Paper, Part II: Printers And Inkjet Paper Coatings.

In Part I, we explored the 2,000-year journey of papermaking, from its origins in ancient China to the advanced inkjet papers of today. The history of paper is remarkable because it is the history of human invention, often shaped by the arts. It’s centuries of humans searching for a way to express themselves, for a way to send a message through time. It’s important to remember this, especially when we often hear that art is just entertainment, or worse - meaningless and unnecessary.

This series is called “When Print Becomes Art” and paper coatings play a major role in that equation. I want to set the expectations for this article upfront. I’m not here to rewrite Wikipedia, but this won’t be a short read and I’m sorry for this, there is no other way. My aim is to show you what’s driving printing and photo art today and why it matters. If you’re new to printing, whether you’re a collector or a photographer, I want to expand your horizon - to get you seeing and thinking in new ways. Because once that happens, the world around you gets richer. The way you look at a print, at an image, at the very idea of art, will change. Permanently. You’ll learn what sets a good print apart from a great one, but that kind of shift doesn’t happen in a single paragraph. It takes a more systematic approach to set the scene.

The story of print paper starts with the story of paper itself — and that’s where we begin. Inkjet printers might be cutting-edge today, but in the bigger picture, they’re just tools — tools for human creativity, for expression, for storytelling. The technology may be new, but the purpose is as old as art itself. Every innovation in printing — from the darkroom pioneers of the 1900s to today’s nano-precision printheads — is built on centuries of craftsmanship, trial, and reinvention. The inkjet papers we use today carry the vision of fine art masters from the 1500s, and the craftsmanship of papermakers stretching back two thousand years. The past isn’t just an influence — it’s the foundation of art.

Since the beginning, artists have used paper for calligraphy, drawing, and painting, experimenting with its composition to suit their needs - altering ink absorption, texture, and longevity. Then, with the rise of industrialization, these papers evolved into its own category—art papers. They were designed with specific arts in mind - for watercolor, oil painting, drawing, calligraphy, and printmaking, each driving its own development forward.

Then came a new art form — photography. Early photographers needed a surface that could stay stable under the chemical coatings used to expose and develop an image. After starting with glass as the first chemically resistant medium, they turned to art papers as an alternative. By coating high quality art papers with special emulsions and adjusting the development processes, they produced the first photographic prints. Photo emulsion coating became a critical layer - controlling how the paper behaved during the chemical development. This gave rise to an entirely new industry: photographic paper coating. It’s a science where chemical layers on paper determine how an image comes to life. For over 100 years, photographers and artists have depended on variety of darkroom coatings to turn light and shadow into lasting images we can still see today.

And now, with the arrival of inkjet printers, the demand for new coatings set off new wave of innovations. The new technology required innovative nano coatings that could properly receive and absorb inkjet inks on paper. Coatings control how ink is absorbed, how colors pop, how blacks stay deep, and how details remain crisp and vibrant for decades.

Paper coatings are engineered to work seamlessly with the other advanced technologies of the digital era — printers and inks. Without synergy between these three — printers, inks, and papers, modern printing wouldn’t exist, and artists wouldn’t have embraced the digital workflow. That’s why, we are taking a closer look at paper coatings—their critical role in the print industry, how they work, why they matter, and how they define the final print.

1.THE ROAD TO MODEN INKJET PAPER, OR WHAT’S SO SPECIAL ABOUT COATING?

Because, coating is what separates a good print from a great one, and the perceived quality of a print—its colors, sharpness, contrast, and longevity, depends on it. Without coating, even the best printer, paper and ink in the world would produce dull, lifeless results. But to get there, paper manufacturers, print and ink makers, and coating technologists must work together, aligning their innovations to create the perfect fit.

Let’s first define what we mean. When we talk about “photo paper” for inkjet printing, we’re really talking about paper that has been specially coated to receive dye or pigment inks. There’s no such thing as photo paper without a coating. Raw, uncoated office paper or artist paper straight from a block won’t work with inkjets — try it, and the result will be dull and lifeless. A specialized coating layer is applied to the base paper to control how ink droplets spread and absorb. This precision boosts color vibrancy and sharpness, improves archival longevity, and elevates overall print quality. The challenge is developing coatings and application techniques that don’t alter the character of the paper. If a paper is matte and textured, it has to remain that way even after coating. Before we get into coatings, a quick recap on paper.

For many centuries, rag-and linen based paper was ”the paper”, and was characterized by its strength, archival quality, and texture. The invention of the printing press in 15th-century Europe sparked a surge in demand for paper, leading to the rise of the first paper mills and laid the foundation for the modern paper industry in Europe. But by the mid-1800s, the growing demand for paper made cotton rag supplies unsustainable, forcing the exploration of alternative sources. The development of a process to manufacture paper from wood pulp transformed papermaking into an industrial process, making paper cheaper and more accessible. However, this cheaper wood-based paper came at the expense of longevity and quality compared to traditional cotton-based papers. This shift divided paper industry into two categories: wood-based paper for everyday use, such as newspapers, packaging, and books, and cotton-based paper for fine art, premium publications, certificates and money.

When we link the history of paper to photography, two distinct paths emerge: traditional darkroom printing and inkjet printing. Within the darkroom paper category, there’s a further distinction between fiber-based papers and resin-coated (RC) papers. Fiber-based papers, rooted in the legacy of cotton art papers, absorb more chemistry and water. They require longer processing and washing times but deliver superior print quality. Many coatings were developed to enhance print quality, including Baryta, known for its deep blacks and bright whites. With its rich tonal range and distinctive surface, Baryta became the gold standard in printing, favored by printers, collectors, galleries and museums.

Resin-coated (RC) darkroom papers emerged more than a century after the first cotton-based photo papers, revolutionizing traditional darkroom printing by making it faster and more affordable. A polyethylene layer on both sides of a wood pulp base prevented liquids from soaking into the fibers, allowing the paper to dry quickly and resist curling or damage. Since the paper itself was encased between plastic layers, manufacturers could use lower-cost wood based paper, further driving down production costs.

Baryta and RC coatings clearly influenced the development of inkjet paper by showing how surface treatments can fundamentally change the properties of paper. The interplay between paper types, surface coatings, and inks defines the very character of printed art. Each paper offers its own texture, brightness, contrast, and longevity, all of which interact uniquely with specific inks and printers, shaping the final print. To understand this fully, we need to start by looking at the three key variables that coating companies must consider: the type of inkjet printhead, the ink type and formulation, and the paper itself, which serves as the foundation for these coatings.

Let’s start with printers—because without them, there would be no industry. The way a printer delivers ink onto paper determines everything else. It influences the type of inks that can be used, the coatings needed to control absorption, and ultimately, the quality and longevity of the final print. Understanding printers is the first step to understanding how paper, coatings, and inks come together to create a perfect print.

