Preservation of Ink Jet Hardcopies

An Investigation by Martin C. Jürgens

for the Capstone Project, Cross-Disciplinary Studies,

at Rochester Institute of Technology, Rochester, NY

August 27, 1999


1. Abstract

2. Background

3. Goals

4. Target Group

5. Evaluation of Effectiveness

6. Acknowledgments 

7. Contents

8. Download "Preservation of Ink Jet Hardcopies" (PDF)

1. Abstract

This research paper investigates the digital hardcopy process of ink jet printing. The focus is specifically on the physical nature of the print rather than on the printing technology behind it. As such, the investigation addresses primarily the concerns of the conservator, but also takes the interests of the archivist into consideration. The paper includes:

The outcome should include the acquisition of overall knowledge of digital printing technologies and detailed knowledge of the materials and media of ink jet hardcopies. Through the investigation of modern processes such as ink jet, it is hoped that permanence issues can be raised and deterioration problems minimized at an early stage.
 

2. Background

As digital imaging advances, so does digital printing technology. Industries are developing new output methods rapidly, and many photographic amateurs may switch to electronic cameras and desktop printers that can function without the additional use of a PC in the near future. A multitude of printing techniques for digital images already exists, the minority of which employ conventional color RC photographic paper. Artists in particular have been experimenting with new printing media, and their work will often end up in an art or photography collection or archive. There is as yet no compilation of information that covers the wide range of this new generation of prints, and thus the conservator has much trouble in finding identification guidelines and preservation recommendations in his/her work regarding the new print media. The permanence of conventional photographic prints depends almost as much on the correct processing of the prints as on the intrinsic problems of the materials used. In the case of the digital print, the processing is automated. Thus, the more important issues are those of the stability of the materials.

As technology continue to evolve, more and more prints of the digital generation will enter archives and the preservation problem will grow. As many technologies of this category are developed under the pressure of increasing competition, manufacturers are driven to utilize the cheapest methods and materials possible without decreasing image quality. Unfortunately, as has been apparent in the past, this approach often leaves no place for a high priority of material permanence. On the other hand, some manufacturers have realized that a stable print will sell better than an unstable one, and this is reflected in advertising campaigns. Sooner or later the conser-vators will have to care for images that are produced using these media. Due to the great variety of printing processes and their continuous variation, it can be very difficult for a conservator to find detailed information on the materials employed. With conservation of photographs as we know it today only having a history of about 30 years, we have the unique possibility of having a direct influence on permanence issues concerning these contemporary printing processes. This research project concentrates mainly on the ink jet family, not only because it is the most diverse among the digital printing technologies, but also because it is regarded to be the most promising for future developments of hardcopy output.

It is a necessary and common practice in conservation to prioritize objects in terms of their need for preservation. In view of the wide scope of ink jet applications today, this concept would appear to make sense in the areas of new technologies as well. Singling out one area regarded to be most worthwhile for preservation is surely the only way detailed investigation can be financed and carried out. However, it should not be forgotten that the quantity of noteworthy ink jet printing cannot be reduced to the artist eager to try out a new technique. Rather, ink jet is being used in organisations that still rely on paper archives and will continue to do so in the future, such as businesses, public institutions, advertising agencies, and many more. In view of this fact, the scope of ink jet hardcopy preservation widens considerably. Take for example any hospital, police, government, or business archive which aims to preserve documents. It is helpful to note how early advertising is now considered collectible. It will remain to be seen if today's advertising prints will be deemed worthy of preservation measures in the future, but to rule this possibility out from the start would seem premature. Preservation needs to be one of the key factors in the production process of a print. If taken into consideration from the very beginning, the longevity of a print can be planned and become part of the print production process.1

