Re: Designing ink sets
Re: Designing ink sets
- Subject: Re: Designing ink sets
- From: Ernst Dinkla <email@hidden>
- Date: Tue, 07 Feb 2006 10:27:04 +0100
Steve Upton wrote:
At 1:07 PM +0000 2/6/06, Steve Kale wrote:
I have a general question with regard to ink set designs, specifically with respect to the colour of greyscale inks used as part of a colour ink set. Am I right to say that good colour begins with good greyscale generation and that as a rule one would prefer K, LK and LLK inks which, when forming part of a (8 ink) colour ink set, which are as neutral on paper as can possibly be? I understand that this would, amongst other things, make profiling easier and images less prone to colour shifts. If I am wrong on this could you please explain why. Even if the foregoing is correct, are there circumstances when one would purposefully deviate from neutrality in the greyscale inks?
yeah, physics.
When you grind carbon into very fine particles is tends to appear a bit brown.
Epson's K3 inks have very fine grays and appear to be a bit warm when used on their own. The only way to get neutral grays is to add some cyan. Not Epson's fault, just the way carbon works.
Regards,
Steve
Paul Roark uses a mix of an R800 blue and cyan to pull the MIS
carbon black to neutral. Cyan only would make it too green.
Cyan + magenta works too but the magenta fades faster.
There's an advantage to start from a warm black in the sense
that you do not need yellow and magenta to pull it to the
neutral axis. The last two are more prone to fading than the
black and cyan. When the first Epson UCs were introduced it
was also thought that less yellow in the mixes would reduce
metamerism. There are doubts about that. The UCs were mainly
used on 7 head systems with the extra grey, the lower
metamerism may be more the result of the extra grey ink and by
that less composite grey. The Epson 10600 is the one that may
reveal whether it was the lower yellow quantity or the lower
composite grey amount that gives less metamerism. The term
metamerism as used in print shop talk.
I think the question is a bit theoretical. So far the real
neutral pigment blacks fade to warm carbon black faster than
many color mixes. The outer shell of the black pigment
particle that has been colored is the first to go. The same
for hybrid pigment/dye mixes. Cone's first quad inks and alike
have shown that. Whether the warm carbon black is an advantage
in color management and fade resistance or not we probably
can't get better black pigment particles anyway.
A neutral pigment black that would fade to warm black but is
accompanied by a composite grey with a yellow-magenta mix that
fades as fast is another option. More complex though and the
100% black would still shift to warm black in time if you need
a high Dmax there at printing time.
Ernst
--
Ernst Dinkla
www.pigment-print.com
( unvollendet )
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