User Guide

Prepared by: Tom Moore

Acknowledgement
I (see prepared by, above) prepared this document as my contribution to
the Black and White printing community, from whose experts I have learned
so much via the mailing list that can be found at:
http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint

There is also a community of QuadToneRIP users that can be found at:

http://groups.yahoo.com/group/QuadtoneRIP

I would like to thank Roy Harrington, Stephen Billard and Daniel Staver for
creating the software used by the processes in this tutorial. The tutorial is,
for the most part, original material prepared by me. However, I have used a
variety of sources of information, occasionally borrowing freely, including
notes prepared by Roy , help files prepared by Stephen and, of course, from
the mountain of loosely (at best) organized information that is
DigitalBlackandWhiteThePrint . Some of this information applied to earlier or
other versions of QuadToneRIP. There may be some difference between
those and the current version that I have not caught. Such errors (and any
others) that you might find in this document are mine and shouldn’t be
attributed to the authors of the material I have used or borrowed.
If you find any errors or have any suggestions for improvements you can
email me at [email protected]. You can also reach me through the mail
list DigitalBlackandWhiteThePrint.

Prepared for QuadToneRIP Version 2.2

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Basics .................................................................................................3
Terminology......................................................................................3
Installing QuadToneRIP ......................................................................4
Re-installing or Updating QuadToneRIP ................................................5
Printing With QuadToneRIP ....................................................................5
Introduction ......................................................................................5
Configuring QuadToneRIP ...................................................................6
Printing an Image ............................................................................ 10
Creating and Editing Curves with QuadToneRIP ...................................... 11
Characterizing the Ink Paper Combination........................................... 11
Hardware Ink Limit Calibration ....................................................... 12
Ink Density Calibration .................................................................. 13
Creating a QuadToneRIP Curve.......................................................... 16
Initial Curve Setup ........................................................................ 16
Creating a Non-Linearized Curve..................................................... 18
Adjusting Curve Toning.................................................................. 21
Maximizing dMax .......................................................................... 21
Adjusting the Curves ..................................................................... 22
Linearize a QuadToneRIP Curve ......................................................... 23

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Basics
The purpose of this document is to describe my understanding how
QuadToneRIP is installed, setup and used in the Windows environment.
Actually, installation and setup is quite straightforward and using
QuadToneRIP for printing is only slightly more complicated. Most of this
document will focus on creating curves for use with QuadToneRIP.

Terminology
It’s a good idea to make sure we are all talking the same language, so I’ll try
to define a few terms. I’ll also try to use the consistently in the rest of this
document. Since there aren’t too many, I’ll define them in a logical order
rather than alphabetical:
QuadToneRIP Is a program (actually a collection of them) that permits
you to print black & white images on a variety of printers
using a variety of inks and papers. Images printed by
QuadToneRIP must be in .tiff format.
.tiff Tagged Image File Format – a widely used industry
standard format for storing and interchanging bit mapped
images. The file format supported by QuadToneRIP
Quadtone An inkset, consisting of shades of gray rather than colors,
used for printing black and white images. Originally
created for 4 ink printers (hence quad) they are now
available for printers with 6, 7 and 8 inks. These more
modern quadtone inksets (sometimes called Hextones or
Septones) can also include toners – mild colorants that can
be applied to achieve sepia or selenium like tones.
RIP Raster Image Processor. Originally a program that accepts
an image described as vectors (e.g. Postscript) and turns it
into a bitmapped image that can be printed. Today that
definition has broadened to include program that takes an
image in any complex form (in our case a .tiff file) and
generates the necessary printer commands to reproduce it
on a printer.
Curve A set of data used by QuadToneRIP to determine how to
translate the raster image into the required commands to
reproduce an image for a particular printer/ink/paper
combination. Internally QuadToneRIP uses two files. The
.qidf file is ‘high level” definition of a curve that can be
created or modified by QuadToneRIP users. The .quad file
is a low level numeric definition of a curve that is used
during the printing process.

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Although QuadToneRIP (as its name suggests) was created with the idea of
printing with quadtone inks, it turns out that it can be used very effectively
to print quite acceptable (for some, at least) black and white prints using a
color inkset. Specifically, for those Epson printers using the Ultrachrome
inkset, such as the 2200, the current QuadToneRIP release has Curves for
over a half dozen papers.