THE TALE OF TWO KINGS: EPSON AND CANON

The world of professional photo printing is a duopoly—Epson or Canon. Their dominance wasn’t handed to them - it was built through fair and relentless innovation. Both companies have spent decades perfecting their printheads, ink formulations, and paper compatibility. Customers voted with their wallets, forcing competitors with inferior products out of the market, proving that when given the choice, consumers will favor superior technology.

Inkjet printing technology was invented as early as the 1950s, but it wasn’t until the mid-1980s that HP and Canon successfully turned it into a commercial product. However, before the mid-1990s, there was little demand for high-quality inkjet printing. Photography was still dominated by film. There simply wasn’t much to print. Offices relied on laser and dot matrix printers, and inkjet photo printing was more of a novelty than a necessity, giving manufacturers little reason to push innovation. Inkjet printheads were developed in labs, but they were rarely seen by consumers due to low high cost and how demand. But as digital cameras advanced, so did the desire to print photos at home, setting the stage for an entirely new industry - professional home photo printing.

As digital cameras advanced, traditional photo labs handled the printing. Instead of sending in a roll of film, you could now print directly from files. For printer manufactures, the key to success in photo printing was always clear: make high-quality home printing affordable and remove the need for photo labs. Achieve that, and it would drive printer sales while creating a steady demand for replacement inks, fueling long-term revenue. That revenue, in turn, could be reinvested into more R&D, pushing the technology even further. But to match lab-quality prints and make printers a truly appealing product, manufacturers had to develop new ink formulations and advanced printheads capable of delivering precise colors and razor-sharp details. And all of this had to fit into an affordable, desktop-sized printer—a challenge that required completely rethinking traditional printing technology used in labs. So the game was on. But who would be the first to succeed in building a professional small-business photo printing industry?

Epson was the first to enter the professional photo printing market in the mid-1990s. Instead of starting with consumer-grade printers, Epson made a strategic decision to begin at the top, targeting the most lucrative premium segment—photographers, artists, and professionals who demanded the highest print quality, regardless of cost.

Epson took a significant risk by developing its MicroPiezo printhead technology and committing to more expensive pigment inks at a time when dye-based inks dominated the industry. While pigment inks offered clear advantages—better longevity, superior fade resistance, and a wider color gamut—they were also more costly and, at the time, no commercial printheads were optimized to handle them.

Despite these challenges, Epson’s bet paid off. By delivering a product that combined exceptional print quality with long-term durability, Epson set a new standard in professional photo printing, securing its position as the industry leader.

Meanwhile, Canon and HP, both of whom dominated the office printer market, were slower to enter the professional photo printing space. By the time Canon began focusing on high-end photo printing in the early 2000s, Epson was already the industry leader for several years. Additionally, Epson’s extensive patents on piezoelectric printhead technology created significant barriers, making it challenging for Canon and HP to catch up quickly in the professional photo market. The truth was, the initial photo printing market was too small for Canon to bother with. Until it wasn’t. By the time Canon realized its potential, the industry had grown too big to ignore, and they had almost missed the train.

Because Canon arrived late, the premium “uncompromised quality” position was already claimed by Epson. That left Canon searching for another angle, leading them to focus on entry-level printers. This choice shaped their early strategy, making photo printing more accessible to a wider audience. Canon leveraged its existing thermal inkjet technology (which it co-developed with HP) to refine its printers for use with cheaper dye-based inks. This helped Canon secure a strong second place in the market, becoming a formidable competitor to Epson.

However, in the long run, this early focus on accessibility rather than high-end product proved limiting. As the industry evolved, the professional market—where print quality and longevity mattered most—became the real battleground. Epson, having already committed to pigment-based inks and high-end printheads, maintained a dominant position. Canon had to play catch-up, eventually developing its own professional-grade printers and pigment ink systems to compete head-on with Epson in the high-end market. Other manufacturers like HP tried to compete, releasing the occasional product, but none could keep up. Eventually, they threw in the towel.

Today, both Epson and Canon remain at the forefront of professional photo printing, continually pushing the boundaries of print quality, color accuracy, and longevity, each with its own technological approach and loyal user base. While Epson is still the leader, its previously undisputed position is now challenged by Canon’s LUCIA PRO pigment inks, which offer excellent color accuracy, deep blacks, and archival quality.

A few other brands worth mentioning are the so-called lab machines—high-output, high-quality systems designed for large-scale production. Fujifilm, Roland, Mimaki and HP offer high-quality photo printers used by top labs around the world. However, they are not aimed at individual photographers or small studios and have little influence in this space, so we won’t consider them here. 

TWO TYPES OF INKS

Now let’s turn to the inks, so we can understand the risk Epson took — and why it worked. There are two main types of inkjet inks: pigment and dye inks. Both types of producing colors have existed long before modern printing, finding their roots in the arts and textile industries. Their differences in composition and behavior affect everything from color vibrancy to longevity and even the type of paper on which each excels. So why two types, you might ask? The existence of both pigment and dye inks comes down to balancing quality and cost.

Dye-based inks have been around for centuries. These are traditional dyes, derived from natural sources like plants and minerals, and were used for coloring fabrics, paper, and other materials. When inkjet printing technology emerged, dye inks became the natural choice for manufacturers because they were easy to produce, inexpensive, dissolved well in liquid carriers, and created vibrant, rich colors when absorbed into paper.

Dye inks are made from color molecules fully dissolved in liquid, much like sugar in water. This allows them to soak into the paper’s fibers, similar to dyeing a T-shirt, where the dye becomes part of the fabric itself rather than just sitting on top. In printing, dye inks produce rich, vibrant colors with smooth gradients—meaning you won’t see where one color ends and another begins. The benefits of dye inks lie in their affordability and their ability to create vivid prints, especially on glossy surfaces.

However, because of their chemical composition, dye inks are inherently more sensitive to environmental factors such as UV light damage, ozone, humidity, and pollutants. When exposed to these elements, the chemical bonds in dye inks break down, causing colors to fade over time. Additionally, dye inks don’t perform as well on matte papers, struggle with producing deep blacks in black-and-white prints, and lack the stability required for archival purposes or museum-quality prints. Essentially, dye inks were well-suited for consumer-grade printers but failed to meet the demands of professional photographers who required long-lasting, high-quality prints that would last for decades.

This unmet need for professional prints created a demand for more durable inks—ones that could deliver stunning prints while ensuring long-term stability for professional photographers, for whom quality mattered more than price.

Pigment inks were introduced to address the limitations of dye inks, particularly their tendency to fade quickly. Inspired by the long history of pigments used in fine art, such as those found in oil paints and pastels, pigment inks offered superior durability and longevity, making them ideal for archival purposes. However, they required more sophisticated technology to handle the solid particles and apply them consistently to paper surfaces.

