Does anyone know what brand the conde SPP is ?
(DyeTrans™ Multi-Purpose Ink Jet Sublimation Printing Paper)
I am using the Powerdriver since I can't get a dark blue with the icc and it ask for paper type
Choices are
Accuplot
Truepix Classic
Media Street 31lb
QCPro
When I asked Conde if they had True-Pix Classic sublimation paper, I was told that was what their DyeTrans was. They had just renamed it to their own brand.
Interesting......I wonder if my rep was wrong or just trying to give me an answer that I wanted to hear. I was specifically asking about the True-Pix Classic sublimation paper, because that is what Sawgrass recommends on their site for sublimation.
I use the DyeTrans™ Multi-Purpose Ink Jet Sublimation Printing Paper from Cond'e. instead of the TruePix. If you are worried about choosing the wrong one check the description, it reads "use in place of TruePix"
I used TruePix for years because it was the best thing out there for anyone using Sublijet. I tried and switched to Dye Trans to save money. I save quite a bit of money and the print quality is just as good. Cond'e is also a great company.
Thanks Jack.
... my question is:
Is a paper that is good for all substrates good enough or should a paper that is dedictated to certain substrates be used instead.
(i.e. carry a paper for cermics/ a paper for glass etc.)
Thanks
Mark
Good question. Without writing a treatise, the answer is a little tricky, but I’ll try.
Very briefly, it’s about the paper coating, paper brightness and how the paper out-gases. The coating must promote the ink to drying quickly and not allow penetration too far into the paper. Paper brightness generally equates to a smoother paper, with very short surface paper fibers. Good out-gassing determines the dedicated direction of the subliming process.
Coating – if it does not hold the ink exactly as laid down (and at the proper depth) the image can be slight fuzzy, to the discerning eye. It can also produce dot gain when sublimated.
Brightness – with regular printing paper you may have noticed that a 96 Bright paper is not only whiter than an 87 Bright paper but is also smoother. This is because the paper fibers are much shorter. If fibers are not really short, they can get trapped in the coating on hard substrates.
Out-gassing – I’ll try to keep this short. Ideally, you want sub ink to out-gas like a shaped charge, not like a grenade. The better it does this (although a superior substrate coating is also helpful) the crisper the image. In extreme cases posterization is so bad that facial tones, for example, lose much of their contrast.
Darn, I still got too long. To get to the point, yes some papers are not suited for hard substrates and should only be used on fabrics. A top-notch paper performs both tasks admirably.
I’ll stop here. I’ve seen many voice the opinion that there is no difference in paper. They are wrong. In spite of constantly testing every available paper on the market (including imports), many with a higher profit margin than what we sell, we continue to carry only one sublimation paper.
Good question. Without writing a treatise, the answer is a little tricky, but I’ll try.
Very briefly, it’s about the paper coating, paper brightness and how the paper out-gases. The coating must promote the ink to drying quickly and not allow penetration too far into the paper. Paper brightness generally equates to a smoother paper, with very short surface paper fibers. Good out-gassing determines the dedicated direction of the subliming process.
Coating – if it does not hold the ink exactly as laid down (and at the proper depth) the image can be slight fuzzy, to the discerning eye. It can also produce dot gain when sublimated.
Brightness – with regular printing paper you may have noticed that a 96 Bright paper is not only whiter than an 87 Bright paper but is also smoother. This is because the paper fibers are much shorter. If fibers are not really short, they can get trapped in the coating on hard substrates.
Out-gassing – I’ll try to keep this short. Ideally, you want sub ink to out-gas like a shaped charge, not like a grenade. The better it does this (although a superior substrate coating is also helpful) the crisper the image. In extreme cases posterization is so bad that facial tones, for example, lose much of their contrast.
Darn, I still got too long. To get to the point, yes some papers are not suited for hard substrates and should only be used on fabrics. A top-notch paper performs both tasks admirably.
I’ll stop here. I’ve seen many voice the opinion that there is no difference in paper. They are wrong. In spite of constantly testing every available paper on the market (including imports), many with a higher profit margin than what we sell, we continue to carry only one sublimation paper.
conde sub paper - What brand is it ? 
