Digital BW, The Print

Peter <pdesmidt@...> wrote:

> **
>
>
> I'm considering setting up a gloss printer, and I'd prefer neutral to
> mildly warmish tones. In looking at Aardenburg tests, the piezography MPS
> don't seem to be doing all that well. As a result, I'm thinking about using
> HP PK as the basis of the inkset, as it's done very well in Aardenburg's
> tests.
>
> As Paul's tests awhile show, the HP PK inks bronze quite a bit without
> special treatment. The main options seem to be:
>
> A. Use MIS PK, which has less of a bronzing problem than the HP PK, and
> use glop to dilute the HP PK. This would give warmish blacks with the rest
> of the tonal range being pretty neutral.
>

Glop warms the HP PK a bit more than the generic base or the tone of the HP
Gray -- on the order of one Lab b unit, I believe (from memory).


>
> B. Use all HP PK, and dilutions thereof, and use a second run through the
> printer to apply glop.
>

I played with multiple passes and did not like the workflow -- at a minimum
one more step and chance to get pizza wheel marks.   I ended up with fouled
exit rollers that were even pulling carbon off the matte prints.


> (Another option would be to use a spray sealer on the prints, but I don't
> have the space to make a spray booth.)
>

I think spray is the best by far in terms of results, but the toxic spray
and other issues make it rather an un-happy option also.

Getting the artifacts down to an acceptable level on the first pass seems
like a preferable approach.

I set up the 1400 UT14 with a glop channel and never really found it to be
worth much.  I think the glop base plus some paper selection choices gets
the reflective artifacts to an acceptable level.


> A. would be the less expensive option, as the HP PK would only be used
> diluted.
>
> Any thoughts or suggestions?
>
>
Using the MIS Pk also gives you a smoother, more consistent deep shadow
ramp.  HP's coated pigments are glossier.


In general, I think I found the HP-based inks to be a good way to go for a
neutral monotone.  The Epson driver + ICC (QTR Create ICC-RGB produced)
makes a workflow that I think is about as good as it gets.

For a variable-tone approach, the there is a lot more flexibility to go
with QTR and something like the 6K + LM and LC approach I currently have
loaded into a 4000.

To be honest, the recent report of yellowed edges on Museo Silver rag just
about was the last straw for my exploration of the glossy pigments.  For my
uses -- cards and other casual prints -- the 1400 with dyes wins the beauty
contest, and "carbon on cotton" has no serious competition for fine art
wall display.

Paul
www.PaulRoark.com


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