 821399
Replacements
Kentmere Limited will replace or credit the value of any Kentmere
papers if found by us to be defective in manufacture, our liability being
confined to the value of the paper only. In all such cases, proof that
the paper was defective would be required.
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