QTR-Quadtone RIP

Howard

I've posted the curves to the files section under 
      UT7-IlfSmoothPearlSplitWC.ZIP

In general, you can make the toner (or any curve) start at a point higher
than 0% by using one of the otherwise unused inks and assigning it to the
same curve at a lower density and setting its limit to zero. You can control
where your curve starts by adjusting the density of the zero limited ink. If
you look at the UT7-IlfordSmoothPearl curves in the distribution you'll see
an example of this method. 

For my split curve I did not use a toner (actually I did but not to create
the split). I just used the warm light ink (LC) and the cool dark (M) ink as
if I were creating a regular curve. As in the other ISP curves, I used the
complementary dark ink (in this case C) as a toner in the deep shadows
portion of the curve to get the best dmax.

For matte papers you could use a similar approach using the LC, M and K inks
to create a warm/cool split. I had in mind to blend the split curve with
either the warm or cool curves in QTR to move the split point up or down the
tonal range. Roy's suggestion might be more effective at doing that, but not
as flexible in that you do it when you create the curve rather than when you
print.

Hopefully you'll let us know how your curves turn out (and share them as
well)

Good luck.

Tom Moore

> -----Original Message-----
> From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On
> Behalf Of Roy Harrington
> Sent: Thursday, October 27, 2005 12:34 PM
> To: QuadtoneRIP@yahoogroups.com
> Subject: Re: [QuadtoneRIP] Split toning
> 
> Howard,
> 
> You've got a good start.
> Usually a "toner" ink runs all the way into the shadows.  In general
> that works
> just fine.  But if you'd like it just to match the warm grays, one
> simple way is
> to just use COPY_CURVE to copy the warm gray curves into the cool gray
> curves.
> You'll want to reduce all of the grays ink limits since there's twice
> as much ink.
> 
> This ought to give you a pretty neutral curve set.  Now just vary the
> ink limits
> to tilt the hue warm or cool.  Warm highlights means more light warm
> less light cool,
> and opposite for the dark grays.
> 
> As long as you are doing subtle amounts the transitions should be fine.
>