Digital BW, The Print

Ernst,

I have the glop in the light black position in the 2200.  I did try  
glop first in the K position when I was using the FSN inks, but I  
switched to a different inkset and moved glop to the LK slot.  The  
current inks and positions are:

K - MIS Eboni black
LK - MIS Glop
C - PKN
LC - MIS UT7 LM gray
M - MIS PK
LM - MIS UT7 LC gray
Y - MIS UT7 Y Sepia


You can run your two middle gray inks together on the same curve if you  
wish.  On the Mac you currently would need to put the two middle gray  
inks in the LC and LM slots to do this, but I understand that on the PC  
you can duplicate curves for any ink positions.  Roy or Daniel may be  
able to clariify this point.

I've tried applying glop with different curves (inverse to density,  
only with gray inks, and flat overlay) the simple overlay and gray ink  
tracking seem to work best.  Applying glop only to non inked areas does  
not work well with the UT or UC inks and the print surface has an  
uneven gloss appearance.  I know that with the R800 and high gloss inks  
this is the approach epson uses, but I understand that the glop and  
inks they use have an equal gloss.

I use my 2200 with a glop only profile for glopping prints from my  
4000.  Works well with a simple 50% overlay.

Carl

On Feb 23, 2005, at 4:34 AM, Ernst Dinkla wrote:

>
> Carl Schofield wrote:
>
>> Daniel,
>>
>> It might be the paper or method of application.  I get zero bronzing
>> with a 10% glop coat (applied as a flat curve during printing) on
>> either Kirkland Gloss, Ilford Smoorh Pearl, or Epson Premium Semimatte
>> - not semigloss.  I also get better results with the MIS inks (UT2,
>> UT7, or FSN) than with Epson UC inks.
>>
>> Carl
>>
>>
> Carl,
>
> I'm now at the point where I can rearrange the inks on my quad 9000
> before starting curves and linearisations for QTR. The choice is 7
> positions too as I can exchange an extra black line + damper at the  
> head
> directly. That one is filled with PK which I use less than Eboni. I
> wonder how well a gloss inkline works when it has to share the same
> capping station with the other (dark) inks. No occasional smears
> happening that way ? If anything like that occurs I rather use another
> method, printer for glop. You have the glop at the black head side as I
> understand it.
>
> The messages mention the use of the Epson glop in the R800 as a  
> reversed
> print that gives most glop on the paper white reducing it to black. To
> equalise the differential. That can be done in QTR right now with the
> curves I think but would another extra condition (none, gray, toner,
> glop)  make it easier ? That method can only be done properly with glop
> applied on the same machine.
>
> A question on grey inks + separations. Right now I use Eboni in the M
> position, a MIS middle grey in the LM position, the same grey in the C
> position and a light MIS grey in the LC position. The heavy cool MIS
> toner in the Black position. Yellow position isn't used right now..  
> This
> arrangement works best for linearising with the CMYK channeled Wasatch
> SoftRIP that I have. LInearisng is done on M+LM,  C+LC and K and Y
> separate. Makes life simpler to fit the inks to that system. I wonder
> how I can use the same two middle greys together in QTR. I'm quite  
> happy
> with just 3 grey inks for the whole range but an extra set of nozzles
> for the middle of the range is nice too. So is there a way that I can
> keep the two middle greys functioning in the same way as they do now
> (more or less) in QTR ? If it is not possible right now I can spare  
> that
> position for another toner or glop.
>
> With an extra printer for glop/varnishing it would be possible to use a
> two component resin, one component per head. I have a UV curing
> polyurethane that works quite nice for gloss paper by silkscreen
> application but can't be used on matte paper. It must be possible to
> make a 2 component one that's more fluid too. Will ask the supplier.
>
> Staedtler has a new water borne ink range that can be applied on a  
> range
> of uncoated media. It is called Lumocolor and has the same ink base the
> Lumocolor felt pens have. On some substrates (plastics etc) the print
> has to be heated to 80 degrees celsius to give them outdoor quality.  
> Can
> be used on the wide formats piezos including the Epsons but needs a
> heater for the materials mentioned. A varnish like that may be
> interesting too for our Epsons, heating if necessary can be done later  
> on.
>
> http://www.staedtler-inkjet.com/Inkjet_Lumocolor_Jet_Tinte.Staedtler? 
> ActiveID=41956
>
> Ernst
>
>
>
>
>
>
>
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