Digital BW, The Print

David Kachel <david@...> wrote:
>
> >>> With the MIS warm carbon, you'll want the Eboni MK 
for matte paper. The PK does not give a good dmax. It is 
used as a dark midtone ink. That's why the layout is 
K=Eboni, C & M = PK, LC & LM = LK, and Y = LLK.


 
> ... If I understand correctly, this setup uses the standard 
> neutral black ink (Eboni) in order to get decent
> dmax. The PK is used primarily to add warmth and for midtones,

And it adds lots of density in the deep shadows.


> and LK and LLK (also warm?)

Yes.  They are just diluted PK.

> are used in two slots each more or less to fill all the
> slots and keep tones smooth.

Yes.

 
> In theory could I use LK and LLK in only one slot each 
> and put Windex in two slots?

No.  You need all spots filled for the Epson driver to do a good job.  Also the ammonia in Windex should not be on or in the head too long.

 
> How will the warmth of this setup compare to Cone's sepia 
> inks, assuming all else is the same?

They are very similar in tone.

 
> Could I use this same warm tone setup you outline in 
> an Epson 3800?

Probably a somewhat similar setup would work.  With K3 machines the gray substitution can cause problems if the LK position is too light relative to the C and M.  Also, the 3800 has larger dots, so you might want to move all the light inks to LLK, have the C and M be LK, and have the LLK and LK spots be LK and Pk. I've never set up a 3800, however.

Note that MIS has what call UT-C and LC that are denser than the LK and LLK.  So, you can increase the number of different densities and mix up the starting points with curves.  This might increase smoothness a bit.  But, one thing at a time.

Paul
www.PaulRoark.com