Pigment inks are the usual choice for fine art reproduction, photographic exhibition work and archival prints, and for good reason. Each droplet carries tiny solid particles of colourant that sit on or near the surface of the media rather than soaking into it. That gives pigment prints better resistance to light and moisture than dye prints from the outset, and it also makes them a sound base for a protective coating.
Better is not the same as invulnerable, though. Because the pigment sits near the surface, an uncoated print can be scuffed, fingerprinted or marked by a splash of water during framing, handling or display. Gloss and satin pigment prints can also show bronzing or gloss differential, where dense areas reflect light differently from lighter areas.
What a coating adds
Colourjet is a solvent coating that forms a protective layer over the print, guarding against water, chemicals and abrasion. It also contains integrated UV inhibitors to help slow premature fading. On pigment prints the practical benefits tend to be:
- A surface that can be wiped and handled without lifting or marking the ink
- Protection for unglazed work, such as canvas or panels displayed without glass
- A more even surface finish, which can reduce the look of gloss differential
- An extra barrier against UV for prints hung in bright rooms or shop windows
Choosing how to apply it
For occasional pieces, a brush, roller or spray application can work well. Studios and print rooms coating regularly often move to a liquid lamination machine, which gives a more consistent layer across the sheet and saves time on longer runs. ClearJet aerosols, available in gloss and semi-gloss, are handy for small prints, touch-ups and one-off jobs. You can compare the options on our coatings page.
Things to check first
- The media, not just the ink. Pigment ink is rarely the problem. Uncoated or swellable papers and some speciality surfaces can react to a solvent coating, so the substrate deserves the closer look.
- Dry time. Let prints dry fully before coating. Heavy ink loads on dense blacks need longer than you might expect.
- Finish. A coating changes how the surface reads. A matte paper given a gloss coat will look quite different, so decide on the finish before committing a full edition.
- Sample first. Coat an offcut printed with the same profile, check it once fully dry, and compare it against an uncoated print.
Our application guides cover preparation, application and drying in more detail.
Talk it through
If you are planning to coat a new paper or a limited edition, send us a printed sample and we can advise on the right approach. Alternatively, call 01252 624 411 or get in touch through our contact page.