Digital BW, The Print

Hello Ernst,

>The more the carbon protects, the less toning happens ......... 
>You have to increase the colorant to get more toning but by that 
>the colorant gets more exposed.  

Ok, got it.


>I think that Bob is implying that he can use single hue, more 
>opaque, pigment particles for the toner while the colour printer 
>has to lay down two hues at least that have to be transparent and 
>must make a wide colour gamut for their normal task. The opaque, 
>low gamut, pigments are just more lightfast...The Roland pigments 
>last longer outdoors but their gamut is much less.
>Paul Roark has his doubts whether the modern wide gamut pigments 
>like Ultrachrome really are pigment only. But without doubt they 
>are not that fade proof as the pigments used for outdoor exposure. 
>The last can still be used for the humble task of quad toning.

Ah, this is all starting to come together and make sense now.  

 
>Microscopic in this context is still way bigger than lightwave 
>lengths/photon sizes so there's no reason that something 
>specially happens with light filtering in that sense. 

Ok, so much for that idea.


>That's the silkscreen printer in me who writes this.

Maybe you can answer some other questions that I've had for some
months.  There are other ink based arts that have existed for a long
time, including silk screen, etching, and photogravure to name a few.
 Are these processes considered "archival"?  How long have these art
works lasted?  What kind of inks and papers have been used?  I
recently saw an auction listing where some original Edward S. Curtis
photogravures sold for big bucks.  It's probably safe to assume they
haven't faded, and they must be approaching 100 years now.  What kind
of ink and paper were used for them?

Many thanks.

Regards,
Clayton


Info on black and white digital printing at    
http://www.cjcom.net/digiprnarts.htm