Installing QuadToneRIP
Logically, since you are reading this document that comes as part of the
QuadToneRIP installation, you may have already installed QuadToneRIP and
this section should be unnecessary. However, in case you got here by
nefarious means or are having problems, here’s how you install
QuadToneRIP. It’s not complicated.
Before I get to the process I should provide a few words of caution.
Accessing the QuadToneRIP software and installing it does require visiting a
web site and downloading and running an application. These all have
attendant risks (however small) of infecting your computer with a virus or
spy-ware that could cause damage to you or your assets.
Also, the file you will download is an executable image. That may have
security complications, depending on the security software you have running
(e.g. virus checkers or firewalls), its settings and the level of privilege you
have as a user of your computer.
These two items are potential issues that are too complex to address in this
document. If you are not comfortable with the process or run into
complications please involve someone more expert for help or to complete
the installation for you.
With that out of the way, on to the process. First, download the latest
version of QuadToneRIP. Currently, it can be found at:
http://homepage.mac.com/royharrington/FileSharing2.html
Note that there may be several versions available, including some for the
Mac. Be sure to download the one you need. Save the file on your
computer’s disk, somewhere you can access it for the next step.
Find the file you just downloaded and run it. You can do that by finding it in
Windows Explorer and double-clicking it. After warning you to close all other
programs (I never do, but if you have problems, do it) you get to the first
window by clicking next. In this window you select the folder where the
setup program will install QuadToneRIP. I always leave it at the default
selection. If you change it for some reason, you’re on your own. I presume it
works but I’ve never tried it.
After clicking next again, you get to tell the setup program whether you
want to install the Curve creation tool. You will need this if you want to
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create curves for new inks or paper or to modify any existing Curves. You
will also need it if you receive Curves from others in the form of .qidf files.
Once you click next you are presented with the printer selection window.
Click the boxes next to the printers that you want QuadToneRIP to be able
to use. Note that the printers don’t have to be actually present when you
install the software. This simply causes the Printer Models for the selected
printers to be loaded with the programs. The selected printers will then be
available for use when you run QuadToneRIP. At that point of course, if you
want to actually print with it, the printer will have to be accessible, either
directly or through a network.
The final two windows permit you to select the program group under which
QuadToneRIP applications will appear in the start menu (another thing I
never bother to change) and offer you a last chance to go back and change
any options before installing the files to your hard drive. Once you click next
for these two windows, the setup program will install the QuadToneRIP
components required to implement the options you have selected. The
process takes only a few minutes (at most) and keeps you aware of its
progress. Once it completes you are ready to run QuadToneRIP.

Re-installing or Updating QuadToneRIP

If you don’t install the curve creation tool initially, you can always run the
installation setup program later and select this option. Note that this will
replace all QuadToneRIP programs and all curves that are included in the
distribution. Your own curves (assuming they have different names than
those in the distribution), will not be replaced.
However, I have one caution. When you reinstall QuadToneRIP over an
existing installation, the installation setup will automatically set check boxes
to reinstall the Printing Models that are already present. That will simply
install new files over existing files of the same name and will not modify any
files you may have created or modified and assigned new names. However,
if you remove the check from a box so that a previously installed Printing
Model is not installed, the installation process will remove all files associated
with the Model, including any that you have created or modified – even if
they have different names from those in the distribution.

Printing With QuadToneRIP

Introduction
QuadToneRIP’s primary purpose is to print black and white images. To be
printed by QuadToneRIP, the images must be stored in a .tiff format file.
There are a variety of programs capable of creating files in this format.
Photoshop is probably the one most commonly used, but Picture Window
Pro, Paintshop Pro and GIMP are others that are also very common.
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The .tiff format is very flexible and images stored in this format can have a
wide range of characteristics. Recent versions of QuadToneRIP have
removed many of the constraints on the image characteristics, but it must
be either a grayscale or RGB image. If the image is RGB, QuadToneRIP will
convert it to grayscale. If the image is 16 bit, it will be converted to 8 bit.
Alpha channels in the image will be ignored and layers are permitted. The
image can be in compressed (LZW only) or uncompressed format. Note that
any conversions are only applied to the image data actually processed by
QuadToneRIP. The original file is not changed.
How you create your black and white image is up to you and outside the
scope of this document. In any event, on the PC you cannot print directly
from your image editor. You must save a .tiff format file and then activate
QuadToneRIP to print that file.
To activate QuadToneRIP you simply select it from the start menu like any
other Windows application. You can find QuadToneRIP in the startup folder
you specified when QuadToneRIP was installed. If you elected not to change
it from the default, you will run the program QTRgui in the folder
QuadToneRIP. I always setup up a Windows quick launch button to activate
QTRgui, as I hate navigating through the start menu.

Configuring QuadToneRIP
Once you start QuadToneRIP, you are presented a window as shown in
Figure 1. QuadToneRIP has a very useful help facility that quite adequately
describes the configuration process. Rather than repeating that detail here I
will provide an overview and try to point out any potential pitfalls.
You will notice that the QuadToneRIP window is organized into 3 major
panels: Printer, Paper and Image. To setup QuadToneRIP to print an image,
it’s best to deal with these topics in that order.
So, the first thing to do is select the printer and model. QuadToneRIP
automatically determines the available printers from Windows and presents
them in the Printer Name drop-down list. Just select the one you want. Next
select the Printing Model you want. The available models will correspond to
those printers selected when QuadToneRIP was installed. Note that
QuadToneRIP does not check that the Selected Printing Model and Printer
Name are consistent. You have to do that.
Next, you need to tell QuadToneRIP what size, orientation and source of
paper you will use. The Printing Model selected in the previous step will
determine what paper sizes and sources are available for selection in this
step. QuadToneRIP provides a range of standard US and ISO paper sizes as
well as a custom size where you can specify the size in inches or millimeters.
In all cases QuadToneRIP will not let you choose a paper size larger than the
maximum for that printer as determined by the Printing Model.

