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Thread
2006-10-07 by Terry Ritz
Is it difficult to create split tones using QTR? I assume one would first create two curves, say warm and neutral, to establish the appropriate settings for each curve. These would then be "combined" into one master curve (the settings that is) with split toning done by creating/importing appropriate Photoshop curves for the gray and toners within that curve? Thanks, Terry.
2006-10-07 by john dean
All this varries greatly according to the inkset used. There is no one approach that fits all. John --- In QuadtoneRIP@yahoogroups.com, "Terry Ritz" <t.ritz@...> wrote: > > Is it difficult to create split tones using QTR? > > I assume one would first create two curves, say warm and neutral, to > establish the appropriate settings for each curve. These would then be > "combined" into one master curve (the settings that is) with split toning
> done by creating/importing appropriate Photoshop curves for the gray and > toners within that curve? > > Thanks, > > Terry. >
2006-10-07 by Terry Ritz
Sorry, missed that. . . . the context for my question is either UT7 or UT-3D. I'm currently testing NK-7 split tone, so I'm looking for what would be required to do something similar with either UT7 or UT-3D. Part of the reason for my question is the need to print B&W on gloss rag media, which is a gap right now. Terry.
> [mailto:QuadtoneRIP@yahoogroups.com] On Behalf Of john dean wrote: > > All this varries greatly according to the inkset used. There is no one > approach that fits all. > > John > > --- In QuadtoneRIP@yahoogroups.com, "Terry Ritz" <t.ritz@...> wrote: > > > > Is it difficult to create split tones using QTR? > > > > I assume one would first create two curves, say warm and neutral, to > > establish the appropriate settings for each curve. These > would then be > > "combined" into one master curve (the settings that is) with split > toning > > done by creating/importing appropriate Photoshop curves for > the gray and > > toners within that curve?
2006-10-07 by Howard Shaw
Terry Ritz wrote: > > > Sorry, missed that. . . . the context for my question is either UT7 or > UT-3D. > > I'm currently testing NK-7 split tone, so I'm looking for what would be > required to do something similar with either UT7 or UT-3D. Part of the > reason for my question is the need to print B&W on gloss rag media, which is > a gap right now. > If you're using the UT7 curves a very simple & obvious way would be to recompile say the warm curve replacing the Cyan ink position with Magenta. That would give you cool shadows & warm highlights. There shouldn't be any need to re-linearise. Howard
2006-10-08 by Tom Moore
Terry About a year ago I was inspired by one of Paul Roark's images to create a UT7 split tone curve for Ilford Smooth Pearl. The curve has warm highlights and cool shadows. I tried to set up the curve so that the transition of cool to warm occurred around halfway up the curve. I found I could move the transition point up or down by blending the split curve with the warm or cool curve and using the slider to control the amount of movement. Of course, to reverse the curve to create cool highlights and warm shadows would require another split curve. I never created that one. The curve is still in the files section along with the other Ilford Smooth Pearl curves. Tom Moore
> -----Original Message----- > From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On > Behalf Of Terry Ritz > Sent: Saturday, October 07, 2006 3:04 PM > To: QuadtoneRIP@yahoogroups.com > Subject: RE: [QuadtoneRIP] Re: Split Toning with QTR > > Sorry, missed that. . . . the context for my question is either UT7 or > UT-3D.
2006-10-08 by Tom Moore
Howard That's an interesting idea. If it's correct, it seems to me that one would only have to make a warm curve (say) and then one could create a cool curve by swapping (M and LM for C and LC) inks - for UT7 anyway. However, looking at the qidf files for various UT7/paper combinations, the warm and cool curves have quite different values for the Toner Curve and Linearization settings. That makes me think your idea wouldn't work, but I'm not sure why. Has anyone made a warm curve from a cool (or vice versa) simply by swapping inks? Tom Moore > -----Original Message----- > From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On > Behalf Of Howard Shaw > Sent: Saturday, October 07, 2006 4:07 PM ...
> > > If you're using the UT7 curves a very simple & obvious way would be to > recompile say the warm curve replacing the Cyan ink position with > Magenta. That would give you cool shadows & warm highlights. There > shouldn't be any need to re-linearise.
