Digital BW, The Print

Paul, thanks so much for your reply.  That's good to know, I have already developed warm 
and cool curves.  I'm assuming if I want 100% carbon on IGFS that I will need to use 100% 
of the warm curve.  Only thing is the warm inks in the M and LM slot, (if you remember 
from earlier post my warm curve on IGFS uses only ink from the LM position), and is very 
warm, especially on IGFS.  I was hoping to achieve a more neutral print on IGFS using 100% 
carbon inks which was what I thought you were talking about in your white paper as is 
memtioned in the subject line of this post.  I had figured that the Eboni must have given a 
more neutral print on the IGFS with the GLOP holding the Eboni down and then finishing 
off with a coat or two of Premier Print Shield.  If we are not supposed to print with Eboni on 
glossy papers what is the purpose for the GLOP?  If things have changed since this inkset 
was developed perhaps a better use of the "Y" inkslot would be a lighter such as LLPK for 
smoother highlights.

Also, I am not very familiar with using the icc profiles along with the ACV curves in PS, and 
I believe I've read most if not all of your papers on the subject, is there someplace with a 
good description of the process or a step by step for developing or for that matter using 
these curves and profiles in PS.  I do understand that the ACV curves are presets in PS for 
curve and tone adjustments, and have played with them to familiarize myself with them.  I 
have a more detailed post outlining my questions on this subject that I had posted on the 
QuadTone forum, that I didn't get a response too on ICC profiles that I will post here after 
this post; so if you would take a look at that post before responding concerning my 
questions on the use of ACV curves I'd appreciate it.  Right now I'm more concerned with 
the first paragraph of this post.

I apologize for the multitude of questions, I'm just attempting to make the most out of my 
UT14 setup as it appears to be the most versital inkset for prints 13 inch wide and 
smaller.

Much Thanks,
Randy


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "pr_roark" <pr_roark@...> wrote:
>
> "Randy Rancier" <randy_rancier2004@> wrote:
> 
> 
> > Paul, as you mention in your white paper on the UT14 inkset 
> > I would like develop a OTR 
> > curve and icc with the UT14 inkset on the current baryta 
> > fiber based glossy papers such as 
> > ILFORD Gold Fibre Silk (IGFS) that are neutral.
> 
> I mostly supported the Epson driver workflow with a QTR "Create ICC-
> RGB" approach to make ICCs that had Photoshop curves embedded in 
> them.  The basic curves for this are in a Zip file.  I tend to leave 
> the rip to those who are familiar with it. 
> 
>   
> > I have recently become familiar with QTR, but I 
> > am not sure as how to set up the profile.  
> > You were not specific on the nuts and bolts,
> 
> True.
> 
> > you did mention that you use the Eboni, glop and PK ink 
> > from the inkset. 
> 
> Yes, you can see the PS curves to see the general pattern of glop 
> useage.  The PK and PKn are the dark midtone inks.
> 
> For the glossy papers, I recommend using no Eboni at all.
> 
> 
> > ... glop is used to hold the Eboni down,...
> 
> You don't need to worry about that with the UT14 inkset.  Don't use 
> any eboni on glossy papers.
> 
> One approach you might consider is making separate warm and cool 
> profiles with just the 2 midtone inks.  Then combine them as needed 
> with the sliders.
> 
> Paul
> www.PaulRoark.com
>