Immediately this paint is very different from Windsor and Newton's. It's smellier, felt oilier, and didn't rub off the print as nicely. I tried it with my narrowed down paper choices, and found that it worked the best with the smoother papers: Arches Platine, Stonehenge, and Fabriano Artistico Hot Press. These papers cleared off enough for me to add a second layer of paint to make the blacks even more rich and allowed the midtones in the prints to really come out. The other papers were muddy messes and while some may be sort of salvageable with the help of bleach, I know that they won't be great prints regardless.
Also with this round, I changed up my negative a bit. I was still using the print Hidden Oak, but thought that maybe if I changed a few things around in Photoshop, I could bring out the details in the image that I was really missing. Well, the new negative is a bust, so back to the old negative it is. By the time I find my favorite paint/paper pairings, I know I'm going to be very sick of looking at this image.
Results of the paint experiments part I: Michael Harding's works amazingly well on the smoother papers, and for that it really redeemed itself in my eyes. If the paper has any sort of texture on it though, it is basically a bust for this process.
|Best one for this round: Arches Platine|
|There are nine papers here because I have a repeat. I have narrowed|
down my paper selection to 8 total.