>... What is the relationship between toning curves
>(such as the "warm", "neutral", etc. UT2 and UT7 curves
>on Paul's website) and ICC profiles (that are specific
>to inks/papers but don't have reference to temperature).
>Would I use both of them, i.e. a warm tone curve along
>with an ICC profile for the proper ink/paper combo?
Roy has 2 version of the Create ICC program. For the monotone UT-R2 inkset,
where the tone is controlled by which cartridges are plugged in, I use the
grayscale "Create ICC" version. That is used simply to linearize the system
(smooth the ramp and be sure it matches the monitor). (Note that the 220
with UT-R2 prints very well on many papers even with no ICC.)
For inksets that are variable tone, I'm starting to use the "Create
ICC-RGB." This version allows not only the linearization, but it also
allows me to embed Photoshop *.acv curves into the ICC. See
http://home1.gte.net/res09aij/Embedding_Photoshop_Curves_in_ICCs.pdf
The UT-3D is the first inkset where I've used this from the outset, but the
UT2 and UT7, among others, can also use the approach. When those inksets
were first set up, and in the Readme files I have posted on them, the
workflow is to edit in grayscale, convert to RGB, apply a tone curve, and
print through the Epson driver. Now the ICCs made with Create ICC-RGB that
have the curves embedded in them take care of converting the file to RGB and
applying the curve. So, it's a simplified workflow that is also "color
managed" and linearized.
I post the curves as well as ICCs, but that is so others can use the curves
to make their own ICCs, thus having a custom ICC instead of a "canned" one.
Not only are all printers a bit different, but ink and paper batches also
vary. So, being able to make the ICCs specific to the ink and paper being
used might result in a better grayscale ramp.
>2. How do the ICC profiles and toning curves for the r220 interact
>with using a variable UT-R2 inkset as described by Clayton?
I can only speak to my own workflows, but I think Clayton is using the
sliders to get some tone control where both neutral and warm carts are
plugged in. An ICC could be used to linearize the output from that system.
You'd still have to remember to set the sliders. (I'd recommend the ICC
name include the settings to remind you what they are.) An ICC in the print
preview might be very useful in workflows that use sliders because they can
throw off the ramp.
>3. With the 2200, is there an advantage to using the ICC/curves
> method instead of QTR?
It depends what you're going to use the 2200 for. If you wanted to print
good B&W with the color inkset installed, you'd need QTR or other third
party rip. If, like me, you're running a UT-3D inkset in the 2200, then the
ICC workflow is arguably easier on a Windows machine because you can print
from Photoshop. I also like the monitor-matching aspects of the ICC
workflow, but I'm not versed in what QTR users do to get a monitor match.
> If I did use QTR and UT7 inks (with the 2200), which inkset
>would I need to buy - neutral, warm
>or variable (as described in Paul's UT7 for 2200 article)?
The UT7 is a variable-tone inkset. There is no warm or neutral version.
The tone is controlled by the curves -- either PS or QTR. When I wrote the
UT7 Readme file I used the workflow that converts the grayscale to RGB and
then applies the tone curve in PS. If I were to use that inkset today, I'd
embed the curves into ICCs, as described in the above URL.
Paul
www.PaulRoark.com