2006-10-08 by Howard Shaw
Tom Moore wrote: > > Howard > > That's an interesting idea. If it's correct, it seems to me that one would > only have to make a warm curve (say) and then one could create a cool curve > by swapping (M and LM for C and LC) inks - for UT7 anyway. > > However, looking at the qidf files for various UT7/paper combinations, the > warm and cool curves have quite different values for the Toner Curve and > Linearization settings. That makes me think your idea wouldn't work, but I'm > not sure why. > If the inks have similar densities across the range at the calibration stage then they should be interchangeable without affecting the luminance scale. UT7-C & M & UT7-LC & LM were designed with this in mind. In reality the two cool inks are slightly darker than the carbon ones but the effect is barely noticeable and if it was bothersome nothing that a re-linearisation wouldn't sort out. I'm not sure what you mean about Toner Curves as none of the standard warm & cool UT7 curves use a toner curve. There are many ways to do split toning in qtr - without even touching the toner curves the 'Load curves' and 'Copy curve from' facilites provide great flexibility. For example take the current standard Photo Rag Warm curve: K, Gray Ink, Density 100, Limit 70 C, Gray Ink, Density 47, Limit 70 LC, Gray Ink, Density 15, Limit 70 You could change this to: K, Gray Ink, Density 100, Limit 70 C, Gray Ink, Density 47, Limit 70 LC, Gray Ink, Density 15, Limit 35 LM, Copy Curve from LC, Density 15, Limit 35 The new curve would give warm carbon shadows & midtones moving towards more neutral highlights as the LM kicks in. I have halved the limits on the LC & LM so they both add up back to 70 as in the original curves LC alone. As we are replacing like for like no re-linearisation should be necessary. Howard
2006-10-08 by Tom Moore
Howard Just to be clear, I understood what you were suggesting and I wasn't stating the suggestion was a bad one. It just occurred to me that the underlying assumption (that the C/M and LC/LM densities are close enough to permit swapping) implied that one could make a normal (i.e. not split tone) warm curve, linearize it and then create a cool curve by simply swapping inks. That means less work and therefore interesting - to me at least. What puzzled me was that the warm and cool curves (for HPR, for example) are different. I got off the rails a bit when I mentioned toner curves - it was late and I was tired. However, between the warm and cool curves, the partitioning values are slightly different and the linearization values are quite different. The curves for EEM have similar differences. My question was, therefore, have you (or anyone else) actually tried doing this - either to create a split-tone curve in the manner you suggested or to create a warm from a cool curve without re-linearizing. Tom Moore > -----Original Message----- > From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On > Behalf Of Howard Shaw > Sent: Sunday, October 08, 2006 3:54 AM > To: QuadtoneRIP@yahoogroups.com > Subject: Re: [QuadtoneRIP] Re: Split Toning with QTR > ...
> > > If the inks have similar densities across the range at the calibration > stage then they should be interchangeable without affecting the > luminance scale. UT7-C & M & UT7-LC & LM were designed with this in > mind. In reality the two cool inks are slightly darker than the carbon > ones but the effect is barely noticeable and if it was bothersome > nothing that a re-linearisation wouldn't sort out. I'm not sure what you > mean about Toner Curves as none of the standard warm & cool UT7 curves > use a toner curve. > > There are many ways to do split toning in qtr - without even touching > the toner curves the 'Load curves' and 'Copy curve from' facilites > provide great flexibility. For example take the current standard Photo > Rag Warm curve: > > K, Gray Ink, Density 100, Limit 70 > C, Gray Ink, Density 47, Limit 70 > LC, Gray Ink, Density 15, Limit 70 > > You could change this to: > K, Gray Ink, Density 100, Limit 70 > C, Gray Ink, Density 47, Limit 70 > LC, Gray Ink, Density 15, Limit 35 > LM, Copy Curve from LC, Density 15, Limit 35 > > The new curve would give warm carbon shadows & midtones moving towards > more neutral highlights as the LM kicks in. I have halved the limits on > the LC & LM so they both add up back to 70 as in the original curves LC > alone. As we are replacing like for like no re-linearisation should be > necessary. > > Howard
2006-10-08 by Terry Ritz
Tom Moore wrote: > About a year ago I was inspired by one of Paul Roark's images > to create a > UT7 split tone curve for Ilford Smooth Pearl. The curve has > warm highlights > and cool shadows. Thanks Tom. Which curve was that, the "Neutral" one? Terry.