Pigment inks use tiny solid particles of color suspended in liquid. Unlike dye inks that soak into the paper’s fibers, these particles sit on the surface, forming a durable layer of color that is far more resistant to fading. Think of it like painting a wall versus dyeing a fabric: pigment inks create a stable, protective layer on top, while dye inks are absorbed into the material itself. Because pigment particles remain on the paper’s surface, they are more resistant to environmental factors like light, moisture, and pollutants. Their chemical stability makes pigment inks the preferred choice for archival-quality prints where longevity is essential, offering photographers and artists confidence that their work will endure over time. 

So both ink types have their strengths: dye inks offer vivid colors and smooth blends, while pigment inks provide durability and longevity. Yet, each has its limitations too. Dye inks are prone to fading over time, while pigment inks have historically struggled to match the vibrancy and seamless color transitions of dye-based prints.

Epson prioritized pigment inks early on, focusing on longevity, color accuracy, and expanding the color gamut through additional channels. They understood that this is what professional photographers would value most.

Canon, by contrast, initially leaned on dye inks, favoring affordability and vibrancy, and focused on the consumer market first. But in recent years, Canon has made significant strides in pigment technology with its LUCIA series, now competing directly with Epson in the professional photo market.

Today, the advances in both dye and pigment technologies have significantly narrowed the gap between the two types. Some premium dye ink formulations are now offering improved longevity and UV resistance. Meanwhile, new pigment ink formulas are achieving similar vibrancy to dye inks. But choosing the type of ink is just one part of the equation. The real challenge is how to deliver that ink onto paper. That’s where printheads come in.

TWO TYPE OF PRINTHEADS

All inkjet printing operates by precisely ejecting ink droplets through electronic control, but the technique used to accomplish this differs. Canon and Epson, took different approaches to solve this problem, each developing their own printhead technology with distinct advantages: thermal inkjet technology by Canon and HP’s and piezoelectric inkjet technology by Epson. But what is a printhead?

Printhead is the heart of any inkjet printer. It responsible for accurately placing tiny droplets of ink onto paper. The printhead does not mix colors or process the image. It is purely a mechanical component that ejects tiny droplets of ink onto the paper in a controlled pattern. Think of the printhead as the brush in a digital painting—it doesn’t decide which colors to use or how they are mixed, but it applies them onto the paper with high accuracy.

How does it work? Printhead contains thousands of nozzles, each assigned to a specific ink color. These nozzles fire droplets as small as 1-4 picoliters which is about 10 times smaller than the diameter of a human hair. Each printhead is designed for a fixed number of inks, meaning if a printer has 10 inks, the printhead will have 10 separate ink channels and nozzles. For example a printer might have 180 nozzles for each of it’s 10 inks, making it 1,800 nozzles in total.

Beyond simply placing ink, the printhead controls droplet size and placement. Piezoelectric printheads, used by Epson, can adjust droplet size (variable droplet technology) on the fly because they use an electrically controlled deformation of piezo crystals to control how much ink is ejected. Think of it like choosing the size of a brush — a small brush for fine details, a broad brush for large, solid areas. Larger droplets efficiently fill broad color areas, while smaller droplets enhance fine details and smooth gradients, leading to smoother gradients and better tonal transitions.

A 10-12 ink system can theoretically produce billions of colors. Yet inkjet printers do not mix inks inside the printhead like traditional paint mixing. So if the printhead itself doesn’t mix colors, how are colors created? It all happens in the printer’s software. The RIP (Raster Image Processor) and printer drivers use halftoning algorithms to determine how inks are layered and combined to produce a vast color range from just a dozen of inks. Color mixing happens on the paper, where microscopic droplets of different ink colors are placed next to or on top of each other. The human eye then blends these dots visually, creating the illusion of smooth gradients and continuous tones.

It’s actually an incredibly impressive feat of calculation—the ability to produce any color simply by placing microscopic dots on paper. What we perceive as solid colors, smooth gradients, and fine details is, in reality, mostly white space, with tiny ink droplets carefully arranged in patterns. The human eye blends these dots visually, creating the illusion of continuous tones and a full spectrum of color. It’s a mind trick of precision and engineering, turning basic ink placement into stunning, lifelike prints.

The accuracy of droplet placement is measured in dots per inch (DPI)—the higher the dpi, the finer the detail and the smoother the gradients in the final print. This is what is called “printer resolution”. However, DPI alone does not determine print quality, much like megapixels in a camera don’t guarantee better image quality. A well-optimized 24-megapixel camera can outperform a poorly engineered 40-megapixel sensor, and the same principle applies to printers. A 2400 DPI professional photo printer with precise droplet control will often produce superior prints compared to a 5600 DPI consumer-grade printer. While higher DPI means more dots per inch, fixed droplet printheads (like Canon’s thermal inkjet) always eject the same-sized droplets, which can lead to harsher tonal transitions and visible dot patterns. In contrast, Epson’s 2400 DPI piezoelectric printheads with variable droplet technology can dynamically adjust droplet sizes, using smaller droplets for fine details and larger ones for solid areas, resulting in smoother gradients, better tonal transitions, and more natural-looking prints—especially in black & white photography.

But while most color mixing happens visually on the paper, some degree of unwanted physical blending occurs when wet ink droplets overlap. This is why paper coating matters—some papers allow more ink spreading, while others keep droplets distinct for sharper detail. Paper coatings act like guides for the ink, making sure each droplet stays exactly where it was placed. Additionally, high-end papers are often supplied with their own ICC profiles—a set of instructions that guide the printer on how to accurately reproduce colors on this paper type. These profiles ensure that the printer adjusts color data correctly, optimizing ink application for the specific characteristics of the paper, such as its brightness, texture, and coating.

It’s worth mentioning that advancements in cameras and monitors have played a major role in pushing printing technology forward. As cameras captured more detail and monitors displayed more accurate colors, printers had to evolve to keep up. A 5-megapixel image from the early 2000s didn’t require the same level of precision in inks and printheads as today’s 64-megapixel files. At the same time, as speed improves everywhere—from internet connections to processors and SSDs—expectations for print times have risen. People no longer tolerate waiting 10 minutes for a single print. To meet that demand, today’s printheads are designed to deliver both speed and quality — working together with faster-drying paper coatings. Modern printheads achieve this by increasing nozzle density, improving droplet precision, and boosting firing efficiency. The result: professional-quality prints, produced fast, without sacrificing detail or depth.

Now that we understand what printheads are and how they work, let’s take a closer look at the two distinct designs used by Epson and Canon.

EPSON’S PIEZOELECTRIC TECHNOLOGY: SUPERIOR TONAL TRANSITIONS & LONGEVITY

Epson was the first to introduce an elegant and technically advanced solution: piezoelectric printhead technology. The printhead reliese tiny crystals that change shape when an electrical charge is applied, mechanically pushing ink droplets out of the nozzles. This method allows for incredibly precise droplet control, resulting in finer details, smoother gradients, and better color accuracy.

