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diff --git a/doc/gutenprint-options b/doc/gutenprint-options deleted file mode 100644 index b40401c..0000000 --- a/doc/gutenprint-options +++ /dev/null @@ -1,935 +0,0 @@ -Basic Printer Options - - These options control basic printer functions. - - Printer Model - - Select the printer to use. It must be supplied in all - cases. - - Page Size - - Select the paper (media) size to print to. Some - printers support custom paper sizes, while others only - support certain preset sizes. - - Note that this option refers to the actual size of the - media, not the printable area. For example, selecting - A4 refers to actual A4 paper, whatever the margins may - be. - - Double-Sided Printing - - Otherwise known as "duplex" printing, this is offered - for printers capable of printing on both sides of the - page. In addition to single-sided printing, there are - two modes of duplex operation: the page may be flipped - over its long edge (like a book), or over the short - edge (like a note pad; this is sometimes referred to - as Tumble). - - Media Type - - Select the kind of paper or other media being printed - to. This enables the printer and driver to be set up - appropriately for the kind of paper in use. - - It is important to set the Media Type to the correct - value if possible, or if not to a closely related - medium. The printer may need to know what kind of - media is in use to determine how to feed the paper - correctly; the driver needs to know in order to select - the right output settings. - - Media Source - - Select the source of the paper or other media. This - option is offered with printers that have multiple - feeds, for example multiple paper bins, manual feed, - printing directly to a CD, etc. - - Ink Set - - Select the kind of ink in use in the printer, for - printers offering different optional inks (for - example, ink designed for matte paper vs. ink designed - for glossy paper). - - Borderless - - Select whether to print with borders or not, for - printers with the capability to overprint the page. - This is otherwise known as "full bleed". - - Enhanced Gloss - - Some newer printers have a cartridge of "gloss - enhancer", which helps solve the problem of pigment - inks having an inconsistent "luster" on glossy paper. - Use this option to enable use of the gloss enhancer. - - -Advanced Printer Options - - These options control more advanced printer-specific behaviors. - Generally it's not necessary to adjust these options. - - Resolution - - Select the resolution to print at (dots per inch). In - general, higher resolutions produce better quality, at - the expense of additional time. - - As a general rule of thumb, on laser printers and - older inkjet printers resolutions of 300 DPI or - thereabouts provide draft quality; lower resolutions - provide economy draft quality and cannot produce solid - black. Resolutions of 600 or 720 DPI produce good - quality output; higher resolutions are useful for very - high quality image or graphic output. Newer inkjet - printers, with smaller ink drop sizes, typically - require higher resolutions to produce acceptable - output; in some cases even 1440x720 DPI does not - produce good quality. - - Users of Epson inkjet printers have another setting - available: the Quality option can be used to - indirectly control the printer resolution, among other - things. This offers a simpler way to control output - quality. - - Ink Type - - Select which subset of inks to use for printing. For - example, on a photo printer with additional light cyan - and light magenta inks, it's possible to print with - only the standard cyan, magenta, yellow, and black - inks. - - Normally there is no reason to use any setting other - than the default. Reasons why one might want to use - it include: - - 1) Some black inks are not compatible with certain - glossy papers. If the black ink smudges on your - paper, you may elect to use an option without black - ink (a "composite" setting). - - 2) Some inks or paper/ink combinations produce color - shifts when the light inks are used. If your - chosen combination produces unacceptable color - shifts or color casts, you may prefer to use the - Four Color Standard option, which will generally - yield more consistent color at the expense of - "grainier" output. - - Printing Direction - - Most inkjet printers can print either unidirectionally - (the head prints only when moving in one direction) or - bidirectionally (the head prints when moving in both - directions). Bidirectional printing is generally - faster, since the printer is printing at all times - rather than wasting much of the time returning the - head to the starting position. On many printers, - however, unidirectional printing produces better - quality output than bidirectional printing. - - The standard setting for this option adapts to the - printing resolution. - - Laminate Pattern - - Some dye sublimation printers are able achieve better - durability of output by covering it with transparent - laminate surface. This surface can be of different - patterns: common