Digital BW, The Print

One thought for David, although he would be very much on his own as I'm not aware of anyone using this approach, would be to look at the American Inkjet Systems inks.  They sell a stronger yellow, red-orange and brown inks as well as the standard colours.  They are not keen on multi K inksets, however by using some of their colours as toners together with the MIS carbon inks I'm sure he could build a very warm custom inkset. It might take a bit of work to get it profiled with QTR though.
 
David Whistance
 

________________________________
 From: Terry Ritz <t.ritz@...>
To: "DigitalBlackandWhiteThePrint@yahoogroups.com" <DigitalBlackandWhiteThePrint@yahoogroups.com> 
Cc: "<DigitalBlackandWhiteThePrint@yahoogroups.com>" <DigitalBlackandWhiteThePrint@yahoogroups.com> 
Sent: Thursday, 18 July 2013, 22:44
Subject: Re: [Digital BW] Getting Started
  
 
   
 
On 2013-07-18, at 1:45 PM, David Kachel <mailto:david%40davidkachel.com> wrote:

> Paul has said the same warm tone can be accomplished with MIS inks, so
> that is the way I prefer to go.

David, I'm running a slightly modified version of an ink set Paul developed called 6KPlus (K6 Plus?) in my 3800. It's based around dilutions of the MIS PK pigments, with Eboni covering the deepest blacks on matte and MIS PK covering the deepest blacks on gloss. LM and LC are used for toning, and neutralizing the carbon pigments. 

The warmest tones you will get on matte will peak around b* values of 4 to 5 (somewhere in the mid tones). Cone's carbon will not be much warmer, if any. I don't think this will come anywhere near what you are looking for, if I understand your needs correctly. Gloss conversely, will peak around 14 (somewhere in the mid tones). That would be yellowish, and adding some LM would allow you to move this toward a "brownish" tonality. 

To get the tones you are after on matte would require Y in the ink set. You could accommodate that in this 3800 using 6KPlus. However, Y is does not fare as well as the other pigments in terms of light fastness. Then again, I suspect you might be better off with this configuration, relative to a full colour ink set, in terms of longevity. Be aware that you will also have three colours to juggle when you build profiles to achieve the tones you want. This is probably quite doable, but more complex than working with two. 

Perhaps Paul can comment in general on the addition of Y to achieve the end result you are looking for. 

Terry.    
         

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