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Figure 1 - QuaToneRIP Printing Window

The Orientation radio buttons let you tell QuadToneRIP how the image is
oriented so that it can adjust it to the paper. If you select Auto Orient Page
under the Options menu, QuadToneRIP will select the proper page
orientation automatically according to the image you are printing.
The Paper Source selection will let you select one of the alternate paper
sources. Not all sources for each printer are necessarily present however as
some are detected automatically by the printer and don’t need a manual
selection. For example, the straight through feed slot on the Epson 2200 is
not an available option. However, you can use it by selecting Sheet Feed and
then following the directions in the Epson printer manual for using the
straight through feed slot.
Media Type is normally left as Matte Paper (even for non-matte papers). Its
presence is a hangover from older style printers that needed to be informed
of paper type to make mechanical adjustments to the feed mechanism.
There may be some case where it is used, but I’m not aware of any.
Finally we get to select the image settings. The following is a brief discussion
of each

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Placement This positions the top left corner of the image relative to
the top left corner of the paper. Selecting Centered will
position the image centered on the physical page.
QuadToneRIP will warn you if the combination of image
size, Placement and Scale you have selected will result in
some part of the image being outside the printable area of
the page. Note that the printable area is smaller than the
physical for most printers. This unusable margin is
determined from the Printing Model
Scale Checking To Fit will size the image to fit into the printable
area of the page. Alternatively, you can also specify a
Scale Factor for the image. The factor will adjust the image
size determined from the image .tif file by the specified
amount.
Resolution The resolutions supported are 720, 1440, and 2880. 1440
also has a "super" version that does a more elaborate
weaving if the printer is capable of that. All the supplied
profiles so far are created for 1440 dpi resolution and can
be used with any 1440 mode. Not all printers support all
resolutions. Once you select a Printing Model, the
supported resolutions will be available for selection.
Speed This selects either unidirectional (better) or bidirectional
(faster) printing. The Pro printers usually do well with
Faster/ bidirectional but the desktop printers often improve
with Better/unidirectional.
Dither Algorithm The default is Ordered which is how I normally leave the
selection. It’s a bit faster than Adaptive Hybrid and I
haven't seen any difference in the result.
Black Ink this option is only for the Epson 4000. It allows you to
select which black ink -- matte or photo -- will be used.

The Curve panel brings us to QuadToneRIP’s raison d’etre – printing tailored

to specific ink/paper combinations. This accomplished with QuadToneRIP by
selecting from a set of installed curves. Again, from the Printing Model
selected above, QuadToneRIP determines what curves are available for the
selected printer. With the two drop-down menu items, QuadToneRIP permits
you to select two curves and with the slider, lets you determine the ratio of
each to be used for printing.

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Each ink/paper combination will have a set of Curves from which you can
choose. Epson Enhanced Matte paper is a typical example, having four
curves available:
1. Cool
2. Cool Selenium
3. Sepia
4. Warm
You might notice that there is no neutral in the list above. You can create
your own neutral by selecting the cool and warm curves and selecting a
blend percentage that creates a print meeting you personal definition of
neutral. Another thing you’ll notice is that QuadToneRIP curves typically
come in sets. There should usually be at least two curves, Cool and Warm.
There is often also a Sepia curve and in some cases there are others such as
Cool Selenium as well. The names of the curves are arbitrary but an informal
naming convention is evolving for curves so that they can be organized and
recognized in a list. The general form of the name is: “ink-paper-tone”
where these terms are:
ink describes the ink used and is one of UCpk, UCmk (Epson
Ultrachrome with photo black or matte black), UT, UT2 or
UT7 (quadtone inks from MIS).
paper describes the paper and is the manufacturer and brand
name of the paper. There are a lot of papers so an
example will have to suffice here – Epson Enhanced Matte
paper is identified by EEnhMatte.
tone described the color tone the Curve is intended to impart to
the print such as Warm, Cool, CoolSe or Sepia.
Thus the Curve for printing a warm image on Epson Enhanced Matted with
Ultrachrome inks is named UCmk-EEnhMatte-Warm.
The remaining two sliders provide a means of tweaking the print density.
Ink Limit Adjustment This option allows you to increase or decrease the
overall ink limits. All the ink limits in the profile are
multiplied by this factor. The most common case where
you might use this is for a paper that can handle more or
less ink than the profile allows. Also you might increase
the ink limits for a print that you want to really push the
blacks dark -- there may be some loss of shadow detail
however.
Gamma Adjustment This option allows an overall lightening or darkening
of a print. The effect is identical to using the Levels
command in Photoshop. The percent value is

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approximately how much the 50% midtone will be

affected. If you've printed with another system and your
files consistently print either lighter or darker with
QuadToneRIP this option allows you to print the old files
without re-editing them (especially useful if they are 8-bit
data).