are matte, glossy or texture. - - -Specialized Printer Options - - These options control unusual printer features. They may be - useful in certain circumstances. - - CD Hub Size - - This setting may be used on printers with the - capability to print directly to a CD. Depending upon - your choice of media, you may be able to safely print - all the way to the inner hole of the CD, or you may - not be able to print any closer than the hub about an - inch from the center. - - CD Horizontal Fine Adjustment - CD Vertical Fine Adjustment - - These settings allow you to shift the position of the - print while printing to a CD. If you find that your - print is not centered on the CD surface, you may need - to adjust these setting to compensate. - - Interleave Method - - Most inkjet printers create the printed image using - multiple overlapping passes of the print head. On - many printers this function is performed within the - printer itself and cannot be adjusted, but with many - Epson inkjet printers (and some others), this is - performed by the driver or may be specified to the - printer. One advantage of the multiple overlapping - passes is that it can hide small differences between - the individual print head nozzles, which would - otherwise be visible as banding. The different - interleave methods are different strategies for - for performing this overlapping; some are better at - hiding the banding than others. They all require the - same amount of time to print. - - Generally it is not necessary to adjust this; in some - cases, depending upon your printer, you may find that - one pattern or another performs better. - - On Epson Stylus Pro printers, this option allows - specifying different overlap patterns within the - printer. In this case, the choice of overlap pattern - may affect both the printing time and the quality to a - significant degree. - - Adjust dot size as necessary - - This option is provided on many Epson inkjet printers - to allow you to use larger ink drops than those - normally used for the resolution chosen. This may be - necessary if you use certain kinds of media or for - some reason wish to use much more ink (higher density) - than the default. It should not be necessary to use - this option. - - -Basic Output Controls - - Output Type - - This option specifies whether to print in color or - black and white/grayscale (using only black inks). - Black and white printing is generally faster than - color printing, even if the item being printed is - entirely black and white. However, printing with only - black ink may yield a "grainy" appearance. - - Color Correction - - This selects the choice of color correction method - within Gutenprint. The following options are offered: - - * DEFAULT: Select a color correction mode appropriate - for the document type being printed. - - * HIGH ACCURACY: Apply optimum color correction to the - output to produce the best color quality. This - corrects the hue, brightness, and saturation - (brilliance of color). This is the normal setting - to use for printing photographs or graphics if you - are not using any external color management. - - * BRIGHT COLORS: Apply color correction to the output, - but generate more brilliant colors in some cases. - - * CORRECT HUE ONLY: Apply color correction to the - output, but correct only the hue. This option does - not correct brightness and saturation. - - * UNCORRECTED: Do not apply any color correction to - the output beyond generating linear output. This is - the best setting to use when utilizing external - color management; the high accuracy modes employ - correction algorithms that may not work well with - color management. - - Note that if you use color management you should use - profiles created with Gutenprint and with the exact - settings that you plan to print with. Profiles - provided by the printer vendor are calibrated for - the vendor's driver, which may not be identical to - Gutenprint's calibration. - - * DESATURATED: Print in pure grayscale, but using - color inks. The result is somewhat different from - printing in black and white using the Output Type - option -- the driver may use color ink, which - generates smoother output and may yield better - results on many papers. - - * THRESHOLD: Convert all colors to fully on or fully - off, eliminating all gradual tonal gradations. The - result is that the output will consist of all very - pure colors. - - * DENSITY: Correct only the amount of ink ("density"), - otherwise performing no correction at all, even for - linearity. Prints made with this option will - usually be very dark if no other color management is - used. This may be useful if you are printing in 16 - bit precision or are using your own linearization - curves. - - * RAW: Perform no correction at all, even for - density. Prints made with this option will be very - dark and may bleed (or even puddle!) ink if not used - with external color management and linearization. - This option may be useful if you are using external - color management and linearization to get extremely - saturated dark colors by using more ink