2006-10-08 by Howard Shaw
Hi Tom Tom Moore wrote: > .. It just occurred to me that the underlying > assumption (that the C/M and LC/LM densities are close enough to permit > swapping) implied that one could make a normal (i.e. not split tone) warm > curve, linearize it and then create a cool curve by simply swapping inks. > That means less work and therefore interesting - to me at least. > I think you could. As I said the densities are similar albeit not identical. For example, with my set up, at 2880dpi, 2100 on PJ Alpha, 55% ink limit C = 1.30 M = 1.35 LC = 0.78 LM = 0.81 > What puzzled me was that the warm and cool curves (for HPR, for example) are > different. I got off the rails a bit when I mentioned toner curves - it was > late and I was tired. However, between the warm and cool curves, the > partitioning values are slightly different and the linearization values are > quite different. The curves for EEM have similar differences. > The different linearisations are probably a consequence of the different crossover points. There's nothing sacred about those points. In fact I would suggest that these curves are not optimal because the linearisations are rather acute - for example the cool Photo Rag curve linearises 50 at about 30 - quite a shift. I'm not sure which axis is input & which output. I usually try to get the curves a little closer to ideal before linearising. But that's a different subject. > My question was, therefore, have you (or anyone else) actually tried doing > this - either to create a split-tone curve in the manner you suggested or to > create a warm from a cool curve without re-linearizing. > The same principle applies to the UT-FS & UT-FSN sets (and I would imagine R2W & R2N although I've not used them). I've created many split-tone sets with UT-FS/UT-FSN on the same principles. If you're interested to see them let me know. They're unlikely to be of any practical use as I wouldn't imagine anyone would duplicate my particular combination of inks & ink positions. Howard
2006-10-08 by Tom Moore
> -----Original Message----- > From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On > Behalf Of Terry Ritz ... > > Tom Moore wrote: > > > About a year ago I was inspired by one of Paul Roark's images > > to create a > > UT7 split tone curve for Ilford Smooth Pearl. The curve has > > warm highlights > > and cool shadows. > > Thanks Tom. > > Which curve was that, the "Neutral" one? > > Terry. > As I said, if you go to the mail list web site at Yahoo, they're in the files section: The file with the split curve is called UT7-IlfSmoothPearlSplitWC.ZIP Despite what I stated in my previous email, there is no regular (warm/cool/sepia) curve set for Ilford Smooth pearl 2200/UT7 in the files section. I have one in QTR and can't recall if it's in the regular distribution or I created it. If you don't have it I can post it. You also might want to look into the method for creating split tone curves recently suggested in this thread by Howard Shaw. Tom Moore
2006-10-08 by Carl Schofield
I made a Photoshop action file for split toning awhile ago and suggested an RGB workflow using a low gamut icc profile and modified inkset. Works well with K3 printers using a carbon ink in the Y position. http://homepage.mac.com/scho/FileSharing5.html Carl
On Oct 8, 2006, at 1:56 PM, Tom Moore wrote: > > >> -----Original Message----- >> From: QuadtoneRIP@yahoogroups.com >> [mailto:QuadtoneRIP@yahoogroups.com] On >> Behalf Of Terry Ritz > > .... > >> >> Tom Moore wrote: >> >>> About a year ago I was inspired by one of Paul Roark's images >>> to create a >>> UT7 split tone curve for Ilford Smooth Pearl. The curve has >>> warm highlights >>> and cool shadows. >> >> Thanks Tom. >> >> Which curve was that, the "Neutral" one? >> >> Terry. >> > As I said, if you go to the mail list web site at Yahoo, they're in > the > files section: > The file with the split curve is called UT7-IlfSmoothPearlSplitWC.ZIP > > Despite what I stated in my previous email, there is no regular > (warm/cool/sepia) curve set for Ilford Smooth pearl 2200/UT7 in the > files > section. I have one in QTR and can't recall if it's in the regular > distribution or I created it. If you don't have it I can post it. > > You also might want to look into the method for creating split tone > curves > recently suggested in this thread by Howard Shaw. > > Tom Moore > > > > > Yahoo! Groups Links > > > > > > > > > > > >
2006-10-08 by Tom Moore
Carl Interesting approach. One would not be restricted to toning using highlight and shadows, it seems. How did you create the low gamut ICC profiles? Tom Moore