Printing an Image
You’ve made all your settings and QuadToneRIP is ready to print your
image. Before we get to that I should point out a few time saving tips you
might find useful.
First, after you’ve made all your settings, QuadToneRIP will remember these
settings until you change them – even if you exit QuadToneRIP and restart.
You can also save the settings by use the Presets menu item.
Correspondingly, the Presets will let you load a previously saved collection of
settings.
Second, there are several means of selecting and printing an image. The
straightforward approach I use most often is simply to use the Image/Select
Image menu item to load the image into QuadToneRIP and then clicking the
Print button to send it to the printer. Another approach is to select the image
to be printed using Windows Explorer and simply dragging and dropping the
image icon onto the QuadToneRIP window. That will cause the image to be
printed using the currently selected parameters.
Note that under the Options menu of QuadToneRIP there is an option Drag-
Drop Autoprint. With this option selected (the default), printing happens
automatically. Otherwise the drag and drop simply selects the image and
you must click the Print button in the QuadToneRIP window to print the
dropped image. If you select several images in Windows Explorer and drag
and drop them onto the window, QuadToneRIP prints them in sequence.
If you are printing a number of images using the same QuadToneRIP
settings, the following method may provide some time savings. Using the
Monitor menu item, you can specify a folder to be monitored by
QuadToneRIP. When QuadToneRIP finds a file in that folder it prints it using
the current settings and then moves the file to a “Processed” sub-folder.
A final note regarding printing is the following. Make sure you have the
correct ink and paper in the printer before you print. For me, paper is
not such a big issue because I usually only print a single sheet at a time.
However, ink is a different thing. I can’t recall the number of times I printed
an image only to find I had the matte black in the printer instead of the
photo black, or vice-versa. QuadToneRIP does not sense the ink and will go
ahead and print with whatever ink is installed. With the price of ink and

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paper, these can be fairly costly mistakes. Checking twice saves time and
money.
One technique you might use as a reminder is to have a sheet in the feed
with the words PHOTO BLACK on one side and MATTE BLACK on the other.
Simply leave the side visible that corresponds to the ink that is currently in
the printer.

Creating and Editing Curves with QuadToneRIP

The overall Process of creating a QuadToneRIP Curve proceeds as follows:

1. Characterize the Inks

2. Create an initial Quad Ink Descriptor File
3. Linearize the Curve

These steps are described in the following sections.

Characterizing the Ink Paper Combination

Characterizing the Inks (actually a specific ink/paper combination) is a two
step process. This process is made quite easy by QuadToneRIP, since it one
does not even need a curve to perform this step. Simply select menu item
Options/Calibration Mode. Once you do this, you should see a window
something like Figure 2.

Figure 2 – Calibration Mode

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Once you select this option QuadToneRIP will automatically select the Ink
Separation Test Page as the image to be printed and set the Ink Limit and
Gamma adjustments to 0. I also make sure the other settings (Media Type,
Dither, Resolution, and Speed) are as I would normally have them. They
don’t seem to have any significant effect, but that way all the profiles start
from a common point. I also set the Image Placement as shown in Figure 2
so that I can make the second printout of the Ink Separation Test Page on
the same sheet of paper simply by reprinting it upside down.
To print the first Ink Separation Test Page, place a piece of the paper for
which the Curve will be designed in the printer, make sure the calibration
slider is all the way to the left (100), click the Print button and you’re
off.
Before I get to the examination of the test page I should provide some
information about it. The ink separation test page InkSeparation .tif (there is
also a .psd version) is a very special file. Printing it out and using it is
different from all the normal printing you will do with QuadToneRIP. Under
normal circumstances you would only print this page using QuadToneRIP in
calibration mode. The purpose of this test page is to be able to print each ink
separately for any curve set. That will permit you to see what each ink is
doing on a separate 21 step graduated wedge. There is no need to edit it or
even open it in an editor (such as Photoshop).
If you do open this file in an editor that supports color management (like
Photoshop), the first thing you will notice is that it is an Untagged RGB file
instead of a grayscale. It's very important that you NOT color manage this
file when you open it or when you print it from Photoshop (Print Space must
always be Same As Source). You also must not resample or resize it -- it's
set at 360ppi and fits on half an 8.5 x 11 sheet of paper. The colors of the
file may look strange because the R channel is selecting which ink and the G
channel is the data. If you save the file after opening it, make sure you
don’t overwrite the original Ink Separation Test Page.

Hardware Ink Limit Calibration

So, now we have printed the ink calibration test page. In this case I am
making a curve for Staples Premium Glossy. An inexpensive glossy paper
available locally.
It’s a good idea to let the printed page rest for a while to let the inks reach
their stable density. If you’re in a hurry a microwave or a hair dryer might
speed the process. Here we figure out the overall hardware ink limit for the
printer. This can be done visually by just seeing the test print and deciding
where the inks seem to max out -- i.e. fill the patch.
Figure 3 is an example of the ink test on an Epson 2200 with Epson
UltraChrome inks. With a loupe or a densitometer you look for a patch where

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it appears that all the paper is covered with ink. In this particular case it is
at about 85% on each ink. There is a very gradual increase in density after
this level but when adding inks together we don't want to overload too
much. For this example I picked 85% for the basic ink limit. You don’t have
to be very precise with this value as long as you’re in the ball park.

Figure 3 - Ink Separation Test Page – Determining Ink Limit

Apparently, the Epson printers seem to max out at different places
depending on their vintage. The older single dot-size printers (3000, 5x00,
7x00, 9x00) max out around the 50% level. The newer variable dot-size
printers (1160, 12x0, 2200, 7600, 9600) can achieve much higher numbers
– in the 80% to 90% range.
In the example above, I chose 85% as the overall ink limit. The next step is
to print out the Ink Separation Test Page again, but using the limit we just
determined. To do this we again use QuadToneRIP in calibration mode as
shown in Figure 4. In this case we set the Calibration Mode slider to 85% as
determined above. The test page is formatted to print on a half page, so you
can print the second run on the same page as the first, just turn the page
around when you put it in the printer. Again, you should let the printed ink
density stabilize before proceeding to the next step.

