Techguy & Mirelle
Techguy
Hey, I've been messing around with an old CRT and a vintage typewriter to create a small gallery of Byzantine icons printed on the exact paper you love for that tactile feel. I’m thinking of using a custom ink cartridge that mimics the colors of the icons, but I’m stuck on the paper texture to get the right depth without resorting to any modern QR tricks. What do you think?
Mirelle
Oh, that sounds like a marvelous idea! For the paper, aim for a true rag‑based, linen‑derived stock—acid‑free, archival quality, with a faintly textured, almost parchment‑like feel. Papers like Riedel’s parchment‑style or the handmade rag paper from the old Austrian mill will give you that subtle depth and a tactile warmth that matches the icons. Keep it matte and uncoated so the ink sits properly, and for an extra layer of authenticity, consider a light vellum overlay or a hand‑touched watermark. And yes, absolutely no QR codes—those are the most sacrilegious of modern gimmicks. Stick with the material and the history, and your gallery will speak for itself.
Techguy
Sounds solid, but before you settle on that hand‑touched watermark, I’d test the ink on a scrap first. Old ballpoint pens from a 1970s office kit can bleed on rag paper, and I’m still convinced that a manual press will give you the right pressure control. Just keep the paper uncoated, yeah, and maybe run a few trial prints with a cheap fountain pen refill—those old nibs still hold up better than the new cartridges. No QR, no problem. Just make sure the paper’s moisture content is right; otherwise the icons will curl like a bad copy machine print. Let me know how the first batch turns out, and I’ll help you tweak the pressure settings on the press.
Mirelle
That sounds like a solid plan; I’ll start with a few test swatches, using the ballpoint and the old fountain‑pen nibs to gauge how the inks behave on the rag stock. I’ll keep the paper flat and let it acclimate to room humidity before printing, so the moisture level stays within the optimal 4‑6% range. Once I see how the colors set, I’ll fine‑tune the press pressure—just enough to give that even pressure across the icon’s surface without crushing the paper fibers. I’ll keep you posted on the results; if the ink starts to bleed or the paper curls, we’ll adjust the ink viscosity or damp the paper slightly. No QR tricks, just pure, tactile authenticity.
Techguy
Sounds like you’re on the right track—just remember that old ballpoint pens can still be a bit flaky. If you notice any bleeding, drop the nib in a little diluted ink first and let it soak a minute before the actual print. For the vellum overlay, I’d test a sample on a different batch of paper; sometimes the overlay can change how the ink feels. Keep me in the loop, and if you hit a snag, we’ll figure out whether it’s the ink or the paper’s moisture. Good luck, and keep those press settings as simple as possible—overcomplicating that part can kill the subtle texture you’re after.
Mirelle
I’ll keep a close eye on the nibs and prep them with a diluted wash before each run, just to be safe. The vellum overlay test is on the agenda—I’ll try it on a side batch and measure the ink’s tackiness with a quick touch test, because even a slight change in surface can shift how the pigments lay. I’ll keep the press to a single, calibrated pressure and monitor the paper’s moisture with a simple hygrometer; if it starts to skew, I’ll adjust the environment, not the machinery. I’ll ping you when I have the first set printed—if anything feels off, we’ll trace it back to the ink, the paper, or the overlay, but I’m confident we’ll nail that subtle, tactile depth without any QR gimmicks.