Digital BW, The Print

I've used an old Epson R220 -- a good old workhorse that has proved to be a reliable test bed -- to make a demonstration Noritsu variable-tone inkset.  See http://www.paulroark.com/BW-Info/N-BW-VT-1-220.pdf

I think my results strongly suggest that a similar setup would work well in most Epson printers.

I used the Epson driver because it's the least flexible.  QTR could obviously be used and achieve even better results, such has higher black densities.  (Shoot, just can't hit much more than 1.9 with the Epson drive and H. Photo Rag; QTR hits a bit over 2.0.)

The variable tone approach should allow almost all papers to be printed, though matte dmax is not that impressive on many papers.  HPR does best, Red River Premium Matte is next, with the best native tones.  Red River Premium Matte is the easy, best value matte paper here.

I just did a single axis model -- Lab A (magenta) variability.  This takes care of the most obvious tonal deficiencies of the Noritsu K.  For the glossy papers I've tested so far, I don't think more is warranted.  I will not bother with a more complex system for the 220.

Note, however, that a full 3D model is probably able to be supported by this approach by adding Noritsu yellow or a blend containing it in the yellow position. 

There are some good reasons these materials are, in the "dry labs," starting to take a huge chunk of the commercial printing market.  There is no reason we B&W printers should be left out.  It'll be interesting to see if Epson makes a full k3 Claria printer.  It could be quite a machine. (In the meantime, I'll go there with materials and printers we can all get -- now.)

Paul
www.PaulRoark.com