Ink Density Calibration

Now we must measure the density of each ink in terms of the next darker
ink. The nice thing about this is that the numbers are not important – you
just have to match one patch with another one. You are also deciding the
order of the grays to be used during this process. Figure 5 shows the print of
InkSeparation.tif with the limited inks.

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Figure 4 – Ink Density Calibration

I've written in some densities to help show the procedure. First, it’s obvious
that the order of inks to be partitioned is Black and the Light Black. For
quad-tone there would be more black/grey inks to partition. In this case we
just need to find the relative densities of the Light Black and Black inks.
Starting at Black we just call that 100%, now we need to determine the
relative density of the Light Black.
We do this by comparing the density of the 100% patch for Light Black with
each of the Black patches. Actually, you don’t need to compare with all the
Black patches because you can see by eye which ones are close. To calculate
an accurate relative density you need to use a densitometer or scanner. I’ll
describe it both ways:
With a densitometer:
1. measure the 100% Light Black patch: Density 1.29
2. measure the 40% Black patch: Density 1.22. I selected 40% by eye,
but you can use the densitometer to find the darkest patch with
density less than the density of 100% Light Black
3. Measure the density of the next darker patch – 45% Black: Density
1.33.

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Then it’s bit of simple math to calculate the percentage of black needed to
produce the same density as 100% Light Black. In this case we get a value
of 43.2% Black is equivalent to 100% Light Black.
If you use a scanner, scan the print and open the scanned image in your
image editor (e.g. Photoshop) without color managing it and use the info
palette with 5x5 sampling. Convert the color mode to Lab and measure the L
values of the various steps. Using a scanner for our example gives the
following results:
1. 100% Light Black: L = 20
2. 40% Black: L = 22
3. 45% Black: L = 18
Note that L is a descending scale so in this case the math is not the same as
for density, but equally simple. Interpolating between 40% and 45% black
gives a result of 42.5% Black is equivalent to 100% Light Black. Either value
is close enough.

Figure 5 - Ink Separation Test Page -

For Ultrachrome inks, the measurements above are all that is required. For
QuadTone inks, this process is repeated for each lighter ink, comparing it to
the next darker ink, calculating its density relative to that ink and then
converting it to a density relative to black.
You should record each of these relative densities as you will use them in the
next step. Once we have the relative density of each of the black inks, we

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have completed the characterization of the inks and can proceed with
creating a QuadToneRIP Curve.

Creating a QuadToneRIP Curve

Initial Curve Setup

Using QuadToneRIP you can create new curves for additional
printer/paper/ink combinations or modify existing curves. To do this you
must have selected the Curve Editing option during installation. If you didn’t
you can go back and reinstall QuadToneRIP now. I’ll assume you did select
that option and the Curve Creation item is visible on the QuadToneRIP menu
bar. Click it and you will see window as shown in Figure 6.

Figure 6 - Curve Creator Window

The easiest way to get going on this step is to use an existing file as a
starting point. Select one that is as similar to your final product as possible.
If you plan to use UC inks for a new paper, use an existing UC ink file. If you
are planning to use UT inks select an existing file for one of these inks. The
curve files are stored in the Profiles sub-folder in the folder where
QuadToneRIP Was installed. If you didn’t change that during installation,
they will be in: C:\ProgramFiles\QuadToneRIP\Profiles.
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Curves in their editable form are stored as .qidf files. Although these are
simple text files, it’s best to edit them using the Curve Creator rather than a
text editor. The Curve Creator will ensure the file remains internally
consistent and when you’re ready to print using the Curve you can install it
with the Create Curve button.
So let’s get started. We’re creating a new Curve for a Staples glossy paper,
so it’s a good idea to select an existing profile for a similar paper. You load it
using the File/Open menu and navigate to the appropriate subfolder of the
Profiles folder mentioned above. In this case we’re going to create a curve
for the 2200 printer so the complete path name of file we are using as a
template will be:
C:\ProgramFiles\QuadToneRIP\Profiles\2200-uc\UCpk-MCeramicLuster-cool.qidf

After you’ve loaded your template into the Curve Creator, it’s a good idea to
save it under the name you plan to use for the Curve (different from the
original template, unless you want to change it). In our case we saved the
curve as UCpk-StaplesPremGloss-Cool. Figure 7 shows our starting Curve
Creation window.