in - individual channels. It should be used with extreme - caution, as it is very easy to damage the printer if - you are not careful. - - * PRE-DITHERED: Interpret each pixel as the actual - size of each drop to be printed. Legal values of - the drop sizes differ between printers; all printers - support 0 (no droplet) and 1 (the largest droplet). - Some printers support four levels (0, 1, 2, and 3). - - Image Type - - Specify the option that best describes your print job. - Your choice here will affect the processing of the - print job. Currently available settings are: - - * TEXT: Optimize the output for printing black text - with no graphics. This option results in crisp - output and is very fast, but will yield very poor - results with any color or grayscale graphics. - - * GRAPHICS: Optimize the output for printing color - graphics. This option will generate smooth, bright - output. - - * MIXED TEXT AND GRAPHICS: Optimize the output for - printing a mixture of text and graphics. - - * PHOTOGRAPH: Optimize the output for printing - photographs. This option will generate smooth - tones and high quality colors, but will be slower - than the other options. - - * LINE ART: Optimize the output for printing black and - white line art with intricate detail. - - * MANUAL CONTROL: Do not bias the output at all; use - only the settings specified by the user. - - Print Quality - - Specify the desired output quality using convenient - presets. Where this option is available, Gutenprint - will automatically adjust the printing resolution and - other options to generate the desired quality. - Settings chosen with this option may be overridden by - explicitly setting other settings, such as resolution. - Not all printers offer all of these options. - Currently available settings, in increasing order of - quality, include: - - * FAST ECONOMY: Use the fastest printing mode - available on the printer to print with a minimum - amount of ink. This option will produce very washed - out colors and grays, and will typically be - extremely grainy and streaky. - - * ECONOMY: Print very rapidly with a reduced amount of - ink. This option will produce washed out colors and - grays and will typically be quite grainy and - streaky. - - * DRAFT: Print low quality draft output quickly. This - option will typically produce acceptable colors with - some amount of grain on plain paper, but will - typically produce washed out and grainy output on - high quality papers. On some printers this may - employ a special draft mode to print especially - quickly at the expense of color fidelity. - - * STANDARD: Print at a normal quality level for text - or text/graphics on plain paper or basic inkjet - paper. This option will typically produce - acceptable colors, but on high quality papers the - output may be grainy or somewhat washed out. This - option may also be useful for printing draft copies - of photographs on coated inkjet paper. - - * HIGH: Print final copies of text or text/graphics on - plain paper or inkjet paper. This option will - typically produce good color quality, but the - quality may not be optimal for photographs on glossy - paper. This option may also be useful for printing - draft copies of photographs on glossy paper. - - * PHOTO: Print photographs on glossy paper or very - high quality text, text/graphics, or line art on - high quality paper. In the latter application this - will produce output close to laser printer quality. - On the highest quality premium papers the result may - still be a bit grainy. - - * SUPER PHOTO: Print photographs on glossy paper with - very high quality. This will generally yield very - good results on high quality premium paper but may - be overkill on other papers. This option is only - offered on printers capable of producing very high - quality output rivaling traditional photographic - printing. This option may also be appropriate for - very intricate line art, where the required - resolution may exceed the capabilities of laser - printers. - - * ULTRA PHOTO: Print photographs on premium papers - with extremely high quality. This option is only - offered on printers capable of producing extremely - high quality output matching or exceeding - traditional photographic printing. - - * BEST: Print with the best quality available on the - printer for the application chosen. This may be - equivalent to one of the other settings; on a very - few printers the resolution may exceed that of Ultra - Photo mode. - - * MANUAL CONTROL: Do not adjust the settings at all; - use only the settings specified by the user. - - -Basic Output Adjustments - - Saturation - - This option controls the vividness of the output - color; higher values produce more vivid colors. Very - low values produce muted colors; setting this to zero - produces gray. - - Contrast - - This controls the contrast of the output. Lower - values produce less tonal range in the midtones - (lighter colors become darker, and darker colors - become lighter), which may allow for more definition - in the highlights and shadows. Higher values do the - opposite: lighter colors