Digital BW, The Print

> So, does that mean those five positions have different dilutions of
> Eboni ink?

The Eboni-1800 setup uses the same Eboni-6 dilutions, but they are in 
different positions, since the 1800 has CMY with Red and Blue rather 
than the usual hextone arrangement.  I was skeptical that the Epson 
driver would lend itself to B&W, but it turns out there is a rational 
ink order that works well.  By having the dilutions track the color 
wheel, RGB image adjustment curves (that are embedded in ICCs) can be 
written to sequentially start the inks.  I use these with the hextone 
versions of Eboni-6 also.  They give the advantages of partitioning 
with very large overlaps, and being in ICCs, they result in a "color 
managed" workflow, which I think has significant advantages. 

See http://www.paulroark.com/BW-Info/Eboni-1800.pdf for a description 
of the inkset in general.  I expect MIS will be the source for this in 
the U.S. 

The "Black Art Eboni" version of the PDF for Image Alchemy (which is 
only interested in non-US marketing) does not go into the rationale for 
the ink order.  It's at http://www.paulroark.com/BW-Info/Black-Art-
Eboni-1800.pdf

Paul
www.PaulRoark.com  

> 
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "pr_roark"
> <pr_roark@> wrote:
> >
> > Paul Banks is going to market a B&W system in Europe that has Eboni-
6 
> > in the color spots of an Epson R1800, with the 3-MK settup in the 
> > remaining positions.  I made some sample prints using the 1800, 
Eboni-
> > 6, the Epson driver, and QTR-made ICCs that Paul also has there.  
He's 
> > at Halle 4.1 booth E31. 
> > 
> > Paul
> > www.PaulRoark.com
> >
>