Digital BW, The Print

My original theory with respect to the old UT-1 and the 7500 was that the
magenta's tendency to stick to things disproportionately was part of the
problem -- the large format ink lines being what distinguished them from the
desktop units.  Subsequently the dampers seem to (also?) be implicated.

But, all the pigments have unique combinations of characteristics.  It may
be that any pigmented ink will show some instability if left still for long,
with the blended ones showing this in color shifts.  The desktop units
agitate the pigs with every printing job.  The large format printers don't.
So, combining the large format ink lines, dampers, and lack of cart
agitation would seem to inevitably make them need more continuous use for
top stability.

I suppose the ultimate solution is a single, perfect-tone, carbon pigment.
That doesn't seem to exist at this point, and the "perfect" tone would be
different for every user and paper. 

For toned (more neutral) carbon, a single pigment type per jet with drops so
small the color contrast is not visible might be the second best solution.
For B&W only, low gamut colors would help hold down the color contrast among
the dots.

I've found one non-inkjet blue pigment that is relatively low in gamut and
offsets quite nicely the carbon warmth by itself -- Daniel Smith's
indanthrone blue.  I have used it in inkjet printing, and the fade tests
were excellent if just a hair less than the best new UT neutral pigments.
However, this pigment is going to need more processing than I suspect we can
give it without expensive equipment.  Whether we'd be able to convince a
pigment company to make it available in an appropriate form is debatable,
but such is on my rather long list of things to do.

For now, and probably forever, our solutions are compromises.  I try to make
sure my large format printers are turned on at least once a week.  I think
MIS recommends a program that prints a purge page daily even for desktop
units.

I'd like a spectrophotometer built into the printer and software that
automatically takes care of the problems on the fly -- all at the C86 price
point, of course.


Paul
www.PaulRoark.com 
 



> -----Original Message-----
> From: DigitalBlackandWhiteThePrint@yahoogroups.com
> [mailto:DigitalBlackandWhiteThePrint@yahoogroups.com] On Behalf Of Carl
> Schofield
> Sent: Sunday, July 24, 2005 9:32 AM
> To: DigitalBlackandWhiteThePrint@yahoogroups.com
> Subject: Re: [Digital BW] Removing color content(was:Wilhelm 2400 data )
> 
> Steve,
> 
> I ran into the same problem with the UT7 LKN ink in my 4000.  Started
> getting yellowish grays, but ink from the cart tested OK.  Why is
> this ink breaking down in the damper and/or lines?  Impossible to get
> a consistent tone with unstable inks.
> 
> Carl
> 
> On Jul 24, 2005, at 1:10 PM, Steven Karafyllakis wrote:
> > What's got me bugged now, however is that I'm seeing
> > signs of ink separation in the LK damper. After sitting for 3 weeks
> > the prints I'm getting are distinctly yellow-green, a problem I ran
> > into a lot with UT-1 and the 7500.
> >
> > So, how do I get a neutral LK with no color? An LK version of Eboni
> > would be ideal, at least for matte papers. Is that possible? Has
> > anyone tried it?
> >
> > Steven Karafyllakis
> 
> 
> 
> [Non-text portions of this message have been removed]
> 
> 
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