The beauty of this approach is that it emerged from a completely different industry—watches. Epson, originally part of Seiko, had engineers who recognized the potential of the piezoelectric effect used in Seiko’s quartz watches and adapted the same principle for inkjet printing. But what is the piezoelectric effect? It is a phenomenon where certain materials, like quartz or ceramics, generate an electric charge when subjected to mechanical pressure. This effect also works in reverse—when an electric charge is applied, the material changes shape or deforms in a highly controlled and repeatable way.

Epson’s Micro Piezo printhead technology is built on this principle. Instead of using heat as Canon’s thermal printheads, Epson’s printheads use tiny piezoelectric elements that flex when an electric charge is applied. This controlled movement creates pressure, pushing precise amounts of ink through the nozzles without the need to boil the ink. This breakthrough led to the creation of Micro Piezo printheads, which became the foundation of Epson’s inkjet superiority, setting it apart from competitors. The advantage of piezoelectric printheads is that they allow for variable droplet sizes, more consistent ink placement, and greater durability, since they don’t experience the wear and tear caused by heating and cooling cycles.

Epson’s Micro Piezo technology became the gold standard for archival-quality photo printing. The superior longevity and precisionof piezoelectric printheads made Epson printers the go-to choice for photographers who demand consistent, high-quality results over time. However, piezoelectric printheads are more expensive to manufacture, contributing to the higher cost of Epson printers. While the initial investment is higher, the printhead lasts the life of the printer. And because no heat is involved, the printheads experience less wear over time, making them long-lasting and highly reliable. Built upon Seiko’s breakthrough in quartz watch technology, Epson transformed inkjet printing with its piezoelectric innovation, redefining professional photo and fine art printing and securing its position as a dominant force in the industry.

CANON’S THERMAL INKJET TECHNOLOGY: CHEAPER, FASTER SPEEDS & VIVID COLORS

Now, because Canon, entered the professional photo market later than Epson it forced to take a different approach.  Epson’s piezoelectric printhead technology was patented. Before Canon adapted inkjet for photo printing, thermal inkjet technology was primarily used for office and home document printing as well as label printing for markings or shipping.

Thermal inkjet technology was pioneered in 1977 by Canon engineer Ichiro Endo and later commercialized by both Canon and HP. It works by using a resistive heating element inside a tiny ink chamber. When an electric current is applied, the ink is heated to over 300°C in a fraction of a microsecond, causing it to vaporize and form a bubble. This sudden expansion forces a droplet of ink through the nozzle onto the paper. As the bubble collapses, a vacuum effect draws fresh ink into the chamber, ready for the next cycle.

Canon’s solution was to refine and optimize existing thermal inkjet technology for professional photo printing. Canon focused on increasing nozzle density and enhancing precision, allowing their printers to achieve high resolutions, smooth gradients, and vibrant colors. Their FINE (Full-Photolithography Inkjet Nozzle Engineering) printhead technology improved droplet placement, making Canon’s professional photo printers competitive in both detail and color accuracy.

One of the main advantages of Canon’s approach is cost-efficiency. Thermal printheads are cheaper to manufacture, making Canon’s professional photo printers more accessible for photographers needing high-quality A3 and A2 prints at home. However, despite its strengths, thermal inkjet comes with inherent limitations. The ink must be designed to withstand extreme heat, meaning not all ink formulations work well with this technology. The heating and cooling cycles also cause wear over time, making thermal printheads a consumable part that must be replaced periodically, adding a long-term maintenance cost.

CANON VS EPSON TODAY

The core difference between Canon and Epson inkjet technology lies in how their printheads deliver ink — and this difference is protected by decades of patents. Epson holds key patents for its piezoelectric printheads, while Canon’s thermal inkjet technology is also proprietary. Neither company can use the other’s method without licensing agreements. Still, over time, the performance gap has narrowed. Today, the difference between the two is subtle and often only noticeable to the most demanding professionals.

In the early days of professional photo printing, the divide was clearer — mainly due to the type of inks used. Before 2006, Epson was the only major manufacturer offering pigment-based inks for high-end photo printing. This gave it a strong lead among archival printmakers and fine art photographers, who needed long-lasting, stable prints. Canon, by contrast, focused on dye inks, which offered more vibrant colors on glossy paper but lacked longevity.

The real issue with dye inks isn't just how they’re absorbed by paper — it's their chemical makeup. They fade faster over time. To compete, Canon developed LUCIA pigment inks for its imagePROGRAF series in 2006. These were paired with refined thermal printheads capable of handling pigment particles reliably. From that point forward, the competition shifted: no longer dye vs. pigment, but rather how each brand optimized pigment ink within its printhead system.

A major technical difference remains in how ink is delivered. Canon’s thermal printheads eject ink using heat, producing a fixed droplet size. This design favors speed and sharpness. Epson’s piezoelectric printheads use mechanical movement and can vary droplet size on the fly. This allows for smoother tonal transitions, richer shadow detail, and finer gradients — especially noticeable in BW prints using dedicated gray inks.

Since Canon’s thermal heads can’t change droplet size, they rely on higher nozzle counts and denser droplet firing (higher DPI) to achieve smooth results. It works well, but lacks the nuanced tonal control of Epson’s approach. Canon tends to be faster and sharper; Epson slower but better at subtle transitions and grayscale depth.

To summarize: Canon’s thermal technology is efficient and fast, but puts more strain on the printhead. Epson’s piezo method is slower but offers greater precision and durability. Each has evolved to meet the needs of professional photographers in different ways. Canon moved from dye to pigment to stay competitive in the archival space, while Epson expanded into dye-based consumer printers to reach a broader market.

In the end, the choice between them comes down to priorities — speed and vibrancy vs. tonal depth and fine control.

Finally, we can group the last 30 years in print quality innovation in these 5 areas:

• Higher-resolution printheads with more nozzles (increased from 12 to more than 50,000), enabling faster, sharper prints.

• Variable droplet technology, allowing precise control of ink volume in each tiny area for smoother gradients and finer details.

• Expanded ink sets, moving from basic CMYK to 6, 8, 10, or even 12-color systems, improving color accuracy, tonal depth, and black & white performance.

• Improved ink formulations that resist fading, provide richer colors, and enhance print longevity.

• Better paper coatings that optimize how ink sits on the surface, preventing bleeding, smudging, and bronzing.

And the last point naturally lead us to the topic of coating. As inkjet technology has evolved, so too have paper coatings, adapting to the demands of higher-resolution printheads, wider ink gamuts, and the need for long-lasting, museum-quality prints. So, let’s dive into the world of paper coatings.

