Moab Entrada
This is my standard printing paper for art prints which will be sold, especially for larger sizes. Once framed, the fact that the paper is matte really doesn't matter - gloss only works well when the prints are naked. I prefer the bright white though I do warn you it's hard to find a matte board that is bright or bluish white. For small prints I use the 190 weight as the surface is a little smoother, for larger prints and all roll prints, I use the 300 weight. I have been using this paper for two years with excellent results for both black and white and colour prints.
Harman FBAL Gloss
Of the glossy papers, this is by far the best - for consistent quality, minimal gloss differential, sharp images, a feel and even smell that is so close to photographic printing paper that when you open the box, you feel you should have remembered to turn off the lights. Perhaps it's a little too glossy but it really makes lovely 8.5X11 prints, enough so that I have gone back to making many of my prints in this size, ideal for holding in hand and putting in small portfolio boxes.
Epson Ultra Premium Presentation Matte
In days of yore, this paper was called Archival Matte, only it wasn't, archival that is. While pigment ink images lasted on the paper, the paper surface itself tended to yellow - not all batches, just some, but often within months when the paper was left exposed to the air. That said, the paper is light enough to be stack fed in most printers making it very handy for routine use. It comes in a variety of sizes, has a good smoothe matte surface, neutral white paper, not too much brightener. The back is a bit creamy coloured and the paper is just a little bit see through for using in a book binding, but it's relatively inexpensive and produces lovely prints and is my standard paper for trial prints and sticking things up on the office wall and so on.
This is my standard printing paper for art prints which will be sold, especially for larger sizes. Once framed, the fact that the paper is matte really doesn't matter - gloss only works well when the prints are naked. I prefer the bright white though I do warn you it's hard to find a matte board that is bright or bluish white. For small prints I use the 190 weight as the surface is a little smoother, for larger prints and all roll prints, I use the 300 weight. I have been using this paper for two years with excellent results for both black and white and colour prints.
Harman FBAL Gloss
Of the glossy papers, this is by far the best - for consistent quality, minimal gloss differential, sharp images, a feel and even smell that is so close to photographic printing paper that when you open the box, you feel you should have remembered to turn off the lights. Perhaps it's a little too glossy but it really makes lovely 8.5X11 prints, enough so that I have gone back to making many of my prints in this size, ideal for holding in hand and putting in small portfolio boxes.
Epson Ultra Premium Presentation Matte
In days of yore, this paper was called Archival Matte, only it wasn't, archival that is. While pigment ink images lasted on the paper, the paper surface itself tended to yellow - not all batches, just some, but often within months when the paper was left exposed to the air. That said, the paper is light enough to be stack fed in most printers making it very handy for routine use. It comes in a variety of sizes, has a good smoothe matte surface, neutral white paper, not too much brightener. The back is a bit creamy coloured and the paper is just a little bit see through for using in a book binding, but it's relatively inexpensive and produces lovely prints and is my standard paper for trial prints and sticking things up on the office wall and so on.