Digital BW, The Print

Thanks a lot.I'll save this for further reference...
André


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Paul Roark"
<paul.roark@...> wrote:
>
> > Humm,I see...Does it mean that it's a known problem of this inkset?
> 
> No, it means I think there is a lot of room for improvement with the
entire
> inkjet industry.  Then again, color photo materials used to also require
> that every batch be re-profiled, and of course, every film and paper had
> it's own characteristics.
> 
> So, between ink variances and paper differences, it's difficult to
get and
> keep the exact look one prefers.
> 
> If a blended monotone or even variable-tone ink is too magenta or
too green
> for a certain paper, there is little one can do about it.  The 3D
approach
> was, in part, to allow one to adjust for these differences.
> 
> It's odd that the inkset at issue here is the UT-FSN.  It actually
has the
> least magenta mix of the toned grays.  (The issue is actually the ratio
> between the cyan and R800 blue -- looks like grape juice -- that is
used to
> cool down the carbon.)  The glossy paper you're using may be the
source of
> the magenta look.  The older glossy papers were the worse that way.
 If you
> try a Kirkland glossy for drafts and a Crane Silver Rag for the
final print,
> I'd guess the look would be quite different.
> 
> One of the reasons the amount of "magenta" in the toned inks differ
is that
> I mix them to a specific set of papers.  That set of papers changes with
> time.  Crane Silver Rag did not exist when the UT-FSN formula was
made.  On
> the other hand, the older glossy papers were becoming good enough to
use.
> Now, however, I think it is critical that an inkset print well on
CSR, and I
> recommend people move away from the older, acidic glossy paper
technologies.
> 
> 
> Paul
> www.PaulRoark.com
>