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The Great Paper Chase - Paper Spectrum Pinnacle Paper Range - part 11 of 1 2 3 4 5 6 7 8 9 10 11

by Mike McNamee Published 01/06/2015

Choosing your Window Mount Colour
For a harmonious match between print and window mount, the colour of the mount has to be chosen with a little care. If the print is to be used for competition purposes, even more care should be taken - never use a mount because it is the only one to hand! (See Jane Conner-ziser on the general topic in this issue.) Judges are a fickle and unpredictable bunch, especially in the enthusiast sector, so do not give them anything to carp about! Conservatism is thus the guiding philosophy and all of Paper Spectrum's boards follow this principle - all their offerings are fairly muted, including the blue and green. Now the greys and blacks speak for themselves, it is the whites where you can go wrong. As a guiding rule never put a brightened paper under a cream mount, it turns the borders to a dirty grey. Conversely always use a cream or warm off-white with a natural, unbrightened art paper - follow that and you will not go wrong.

It is unlikely that a printed version of a patch will match the real thing but we made an attempt and reproduce a patch set here from our spectro tests. The noteworthy thing is that the Ice White is heavily brightened, Snow White and Avillon Flecked have some activity in the UV booth; Antique White, Hayseed Textured and White Black Core have little, if any, OBA activity.

OVERALL

There is much to be admired in the Paper Spectrum product range. It is comprehensive, with a good range of papers and some really useful mounting products, all aimed right at the intended users. The prices are very competitive for such quality and you should be able to make exhibition-quality, mounted prints with a minimum of fuss. We look forward to seeing your work in the 16x20 at Convention 2016, but don't forget to read Jane Conner-ziser before you commit to a mount!

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1st Published 01/06/2015
last update 09/12/2022 14:57:23

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