QTR-Quadtone RIP

First option would be to try profiles for similar papers. I don't know what is available for 3880, but something like silver rag or some other Baryta coated paper would be a good start. These usually get you close. I would definitely start there and see if you are happy with your results.

You could then modify one of those to create your own profile for your papers. You have the color munki and modifying curves isn't too hard once you get the hang of it. There are several tutorials out there about this. I would recommend Lou Dina's or Amadou Diallo's. I think they are both in the files section here.

Another option would be finding a profile that is close and create an ICC using the create ICC feature of QTR.

You can create these for each set up you use right down to the toning options you select. If you go this route, I would suggest using QTR Print Tool to avoid the color management issues with Adobe/Apple/Epson. I really like Print Tool anyway.

I have used ABW and QTR and prefer QTR for several reasons. 1) ability to split tone gives much greater control. 2) It uses less of the various color inks in the mix, which hopefully will lead to less long tern color shift. I checked this by scanning a sample and zooming to the dot level. There is clearly less color dots.

Sepia tone uses no color (check the profile...they are shut off)

Peter

Its not necessarily true that fewer colours in the mix would lead to 
less long term colour shift.  Some time ago there was a suggestion that 
yellow in the mix reduced long term colour shift (yellow fading 
offisetting the warming of the black inks), but in turn meant other 
colours were needed to balance the yellow (and the initial warmth of the 
blacks). I don't know what conclusions came from any testing, but these 
things are never as simple as they seem!
The ease (and control) of split toning is a definite plus!

On 28/12/2013 18:52, zonepeter@... wrote:
> ...
>
>
> I have used ABW and QTR and prefer QTR for several reasons.  1) 
> ability to split tone gives much greater control.  2)  It uses less of 
> the various color inks in the mix, which hopefully will lead to less 
> long tern color shift.  I checked this by scanning a sample and 
> zooming to the dot level.  There is clearly less color dots.
>
> ...
>
>
> Peter
>
> 

-- 
mike finley photography
http://www.mikefinley.co.uk
http://words.mikefinley.co.uk

The curves under the 7890 should be usable - same inks, same dot size.

Roy

-- 
mike finley photography
http://www.mikefinley.co.uk
http://words.mikefinley.co.uk

Thanks for the clarification Paul - I was possibly using that blend in 
an 1160 ... I certainly started with one of your blends (UT-FSN?) after 
trying the Lyson Small Gamut inks. Now I'm back to one printer for B/W 
and colour (3880) using the Ultrachrome inks - I don't do enough 
printing nowadays to justify two printers!

On 28/12/2013 22:39, Paul Roark wrote:
> Mike Finley <mike.finley@... 
> <mailto:mike.finley@...>> wrote:
>
>     Its not necessarily true that fewer colours in the mix would lead
>     to less long term colour shift.  Some time ago there was a
>     suggestion that yellow in the mix reduced long term colour shift
>     (yellow fading offisetting the warming of the black inks), ...
>
>
> That was some time ago.  Current Epson, MIS and other MK and 
> non-neutralized PK inks are 100% carbon or a pigment that appears to 
> be close to it and very strong.  From what I've seen they are 
> significantly more stable than the color inks.  So, with today's 
> modern pigment (not Claria/Noritsu dye) inks, I believe less color is 
> better in terms of image stability.
>
> I used a yellow ink "counter fade" strategy with an old MIS B&W blend. 
>  It worked for a while, but it's history.  The black "pigment" inks at 
> that time had dye in them to fortify them.  The cool dye faded 
> quickly, causing the carbon warmth to show more.  So, I added a yellow 
> dye to the light grays that would fade at the same rate as the black's 
> fortifying dye and offset that dye's coolness.
>
> With modern Epson pigments, the ABW use of more than the minimum color 
> inks needed is probably done mostly for smoothness reasons (and maybe 
> to keep the jets clear, and unlikely/cynically to increase Epson's 
> profits).  With respect to the smoothing potential of the color inks, 
> I use Claria colors to significantly smooth the 1400/1430 Black Only 
> dots in my B&W QTR profile for the OEM Claria inkset.  It does the job 
> very effectively.  (see 
> http://www.paulroark.com/BW-Info/1400-Claria-BW.pdf )
>
> Paul
> www.PaulRoark.com <http://www.PaulRoark.com>
> 

-- 
mike finley photography
http://www.mikefinley.co.uk
http://words.mikefinley.co.uk