Figure 7 - Starting Point for Curve Creation

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By using a template we have already set up what I think of as the Curve’s

organizational details – selecting the Printing Model and establishing which
inks are used and how. As you will notice from Figure 7 above, which is
typical of most UC Curves, the Cyan and Magenta ink positions aren’t used
and Yellow, Light Cyan and Light Magenta are copied from the Light Black
but have their own individual ink limits. This ensures that the amount of
these (Yellow, Light Cyan and Light Magenta) is kept in proportion to the
Light Black – the proportion determined by the respective ink limits. The ink
limits are, thus used to control the tone of the print created by each Curve.
The UC Light Black is quite warm, so a typical warm curve will not use any
ink but Black and Light Black. Note that setting an ink limit of 0 is effectively
the same as declaring it not used. A cool curve, on the other hand, requires
some proportion of Light Cyan and Light Magenta to counteract the warmth
of the Light Black. A sepia curve will require even more warmth than the
Light Black provides so the Yellow ink can be added, perhaps with a little
more Light Magenta than Light Cyan. Again, finding an existing Curve to use
is a starting point may get you where you want to be sooner than starting
from scratch.
One remaining thing to do before starting to edit the Curve is to decide
whether to clear out the Linearize array or not. If you are planning to make
significant changes to the template and then redo the Linearization, then
clear out the array before you start. If you are simply going to make minor
tweaks to the curve and not redo the Linearization, then you don’t need to
clear the array. You can always go back and clear out the array later, but
this would be effectively starting over. If you decide to clear out the array
it’s a good idea to save the .qidf again. For my example I cleared out the
array, as I plan to linearize the curve.
Our Curve is now setup. We are ready to create a non-linearized Curve,
which I describe in the next section. Later on I will describe the process for
Linearization.

Creating a Non-Linearized Curve

The first thing to do is to set the Default Ink Limit. In my example above,
when I printed the InkSeparation test page the first time, I determined (see
Figure 3) that the inks reached maximum density at about 85%. We use
that value as our Default Ink Limit. While I’m at it, I’ll clear the Black Boost
for now (I’ll determine later whether I need it).
The next thing to do is to setup the Gray Inks, starting with the darkest
(that being Black of course). This time we use the print of the InkSeparation
test page with the limited inks. First we set the relative densities of the Gray
inks. The densities are relative to Black, so the Density of Black is 100. From
the analysis of the test page (Figure 5), the relative density of the Light

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Black ink is 43%. For UC inks there are only 2 gray inks, of course, so we
stop after the Light Black. For QuadTone inks there can be more gray inks so
you would repeat this process, setting the density of each gray ink relative
to black.
Next, we want to establish the Limit for each of the gray inks. Normally, I
leave the Black Ink Limit blank; that way its limit is established by the
Default Ink Limit. The limits for the other gray inks are a judgment call. We
want as much ink as possible, but we don’t want to flood the paper. A typical
value for a UC warm Curve is 60 for the Light Black Ink Limit. For cool, sepia
or other curves where additional inks are used the Light Black Ink Limit is
reduced a bit (Say to 55 or so) to allow for the other inks. Again, here’s a
case where it’s a good idea to look at some other curves to get an idea.
Figure 8 shows our Curve with the gray ink density and limit values applied.
Note that I left the Yellow, Light Cyan and Light Magenta limits as they were
in the file we used as a starting point. We can change them later if
necessary once we see what a print looks like.

Figure 8 - Gray Ink Density/Limits

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The final thing to address before making our first print using the curve, is to
Set up the Gray Curve information. Figure 9 shows the Curve Creator
window for setting the gray curve parameters. The four variables shown in
Figure 9 control the shape of the final grayscale gradient. Due to a
phenomenon called Dot Gain, just mixing inks gives a very dark gradient, so
there are several ways to shape the gradient. Highlight and Shadow are the
most likely to be used. These variables can be used to fine tune the
highlights and shadows with separate values. The larger the value, the
lighter that portion of the curve. The values that seem to be a very good
starting point are both equal to 6. Gamma is the traditional gamma
correction that works like the middle value in the Photoshop Levels
command: 1 gives no change, >1 lightens and <1 darkens. This correction
is very strong and in general is probably not needed, so use gamma = 1
unless you absolutely need a lot lighter gradient. The fourth variable is the
gray Overlap. We’ll leave it blank for now and I’ll discuss it later when we
get to maximizing DMAX.

Figure 9 - Gray Curve Settings

As an alternative to using the 4 variables above, you can use the Curve
variable. This is the most flexible as it allows you to create an arbitrary
curve using Photoshop and then save the curve as an .acv (for example, in

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the same folder as your QuadToneRIP curve). Using the Browse button you
can then assign this filename the Curve variable.

Adjusting Curve Toning

We now have the first cut at our Curve set up. It’s time to print a test
image. With QuadToneRIP comes an image called 21Step.tif. By printing this
file with QuadToneRIP we can assess the effectiveness of our Curve. This
assessment can be done by printing and eye-balling the resulting image or
by taking actual measurements. Measurements are most accurately done
using a spectrophotometer or densitometer. However, acceptable results can
be accomplished using a scanner combined with an image editor (like
Photoshop). If you’re using Photoshop, for example, you can use the Eye
Dropper tool, set to sample a 5x5 array of pixels, to measure the density or
tonality of scanned images.
For our Staples Cool Curve, the first print was too warm, even for my taste.
I don’t like really cool prints, but we are making a cool Curve so the print
should be at least on the cool side of neutral. Obviously the limits for Light
Cyan (=12) and Light Magenta (=13) were too low. I bumped them both to
30 and made another print. That was cool enough for now.
To make a complete set of Curves for a paper, you will want to also make at
least a warm Curve, and most likely a Sepia Curve. Some papers have other
curves such as a Cool Selenium or Carbon curve. All these tones can be
created by adjusting the ink limits for the Light Cyan, Light Magenta and
Yellow inks. For example, the warm Curve is typically created by turning off
these inks (Limit=0) and just relying on the warmth of the Ultrachrome Light
Black to create the necessary warmth. Sepia Curves typically add a bit of
Yellow and have a bit more Light Magenta than Light Cyan. Once again, it’s a
good idea to look at some existing curves to get an idea of the value ranges
used. For this tutorial we will focus only on the cool Curve so the next step is
to look at maximizing the dMax.

