Digital BW, The Print

Jamie,

> 
> 1) with ref to Glossy/Semigloss and Lustre only, should I try to use
> all six inks to produce the various hues I want; neutral, cool and
> warm?

Yes.  The only time you'd need to cut out the cool inks entirely is if you
wanted carbon, which is quite warm.  I'd guess most prefer a medium warm.
You can download one of my curve for that and see the relative mix that gets
you there.


> 
> 2) is BO and 2K black printing with PKN and FSN-y not a good idea?

I'm just not sure why one would want to do it, but then to me BO is the way
one gets B&W and color in a non-K3 machine without a rip.  However, it's
easy enough to try all the combinations and see if you like the mix.


> 3) Quote - "I favor using all the inks unless you want a pure carbon
> print, in which case the PKN and FSN-Y are probably not the best
> choices." I don't understand this at all, I must be missing
> something very basic somewhere, I thought they were all carbon
> inks, please correct me as to where my thinking is going wrong,

In the UT2 inkset the M and LM are "pure carbon" (plus a base and probably
some edge-effect treatment to the carbon for various purposes.  Carbon is by
nature very warm, at least at the current level of technology.  The cooler
inks, which include PKN and FSN-Y, are made cooler by mixing in some color
pigments.  The cooler inks are still predominantly carbon, however.

Hope this helps.

Paul
www.PaulRoark.com 



> 
> -------------------------------------------------------------------
> 
> message from Paul Roark:
> 
> Jamie,
> 
> >
> > I've opted to put together a second 1290 setup using spongeless
> > carts with UT2 inks, and taking your advice [below] I've put PKN in
> > the K position and FSN-y in the yellow position.
> >
> > Now just to check I've got my options correct, before I start curve
> > building for QTR: (with ref to Glossy/Semigloss and Lustre only,)
> >
> > 1) BO using PKN
> > 2) 2K using PKN and FSN-y
> > 3) 4K using PKN, M, LM and FSN-y
> 
> The UT2 M and LM are warm carbon. They were meant to be mixed with
> the cool UT2 C & LC on the paper.
> 
> > 4) and finally all 6 inks for a neutral rendition (or maybe a cool
> > curve that could be blended with the warmer carbon curve to give a
> > neutral might be better choice?)
> 
> I favor using all the inks unless you want a pure carbon print, in
> which case the PKN and FSN-Y are probably not the best choices.
> 
> Paul
> www.PaulRoark.com
> 
> _________________________________________
> 
> 
> 
> > Original message from Paul Roark:
> >
> > Jamie,
> >
> > You can print a good black with the UT2 and Eboni installed. The
> > curves just use the 2 dark grays to generate the black. So, if you
> > have any interest in printing on matte paper, I'd just leave the
> > Eboni installed as is.
> >
> > If you have no interest in matte paper, then I'd put MIS PKN
> > (neutral photo black) in the K position. It gets a better dmax than
> > the standard PK, and it also avoids the warm cross-over that occurs
> > if pure carbon is used as a black ink.
> >
> > On advantage to the PKN is that you'd be able to print from
> > grayscale files using the sliders and no curves. If you don't want
> > sepia and like neutral to cool glossy prints, you can also remove
> > the sepia toner in the yellow spot and replace it with a carbon
> > ink - the UT2 LM, UT1 Y, or even the FS-Y (or FSN-y for cooler
> > prints). Which way to go depends on how the shadow densities and >
> > tones look to you.
> >
> > Paul
> > www.PaulRoark.com
> 
> 
> 
> 
> 
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