<benedictchen22@...> wrote:
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I want to try on glossy paper. to be exact I like to try canson fiber paper.
If you are intending to use the R2000 with custom inksets, you'll need to know how to make profiles using QTR. The lack of light inks and the inclusion of the red and orange inks makes the usual RGB curves of Photoshop inadequate for control in most situations, unless you want a 100% monochrome setup -- for example 100% MIS glossy carbon. With a monochrome inkset, you can use the Epson driver with a setup like I used for the 1800 and Eboni-6. See http://www.paulroark.com/BW-Info/Eboni-1800.pdf . (Beware that the 1800 had different additional colors and has not been tested on an R2000.)
I have been using Jone cone Carbon ICC and I like the look. But I like to make it 1 pass me being clumsy and all....
I'm not familiar with that inkset. Jon's carbon sepia on matte paper prints much like the MIS carbon on matte paper in terms of the print tone. MIS glossy carbon on glossy paper prints with a sepia type tone that is twice as warm as Cone Carbon Sepia on matte paper.
The MIS pigments use gloss optimizer ("glop") as the fluid base. As such, they have the lowest amount of pigment reflective artifacts that I've seen. (But I use dyes for glossy to avoid the pigment problems entirely.) However, one some papers there can still be some. For that reason, in the UT14 inkset I put glop in the Y position so that it could add more glop as needed to further control the bronzing. You can see that inkset PDF and curves to see how it was used. See http://www.paulroark.com/BW-Info/UT14.pdf .
Note that the UT14 neutralized carbon inks may be something you should consider along with the MIS glossy carbon to control the print tone. That 100% MIS carbon print is going to be a sepia tone.
I read the threads and saw that Paul suggest to use MIS PK, LK and LLK .
Which is Epson K3 equivalent on MIS website. Just to be sure are they 100% carbon.
Yes, the MIS PK, LK, and LLK are 100% carbon. Note that they are warmer than the Epson K3 gray inks, which are probably a somewhat neutralized carbon (a bit too green, in my view).
I using the Paul Roark eperimental page to find the inks.
(Using my last name with the printer in Google is how I find most of my pages.)
Any suggestions on how to fill the and 8 slots on the R2000
See the UT14 approach. UT14 uses one channel (color) for the warm 100% carbon and one for a neutralized carbon. UT14 uses PK and LK only, but K3 has the LLK. MIS also has made a UT14-type neutralized carbon LLK. So, you can set up warm and cool channels with up to 3 densities of ink. You can also put a separate glop in there as well as an MK (Eboni). That fills the machine.
In QTR you might want to make one profile with 100% carbon and another profile with the neutralized carbon. Then use the sliders to print with a blend of the two profiles.
You can set up the glop as a toner in the profiles. Use the density value to move the peak output to the lighter end or darker end of the scale (lower density moves it to the lighter end, I think). Use the ink limit to control the amount. Don't use too much or you'll have more pizza wheel issues. (Like the other pigment on glossy artifacts, dyes have much less of a problem with these annoyances.)
Also let say If I want to do glossy only and I have Eboni Mk inside, during the curve reaction page do I just set the Eboni to off?
Yes, just turn it off -- "not used."
I think I am going to keep the 1400 for something else or sell it cos pizza wheel issue make me just want to avoid.
They all have pizza wheel issues with pigments. (I want my image forming substance inside the coating, not sitting on top.)
Good luck.
Paul