Maximizing dMax
Next we need to ensure that for 100% black we are producing the darkest
black the printer/paper/ink combination can deliver without swamping the
paper with ink. QuadToneRIP provides several variables that can help in this
area. The Black ink Limit, (or if not specified as in our example, the limit
determined by the Default Ink Limit) determines the total amount of black
used throughout the grayscale range. If increased too much it can cause dot
gain problems in the light and mid-tones. Another variable that can be used
to increase black ink in the shadows only is Black Boost. . This puts a steep
curve in the Black ink right at the end pushing black all the way to the value
set by Black Boost. In our example I set this variable to 100 and achieved
the deepest black I could for this paper.

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I noticed that even with Black Boost=100, the 100% black patch has little
white flecks in it. Under an enlarged scan there were little intermittent lines
(horizontal lines so not pizza wheel tracks). For cases like this where the
Black ink, even at 100% does not fully cover the paper, one can specify a
Gray Overlap percentage on the Gray Curve panel. This variable forces
QuadToneRIP to put out more ink overall and to finish with this percentage
of the darkest gray overlapping with the maximum amount of black. So in
our example I specified Black Boost of 100% and if I specified Gray Overlap
of 15%, the 100% black patch would be printed with 100% Black ink plus
15% Light Black. You must be careful here, since the darkest gray is lighter
than the black, too much Gray Overlap might actually reduce dMax. This is
another area where experimentation is required.

Adjusting the Curves

To reach what I thought were the best curve characteristics required quite a
few iterations of parameters and printing of the 21 step wedge. To reduce
the paper usage, I created a slimed down version of the file I called
21Stepslim.tif using the crop tool in Photoshop. This permitted me to print
about 8 step wedges per page, one at a time and marching them down the
page using the image placement features of QuadToneRIP.
Once you print a step wedge, the next task is to visually assess the overall
appearance of the print. Can you see all 21 distinct densities? Do they
appear more-or-less evenly space. Is there too much ink on the paper? Have
you achieved the greatest possible dMax. These are all factors you can
assess visually or with a quick measurement. You can adjust the various
gray ink Limits and also the Highlight, Shadow, Gamma, and Overlap
variables from the Gray Curve panel to get as close as possible to your ideal
step wedge print.
Another factor you can assess at this point is the overall tonality of the print.
Is it as cool (or warm, sepia etc) as you want? To make changes to the tone
for Ultrachrome inks you adjust the Yellow, Light Cyan, and Light Magenta
ink Limits. For quadtone inks (something I haven’t done yet) you could
adjust the individual toner ink Limits but from looking at existing Curves, it
appears that the Toner Curve variables (Highlight, Shadow, etc.) are more
commonly used.
Of course changes to toner values may upset your carefully adjusted gray
scale. If you make a big change to tone you may have to re-examine the
density curve. It’s a good idea to get the Curve density transitions
reasonably uniform before performing the Linearization procedure in the
following section.

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Linearize a QuadToneRIP Curve

The initial calibration procedure of QuadToneRIP described above, partitions
the gray inks and creates smooth transitions between all the inks. Once
there is a smooth curve the objective is to shape the final densities to an
ideal form – one where the steps are separated equally for human vision.
Our vision is better able to see differences in the highlights rather than the
shadows so the slope of the density curve must increase towards the
shadows. QuadToneRIP can take a list of densities from an evenly spaced
step wedge and create a correction curve that will then produce the ideal
densities for the final curve set. This is called the Linearization process.
Any densitometer (or a scanner) can be used for this process. The measured
values can simply be typed into the corresponding cell in the Linearization
panel. Alternatively for the Xrite 810 or perhaps other densitometers that
can use a serial interface, one can use a program like Xkey to place
measured values in the correct cells. Xkey is available for the PC and Mac
from the Xrite web site. Roy Harrington, the originator of QuadToneRIP also
has a semi-automated process that can use the Eye-One spectrophotometer.
In any event, to complete the Linearization process, make the Curve as
described in the previous sections. The Linearization Values array at this
point must be empty (i.e. the cells must be blank). Use the Curve to print to
out the 21Step.tif step wedge, and measure the density of each step in the
print – as usual, letting the print dry for a while before taking measurements
from it.
When you are entering densities note that the first cell (top left) is for 0%
(white) and the last is for 100% (black). If you are using a densitometer the
0% reading will be the smallest and the 100% reading the largest.
If you’re using a scanner, you must scan the printed step wedge and open
the scanned image in Photoshop (or whatever you use for image editing).
For linearization you need the Lightness value for each step. To do this
convert the image to Lab color mode and then use the eye dropper tool set
to a 5x5 sample size to measure each step. Again, you will enter values from
the top left (0%) to the bottom right (100%). In this case the values will be
descending from 100 for white to near 0 for black. Fortunately QuadToneRIP
is smart enough to figure out whether it’s getting densities or L values.

