Digital BW, The Print

> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Rusty Sterling" <rustysterling@> wrote:
> >
> > I've been looking for profiles for the R200 ...

"Roy" <roy@...> wrote:
>
> You ought to start with the workflow of the one who designed
> the inkset.   See Paul Roark's write up about UT-R2.
> (note that the R220 and R200 are essentially identical)
> 
> http://www.paulroark.com/BW-Info/R220_R2_Readme.pdf
> 

And note the date on that PDF.  

Newer versions of Photoshop and possible even OSs may have trouble with the use of ICCs and the printer driver's "Color Controls."

The systems now are emphasizing ICCs with the printer set to ICM/No Color Adjustment.  This is probably an effort to avoid people using 2 profiles together accidentally. 

I think I agree with the emphasis, but it does make the use of the old workflows problematic.

I think moving forward ICCs with standardized Epson driver settings may be the easiest way to support the older or smaller market printers. If variables are cut to a minimum, a few generic ICCs will be easy to make and support whole families of printers and inks.  

I'll make a limited number of these for a few papers & printers.  The 2880 with a monotone is going to be a platform like this, for example.  


The MIS R2 inkset is one that was made for the Epson driver. That is, it uses densities that usually fit well into the Epson cross-overs and produce a good ramp with the built in default profiles.  These are what I've called the UT-C and UT-LC densities.  Ut-C is the standardized 30% jump down from MK.  (LK is the 30% dilution down from PK.)  Dropped into an Epson hextone or better printer, the R2's UT-C and LC densities look good.   Add an ICC to make it better.  This type of inkset is the easiest to support.  That's why it was called the hextone EZ set.

Paul
www.PaulRoark.com