2. WHAT IS COATING?

Now, finally, we arrive at the main topic - coating. That long introduction was necessary to set the stage for our main character. By the mid-2000s, professional inkjet printers could produce color gradients and black-and-white tones that rivaled traditional photo labs—thanks in no small part to advancements in paper coatings. To reach that level of quality, printer manufacturers set to develop new ink formulations and printheads. But they also recognized that their hardware performance relied on paper that could consistently produce perfect prints. This led to the need for specialized paper coatings designed to work seamlessly with their specific inks. As a result, both Epson and Canon began investing in their own branded papers optimized for top performance with their printers. Thus, the photo paper industry essentially became a “coating industry”, and the competition for papers and coating has begun.

Famous artisan paper companies like Canson, Hahnemühle, Arches, and Fabriano had spent centuries making premium cotton-based papers for artists. They now saw a new market in inkjet printing and began investing in advanced inkjet coatings for their renowned papers, blending old-world craftsmanship with new-world chemistry for the photo industry.   Meanwhile, some established darkroom paper giants struggled to adapt to the digital era. Brands like Agfa, Kodak, Fujifilm, Polaroid, and Vivitar didn’t survive the digital revolution. However, new tech companies seized the opportunity, focusing entirely on research and development of inkjet paper coatings, becoming true specialists in the world of coating.

All photo papers have coatings. If you have an art paper at home, like watercolor paper, and try to print on it, the image will likely come out blurry. Why? Because the ink is absorbed too deeply into the paper, much like watercolors. Even if it’s high-quality cotton paper, without an inkjet coating, the ink will spread too far from where it was originally placed - colors will mix, lines will blend. The structure of the paper itself, with its various fiber properties, affects how the ink is absorbed. The solution is to prepare the paper to hold the ink in its exact place. This is where coating comes in. It’s a layer—or multiple layers—applied to the surface of the paper, designed to control how printer ink behaves on that specific paper type.

Coating catches the ink droplets and guides them exactly where they need to be. The base paper still matters – type of paper used, its composition and thickness influence durability and feel, but the coating is where color vibrancy, sharpness, ink absorption, and longevity are truly decided. In short, coatings are what make the difference between a traditional art paper for drawing and a high-performance photo paper capable of reproducing vibrant colors, sharp details, and long-lasting prints.

But it’s not as simple as just applying a primer or gesso layer to paper. Coatings are made up of various materials - binders (polymers, starches), fillers (often silica or clay/ceramic), and other additives for gloss control, UV resistance, and drying properties. If the coating is too absorbent, the ink droplets spread, making images look blurry. If it’s not absorbent enough, the droplets can pool or smudge. And if the chemical composition doesn’t match the ink, colors may shift or fade. But coating does more than just control how inks behave. It can solve a variety of issues—providing UV protection, making paper water-resistant, and enhancing color range. As a result, coating is complex and highly innovative.

To address multiple challenges, a multi-layer coating approach can be used, where each layer solves a specific issue: producing high D-max (rich blacks), achieving a wide color gamut, ensuring fast drying, and providing resistance to fading or bronzing. Alternatively, a single advanced coating can be engineered to serve multiple functions at once, such as controlling ink spread, enhancing color, and providing protection, all within one advanced coating. Both approaches are valuable, and many top manufacturers use a mix of both depending on their product line and target market.

So coatings are the most critical factor for inkjet paper because they:

•  Control ink absorption (preventing bleeding or spreading).

•  Enhance color vibrancy, sharpness, and tonal range.

•  Support longevity (e.g., fade resistance, UV protection, archival properties).

With so much emphasis on coating, it’s no surprise that patents and trade secrets abound. In this space, proprietary coatings are the real magic sauce. Each brand has its own secret formula, often protected by patents or trade secrets. And patents can complicate things—if a manufacturer doesn’t have access to a specific patented technology, they must either license it, or find a workaround to achieve similar results. This explains why some brands may excel in certain coating characteristics, such as color vibrancy, while others may focus on archival longevity or gloss uniformity. Some brands handle everything in-house, while others buy third-party coatings to complement their own.

This intense competition over coatings shapes the industry’s structure and drives its unique value propositions. The need for specialized expertise in coatings has led to distinct categories of manufacturers, each contributing in a different way to the creation of high-quality photo paper.

• Branded Papers - by Epson and Canon

• Heritage Paper Mills - Legacy mills like Canson and Hahnemühle that are also doing their own coating,

• New Tech Companies - new technologically advanced dedicated coating companies such has MediaJet, FotoSpeed, or Moab and also older traditional darkroom companies like Ilford.

  It is also possible to add a fourth category—Specialized Coating Companies. These manufacturers don’t produce the paper itself but instead develop advanced coatings that they supply to paper mills and printer brands. However, since consumers will never interact with these brands directly, we will not cover them here.

BRANDED PAPERS

Canon and Epson play a vital role in the print ecosystem. They hold a unique advantage in the photo printing industry as the creators of both printer technology and proprietary ink systems. Without their printers, there is no industry, and no need for print papers. Everyone in the industry depends on them. But they depend on others to make papers as they don’t manufacture their own papers or coatings. They typically partner with mills that can supply the base stock and with coating specialists who can formulate surfaces tuned to their specific inks. They determine essential properties like ink absorption, color vibrancy, smudge resistance, and drying speed.

Epson and Canon have deep scientific expertise in how ink interacts with different media, particularly for their own proprietary ink formulations. They hold key patents in ink chemistry and coating technologies, giving them tight control over print quality. When working with paper suppliers they provide specific requirements for chemical formulations, surface texture, and coating durability, ensuring that the paper meets their exacting standards.

Before approving a paper for their lineup, they conduct rigorous testing to guarantee color accuracy, longevity, and performance across different printing conditions. Once the paper meets their expectations, the rest is simply packaging, branding, and distribution, making it appear for consumers under their own name. The final product is sold as “Canon Photo Paper Pro” or “Epson Legacy” even if a separate mill or coater is behind the scenes.

For example, it’s plausible that a paper sold as Epson Signature Worthy was produced in collaboration with Hahnemühle, with subtle tweaks to ensure compatibility with Epson’s pigment inks. Consumers know that these papers are tested with their respective printer models, providing a sense of safety and reassurance, ensuring reliable results. These are great benefits for an entry-level customer, offering reliability, ease of use, and peace of mind when choosing the right paper.

However, while these branded papers are excellent for their printers, they aren’t necessarily the absolute best on the market. Independent companies like Canson or Ilford might offer competing papers with better performance. Why? Because, Canon and Epson prioritize printer and ink development, which are their most profitable products. Photo paper is an important part of their ecosystem, but not their primary business. By outsourcing production to established paper manufacturers, they avoid the associated costs while still offering papers that are good enough for most users. This might sound like a less-than-ideal approach for a brand with a premium reputation, but there is a clear logic behind it.