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Figure 10 - Linearization Panel

Although I’ve read that a scanner can be used for measuring densities, my
experience with a scanner hasn’t been very satisfactory. My scanner (an
Epson 2400) seems to have trouble differentiating dark patches. Since using
L values means blacks are small integers, the small errors in the
measurements of the darker patches seems to cause wild swings in the
curve that is generated. I’ll be interested to hear what others’ experiences
are with a scanner – hopefully better than mine.
Once the densities are entered, use the Create Curve button to create the
Linearized version of your Curve. Figure 10 shows the Linearization Panel of
the Curve Creator for our Staples Premium Glossy cool example Curve. In
this case the densities were measured with my Xrite 810 densitometer.
If you want to check how successful you were you can print out another
21Step and measure the linearized densities and compare these to the
closest ideal density curve provided in Figure 11 and Figure 12.

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Ideal Densities for Various dMax

Step 1.60 1.65 1.70 1.75 1.80 1.85 1.90 1.95 2.00
0 0.000 0.000 0.000 0.000 0.000 0.000 0.000 0.000 0.000
5 0.047 0.048 0.048 0.049 0.050 0.050 0.051 0.052 0.052
10 0.096 0.097 0.099 0.100 0.101 0.103 0.104 0.105 0.106
15 0.146 0.149 0.151 0.153 0.155 0.157 0.159 0.161 0.163
20 0.199 0.202 0.205 0.208 0.211 0.214 0.217 0.220 0.222
25 0.253 0.258 0.262 0.266 0.270 0.274 0.278 0.281 0.284
30 0.311 0.316 0.321 0.327 0.331 0.336 0.341 0.345 0.350
35 0.370 0.377 0.384 0.390 0.396 0.402 0.407 0.413 0.418
40 0.433 0.441 0.449 0.457 0.464 0.471 0.478 0.484 0.491
45 0.499 0.509 0.518 0.527 0.535 0.544 0.552 0.560 0.567
50 0.568 0.580 0.590 0.601 0.611 0.621 0.631 0.640 0.649
55 0.642 0.655 0.667 0.680 0.692 0.703 0.714 0.725 0.736
60 0.719 0.734 0.749 0.763 0.777 0.791 0.804 0.817 0.829
65 0.802 0.819 0.836 0.853 0.869 0.885 0.900 0.915 0.929
70 0.890 0.910 0.930 0.949 0.968 0.986 1.004 1.021 1.038
75 0.985 1.008 1.030 1.053 1.074 1.096 1.116 1.137 1.157
80 1.087 1.113 1.140 1.165 1.191 1.216 1.240 1.264 1.287
85 1.197 1.228 1.259 1.289 1.318 1.348 1.376 1.404 1.432
90 1.318 1.354 1.390 1.425 1.460 1.495 1.529 1.562 1.595
95 1.451 1.494 1.536 1.578 1.619 1.660 1.701 1.742 1.782
100 1.600 1.650 1.700 1.750 1.800 1.850 1.900 1.950 2.000
Figure 11 - Table of Ideal Densities Part 1

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Ideal Densities for Various dMax

Step 2.00 2.05 2.10 2.15 2.20 2.25 2.30 2.35 2.40
0 0.000 0.000 0.000 0.000 0.000 0.000 0.000 0.000 0.000
5 0.052 0.053 0.053 0.054 0.054 0.055 0.055 0.056 0.056
10 0.106 0.108 0.109 0.110 0.111 0.112 0.113 0.114 0.115
15 0.163 0.165 0.167 0.168 0.170 0.171 0.173 0.174 0.176
20 0.222 0.225 0.227 0.230 0.232 0.234 0.236 0.238 0.240
25 0.284 0.288 0.291 0.294 0.297 0.300 0.303 0.305 0.308
30 0.350 0.354 0.358 0.362 0.365 0.369 0.372 0.376 0.379
35 0.418 0.423 0.428 0.433 0.438 0.442 0.446 0.451 0.455
40 0.491 0.497 0.503 0.509 0.514 0.520 0.525 0.530 0.535
45 0.567 0.575 0.582 0.589 0.595 0.602 0.608 0.614 0.620
50 0.649 0.658 0.666 0.674 0.682 0.690 0.697 0.704 0.711
55 0.736 0.746 0.756 0.766 0.775 0.784 0.793 0.801 0.810
60 0.829 0.841 0.853 0.864 0.875 0.886 0.896 0.906 0.916
65 0.929 0.943 0.957 0.970 0.983 0.996 1.008 1.020 1.032
70 1.038 1.055 1.071 1.086 1.102 1.116 1.131 1.145 1.159
75 1.157 1.176 1.195 1.213 1.232 1.249 1.266 1.283 1.299
80 1.287 1.310 1.332 1.354 1.376 1.397 1.417 1.438 1.457
85 1.432 1.459 1.486 1.512 1.538 1.564 1.588 1.613 1.637
90 1.595 1.628 1.661 1.692 1.724 1.755 1.785 1.815 1.845
95 1.782 1.822 1.862 1.901 1.940 1.979 2.017 2.056 2.093
100 2.000 2.050 2.100 2.150 2.200 2.250 2.300 2.350 2.400
Figure 12 - Table of Ideal Densities Part 2

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