> -----Original Message----- > From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On > Behalf Of Carl Schofield > Sent: Sunday, October 08, 2006 2:06 PM > To: QuadtoneRIP@yahoogroups.com > Subject: Re: [QuadtoneRIP] Re: Split Toning with QTR > > I made a Photoshop action file for split toning awhile ago and > suggested an RGB workflow using a low gamut icc profile and modified > inkset. Works well with K3 printers using a carbon ink in the Y > position. > http://homepage.mac.com/scho/FileSharing5.html > > Carl > On Oct 8, 2006, at 1:56 PM, Tom Moore wrote: > > > > > > >> -----Original Message----- > >> From: QuadtoneRIP@yahoogroups.com > >> [mailto:QuadtoneRIP@yahoogroups.com] On > >> Behalf Of Terry Ritz > > > > .... > > > >> > >> Tom Moore wrote: > >> > >>> About a year ago I was inspired by one of Paul Roark's images > >>> to create a > >>> UT7 split tone curve for Ilford Smooth Pearl. The curve has > >>> warm highlights > >>> and cool shadows. > >> > >> Thanks Tom. > >> > >> Which curve was that, the "Neutral" one? > >> > >> Terry. > >> > > As I said, if you go to the mail list web site at Yahoo, they're in > > the > > files section: > > The file with the split curve is called UT7-IlfSmoothPearlSplitWC.ZIP > > > > Despite what I stated in my previous email, there is no regular > > (warm/cool/sepia) curve set for Ilford Smooth pearl 2200/UT7 in the > > files > > section. I have one in QTR and can't recall if it's in the regular > > distribution or I created it. If you don't have it I can post it. > > > > You also might want to look into the method for creating split tone > > curves > > recently suggested in this thread by Howard Shaw. > > > > Tom Moore > > > > > > > > > > Yahoo! Groups Links > > > > > > > > > > > > > > > > > > > > > > > > > > > > > Yahoo! Groups Links > > > > > > > >
2006-10-08 by Carl Schofield
Tom, Yes, you can modify the action to split tones in many ways. Highlight/shadow was just an easy example. I created the low gamut profile just using GM i1 spectro and iMatch software after printing the 918 patch target in RGB mode using the modified inkset in a 2400. Carl
On Oct 8, 2006, at 3:12 PM, Tom Moore wrote: > Carl > > Interesting approach. One would not be restricted to toning using > highlight > and shadows, it seems. How did you create the low gamut ICC profiles? > > Tom Moore > >> -----Original Message----- >> From: QuadtoneRIP@yahoogroups.com >> [mailto:QuadtoneRIP@yahoogroups.com] On >> Behalf Of Carl Schofield >> Sent: Sunday, October 08, 2006 2:06 PM >> To: QuadtoneRIP@yahoogroups.com >> Subject: Re: [QuadtoneRIP] Re: Split Toning with QTR >> >> I made a Photoshop action file for split toning awhile ago and >> suggested an RGB workflow using a low gamut icc profile and modified >> inkset. Works well with K3 printers using a carbon ink in the Y >> position. >> http://homepage.mac.com/scho/FileSharing5.html >> >> Carl >> On Oct 8, 2006, at 1:56 PM, Tom Moore wrote: >> >>> >>> >>>> -----Original Message----- >>>> From: QuadtoneRIP@yahoogroups.com >>>> [mailto:QuadtoneRIP@yahoogroups.com] On >>>> Behalf Of Terry Ritz >>> >>> .... >>> >>>> >>>> Tom Moore wrote: >>>> >>>>> About a year ago I was inspired by one of Paul Roark's images >>>>> to create a >>>>> UT7 split tone curve for Ilford Smooth Pearl. The curve has >>>>> warm highlights >>>>> and cool shadows. >>>> >>>> Thanks Tom. >>>> >>>> Which curve was that, the "Neutral" one? >>>> >>>> Terry. >>>> >>> As I said, if you go to the mail list web site at Yahoo, they're in >>> the >>> files section: >>> The file with the split curve is called UT7- >>> IlfSmoothPearlSplitWC.ZIP >>> >>> Despite what I stated in my previous email, there is no regular >>> (warm/cool/sepia) curve set for Ilford Smooth pearl 2200/UT7 in the >>> files >>> section. I have one in QTR and can't recall if it's in the regular >>> distribution or I created it. If you don't have it I can post it. >>> >>> You also might want to look into the method for creating split tone >>> curves >>> recently suggested in this thread by Howard Shaw. >>> >>> Tom Moore >>> >>> >>> >>> >>> Yahoo! Groups Links >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >> >> >> >> >> Yahoo! Groups Links >> >> >> >> >> >> >> >> > > > > > > Yahoo! Groups Links > > > > > > > > > > > > >
2006-10-08 by Terry Ritz
> Tom Moore wrote: > > Which curve was that, the "Neutral" one? > > > > Terry. > > > As I said, if you go to the mail list web site at Yahoo, > they're in the > files section: > The file with the split curve is called UT7-IlfSmoothPearlSplitWC.ZIP Got it! Sorry, but I had missed the last paragraph in your message. > Despite what I stated in my previous email, there is no regular > (warm/cool/sepia) curve set for Ilford Smooth pearl 2200/UT7 > in the files > section. I have one in QTR and can't recall if it's in the regular > distribution or I created it. If you don't have it I can post it. Yes, they are in the standard QTR download. > You also might want to look into the method for creating > split tone curves > recently suggested in this thread by Howard Shaw. I'm digesting all the sugestions so far, and really appreciate the input! Thanks, Terry.