Both Epson and Canon sell a wide range of printers, from entry-level models to high-end professional machines. And all of these printers need paper. But not all paper needs to be premium—most of what they sell consists of basic, everyday photo papers that are not good enough for artists and professionals. For these customers, they offer in high-quality, reliable papers, but they often lag behind in adopting the latest coating technologies. Instead of leading innovation, they rely on third-party manufacturers to bring cutting-edge coatings to the market. This creates a market opportunity for specialized paper manufacturers who can offer rare papers or innovative coatings that push print quality beyond what Canon and Epson provide. 

Epson and Canon base their strategy on a simple real-world assumption: professional photographers are unlikely to stay loyal to a brand’s limited paper selection. And is this really a problem for them? Of course not. No matter which paper photographers and artists choose, they still need ink—and that’s where the real money is. Whether a print is made on their branded paper or a third-party specialty paper, the printer still runs on Canon or Epson inks, keeping their business thriving.

In fact, the more high-quality papers available, the more consumers feel the need to experiment—and that search burns through ink. Every test print, every comparison, every adjustment means more ink consumption, which only benefits Canon and Epson. The more serious a photographer or artist becomes about finding the perfect paper, the more ink they end up buying along the way.

HERITAGE PAPER MILLS

Historically, many of the big names in the art paper industry built their reputations on centuries-old papermaking expertise: Fabriano (funded 1264), Arches (1492), Canson (1557), Hahnemühle (1584), and St Cuthberts Mill (1700s). They continued their tradition of producing high-quality artist papers, using techniques like mould-made manufacturing and 100% cotton rag processing. But with the rise of digital printing, a new opportunity emerged—inkjet printing. Recognizing this shift, they set out to develop innovative inkjet-receptive coatings, adapting their premium papers for the demands of modern printing technology.  And they often produce unique textures and mould-made surfaces that modern mass-production factories simply cannot replicate.

Heritage brands have an enormous marketing advantage - their deep-rooted connection to the arts. Their legacy isn’t just about centuries of papermaking expertise; it’s about their place in art history. Their papers have been used by iconic artists, showcased in top museums and galleries, and tested in real-world archival conditions. This lineage is their appeal.

You might be holding a fresh print in 2025, but the paper you’re using carries the same tradition that fueled artistic pursuits in the 1500s. It reflects the same obsession with quality, the same relentless drive for perfect self-expression that has defined artists for centuries. Great artists have always needed tools to express their vision, and heritage mills earned their place by matching the artist’s dedication to craft. Paper is never just paper—it is a masterpiece in the making. You’re not just holding a modern inkjet print—you’re part of an unbroken artistic lineage, applying the latest technology to the same timeless pursuit of beauty, meaning, and self-expression.

For example, a brand like Hahnemühle protects its paper recipes, blending centuries of internal knowledge about cotton rag formation with advanced polymer chemistry for the top layers. This fusion of tradition and innovation is what sets them apart. Their brand story resonates deeply with artists and fine art photographers who appreciate the weight of history behind their materials.

Another example is Japanese paper maker Awagami, that stand out because they combine their centuries-old washi traditions with modern coating technologies. Their base papers are entirely their own, often handmade or produced on traditional equipment, but they apply proprietary coatings to make them suitable for inkjet printing. These papers tend to be more textured and tactile, offering a unique look and feel that appeals to niche markets and command very high prices.

But it’s not just about smart marketing. Marketing can sell inferior products, and legacy alone doesn’t guarantee quality. Just because a brand traces its roots back to 1584 doesn’t mean it makes the best product today. Relevance and performance in the present are what truly matter. And that’s where these papers stand apart. They aren’t just built on tradition—they set the modern standard. Their heritage lies in uncompromising service to artists—not just preserving tradition, but continually pushing the boundaries of quality to meet the demands of those who rely on their materials to create. Their superiority is proven by countless awards and independent industry tests. Time and again, they outperform competitors in archival longevity, color accuracy, and print quality, making them the gold standard for fine art printing.  

These papers are standard for museum and gallery exhibitions, guaranteeing archival-quality prints that withstand the test of time. They are also the preferred choice for weddings and limited edition prints, where artists and photographers seek not just exceptional print quality, but also the depth and prestige that comes from working with heritage brands known for their craftsmanship and history. It’s something special when the paper itself has a story.

NEW TECH COMPANIES

It’s reasonable to expect that where heritage brands exist, new, innovative companies will rise to challenge them. Companies like MediaJet, PermaJet, Tecco, Innova, FotoSpeed, and Moab may lack centuries of prestige, but they focus on pushing innovation in coatings and responding quickly to market trends.

Their goal isn’t to preserve the past—it’s to solve the problems of today. They aren’t bound by tradition but driven by innovation, constantly refining materials and coatings to meet the evolving demands of modern digital printing. Unlike traditional mills, these brands typically source base papers from established manufacturers and invest heavily in advanced R&D for coatings. Because they aren’t tied to any heritage, they have the flexibility to experiment with new materials and technologies, bringing products to market faster. Many compete on speed, cutting-edge coatings, and cost-effectiveness, with some offering equal or even better performance than legacy brands.

Make no mistake - these companies are deeply passionate about photography and printing, perhaps even more so than some legacy brands. They represent a new breed in the industry. Unlike heritage brands, they have no connection to traditional art papers and, in many cases, no ties to darkroom papers either. Their entire focus is on digital printing—not as an extension of the past, but as the only thing that matters.

This dynamic creates a diverse market, with each brand claiming unique advantages in texture, gloss, longevity, or ink compatibility. While heritage brands focus almost exclusively on the premium “best” segment, modern coating companies serve a broader range of customers—offering good, better, and best options to meet different needs.

Another key advantage of specialized coating companies is their commitment to innovation. Heritage brands can sustain themselves on reputation and their connection to fine art, but for coating companies, performance is everything. If their products aren’t good enough, they don’t survive.

Another point worth mentioning is that the price of photo paper is often linked to the base stock. High-end inkjet papers made from cotton rag or bamboo tend to cost more because of the raw materials and their superior archival qualities. These fibers are longer, stronger, and less likely to yellow over time. Other fibers like hemp, agave, and sugarcane are also used in specialized papers, each offering unique textures and tonal qualities — often at a premium. But no matter the base material, it’s the coating that ultimately turns them into true inkjet photo papers.

To summarize. Today’s photo paper industry is complex. Coating specialists might produce slightly different formulas for various clients.  Canon or Epson might commission a line of “Premium Photo Paper” from a well-known mill, customizing it with certain top layers to match their inks. Meanwhile, the same mill could produce an uncoated or differently coated variant for a smaller brand. Some big mills supply base stock to multiple brands.

3. HOW COATINGS WORK

As we’ve already discusses, paper coating controls how inks interact with the surface, and there are papers specifically designed for each printhead technology. The type of ink used (pigment vs. dye) and the method by which it is applied (thermal vs. piezoelectric) affect how the paper absorbs, holds, and displays the ink.

