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-<TITLE>GIMP-Print - Tuning Epson printers</TITLE>
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-Go to the <A HREF="gimpprint_1.html">first</A>, <A HREF="gimpprint_42.html">previous</A>, <A HREF="gimpprint_44.html">next</A>, <A HREF="gimpprint_47.html">last</A> section, <A HREF="gimpprint_toc.html">table of contents</A>.
-<P><HR><P>
-
-
-<H2><A NAME="SEC58" HREF="gimpprint_toc.html#TOC58">D.4  Tuning the printer</A></H2>
-<P>
-<A NAME="IDX265"></A>
-<A NAME="IDX266"></A>
-
-</P>
-<P>
-Now, how do you use all this to tune a printer?  There are a number of
-ways to do it; this one is my personal favorite.
-
-</P>
-<P>
-There's a file named <TT>`cyan-sweep.tif'</TT>.  This consists of a thin bar
-of cyan sweeping from white to almost pure cyan, and from pure cyan to
-black.  The first thing to do is to pick the appropriate
-<CODE>simple_dither_range_t</CODE> (or create a whole new
-<CODE>escp2_variable_inklist_t</CODE>) and comment out all but the darkest ink
-(this means you'll be using the largest dots of dark ink).  At 8.5"
-width (the width of a letter-size piece of paper), the bar will be 1/8"
-high.  Printing it on wider or narrower paper will change the height
-accordingly.  Print it width-wise across a piece of photo quality paper
-in line art mode using ordered or adaptive hybrid dither.  Do not use
-photographic mode; the colors in photographic mode vary non-linearly
-depending upon the presence of the three color components, while in line
-art mode the colors are much purer.  Make sure that all the color
-adjustments are set to defaults (1.0).  Use the highest quality version
-of the print mode you're testing to reduce banding and other artifacts.
-This is much easier to do with the Gimp than with Ghostscript.
-
-</P>
-<P>
-At this stage, you want to look for four things:
-
-</P>
-
-<OL>
-<LI>
-
-The black near the center of the line is solid, but not more so than
-that.
-
-<LI>
-
-The cyan immediately to the left of the black is <EM>almost</EM> solid.
-
-<LI>
-
-The dark cyan at the far right of the page is solid, but not more so.
-You can try tuning the density so that it isn't quite solid, then
-nudging up the density until it is.
-
-<LI>
-
-Both sweeps sweep smoothly from light to dark.  In particular, the dark
-half of the bar shouldn't visibly change color; it should go smoothly
-from cyan to black.
-</OL>
-
-<P>
-Repeat this stage until you have everything just right.  Use the
-positioning entry boxes in the dialog to position each bar exactly
-1/8" further down the page.  Adjacent bars will be touching.
-
-</P>
-<P>
-The next step is to uncomment out the second darkest dot size.  If
-you're using variable dots, use the second largest dot size of the
-dark ink rather than the largest dot size of the light ink.  This will
-give you two inks.
-
-</P>
-<P>
-When you recompile the plugin, you simply need to copy the new
-executable into the correct place.  You do not need to exit and
-restart the Gimp.
-
-</P>
-<P>
-Print another bar adjacent to the first one.  Your goal is to match
-the bar using a single dot size as closely as possible.  You'll find
-that the dark region of the bar shouldn't change to any great degree,
-but the light half probably will.  If the lighter part of the light
-half is too dark, you need to increase the value of the smaller dot;
-if it's too light, you need to decrease the value.  The reasoning is
-that if the value is too low, the ink isn't being given enough credit
-for its contribution to the darkness of the ink, and vice versa.
-Repeat until you have a good match.  Make sure you let the ink dry
-fully, which will take a few minutes.  Wet ink will look too dark.
-Don't look at the paper too closely; hold it at a distance.  The extra
-graininess of the largest dot size will probably make it look lighter
-than it should; if you hold it far enough away so that you can't see
-the dots, you'll get a more accurate picture of what's going on.
-
-</P>
-<P>
-After you have what looks like a good match, print another bar using
-only the largest dot size (or dark ink, for single dot size 6-color
-printers).  You want to ensure that the bars touching each other look
-identical, or as close as possible to it; your eye won't give you a
-good reading if the bars are separated from each other.  You'll
-probably have to repeat the procedure.
-
-</P>
-<P>
-The next step is to comment out all but the largest and third-largest
-dot size, and repeat the procedure.  When they match, use all three
-dot sizes of dark ink.  Again, the goal is to match the single dot
-size.
-
-</P>
-<P>
-You'll probably find the match is imperfect.  Now you have to figure
-out what region isn't right, which takes some experimentation.  Even
-small adjustments can make a noticeable difference in what you see.
-At this stage, it's very important to hold the page far enough from
-your eye; when you use all three dot sizes, the texture will be much
-more even, which sometimes makes it look darker and sometimes lighter.
-
-</P>
-<P>
-After this is calibrated, it's time to calibrate the light ink against
-the dark ink.  To do this, comment out all but the large dot version
-of the two inks, and repeat the procedure.  This is trickier, because
-the hues of the inks might not be quite identical.  Look at the dark
-half of the bar as well as the light half to see that the hue really
-doesn't change as you sweep from cyan to black.  Sometimes it's easier
-to judge that way.  You may find that it looks blotchy, in which case
-you should switch from ordered dither to adaptive hybrid.
-
-</P>
-<P>
-After you have the light and dark inks calibrated against each other,
-it's time to add everything back in.  Usually you don't want to use
-the largest dot size of light ink.  These dots will be much larger
-than the small dots of dark ink, but they'll still be lighter.  This
-will cause problems when printing mixed colors, since you'll be
-depositing more ink on lighter regions of the page, and you'll
-probably get strange color casts that you can't get rid of in neutral
-tones.  I normally use only the smallest one or two dot sizes of light
-ink.
-
-</P>
-<P>
-After you've tweaked everything, print the color bar with saturation
-set to zero.  This will print neutral tones using color inks.  Your
-goal here is to look for neutral tonality.  If you're using a 6-color
-printer and get a yellow cast, it means that the values for your light
-inks are too high (remember, that means they're getting too much
-credit, so you're not depositing enough cyan and magenta ink, and the
-yellow dominates).  If you get a bluish or bluish-purple cast, your
-light inks are too low (you're not giving them enough credit, so too
-much cyan and magenta is deposited, which overwhelms the yellow).
-Make sure you do this on very white, very high grade inkjet paper
-that's designed for 1440x720 dpi or higher; otherwise the ink will
-spread on contact and you'll get values that aren't really true for
-high grade paper.  You can, of course, calibrate for low grade paper
-if that's what you're going to use, but that shouldn't be put into the
-distribution.
-
-</P>
-<P>
-You can also fully desaturate this bar inside the Gimp and print it as
-monochrome (don't print the cyan as monochrome; the driver does funny
-things with luminance), for comparison.  You'll find it very hard to
-get rid of all color casts.
-
-</P>
-<P>
-There are other ways of tuning printers, but this one works pretty
-well for me.
-
-</P>
-
-<P><HR><P>
-Go to the <A HREF="gimpprint_1.html">first</A>, <A HREF="gimpprint_42.html">previous</A>, <A HREF="gimpprint_44.html">next</A>, <A HREF="gimpprint_47.html">last</A> section, <A HREF="gimpprint_toc.html">table of contents</A>.
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