Digital BW, The Print

I've recently acquired a used 7600 to add to my 2200 and am considering 
which inkset to put in it. I'm attracted to Paul Roark's 4k+ approach 
primarily because it would allow me both matte & photo blacks.

However, being unfamiliar with this system, I have a couple of 
questions. I currently use 2 quadtone sets in the 2200 - UT-FSN & UT7 
carbon (with UT-FS-Y as the lightest ink). I also sometimes use the UT7 
sepia and UT3D Selenium toners (by swapping out the lightest inks).

My most-used overall tone is about halfway between the two quadtone sets 
so I typically use a 50% mix of the two curves in QTR but occasionally I 
also use either set on its own.

The first question regards the tone of the MIS K4 inks that Paul 
recommends for 4k+. Where do they fit on a scale between UT-FSN Neutral 
& UT7 Carbon? Or do they have a distinctly different tone than those 
inks, eg more green, such that they couldn't be said to be comparable? I 
am particularly concerned that I will be having to put down a lot of 
coloured ink just to achieve my favourite basic tone.

Secondly, will the LC (or LLC) and LM inks be enough to achieve the same 
range of toning throughout the tonal scale that I can achieve with the 
Selenium & Sepia inks? I appreciate that Yellow would be required for 
full sepia but would I at least be able to get some way towards it with 
just LC & LM?

Lastly, and more subjectively, am I going to see a significantly 
different "look" to my prints than I am getting at present or will the 
coloured inks blend in smoothly such that I shouldn't really be able to 
see any difference?

Thanks
Howard

Hi Howard,

>I've recently acquired a used 7600 ...

>The first question regards the tone of the MIS K4 inks ...
> for 4k+. Where do they fit on a scale between UT-FSN Neutral 
>& UT7 Carbon?

The carbon core of the 4K+ is pure carbon -- the same tone as the UT7
carbon.  They are basically the same inks but with different (standard Lk &
LLK) dilutions.

> I am particularly concerned that I will be having to put down 
> a lot of coloured ink just to achieve my favourite basic tone.

It'll be the same amount of color as is mixed into the current inks -- just
not mixed in and thus not subject to separation in the 7600 lines and
dampers.

>Secondly, will the LC (or LLC) and LM inks be enough to achieve 
>the same range of toning throughout the tonal scale that I can 
>achieve with the Selenium & Sepia inks? I appreciate that 
> Yellow would be required for full sepia but would I at least 
> be able to get some way towards it with just LC & LM?

Sepia can be made with carbon, yellow and LM.  The original UT2 sepia was 8%
MIS 7600 Y, 8% M, and 84% light carbon (UT7 LC).  If LM is used instead of
M, the formula would be about 8% yellow, 27% LM, 42% LK, and 23% base.  This
gives you the ratios of the Y, LM and Lk needed for a fairly strong sepia
tone.

>... am I going to see a significantly different "look" to my prints 
>than I am getting at present or will the coloured inks blend 
>in smoothly such that I shouldn't really be able to 
>see any difference?

You won't see any difference.  The main issue us whether it's worth dilution
the LC.  That is going to be the limiting factor in smoothness.  In a 7600,
I'm not sure it's worth the effort, but for the very smoothest prints, the
50% LC (LLC) might be considered.

Good luck with the setup.

Paul
www.PaulRoark.com