Written by Carl Schofield.

The basic components of profile creation for QTR are determining ink limits, partitioning the gray inks, and linearizing the profile.  When I start making a profile for a new paper I always begin with an existing profile (can be for any paper) and modify it as I go thru the process.  

Ink Limits
The first step is to open the plain text, quad ink descriptor file (in the Profiles folder for your printer - not the .quad files in the CurveDropBox folder) with textedit and convert it into a calibration file for the first step of determining ink limits.  In this example I used one of the PFA files.  Make the following changes:

set CALIBRATION=YES
set DEFAULT_INK_LIMIT=100

delete all existing individual ink limit values (note: deleting all ink values means that all individual inks will now assume the DEFAULT_INK_LIMIT value of 100)

LIMIT_K=
BOOST_K=
LIMIT_C=
LIMIT_M=
LIMIT_Y=
LIMIT_LC=
LIMIT_LM=
LIMIT_LK=

delete the last line in the file (LINEARIZE="0.019 0.054 0.102 0.158 0.219 0.282 0.353 0.424 0.497 0.568 0.634 0.703 0.779 0.870 0.967 1.073 1.183 1.289 1.390 1.500 1.604 ")

save the editied file with a new name, PFA_2200-cal in this case (can be anything).

Next step is to install this new calibration file.  Simply put the PFA_2200-cal file we just created into the folder with the other ink descriptor files and run the install script.  The script will install this new profile as a .quad calibration file in the CurveDropBox folder and it will now be accessible for use in printing.

In the Images folder find and double click the inkseparation.psd file to open in Photoshop - do not assign any profiles when opening, leave as is (don't color manage).  Do a page setup, specifying your QTR printer.  In Print with preview, select same as source for print space.  Click Print and select your QTR printer.  Select Quadtone RIP from the drop-down list and then in the next dialog set mode to Quadtone RIP Calibration.  Select PFA_2200-cal-calib from the list for QuadTone RIP Curve 1, leave curve 2 at none, and blend at 100-0.  Click Print to get a print of the ink pattern page.

After the inkpattern print is dry measure densities (I just use L values that are obtained from spot measurements with i1Share and the Eye-One - the L values will be inverse to density, but doesn't matter for this step) of the step wedge patches starting at 40% up to 100% for at least the K and LK strips.  I often only measure the K strip.  You want to find the patch where ink density just starts to level off at the maximum.  For the UC K this is usually in the range of 70 to 80 for most papers with the 2200.  Note the value you selected for the maximum (assume 75% for illustration here).

Now open the PFA_2200-cal text file again and change the DEFAULT_INK_LIMIT=100 to DEFAULT_INK_LIMIT=75 (or whatever you determined as the max density).  Save the file again (you can either use a new file name or overwrite) and install as before.

Gray Ink Partitioning
Open the inkseparation.psd file again in Photoshop and print as before, only using the new PFA_2200-cal-calib profile with the 75% default ink limit this time.  Using this print we will now determine the gray ink partition values (there are only two gray inks with the UC inks so we only need to estimate one partition value).  Measure the density (or L) of the 100% patch of the LK step wedge and write it down.  Now find the density (or L) value in the K step wedge that is equal to the value just determined from the LK 100% patch.  If it falls between two patch values in the K step wedge just interpolate between the two to calculate the matching step wedge percent value.  For simplicity in this example, assume the 100% LK density is equal to the 35% K density.  The partition value will be 35% in this case.  Now we can make a warm gray profile as follows.

Open the PFA_2200-cal text file again and make the following changes.

Set CALIBRATION=NO

Leave DEFAULT_INK_LIMIT=75

Set BOOST=95 (this is optional, but it gives a higher dmax by boosting K output at the end of the curve)

Set limits for the following inks to 0 (we won't be using them)

LIMIT_C=0
LIMIT_M=0
LIMIT_Y=0
LIMIT_LC=0
LIMIT_LM=0
Leave LIMIT_LK= and LIMIT_K= 
(this assumes you want the default ink limit of 75 for both K and LK or you can assign explicit values)

Now set the number of gray parts to 2 and then insert the gray partition values as follows:

N_OF_GRAY_PARTS=2
GRAY_INK_1=K
GRAY_VAL_1=100

GRAY_INK_2=LK
GRAY_VAL_2=35

Set gray gamma and curve as follows:

GRAY_GAMMA=1
GRAY_CURVE=

Set highlight and shadow values as follows (these values are generally suitable and not critical)

GRAY_HIGHLIGHT=4
GRAY_SHADOW=8

You don't need to make any settings in the toner section (we don't use this with the UC inks)
Leave unused inks as follows:

N_OF_UNUSED=2
UNUSED_INK_1=C
UNUSED_INK_2=M
Leave UC_NEUTRALIZER=YES
(We won't be using this until we do the cool profile, but it is OK to leave it on for the warm as well because we set LM, LC, and Y to 0)
Now save this file as PFA_2200-warm and install as before with the install script.

Now we will modify the warm profile to create a cool profile.
Open the PFA_2200-warm text file again and make the following changes.
Set the ink limits for LC, LM, and LK as follows:

LIMIT_LC=27
LIMIT_LM=27
LIMIT_LK=56
(This is where the trial and error part comes in.  We are trying to get a cool tone by adding LC and LM to cool off the warm LK, but we also want to adjust the relative limits to keep the combined LM,LC,LK density approximately the same as just the LK density in the warm profile.  These are just guestimate values.)
Save this file as PFA_2200-cool and install as before with the install script.

Now for the sepia profile.
Open the PFA_2200-warm text file again and make the following changes.
Set ink limits for LC,LM,LK,Y as follows:

LIMIT_Y=10
LIMIT_LC=9
LIMIT_LM=29
LIMIT_LK=56

(Same deal as before - try to get a balance and the tone you want - only this time we have added Y to get a sepia tone).  The UC_NEUTRAIZER=YES function blends LM,LC,and Y (if the limit for the latter is not 0) in proportion with LK to generate a "composite" toned ink that is either cool or sepia.)

Save this file as PFA_2200-Sepia and install as before with install script.

Linearization
Finally, we can now do the linerarization for each of these three new profiles that we created.

In the Eye-One folder, open the Step-21-random.tif file file in Photoshop, with your gray working space set at QTR Gray Lab.

Do a page setup, specifying your QUAD2200 printer. 
 In Print with preview, select QTR gray matte for print space.  Click Print and select your QTR printer.  Select Quadtone RIP Settings from the drop down list and set mode to Quadtone RIP.  Select PFA_2200-warm from the list for QuadTone RIP Curve 1, leave curve 2 at none, and blend at 100-0.  Click Print to get a print of the 21 step wedge.  Repeat this printing process with the cool and sepia profiles on the same piece of paper.

After the print with the three step wedges has dried you can make the density measurements for linearization.  Just follow the instructions as outlined by Roy for using the Eye-One with MeasureTool software.  We printed the randomized step-wedge, so follow instructions for that one.  Once you have the linearization data from each step wedge, copy and paste it as a linearization line at the end of each profile as instructed (example):
LINEARIZE="0.019 0.054 0.102 0.158 0.219 0.282 0.353 0.424 0.497 0.568 0.634 0.703 0.779 0.870 0.967 1.073 1.183 1.289 1.390 1.500 1.604 "

Now re-save each of the profiles with the linearization data included (either over write or give new file name) and install as before with the install script.  Your profiles are now ready to use for printing.