I don't claim any special tricks for digital negatives.  Through trial and error I've developed a system that works for me, but I still don't rely on "one perfect workflow" for all my printing.  Some images work with a single negative and for others I use a form of old-fashioned unsharp masking / contrast control masking by registering the negative with a low density positive (printed so that the printing lines of the two layers run perpendicular to each other.)  As with all things artistic, there are many ways to express a vision and there are a number of published systems for making great negatives.  A good place to ask questions is hybridphoto.com. 

The important thing is that handmade paper is a wonderful substrate for enlarged negatives made with an inkjet printer.  Currently, I use an Epson R2400 with matte black ink on Pictorico OHP film. 

Below are several comparison examples.  An unfortunate fact of scanning textured paper comes into play here.  In life, the blacks on the paper are deep and glossy.  When scanned, the light hits the microscopic hills and valleys of emulsion-covered paper fibers and the result looks rough and matte.  I ask you take my word that there is little visible difference in the appearance between the prints on watercolor paper and the prints made on commercial paper except that emulsion on  hot press-surfaced watercolor paper has a depth and dimensionality that makes a baryta surface seem a bit lacking for something.