A typical inkjet coating starts with a base layer that may contain fillers and binders to smooth the paper surface. This is followed by one or more layers of either microporous or swellable polymers — each designed to handle ink differently.

MICROPOROUS COATING

One of the most advanced coating technologies is the microporous coating. It’s called microporous because it contains millions of tiny pores that act like a sponge, instantly absorbing ink while keeping the surface dry to the touch. This fast absorption prevents smudging and allows for deep, rich blacks and vivid colors. Microporous coatings are widely used on professional glossy, satin, and fine-art papers because they produce sharp images with excellent detail. Microporous coatings are more compatible with pigment inks and piezoelectric printheads like Epson’s, which rely on precise ink placement and variable droplet sizes. The paper coating is designed to hold the pigment particles on the surface rather than letting them soak into the fibers.

There are microporous and nanoporous coatings, with nano being the latest innovation.

Microporous

• Standard for quality pigment printing, fast drying, good archival quality.

• Contains tiny pores in the range of a few microns (1 micron = 1,000 nanometers).

• Ink is absorbed quickly into these pores.

• Designed mainly for pigment inks, which stay near the surface while the liquid vehicle is drawn into the pores.

• Offers fast drying, sharp detail, and good water resistance.

• Very common in high-end photo and fine art papers, especially those using pigment inks and piezo printheads.

Nanoporous

• An evolution of microporous, with smaller pores for finer control and smoother finishes.

• Contains even smaller pores, typically in the tens to hundreds of nanometers range.

• Functions similarly to microporous coatings but with a more refined pore structure.

• May offer finer control of ink spread, higher density of pigment capture, and slightly better gloss uniformity.

• Often used in premium inkjet papers where extremely fine detail, smoother gradients, or more uniform finishes are desired.

Piezoelectric printers, like those from Epson, often benefit from papers with highly advanced microporous coatings that allow for the precise placement of variable droplet sizes. This preserves the fine tonal gradation and detail that piezo heads are known for. Nanoporous coatings, offer even finer pore structures that enable more controlled ink absorption, leading to smoother gloss, improved image uniformity, and even sharper detail. They are especially effective with high-resolution pigment printing, where precise pigment placement is critical.

Canon’s thermal printheads also work well with microporous-coated papers, though their fixed droplet size can make them more sensitive to overly absorbent coatings. Papers that slightly regulate ink absorption help maintain consistency and prevent issues like dot gain or banding. Canon printers using dye inks may also pair well with swellable-coated papers for improved gloss and color vibrancy.

SWELLABLE COATING

Dye inks require papers with a swellable coating. In this approach, the polymer layer absorbs and expands around the ink, locking the color molecules into the top layers of the paper. This encapsulation helps protect dye inks from environmental pollutants like ozone and light, which can cause fading over time. Swellable coatings often produce smoother gloss and more uniform surface appearance but take longer to dry. They can deliver rich, vibrant colors, especially on glossy papers, but are generally less resistant to humidity and UV light compared to microporous coatings used with pigment inks. Swellable-coated papers are typically better suited for thermal printheads, like those used by Canon, which rely on dye-based inks and fixed-size droplets fired at high speeds.

To summarize:

• Microporous/Nanoporous = better for pigment inks and piezo heads (e.g., Epson)

• Swellable = better for dye inks and thermal heads (e.g., Canon)

COATING BY SURFACE TYPE

Now when we know how the coatings works, we can split all papers into two categories: glossy papers and matte papers. Glossy papers are typically RC-coated (Resin-Coated), while matte papers are what is often called fine-art papers. There are exceptions and hybrid papers that blur the lines, but keep these binary divisions in mind for now.

Coatings determine gloss levels. Glossy RC-papers have a polyethylene layer that seals the surface and prevents ink from soaking into the paper fibers. This results in higher contrast, deeper blacks, and more vibrant colors, making them ideal for high-impact photographic prints. Within glossy papers, we find variations like high-gloss, semi-gloss, pearl, satin, and luster finishes—all sharing the core characteristic of a smooth or lightly textured surface with strong reflectivity. Luster, or semi-gloss, strikes a balance — offering strong contrast while reducing glare.

Matte papers are, by definition, non-reflective. They use a different kind of coating — a textured surface that can range from smooth to heavily textured, much like watercolor paper. Matte papers can be either standard or premium fine-art grade, but what they all have in common is the absence of a plastic RC layer. They can’t be coated in the same way as glossy or luster papers, because doing so would flatten or mask their texture and make them glossy.

There are some exceptions. Baryta-coated fine art papers sit between glossy and matte, offering a semi-gloss surface without an RC layer — combining deep blacks and sharpness with the depth and feel of a textured paper. The baryta layer, widely used in darkroom printing, refers to a coating of barium sulfate (barite) in a gelatin binder applied to fiber-based photographic paper. It behaves more like a mineral-based, clay-like layer than plastic. Modern inkjet "baryta papers" often mimic the look and feel of traditional baryta, though they may use different minerals and coating formulas to achieve similar optical and tactile qualities. There are also RC-coated matte papers, which retain the durability of resin coatings while offering a non-reflective finish.

STANDARD VS. PREMIUM COATINGS

Let’s talk pricing — why are some papers cheap while others can cost ten times more? It mostly comes down to two things: the base material and the quality of the coating, especially how well that coating works with the ink. Premium papers use better bases like 100% cotton or alpha cellulose, which are more stable, durable, and archival. They’re paired with advanced coatings that hold ink at the surface, producing vibrant, crisp prints that resist fading over time. Cheaper papers, on the other hand, cut corners. They often use wood pulp bases and lower-grade coatings that may absorb ink inconsistently. Sometimes they work fine — but they can also fade, shift colors, or degrade within months. Gloss differential — where dark areas appear duller than lighter ones under certain lighting — is a more common issue with budget papers. This happens because lower-quality coatings can’t hold ink evenly across tonal ranges, leading to inconsistent surface reflectivity, especially in high-gloss or semi-gloss prints. Premium papers minimize this with more uniform, multi-layer coatings that maintain consistent gloss across the entire image. That might be acceptable for casual vacation prints, but it’s not reliable for professional use — especially not for commercial work.

Standard inkjet papers typically use swellable coatings or basic microporous coatings. Swellable coatings are common in lower-cost papers because they are cheaper and simpler to produce than microporous or nanoporous coatings. They use water-soluble polymers, which are less expensive than the materials required for more advanced coatings, and the result is well-suited for dye-based inks, which are widely used in many consumer and office printers.

