Digital BW, The Print

First things first.  I'm branching this thread from "Comparing prints  
for that "3 dimensional quality"?" to "K7 Split Tones"


> What I really want to try is the neutral shadows/sepia highlights. How
> are you liking that. Is the split strong enough? To me that makes more
> sense.

Makes more sense to me too, but the sepia shadows/neutral highlights  
is very nice too.  Thier split is much more subtle.  Looks more like  
the Carbon Sepia inks from the PiezoTone  line.

Regarding the neutral shadows/sepia highlights, I can't say yet how  
strong the split looks in the 'wild'.  So far, I've been mainly  
printing linearzation targets and tweak patches during the curve  
building process.  The one real world image I've printed looks good  
WRT how strong the split is.  I'll report back later in the week  
after we've printed more images.  Bill has a portfolio he's chomping  
at the bit to print with these inks so the 7600 will see plenty of  
action this week.

One thing for certain, the split is more apparent with neutral  
shadows/sepia highlights than with sepia shadows/neutral highlights.   
I did spend a fair amount of time fine tuning where exactly the tones  
transitioned.  A person can dramatically change how strong the split  
appears by how they define the under inking.


> How are you able to subdivide this and move from one configuration to
> the other? Are you just using them as quads with a shared black or
> what? I really want the whole 6 channels in what I'm doing (I think).

Nope, full swap with the exception of channel 1, K.  I really dig the  
smooth transitions of the K7 inks, so we'll be using all seven  
channels in each configuration.  I've created a set of purge profiles  
for OPM to make the switching of carts easier.  I'm finding that it  
takes more than just the two cleaning cycles to purge the lines.   
It's not a huge waste of ink, but two cleaning cycles hasn't done it  
for me.




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