Digital BW, The Print

Hi -
I'm working on a 2200 with Piezo NK7 Inks and Hahnemuhle Photo Rag.  
As much as I like  these new inks (a lot), I preferred the Warm Black  
color of the previous
Piezo Tone ink set.
So I'm about to experiment by removing some neutral black from some  
cartridges, and adding an equal amount of sepia (via syringe) - not  
to create split toning necessarily, but to generally warm the print  
up.  In a reference to split toning, Jon Cone recently wrote,  
"...Sepia should only be prevalent in the shadows... the mix is in the
mid tones - quartertones -- and  highlights being neutral..."

Has anyone on the list tried something like this, or could you share  
some of your thoughts about it?

The immediate questions are which cartridges to leave as is (if any)   
and which ones to add the sepia.  And equally important would be  
proportion of
Sepia to Neutral.  This emerges as the central question, because of  
the economics. One would like to get pretty close on the first one or  
two tries.

Thanks in advance for your help.  I'll report back on results.

Clay Price




[Non-text portions of this message have been removed]

Hi Clay

Why not get some of the new Sepia K7 inks from Cone for the darker inks
instead?  Although this approach is more expensive it will make your life
easier when the time comes to change the cartridges!

David Whistance

  -----Original Message-----
  From: DigitalBlackandWhiteThePrint@yahoogroups.com
[mailto:DigitalBlackandWhiteThePrint@yahoogroups.com]On Behalf Of Clayton
Price
  Sent: 06 September 2006 16:57
  To: DigitalBlackandWhiteThePrint@yahoogroups.com
  Subject: [Digital BW] Re: Mixing NK7 & Sepia in the cartridges



  Hi -
  I'm working on a 2200 with Piezo NK7 Inks and Hahnemuhle Photo Rag.
  As much as I like these new inks (a lot), I preferred the Warm Black
  color of the previous
  Piezo Tone ink set.
  So I'm about to experiment by removing some neutral black from some
  cartridges, and adding an equal amount of sepia (via syringe) - not
  to create split toning necessarily, but to generally warm the print
  up. In a reference to split toning, Jon Cone recently wrote,
  "...Sepia should only be prevalent in the shadows... the mix is in the
  mid tones - quartertones -- and highlights being neutral..."

  Has anyone on the list tried something like this, or could you share
  some of your thoughts about it?

  The immediate questions are which cartridges to leave as is (if any)
  and which ones to add the sepia. And equally important would be
  proportion of
  Sepia to Neutral. This emerges as the central question, because of
  the economics. One would like to get pretty close on the first one or
  two tries.

  Thanks in advance for your help. I'll report back on results.

  Clay Price

  [Non-text portions of this message have been removed]



  


[Non-text portions of this message have been removed]

Hi Clayton,

Here is the guy at InkJetMall that you should talk to: Wells Smith
InkjetMall
888-426-6323 EXT 103

Tyler just got back from teaching a workshop out there in Vermont and
he has glowing reports of the printmaking going on, specifically in
the area of split toning with the k6/k7 inks. I for one just can't
wait to go down that road. If you talk to him ask if it is possible to
go the other way around - sepia in the highlights and neutral in the
shadows. I'm interested in trying that configuration too, but right
now have too many irons in the fire.

John