Re: Creating ICCs with pigmented inks
Re: Creating ICCs with pigmented inks
- Subject: Re: Creating ICCs with pigmented inks
- From: Chris Murphy <email@hidden>
- Date: Tue, 2 Jul 2002 09:03:19 -0600
rudy harvey <email@hidden> writes:
>
In a recent reply ,you mentioned using Epson dye based inks used with a
>
paper with compatible
>
chemistry.
>
>
Could you list those papers or source. I would be very appreciative.
Actually this list is probably a better source than I am for a wider
range of papers. The ones I had tried were from MISSupply, and most
recently a couple of Mitsubishi papers that you can order directly from
their web site. They have several varieties including a proofing paper
stock that I have not yet tried that should be a little yellower and less
bright. What I have are the photographic papers. People have reported
good results with BestColor paper as well.
To test, make your own test target with 25%, 50%, 75% CMY; and 50% and
100% each of C, M, Y, and K, and then overprints. You could probably just
get away with the CMY (four patches). Once printed, let it dry to the
point were it's not tacky and the earliest after printing you would want
to rely on the print. For some people this is right away, for others they
know the print is going to lie around for 30 minutes before anyone looks
at it anyway. Measure the target (use LAB) and make a note of the values
and the time. In an hour do it again. In another two hours do it again.
In four hours do it again. Eight hours again. Sixteen do it again. If you
want to be really sure you can do it over the course of the average
lifespan of your proofs (two weeks? three weeks? two days?). Once I get
to 24 hours and there hasn't been any change I'm generally satisfied that
it's not going to change suddenly unless of course it gets baked in a car
or nuked by sunlight.
If you aren't that familiar with LAB or delta E, a more practical test
would be to take a panel of test images (high key, low key, saturation,
skin tones, pastels, neutrals) and print it and note the time. In 15
minutes print again and note the time and compare the 15 minute dried
print to the fresh print. In an hour print another one. Two hours
another. Four hours another. Eight hours another. Etc. Right away just
with visual analysis you can determine if the fresh prints look
different compared to the first print (which is continually getting older
of course).
Chris Murphy
Color Remedies (tm)
Boulder, CO
303-415-9932
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