2006-10-08 by Terry Ritz
Carl, I seem to recall that you were running 3 - K7 neutral and 3 - K7 sepia inks as two distinct sets in your printer (i.e. a neutral set of 4 dilutions and a sepia set of 4 dilutions). If so, are you still setup this way and how do you find the results relative to using all 7 dilutions of one tone? BTW, thanks for the split toning download link. Terry.
> Carl Schofield > > I made a Photoshop action file for split toning awhile ago and > suggested an RGB workflow using a low gamut icc profile and modified > inkset. Works well with K3 printers using a carbon ink in the Y > position. > http://homepage.mac.com/scho/FileSharing5.html
2006-10-09 by Carl Schofield
Terry, Yes, I was running dual quads consisting of neutral K7 on one side and carbon sepia on the other in my 4000. Worked quite well with QTR, but I switched over to MIS K4 (no LLK) so I could do color work as well. I never used all 7 dilutions of the K7 inks and didn't really see any need to do so after using the dual quad setup (very smooth transitions). I may go back to that arrangement again if I can dedicate one printer for monochrome. Carl
On Oct 8, 2006, at 7:49 PM, Terry Ritz wrote: > Carl, I seem to recall that you were running 3 - K7 neutral and 3 - > K7 sepia > inks as two distinct sets in your printer (i.e. a neutral set of 4 > dilutions > and a sepia set of 4 dilutions). If so, are you still setup this > way and how > do you find the results relative to using all 7 dilutions of one tone? > > BTW, thanks for the split toning download link. > > Terry. > >> Carl Schofield >> >> I made a Photoshop action file for split toning awhile ago and >> suggested an RGB workflow using a low gamut icc profile and modified >> inkset. Works well with K3 printers using a carbon ink in the Y >> position. >> http://homepage.mac.com/scho/FileSharing5.html
2006-10-09 by Terry Ritz
Carl Schofield wrote: > > Yes, I was running dual quads consisting of neutral K7 on one side > and carbon sepia on the other in my 4000. Worked quite well with > QTR, but I switched over to MIS K4 (no LLK) so I could do color work > as well. I never used all 7 dilutions of the K7 inks and didn't > really see any need to do so after using the dual quad setup (very > smooth transitions). I may go back to that arrangement again if I > can dedicate one printer for monochrome. Thanks Carl. Which inks (#) did you actually use from the K7 neutral and sepia? Terry.
2006-10-09 by Carl Schofield
I used shades 3, 5, and 7 of the K7 inks and the three carbon sepia piezotone grays (not the newer 7 inks sepia set). The K7 black (1) was used for both neutral and sepia. Carl
On Oct 9, 2006, at 1:28 AM, Terry Ritz wrote: > Carl Schofield wrote: >> >> Yes, I was running dual quads consisting of neutral K7 on one side >> and carbon sepia on the other in my 4000. Worked quite well with >> QTR, but I switched over to MIS K4 (no LLK) so I could do color work >> as well. I never used all 7 dilutions of the K7 inks and didn't >> really see any need to do so after using the dual quad setup (very >> smooth transitions). I may go back to that arrangement again if I >> can dedicate one printer for monochrome. > > Thanks Carl. > > Which inks (#) did you actually use from the K7 neutral and sepia? > > Terry. > > > > > Yahoo! Groups Links > > > > > > > > > > > >
2006-10-09 by Terry Ritz
> Carl Schofield wrote: > > I created the low gamut > profile just using GM i1 spectro and iMatch software after printing > the 918 patch target in RGB mode using the modified inkset in a 2400. Carl, I can see how your profile would be low gamut in terms of yellow, and colours that require yellow. However, for colours that do not wouldn't your profile print images as full colour? Terry.
