Digital BW, The Print

Yea, I've personally found that when doing warmish mono output with QTR and UC inks, 
papers with optical brightners like HP Rag and EEMatte don't have the beauty of papers 
without them such as Premier Art Cold Press and H William Turner or German Etching or 
Concorde Rag. A really interesting hue can be obtained with 80% Sepia curve and 20% Cool 
Curve on the above mentioned media. It even looks nice on EE Matte.

John V. sent me this breakdown to describe the way the channels are being seperated. 
This may give you some idea. He is such a helpful guy ( and Roy Harrington is King).

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Hi John,

You asked on the list about making curves with QTR. 
Also you mentioned how do you know how much of the color inks are being used
to tone? Just open a profile and look at this:

N_OF_INKS=7
DEFAULT_INK_LIMIT=50

LIMIT_K=
BOOST_K=60
LIMIT_C=0
LIMIT_M=0
LIMIT_Y=0
LIMIT_LC=12
LIMIT_LM=12
LIMIT_LK=36

The above is from the 76/9600 PhotoRag Cool profile. I'm not good at math so
don't laugh too much... but K=60 is the maximum for the Black ink. So this
60 becomes 100%, as related to the other inks, as it's the most ink laid
down.

Next is LK=36. 36 is a little more than half of K=60 so just a little more
than 50% of light black is being used.

Both Light Cyan and Light Magenta is being used at 12. So about 20% of LC
and LM are being used with this profile.


Best,

John V.










 Another thing you might want to look at is a
> print using the same percentages you've been using, but on a different
> paper, Epson Velvet, photoRag or German etching for example. You'll notice a
> slight difference to the apparent tone of the inks due to the difference in
> paper white.
> 
> Carolyn