Digital BW, The Print

Hi Clayton
I really wonder if we won't need a considerable amount of help from
the paper folks to accomplish this as well as the ink people. I
haven't used a large number of different uncoated fine art papers with
 straight carbon dilutions so don't know if the ink tones vary as much
across these as they do on the coated papers but I suspect the
coatings have a tremendous impact on the tonal variations. Perhaps as
much or more even than the dilutions do. If this is so, the ink by
itself would have to be very bulletproof and impervious to external
chemistry of the coatings--an enormous undertaking.

I've been thinking of your exchanges with Tyler as regards your
perceptions of the colors added to alter ink tone as opposed to BO
prints. I know there can be exreme metamerism shown in trying to make
neutral tones from color inks and I wonder if your impressions might
not be due to a more subtle evidencing of that same factor. Maybe you
are simply very sensitive visualy to those effects.

I've enjoyed the thread. Thanks.

Regards
Duane





> 
> The big problem with 2K is the color inks required to cool off the LK
> to match Eboni (those dastardly colors again!).  You can get a formula
> that looks great on one paper but not on another.  That's why I was
> trying to dilute Eboni.  What we need is a K/LK pair with the same
> tone that will react equally across the different papers.  So my
> thinking is that maybe the K7 set will provide that...I will be
> watching the reports carefully.
> 
> Regards,
> Clayton
> 
> 
> Info on black and white digital printing at    
> http://www.cjcom.net/digiprnarts.htm