Digital BW, The Print

> From: Clayton Jones <cj@...>

>  And I'm also unsure how putting Eboni in
> it is going to affect things.

You will find about a 10% boost in dMax on fine art papers like HPR or
Permajet Alpha.  It is ever so slightly weaker (only by measurement) on
EEM/EAM.  It will affect the tonality of the AB&W settings and also the
linearity of the AB&W greyscale, although you are best to manage the latter
with a QTR ICC profile anyway.  The choice of K influences tonality quite a
lot because the LK and LLK are very light inks.  For example, take a look at
QTR partition points for 3K with Eboni in the K slot.  With the 4800 on EEM
if you limit Eboni K at 70%, LK is 23% K and LLK is just 8% K.


>I also have a working QTR-BO curve, so
> am working that angle as well.

Again I encourage you to not just linearize the QTR curve but to also go
ahead and profile the linearized greyscale ramp with a QTR ICC profile.  It
helps an enormous amount.
> 
> Cone hasn't advertised K7 as being pure carbon, just pure pigment, so
> I'm guessing there is some sort of cool toner in there.

There has to be if it is going to "neutral" on HPR.  In fact, it would need
a toner comprising rather large amounts of LC,C, LM and M - and not in equal
proportions.

>So it's
> probably still true that Eboni BO is the only pure carbon solution
> that can create a range of cold to warm tones without any color ink.

But only to the extent the paper is coloured.

> They've all got colors in some form or another.

Yes and so have the papers.