A glance through magazines dedicated to printing and a look around trade fairs will show that image permanence is an important issue among manufacturers and that it plays a dominant role in their advertising. The conservator, however, should focus on those processes that he/she will have to deal with in his/her work. These would include prints that are being used by his/her clients and that have proven to have promising image stability qualities. A deviation from this would force him/her to study innumerable technologies as well as con-tinuously keep up with the rampant progress in ink jet printing. In trying to give an overall yet detailed account of the printing technologies, chemistry of materials, and preservation issues, I have come to recognize the variety of ink jet products and their exponential effect of combinations as very broad. The further I progressed into this field, the further I understood the need for a selective concentration on a few promising processes, which might prove interesting for the conservator. At the same time I realized that, in order to make this selection with some authority, the market as a whole must be examined and sifted. Therefore, in this paper I have tried to introduce the conservator, collector, or curator to the big picture while going into detail on the issues and materials he/she might encounter in his/her handling of prints in the future. It must also be remembered that ink jet is everywhere: from business offices to advertising to governmental institutions to libraries to fine art. In other words, there are a great many individuals who might have to deal with ink jet prints in the future. It is hoped that this project, which should also serve as a basis for a materials database, might be of some help.

During the investigation, the question arose whether a new definition is needed for digital hardcopies that could compete with that of the "true photograph" and the "photomechanical print". The contemporary definition of a "true photograph" that is widely accepted in the field of conservation is an object or a material that was at one point sensitive to light. The "photomechanical print", also a contemporary term, is defined as a final object which was at no point in its history sensitive to light. As long as those interested in the processes can find a terminology that conveys their meaning well and is widely accepted, the definitions argument might be left aside. In this sense, the final object that is discussed in this paper is referred to as a hardcopy or print. The term hardcopy directly implies the object's origin as being a digital file.
 

3. Goals

An investigation of a contemporary technology is difficult to accomplish. Since technology is continually advancing, the investigation quickly becomes outdated. In digital printing, the speed of technical development is so great that the investi-gation is doomed to be left behind unless it can constantly be updated. The idea, then, is to regard this paper as a basis for the development of a database on permanence issues of ink jet printing that would be built up little by little over time, parallel to technological advances. Interested individuals would be able to look up a wide variety of facts, experiment results, recommendations, etc., while simultaneously contri-buting to the database. The mass of information that cannot be gathered, evaluated, sorted, and made public by one person could be compiled by many individuals and offered to all. The ideal environment for such a database would be a site on the internet, as it is easy to update and widely accessible. A controlling entity would be necessary to keep track of postings and push for seriousness and reliability of information.
 

4. Target Group

This project, consisting of a guide, an information database, and preservation recommendations, is directed prima-rily towards conservators and restorers, and secondly archivists, collectors, and curators. This investigation can serve as a foundation for conservators in their own research and as an identification aid for digital prints in a collection. The fact that no hardcopies are present in a collection today should not exclude the possibility of their future presence in that collection, which is, in fact, very probable.
 
 

5. Evaluation of Effectiveness

The identification guide as well as the recommendations for preservation must be tested and evaluated by the end users for their correctness and feasibility. In addition, the information must be presented to the user in such a way that it is easily understandable. Four different types of potential users should test the product: a conservator, an archivist, a scientist, and a person from another field altogether.
 

6. Acknowledgments

The mentors who monitored my progress and results, Dr. Franziska Frey and Dr. James Reilly, both of the Image Permanence Institute, Rochester, NY, are each specialists in their fields. I would like to thank James for guiding me in the scope and direction of this investigation, and Franziska for being a guide and a friend during the complete investigation and for overloading me with information sources, contacts, and articles.

1 see also Chapter III. 4. Preservation Concerns: "Approved Preservation Practices" Program, Wilhelm Imaging Research, Inc.

Contents

Introduction

  1. Abstract
  2. Background
  3. Goals
  4. Target Group
  5. Evaluation of Effectiveness
  6. Acknowledgments

I. Ink Jet Printing

  1. The Rise of Ink Jet
  2. Technology, Principles, and Materials
  3. Identification of Ink Jet Hardcopies

II. Materials Analysis

  1. Ink and Medium Interaction
  2. Inks
  3. Substrates
  4. Receptor Coatings
  5. Laminates

III. Preservation Issues

  1. Introduction
  2. Testing for Permanence
  3. Stability and Deterioration
  4. Preservation Concerns

IV. Appendix

  1. Glossary
  2. Organizations and Institutions
  3. References
  4. Print Collection


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For reactions and/or comments, contact Martin Jürgens: Email: post@martinjuergens.net

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Updated on Dec. 10, 1999

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