Digital BW, The Print

Yes, this makes sense.
Only I'm not printing with the grey profiles for B/W printing.
I'm using full color profiles and printing color because I'm 
reproducing color artwork . Even my monochromatic images 
need to be printed in color because of the very warm and subtle 
color tones I use in my paintings.
So even in color printing the hightlights are course.
And under a loupe in the highlights it seems that there is no use 
of the varible drop size?

Andrew G.




--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Peter 
Nelson" <peter@s...> wrote:
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "A. 
Andrew 
> Gonzalez" <a_andrew_gonzalez@y...> wrote:
> 
> > ImagePrint would be perfect if there is a solution to this 
course 
> > dithering.
> 
> I posted some hi-res scanned images of the IP output a
> few days ago.  The coarse dithering is a result of
> using only a subset of the inkset, which is how they
> overcome the UC inks' matamerism.   The Epson RIP does
> this also and has the same result.   I'll post some 
> scans soon.
> 
> Technically, there's no way around it.  All dithering
> algorithms represent a tradeoff between spatial resolution
> and color (or grayscale value) resolution.  For a given 
> ink drop size, the number of different values you can 
> create is a function of the area of your dither pattern and
> the number of different values or colors of ink you have
> to work with.  The RIPs don't use the yellow because 
> it's highly metameristc.  This also forces them to reduce
> the cyan and magenta because the yellow component of
> the "light black" is limited.   With such a limited palette
> coarseness is inevitable.  It's a somewhat less extreme
> version of why black-only is so coarse - that's a REAL
> limited palette - white and black.