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John Kantor wrote: >I was wondering if anyone has experience printing quadtones using MIS >Supply inks >or similar. Yep, loads of experience. Work great when you segregate the channels by tone range -- work okay when you just print as a grayscale to the color ink in the regualr driver. To segregate the channels you have to duplicate the grayscale file three times in the channels pallette then convert the resulting four channel "Multichannel" mode to CMYK. Then apply a set of curves that focuses each channel on the range it's ink (25%, 50%. 75%, and 100%) will accomodate best. You will have to set the printing inks set-up colors in CMYK setup to get a grayscale emulation on your monitor. The best way to print is through a RIP which allows control of each ink head. But you can do a workaround by converting the CMYK file to Multichannel, then converting it to RGB, then clicking on the "Black" channel (now a spot channel in Photoshop 5) and setting the solidity to 100%, then printing through the RGB driver with "No Color Correction." The interim conversion from CMYK to Multichannel is critical - do not convert directly from CMYK to RGB. I have posted my procedure for isolating each channel at http://www.geocities.com/~campfiredan/infoshare/quadinst.html Note that it is a rather difficult procedure but it is based on some very conventional methods for printing with unusual inks like quadtones. You will need to do a lot of iteration and trial and error when coming up with a set of curves and Channel Mixer adjustments to accomodate your type of image. My settings are just starting points. The big "secret" here is to limit the total ink to well under 200% while still getting full blacks. That is why I use the Channel Mixer adjustment -- to remove extra light ink in the dark areas. There are other ways as well. Also note that the printing inks setups I've listed are for the four color printers. MIS has assigned the inks to different cartridges for the six color printers and this method will not work well with those ink assignments. To use this with the six color printers you would have to put the 25% ink in the Cyan and Light Cyan, the 50% ink in the Yellow, the 75% ink in the Magenta and Light Magenta, and the 100% in the Black cartridges. The other method is to just print a grayscale file to the standard Epson driver. This does not keep the dark inks out of the light tones, but the result is a neutral gray across the entire grayscale. This method will probably work a lot better with the new variable dot size printers but with standard printers you can get some pretty heavy black dots in the highlight areas which can ruin some images. You might try this method first (select Vivid in the driver and adjust the sliders to whatever works best). You might also convert the grayscale to RGB and adjust the RGB file so that you have a very colorfull image with green/blue in the highlights orange/browns in the midtones and magenta/blacks in the shadows. This somewhat partitions the inks like my more complex procedure but the control is rather weak and you need a lot of guesswork and feel. This is also based on the four color printers ink assignments not six color printers. Anyhow, any other questions, just ask! They work well but are not really simple to make work great. You can get some pretty stunning "toned" effects when you partition the channels correctly. There are some other quadtone inks soon to come on the market which may be as nice. Dan Culbertson - Please: Stay on topic. Trim quoted messages. http://www.leben.com/lists for list instructions.
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