become even lighter, while - darker colors become even darker. - - Brightness - - This control adjusts the general brightness of the - print; higher values produce generally lighter output, - while lower values produce generally darker output. - White and black are not changed; colors also retain - their hue and saturation. - - -Advanced Output Adjustments - - These controls adjust more specialized settings. - - Dither Algorithm - - Since inkjet printers have a very limited set of ink - colours, most colours have to be produced by mixing - the available inks. This is done by printing patterns - of very small dots, fooling the eye into seeing many - different shades. This process is called "dithering"; - several different patterns are available, with - trade-offs between speed and quality. The following - dither algorithms are currently available. If no - algorithm is selected, the package chooses an - appropriate one based on other option settings. The - following algorithms are currently available, - generally in increasing order of quality. - - * VERY FAST: This algorithm produces very rough, - patterned output, but is extremely fast. This - generally yields poor results on modern inkjet - printers, particularly models that offer multiple - drop sizes, but it can yield very good results on - laser printers. It is a good choice for printing - text or line art where no grayscale or color is - used, and also works very well when Threshold color - correction is used. - - * FAST: This algorithm also produces output with very - strong diagonal patterns. It is also quite fast. - It produces somewhat better results on modern inkjet - printers that offer multiple drop sizes, but offers - no advantages on laser printers or old (generally - pre-1999) inkjet printers. - - * ORDERED: This algorithm produces much smoother - output than Fast or Very Fast. It is somewhat - slower than those algorithms. It utilizes a fixed - pattern that is generally free of artifacts. It is - an excellent choice for printing draft copies of - business graphics or photographs (charts, etc.) due - to its lack of artifacts. - - * ADAPTIVE HYBRID: This algorithm produces slightly - smoother output than Ordered dithering, at some cost - in performance. It uses a fixed pattern in - highlights to avoid artifacts, and error diffusion - at higher densities to reduce noise (which looks - like roughness in texture). It is an excellent - choice for printing business graphics due to its - lack of artifacts and smooth texture in darker - tones. - - * EVEN TONE: This relatively new algorithm yields - excellent smoothness in all tones (light, midtone, - and shadow), but is considerably slower than most of - the other algorithms. It is somewhat prone to - artifacts, including "tearing", at sharp boundaries. - This algorithm is well-suited for printing - photographs, but is not as suitable for printing - solid-tone graphics. - - * HYBRID EVEN TONE: This algorithm combines Even Tone - and Ordered dithering to yield smooth results with - fewer artifacts than Even Tone dithering, but is - even slower than standard Even Tone. It uses the - fixed pattern of Ordered dithering to break up the - artifacts of Even Tone dithering. The result is not - quite as smooth as pure Even Tone, but the reduction - of artifacts makes this an excellent choice for - photographs or photographs mixed with other - graphics. - - * PREDITHERED: This is used in combination with - dithering performed outside of Gutenprint or with - printers that perform their own dithering. It - assumes that the output is already dithered and - generates the appropriate drops based only on the - values provided. - - Linear Contrast Adjustment - - The standard contrast control does not adjust the - black and white points of the output; black in the - input becomes black in the output, for example. The - result is that if contrast is reduced below 1, the - contrast in the highlights and shadows is actually - increased to keep the same total tonal range. - - Gimp-Print 4.2 used a different kind of contrast - control. In Gimp-Print 4.2, reducing the contrast - reduced the contrast throughout the tonal range, - resulting in white being printed as a light gray and - black as a dark gray (reducing the contrast all the - way to zero resulted in a uniform gray). If contrast - was increased, the contrast was stretched until the - output reached either black or white; anything lighter - always printed as white and anything darker as black. - - Turning this control on selects the old Gimp-Print 4.2 - behavior. This control is normally turned off. - - -Output Density Controls - - These controls adjust the amount of ink printed on the page. - These controls may be used to darken a solid, pure black, or - eliminate puddling (wet ink left on the paper that does not dry in - the printer) if needed. They may also be useful for adjusting the - behavior of non-standard inks. They should not be used to lighten - or darken the print if the black level is correct. - - These controls are adjustments -- they adjust the amount of ink - relative to the amount