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All gray ink set for digital printing

All gray ink set for digital printing

2015-01-12 by ben@...

All,

I am also a member of the CarbonTransfer group, and recently Sandy King came up with a document about setting up an "all gray ink set". An ink set where where the inks are, K=PK, C=PK, M=PK, Y=PK, LC=PK, LM=PK, LK=LK, and LLK=LK. He uses this method to obtain nice digital negatives on Pictorico OHP.

Not so long ago I also discovered another manual from Mr Michael P. Rosenberg. In his manual (Digital Negatives for Silver Gelatin Prints and Alternative Processes) he describes how to obtain digital "negatives" for printing traditional silver gelatin prints. In fact his negatives are different then the one above. He uses Glossy Photo Paper as the negative media. Today I wrote him, and asked if his approach would work with an "all gray ink set" as described above. He answered yes.

With the help of Mr Paul Roark and Mr Ernst Dinkla I developped a custom, diluted ink set based on HP Vivera PK. (K=PK, C=30%PK, LC=9%PK, M=18%PK, LM=6%PK, Y=2%PK). I use this inkset to print on cotton rag papers.

The tool for all 3 processes is QTR.

Now, I am wondering if it would be possible to use an "all gray ink set" (
K=PK, C=PK, M=PK, Y=PK, LC=PK, LM=PK, LK=LK, and LLK=LK) for printing on rag and baryta papers??

Best regards,

Ben Albu


Re: [Digital BW] All gray ink set for digital printing

2015-01-12 by Paul Roark

K=PK, C=PK, M=PK, Y=PK, LC=PK, LM=PK, LK=LK, and LLK=LK
is a whole lot of PKs for printing a direct photo on paper. I think you'd be happier with more LKs and LLKs.

It definitely works to have a setup with, for matte, K = MK, then C & M = PK, and LC & LM = LK. Y can be LK or LLK. Basically that is what UT14 is, but with the C channel being a cooled carbon and M channel being 100% carbon.

For glossy, I'd favor K = PK, C & M = LK, LC, LM, and Y = LLK.

HP's Vivera is cooler than the Epson K3 versions. MIS's K4 grays are 100% carbon and warm.

FWIW,

Paul
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On Mon, Jan 12, 2015 at 11:23 AM, ben@... [DigitalBlackandWhiteThePrint] <DigitalBlackandWhiteThePrint@yahoogroups.com> wrote:

All,

I am also a member of the CarbonTransfer group, and recently Sandy King came up with a document about setting up an "all gray ink set". An ink set where where the inks are, K=PK, C=PK, M=PK, Y=PK, LC=PK, LM=PK, LK=LK, and LLK=LK. He uses this method to obtain nice digital negatives on Pictorico OHP.

Not so long ago I also discovered another manual from Mr Michael P. Rosenberg. In his manual (Digital Negatives for Silver Gelatin Prints and Alternative Processes) he describes how to obtain digital "negatives" for printing traditional silver gelatin prints. In fact his negatives are different then the one above. He uses Glossy Photo Paper as the negative media. Today I wrote him, and asked if his approach would work with an "all gray ink set" as described above. He answered yes.

With the help of Mr Paul Roark and Mr Ernst Dinkla I developped a custom, diluted ink set based on HP Vivera PK. (K=PK, C=30%PK, LC=9%PK, M=18%PK, LM=6%PK, Y=2%PK). I use this inkset to print on cotton rag papers.

The tool for all 3 processes is QTR.

Now, I am wondering if it would be possible to use an "all gray ink set" (
K=PK, C=PK, M=PK, Y=PK, LC=PK, LM=PK, LK=LK, and LLK=LK) for printing on rag and baryta papers??

Best regards,

Ben Albu



Re: All gray ink set for digital printing

2015-01-17 by richard@...

I've been chewing on this for the last few days and have a minute to respond. I still don't know exactly what you are attempting to do though.

In your example of "K=PK, C=PK, M=PK, Y=PK, LC=PK, LM=PK, LK=LK, and LLK=LK" are those full strength PKs in each of the K, C, M, Y, LC, LM channels?
If so, are you trying to partition the grayscale using the full strength PK dilution? If yes, then you will need to limit each of those PK channels to a pretty low value, which could cause a whole lot of dithering to make the lighter tones. It wont be pretty, and would be a royal pain to profile.

You could use 2 PK positions, then a single LK, and single LLK ink set. The K=100%PK channel being a skeleton black, the C=60%PK for the 3/4 tones (either a dilution or by setting a lower ink limit for a 100%PK—although using a dilution will make a smoother print), and then the LK and LLK being used normally. That would still give you a smoother grayscale, and then some color toning options using the LC, LM channels.

Richard Boutwell

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