No problem dissagreeing John, I dissagree with myself all the time
. To begin with, I wouldn't make that claim relative to putting an object in direct sunlight. I actually don't think that is possible at this point in time. Let me me take another run at it, however.
I have a few ideas that I'd like to contribute to your experiments. I don't have much interest in working with Osage, especially because of the fading issues, but I am interested in the process, the puzzle of determining something that could work. Archival-ness, or longevity, is something that photographers who print their work are obsessed with, and as you probably know, there are three laboratories in the US: Aardenburg Imaging, (run by Mark McCormick Goodhart) who worked for 9 years at the Smithsonian, Wilhelm Institute (run by Henry Wilhelm) (who McCormick Goodhart worked with initially), and the IPI (Image Permanence Institute) at Rochester Institute of Technology. In all cases, "ink science" is at the center of longevity, followed by "paper science" the substrates that carry the inks. At this moment, under the right storage conditions, on the correspondingly archival papers, Hewlett Packard's Vivera Inkset is currently king of the hill, exhibiting 300 year longevity without significant fading, besting both Epson and Canon inks.
Knowing just enough to be dangerous about the subject, and having three 44" Wide HP Z3200ps wide format printers, I have an interest in using the best of materials in the prints I make of my photographic work. In dealing with the subject, I too have experimented with UV inhibiting materials and processes, and although not currently able to give a definitive answer, as I said I have some suggestions for continuing experiments.
Wondering if you did experiment with a finish sold by a company called Breathing Color, called Timeless? Timeless is a varnish used to protect prints made on canvas and to help impede UV deterioration. According to their website, (
https://www.breathingcolor.com/timeless ) Timeless Varnish is:
- * Certified 100+ year archival by the Fine Art Trade Guild
- * Formulated to work perfectly with Breathing Color products
- * Available in High Gloss, Satin, and True Matte finishes
- * No diluting required. Ready to use right out of the container
- * Apply with roller (use our Timeless Roller) or HVLP spay gun (see how)
- * UV protection build right in, so your prints will last longer
- * Manufacturer direct supply for the lowest pricing and the highest quality
Many fine art printers use Timeless in conjunction with archival inks on archival substrates to prevent fading. There are, of course a number of aerosol delivery rattle can spray varnishes that also have claims to UV protection. I don't know what you experimented with.
I have found that not only the products, but the method of application is critical in achieving success. I use distilled water and dilute the varnish and heat both the varnish and the substrate while applying the first coats to ensure the deepest penetration, including a few drops of photo-flo.
This is just one suggestion - not sure if you have tried it, and I think it would require a significant buildup to accomplish anything of real value on wood.
Secondly, I have used and have experimented with Rabbit Skin Glue, which has been traditionally a size used by artists to mix with gesso for priming canvasses. Gilders have long used rabbit skin glue as a size for gold leafing. I have mixed thin solutions and put on woods that have fade problems and as long as I can achieve a good enough initial penetration and subsequent build up coatings (all done warm) gradually thickening the mixture and using that as a base coat, that over the years it has proven to be a significant UV inhibitor in certain cases. As I have never tried it with Osage, I couldn't say, but I would recommend at least trying it, as it has been a widely used material by artists over several millennia. They make synthetic RSG these days, so it vital to get the original granules. Moser carries it.
I won't belabor the point about Deft, other than to say using my process of application, applying the finish from warm to hot on both the wood and heating the Deft, I was able to achieve excellent penetration and felt what I got was successful, however, not by any stretch of the imagination in direct sunlight exposure, which makes it entirely no contest.
I would imagine there are UV curable finishes out there however, that would do the trick. If using UV to actually cure the product, then how could UV harm it? Roland among several others makes a clear UV curable ink, perhaps that's a place to start.
Here is another approach: Nanoparticle-based plasmonic 'pigments' are an area to investigate as well. Ultimately blocking UV is at the heart of it and sturdy coatings to keep those things in place abound. Particles can be customised to block specific wavelengths.
This website actually sells plasmonic metal nano particles:
https://nanocomposix.com/pages/plasmonics
According to them: "By changing nanoparticle size, shape, and composition, the optical response can be tuned from the ultraviolet through the visible to the near-infrared regions of the electromagnetic spectrum."
That's about all I got. Good luck with it. I keep most of my pieces in archival storage, so I guess what I have offered previously just doesn't count. Mulberry is another one that will fade to brown, as eventually will many exotic woods such as Cocobolo as well all know.
Mark