selected by the driver for the paper and - resolution chosen. - - Density Value - - This control adjusts the total amount of ink used in - all channels (ink colors). - - Black Density Value - Blue Density Value - Cyan Density Value - Magenta Density Value - Yellow Density Value - Red Density Value - - These controls adjust the amount of ink used by each - channel separately. They may be used to correct the - amount of ink if needed to strengthen or weaken - particular colors (e. g. if yellow is too strong or - too weak). They should not be used to correct gray - balance (to produce neutral gray) -- the gray balance - controls described below should be used for that - purpose. - - Ink Limit Value - - This control adjusts the maximum amount of ink that - the driver will use to print with. This may be used - if you want to use large amounts of particular inks to - achieve saturated dark colors, without using excessive - ink overall that will result in ink puddling or - spilling within the printer. This control should be - used only by people very experienced in inkjet - printing. - - -Gray Balance Controls - - These controls adjust the gray balance by changing the amount of - each color of ink used to produce gray. For example, if gray - prints somewhat greenish, it can be corrected by increasing the - magenta balance. - - Magenta Balance Value - Yellow Balance Value - Cyan Balance Value - - -Output Gamma Controls - - These controls permit adjusting the gamma (exponent) of the - transfer curves of the individual channels. On most printers, - using a linear ink scale (that is, the amount of ink is directly - proportional to the input value) will produce very dark - highlights, as even quite small amounts of ink produce very strong - colors or gray. Therefore, the driver uses less ink to produce - lighter colors. This does not affect the darkest tones. - - Setting these controls to larger values results in lighter - highlights and midtones. These controls are adjustments -- they - adjust the gamma relative to the gamma chosen by the driver by - multiplying them together. For example, if the driver uses a - gamma value of 2.0 for a particular printer, and you specify a - gamma of 0.75, the actual gamma used to print will be 1.5. - - Composite Gamma Value - - This control adjusts the gamma of all available ink - channels when printing in color. - - Black Gamma Value - - This control adjusts the gamma of the black channel - when printing in grayscale. - - Magenta Gamma Value - Yellow Gamma Value - Cyan Gamma Value - - These controls adjust the gamma of individual channels - when printing on printers that use cyan, magenta, and - yellow inks (all inkjet printers use CMY inks). These - gamma values are multiplied by the composite gamma - value and the gamma chosen by the driver. - - Note that the black gamma value is not used when - printing in color. That is because the amount of gray - is computed after the gamma transformation has been - applied to each channel, and the black channel is - synthesized from this value. The GCR Transition Value - serves as a gamma value for the black channel. In - addition, there are no gamma values for the special - channels for printers that offer additional inks (such - as red and blue) for similar reasons. - - Red Gamma Value - Green Gamma Value - Blue Gamma Value - - These controls adjust the gamma of individual channels - when printing on printers that use red, green, and - blue inks (Postscript printers and many dye - sublimation printers use red, green, and blue colors). - These gamma values are multiplied by the composite - gamma value and the gamma chosen by the driver. - - -Gray Generation Controls - - These controls adjust the conversion of gray into black ink and - composite (CMY) components. When printing in color, light grays - are often printed using composite inks rather than black ink to - reduce the speckling effect of dark black dots, while dark grays - and black are usually printed using black ink to achieve a darker - black. With some ink and paper combinations it is necessary to - use a mixture of black and composite components to achieve maximum - density and in some cases to achieve neutral grays (some pigment - black inks are actually brown). - - The effect of using too much or too little black ink varies. - Typically if too much black ink is used light colors and grays - will have noticeable speckling from the black drops, while if too - little black ink is used the midtones and dark tones will be - washed out and in some cases too much ink will be used leading to - puddles on the page. In some cases very large amounts of - composite ink cause color shifts (darker grays are not neutral). - Epson Premium Glossy Photo Paper seems to be particularly prone to - this problem, particularly with dye inks. - - In general, lower-quality papers require more black ink (composite - inks generally cannot create very dark tones), while higher - quality papers require less black ink (the composite inks can - create much darker grays, and the black dots appear much sharper). - - Setting these controls