Premium papers, by contrast, almost always use microporous or nanoporous coatings. High-end brands like Canson, Hahnemühle, and Moab often apply multi-layer microporous coatings that improve ink holdout, reduce gloss differential, and deliver deeper blacks (better Dmax) — especially with pigment inks. These advanced coatings are typically paired with superior base materials, such as 100% cotton or alpha cellulose, which enhance print stability and archival lifespan. Tuned for fine art and exhibition-quality output, premium coatings allow for highly precise pigment placement, faster drying times, and minimal risk of bleeding or dot gain. Basic microporous coatings, on the other hand, use larger or less-uniform pores and may show slight inconsistencies in ink absorption, leading to minor issues like gloss differential, uneven saturation, or less smooth tonal transitions. Cheaper papers also often include optical brightening agents (OBAs) for brighter whites, which can cause prints to discolor over time, which is why some ultra-premium fine art papers avoid them altogether.

Brands like Canson and Hahnemühle can offer paper that works exceptionally well with both Canon and Epson printers because their papers are designed with versatile, high-quality coatings that accommodate the differences in both printing technologies. The key lies in the advanced science behind their paper coatings and the adaptability of modern pigment inks used in both thermal and piezoelectric printheads. This type of coating is not tied to how the ink is delivered—whether through Canon’s thermal heat-based method or Epson’s piezoelectric mechanical method—but rather to the ink itself, particularly pigment inks. This versatility means photographers don’t have to worry about whether a certain paper will produce better results on a Canon or Epson printer; top-tier papers are built to deliver exceptional quality across the board. Advancements in coating technologies have also led to the development of papers with unique textures, providing artists and photographers with creative options such as unique surface finishes, from ultra-matte to metallic and even handmade textures.

Now let’s talk details — longevity. Two major factors that affect the lifespan of a print are acidity and the use of optical brightening agents (OBAs). Papers made from 100% cotton or alpha-cellulose are naturally acid-free and built for long-term stability. In contrast, papers made from wood pulp typically contain acid unless they’ve been specially treated — making them less suitable for archival use. Glossy papers are typically less archival than matte papers.

Glossy RC-based papers often rely on optical brightening agents (OBAs) and chemically active coatings to achieve a bright white base and reflective finish. These components can degrade over time, particularly under exposure to light, heat, or humidity, leading to yellowing, fading, or surface cracking. Even when labeled acid-free and OBA-free, the polyethylene resin layers itself remain vulnerable to oxidation and brittleness as they age. Under ideal storage conditions, modern RC papers can last several decades, but they still don’t match the long-term stability of high-quality cotton or alpha-cellulose papers.

Matte papers, especially those made from 100% cotton or alpha-cellulose, are typically free from OBAs and plastic resins, making them more chemically stable. Their porous, natural surfaces bond well with pigment inks, supporting fade-resistant, archival-quality prints that can last for generations.

That said, some premium RC papers are engineered with enhanced coatings that improve ink absorption, color stability, and surface durability. A few even include baryta-like layers that boost contrast and image depth. While these papers still don’t meet the full archival standards of fine art cotton papers, they can offer a respectable lifespan of 40 to 60 years when stored under proper conditions.

Furthermore, there are also functional coatings - to protect the print and improve handling, longevity, and display potential. Coatings are chemical solutions to problems that can’t be addressed by the base paper alone. These properties may be built into a single coating layer (think smoothie) or applied as additional layers on top of each other (multi-coated). Many premium papers include UV-blocking agents in the coating to reduce fading from sunlight or indoor lighting. This is especially critical for dye inks, which are more sensitive to UV degradation. Water resistance is built into microporous and nanoporous coatings, especially when paired with pigment inks, which are already water-insoluble. Some papers include a hard topcoat or a gloss optimizer-compatible surface that improves resistance to scratches and minor abrasions. Some coatings can reduce fingerprint smudges. Finally, there are anti-scanning coatings with embedded pattern that are applied to a paper surface that disrupts attempts to scan, photocopy, or photograph the printed content. Coatings turn an ordinary sheet into something with entirely different properties.

4. CLOSING THOUGHTS

This has been a long article, and I’m glad you’ve made it to the end. What I want to leave you with are a few final thoughts — not conclusions, not answers, just things to sit with. Questions without right or wrong. Just food for thought for your own reflection.

We’ve lost the meaning of print. Historically, a print meant an imprint — something pressed into or onto a surface. Stone, metal, or wood onto paper, textile, or another material. It was a physical trace of contact, a transfer of presence. Relief, intaglio, lithography, screenprinting — all involved physical interaction between matrix and substrate. That embodied process gave the print both material presence and authorship.

Today, when we say “print,” we usually mean something rendered line by line by a machine onto a surface — paper, vinyl, metal — with no trace of where it came from. What’s often lost is the simple, essential question: what is being printed, and on what? The type of ink and the type of paper rarely enter the conversation. Most people don’t think about what ink is being used, what paper it’s printed on, or how these choices shape the final image. That awareness mostly exists among photographers, printmakers, and collectors — not the general public.

The word “poster” has been hollowed out too. Historically, poster referred to silkscreen or offset printed works made for public display: promotion, propaganda, concerts, etc. Over time, the term has come to mean any cheap wall art. When you hear the word, you’re not meant to ask how it was made or with what materials — you just assume it’s cheap and disposable.

And by flooding the world with cheap, lifeless reproductions, we’ve devalued real printed art. A carefully made print now seems “too expensive” or “too much” next to a ten-dollar poster. Why pay more for something that looks similar at a glance? Mass-produced posters have lowered expectations of what art “should” cost. If a 50×70 cm poster is $10 at IKEA, then a hand-printed, pigment-based, archival photo print for $300 suddenly seems “expensive” — even though it's a different object entirely. This distorts public understanding of value in art and craft.

Posters have become the fast food of the art world — convenient, mass-produced, stripped of origin and meaning. Posters deliver instant visual gratification, mass-distributed, with no nutritional (or artistic) depth. They don’t nourish anyone except the businesses selling them.

The point is this: turning a print into art is a complex project. It involves a number of variables — the printer, the inks, the paper, the coatings, the framing — each with its own role in shaping the final piece. At one time, a photograph was by definition a print. But today, digital images have overtaken that meaning. The art print has become something of an exotic object — rare, unfamiliar, even misunderstood. We used to discuss art, to debate its meaning, its beauty, its place in the world. Today, we buy posters designed to blend effortlessly into our interiors. They match the furniture, fill the space, and they are silent, mute. They are cheap and safe. They’re there, but no one remembers them. Hollow. Shallow. Disposable. Empty calories that doesn’t do the job art is meant to do.

Prints aren’t old-fashioned, and they’re not a nostalgic cry for the past. In many ways, they’re more relevant than ever. They are a critical reflection on how language, production, and perception have shifted in the digital age. Prints are physical, and so are we. We live in a physical world. A print has weight, texture, presence — things a screen can’t offer. While screens flicker and vanish, a print stays and lives with you. It asks you to pause. It anchors the image in reality, in time. It’s not only a technical shift — it’s a shift in how we feel, connect, remember, and understand ourselves.