2006-10-09 by Terry Ritz
> Carl Schofield wrote: > > I used shades 3, 5, and 7 of the K7 inks and the three carbon sepia > piezotone grays (not the newer 7 inks sepia set). The K7 black (1) > was used for both neutral and sepia. Two full sets in one printer, which would be very handy. Did you ever try running all 7 inks to compare with prints made using 4? Thanks, Terry.
2006-10-10 by Carl Schofield
The low gamut profiles are not intended for printing full color RGB images. If you try to print a full color image you would see heavily muted red, yellows, greens, etc. and near normal blue and magenta hues. The low gamut profile is only for printing neutral or toned (eg. warm, cool, selenium, split, etc.) grayscale images in RGB mode with a LLK carbon ink subsituted for yellow. Carl --- In QuadtoneRIP@yahoogroups.com, "Terry Ritz" <t.ritz@...> wrote:
> > > Carl Schofield wrote: > > > > I created the low gamut > > profile just using GM i1 spectro and iMatch software after printing > > the 918 patch target in RGB mode using the modified inkset in a 2400. > > Carl, I can see how your profile would be low gamut in terms of yellow, and > colours that require yellow. However, for colours that do not wouldn't your > profile print images as full colour? > > Terry. >
2006-10-10 by Terry Ritz
I knew that colour images would not print properly. What I was unclear about was how this profile would properly print a grayscale image. Am I correct in saying that the you must purposefully tone the grayscale image (which is in RGB mode) using the low gamut colours? Thanks Carl. Terry.
> Carl Schofield wrote: > > The low gamut profiles are not intended for printing full > color RGB images. If you try to > print a full color image you would see heavily muted red, > yellows, greens, etc. and near > normal blue and magenta hues. The low gamut profile is only > for printing neutral or > toned (eg. warm, cool, selenium, split, etc.) grayscale > images in RGB mode with a LLK > carbon ink subsituted for yellow. > > Carl > --- In QuadtoneRIP@yahoogroups.com, "Terry Ritz" <t.ritz@...> wrote: > > > > > Carl Schofield wrote: > > > > > > I created the low gamut > > > profile just using GM i1 spectro and iMatch software > after printing > > > the 918 patch target in RGB mode using the modified > inkset in a 2400. > > > > Carl, I can see how your profile would be low gamut in > terms of yellow, and > > colours that require yellow. However, for colours that do > not wouldn't your > > profile print images as full colour? > > > > Terry. > > > > > > > > > Yahoo! Groups Links > > > > > > > > >
2006-10-10 by Carl Schofield
No. The profile can be used to print neutral and/or toned images. There is no metamerism and the neutrals do not exhibit color casts. You can preview what the prints will look like by using the profiles in softproof mode in Photoshop. Carl
On Oct 9, 2006, at 9:28 PM, Terry Ritz wrote: > I knew that colour images would not print properly. What I was > unclear about > was how this profile would properly print a grayscale image. Am I > correct in > saying that the you must purposefully tone the grayscale image > (which is in > RGB mode) using the low gamut colours? > > Thanks Carl. > > Terry. > >> Carl Schofield wrote: >> >> The low gamut profiles are not intended for printing full >> color RGB images. If you try to >> print a full color image you would see heavily muted red, >> yellows, greens, etc. and near >> normal blue and magenta hues. The low gamut profile is only >> for printing neutral or >> toned (eg. warm, cool, selenium, split, etc.) grayscale >> images in RGB mode with a LLK >> carbon ink subsituted for yellow. >> >> Carl >> --- In QuadtoneRIP@yahoogroups.com, "Terry Ritz" <t.ritz@...> wrote: >>> >>>> Carl Schofield wrote: >>>> >>>> I created the low gamut >>>> profile just using GM i1 spectro and iMatch software >> after printing >>>> the 918 patch target in RGB mode using the modified >> inkset in a 2400. >>> >>> Carl, I can see how your profile would be low gamut in >> terms of yellow, and >>> colours that require yellow. However, for colours that do >> not wouldn't your >>> profile print images as full colour? >>> >>> Terry. >>> >> >> >> >> >> >> >> Yahoo! Groups Links >> >> >> >> >> >> >> >> >> > > > > > Yahoo! Groups Links > > > > > > > > > > >