effectively requires a good understanding - of gray generation and a fair amount of experimentation. Normally - it's only necessary to set the paper type correctly to get good - results. - - GCR Lower Bound Value - - This control specifies the darkest shade of gray at - which no black ink will be used (i. e. any lighter - gray component will be printed using only composite - inks). Setting this control to zero means that some - amount of black ink will always be used; setting it to - 1 means that no black ink will ever be used. - - GCR Upper Bound Value - - This control specifies the lightest shade of gray at - which no composite CMY ink will be used (i. e. this - level of gray and higher will be printed using only - black ink). This control should never be set any - lower than the GCR Lower Bound Value. Setting this - control to zero means that only black ink is used to - print any gray value; setting this control to a value - greater than one means that some composite ink will be - used even when printing black. The upper limit for - this control is 5 (in which case black will be printed - with no more than 20% black ink). - - If you use an ink set requiring use of color inks to - produce neutral grayscale, you should set the GCR - Lower Bound Value to zero or a value very close to - zero and the GCR Upper Bound Value should be greater - than 1, along with a GCR Transition Value (below) of - 1. This will ensure that the proportion of black and - color inks will be close to constant throughout the - gray range. With this kind of inkset, it's often - possible to produce cool or warm toned grayscale - prints by selecting Desaturated color correction and - adjusting the GCR Upper Bound Value appropriately. - For example, if the black ink has a brown (warm) cast, - increasing the GCR Upper Bound Value will yield a - cooler tone (less black ink) while decreasing it will - yield a warmer tone (more black ink). - - GCR Transition Value - - This control specifies the gamma of the GCR transition - curve. Setting this control to a smaller value - results in less black ink being used in the lighter - portion of the transition region. This control is - useful if the black ink is much darker than the - composite inks in order to produce a smoother - transition. - - GCR Curve - - This control (only available through the Print plugin - for the GIMP or other Gutenprint-based applications - that provide curve capability) allows you to specify - the conversion curve from gray to black/composite - precisely. The horizontal axis of this curve - represents the gray level (between 0, or no gray at - all, and 1, or pure black); the vertical axis - represents the fraction of gray that is converted to - black (0 means only composite inks, and 1 means only - black ink). - - -Output Linearization Curves - - These controls permit adjusting the transfer (linearization) - curves of each channel precisely. They are only available through - the Print plugin for the GIMP or other Gutenprint-based - applications that provide curve capability. All of these controls - are considered to be for very advanced use only. - - Black Curve - Blue Curve - Cyan Curve - Magenta Curve - Yellow Curve - Red Curve - Green Curve - - -Detailed Color Correction Curves - - These controls permit adjusting precise characteristics of color - generation/correction. They are only available through the Print - plugin for the GIMP or other Gutenprint-based applications that - provide curve capability. All of these controls are considered to - be for very advanced use only. - - The horizontal axis of all of these curves represents the hue of - the output. Hue is measured as an angle, where 0 and 360 degrees - represent cyan (or red, if the output inks are RGB). - Conventionally, these angles are represented as a number between 0 - and 6 (each full number in this scale represents 60 degrees). The - specific hue angles for CMY and RGB outputs are as follows: - - \ Ink Type - Angle \ RGB CMY - ----- \ --- --- - 0 | Red Cyan - 1 | Yellow Blue - 2 | Green Magenta - 3 | Cyan Red - 4 | Blue Yellow - 5 | Magenta Green - 6 | Red Cyan - - Hue Adjustment Curve - Luminosity Adjustment Curve - Saturation Adjustment Curve - - These controls adjust the color correction in High - Accuracy, Bright Colors, and Correct Hue Only color - correction modes. These color correction modes work - by adjusting the hue, saturation, and luminosity (HSL) - of the output inks to achieve a more accurate color - than the color created by simply converting the red, - green, and blue inputs to cyan, magenta, and yellow - (or red, green, and blue) inks. Note that in this - printing context luminosity represents darkness - (amount of light subtracted) rather than brightness. - - The saturation and hue adjustments are first applied. - The luminosity correction operates on only the color - component of the output. Before this correction is - applied, any gray value is removed, and added back - after the correction is completed. - - The vertical axis of the Hue Adjustment Curve - represents an angular difference that is added to the - base hue value to generate the desired output. For - example, if the blue output is purple (too close to - magenta), adding a negative value to that range of the - output will bring the blue value more toward cyan - (less magenta). - - The vertical axis of the Saturation Adjustment Curve - represents an amount by which the saturation is - multiplied. At any given hue point it may take on any - value between 0 (eliminate all color saturation, which - is equivalent to converting to pure gray) and 4 - (dramatically boost the saturation). Therefore, this - adjustment may be used to tone down excessively - brilliant colors (e. g. if the reds are overly - brilliant) or brighten up dull colors (e. g. if the - greens are somewhat dull). This control has no effect - if Correct Hue Only is used. If the saturation value - is greater than 1, the effect differs depending upon - whether High Accuracy or Bright Colors mode is - selected: if Bright Colors is selected, the saturation - is simply multiplied by the desired value and then set - to 1 if it would exceed unity. If High Accuracy mode - is selected, the amount of saturation boost is - decreased if the starting saturation is high. - - The vertical axis of the Luminosity Adjustment Curve - represents an amount by which the luminosity is - multiplied. At any given hue point it may take on any - value between 0 (remove the color component - altogether) and 1 (leave it as is). Therefore, the - function of the Luminosity Adjustment Curve is to - lighten excessively dark colors rather than to darken - light colors. This control has no effect if Correct - Hue Only mode is used. - - Blue Map - Cyan Map - Magenta Map - Yellow Map - Red Map - - These curves control how the auxiliary red and blue - inks are used on the Epson Stylus Photo R800, Stylus - Photo R1800, and PictureMate family of printers. - These printers use auxiliary inks to achieve more - brilliance in the red and blue. Other printers in the - future may use other auxiliary channels, which will be - made available in similar fashion. - - The vertical axis of each of these controls specifies - the amount of each ink that should be used to print - colors of that hue. These curves are used only to - generate color; any gray component is removed prior to - the color generation and added back later. For - example, it is possible to specify that a certain - shade of purple is printed using .2 red ink, .6 - magenta ink, and .5 blue ink (hypothetically). - - -Specialized Output Controls - - These controls are used to modify the output in very - printer-specific ways. - - Gloss Level Value - - This control is provided on printers such as the Epson - Stylus Photo R800 and R1800 that offer a special gloss - enhancer to produce an even degree of gloss on glossy - papers regardless of the amount of ink used. On - certain glossy papers, areas with high ink coverage - are a lot glossier than areas with little ink coverage - (highlights); the gloss enhancer is basically a - transparent ink that increases the gloss of these - areas. This control specifies the desired total - amount of ink to be printed, including both the normal - color and black inks and the gloss enhancer. If the - amount of normal inks is less than this amount, gloss - enhancer is used to increase the total amount of ink - used. - - -Transition Controls - - These controls adjust the level at which light inks (such as the - light cyan and magenta inks used on many "photo printers") are - used in place of the dark inks. The light inks are used to - produce a smoother texture (less speckling); the light cyan - droplets, for example, are individually much less visible than the - normal dark cyan droplets. - - The ink substitution works by replacing a certain amount of ink by - a mixture of the light and dark inks. For example, the dark cyan - ink may be about 3 times as dark as the light cyan ink, so in - light areas the cyan may be replaced by 3 times as much light - cyan. However, this only works up to a certain point; beyond that - point, adding more light ink does not significantly increase the - darkness of the ink. These transition values adjust the limits at - which the ink substitution is done; the lower these limits are - set, the lighter the output at which dark ink is introduced. - Setting these values lower will generally yield more accurate - midtone colors at the expense of more speckling in the light - midtones and highlights. Generally these values need to be lower - on low-quality paper than on high quality glossy paper. - - Dark Yellow Transition Value - Light Gray Transition Value - Mid Gray Transition Value - Dark Gray Transition Value - Gray Transition Value - Light Cyan Transition Value - Light Magenta Transition Value - Light Yellow Transition Value - - -Foomatic-only options - - This control is available only when using the Foomatic interface. - It provides a collection of presets appropriate for various - printing tasks. It is similar in concept to (and provided the - inspiration for) the Print Quality and Image Type options provided - in Gutenprint. - - Printout Mode |