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Thank to the Scribe's larger display, I found that reading is an absolute pleasure. Unlike smaller Kindles, the Scribe allows you to see an entire page of a book or publication. The 300 pixels-per-inch resolution also does a good job displaying photos and graphics with a nice level of detail by utilizing 16 levels of grayscale, although nothing can be displayed in color.
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Note that grayscale values in a CMYK document are basically identical R, G and B values. Grayscale definitions are useful mainly when your document is in grayscale mode (in which case you should use basically only grayscale definitions). Native grayscale definitions will be converted to four-color black in a CMYK document (so G0 is definitely not the same as K100), so G0 would be converted similarly as R0 G0 B0. When using e.g. U.S. Sheetfed Coated v2 CMYK color profile, the both would be converted to C87, M78, Y65, K93. which would give you deepest neutral black (323% ink coverage) on coated stock when using print specs suitable for that profile. In lack of a prepress software, you can open (instead of placing) a print PDF in Publisher (and let it estimate the correct color mode when opening it if you do not know if it is internally CMYK or RGB) and examine the exported color values.
Regarding grayscale for the interior, assuming that is safe to use since my layouts never have color. And in this particular case, I think I actually did the first couple chapters as RGB 0, 0, 0 before realizing changing the grayscale did indeed set those same RGB values. Both also kept the CMYK from freaking out and doing whatever it wanted.
For where I am, I did take the C, M, and Y values down to 0 (still in Photo), not planning to keep it there (this company does recommend it for them, perhaps for "ease"). @lacerto As you showed, 100%K was kind of grayish. I then, took K down to 0 so my rectangle was white, moved to RGB, and moved the full white down to 0, 0, 0. It then gave a nice black, slightly lighter than my previous rectangle.
I think I just discovered a little "genius" idea. Publisher has a Photo persona, and with it I can view the total ink coverage without leaving Publisher. The main thing I have to figure out now is getting the hand just right. Red is a pretty hard color to make rich in CMYK, and I did indeed use some adjustments to compensate for the orangey lack of saturation compared to the RGB files. Nothing is raterized or flattened, and using transparency in any way changes the skin to brown/gray in the parts that fade, which is why I originally painted the bottom shadows with a reduced-hardness black. The problem there I am still trying to figure out is black also fades saturation like a transparency unless I use a different blend mode. Multiply is what I had it as...but that is showing as an obvious different black over the rectangle. I can make the hand a selection and paint a new layer from the inside, but I don't know if it is possible to refine a selection so perfectly as to get exactly to the border without bleeding over to the black. I will have to play some more. The original RGB edit had no issues with transparency.
With the exception of the Kindle Fire line of tablets (later just "Fire" without the Kindle), Kindle devices have been utilizing e-ink technology for over 15 years now. As new generations of e-readers were ushered in, this technological mimicry of ink-on-paper evolved to overcome everyday inconveniences while always keeping hassle-free reading at the core of its mission. The first-generation Kindle model back in 2007 was e-ink, but didn't yet incorporate touch-screen technology and used just four shades of gray with a sluggish refresh rate.
The innovation of black-and-white e-ink technology came as more Kindle generations were released, including the eventual graduation to 16 shades of gray, the introduction of touch-capable e-ink screens in 2011, and the addition of front-lighting, which made reading an e-ink device in the dark possible. But above all else, the critical factor to the best possible black-and-white e-ink display performance was improving the refresh rate and screen resolution.
Branding consultants Michael Cronan and Karin Hibma devised the Kindle name. Lab126 asked them to name the product, and they suggested "kindle", meaning to light a fire.[9] They felt this was an apt metaphor for reading and intellectual excitement.[10]
The device featured a six-inch (diagonal) four-level grayscale E Ink display, with 250 MB of internal storage, which can hold approximately 200 non-illustrated titles.[16] It also has a speaker and a headphone jack for listening to audio files.[13] It has expandable storage via an SD card slot. Content was available from Amazon via the Sprint Corporation US-wide EVDO 3G data network, via a dedicated connection protocol which Amazon called Whispernet.[16] Amazon did not sell the first-generation Kindle outside of the US.[16]
On July 1, 2010, Amazon released the Kindle DX Graphite (DXG) globally. The DXG has an E Ink display with 50% better contrast ratio due to using E Ink Pearl technology and comes only in a graphite case color. It is speculated the case color change is to improve contrast ratio perception further, as some users found the prior white casing highlighted that the E Ink background is light gray and not white. Like the Kindle DX, it does not have a Wi-Fi connection.[29] The DXG is a mix of third-generation hardware and second-generation software. The CPU has the same speed as Kindle Keyboard's CPU, but the DXG has only half the system memory, 128MB. Due to these differences, the DXG runs the same firmware as Kindle 2. Therefore, DXG cannot display international fonts, like Cyrillic, Chinese, or any other non-Latin font, and PDF support and the web browser are limited to matching the Kindle 2's features.
Like most handheld devices and laptops, Kindle does use blue light for backlighting. But the kindle blue light is no more damaging than your average cell phone. In fact, Kindle Paperwhite actually emits a little less blue light compared to other models.
As said here in relation to the font type, the CSS file inside the ebook may override the software settings, including font color. Testing that, I have extracted the epub file (it's a zip in fact; some archive managers need the zip extension, some can extract directly) and found an /EXTRACTED_LOCATION/OEBPS/Content/Content.css where the line color:Black appeared multiple times. Replacing that with "Gray" gives a rather dark (but readable) gray, while "#DBDBDB" gives a lighter gray. (After that change, compress the extracted files and folders back into a zip file and change that extension to epub.)
Stumps are made variously of leather,chamois-skin and paper. The most usefulin charcoal and crayon drawing are thepaper stumps, which will be found toanswer every purpose. The paper stumpscome in two forms; first, the gray, roughpaper stumps with points on both ends;these are made in various sizes, from thesmallest, which measures only about one[Pg 11] fourthof an inch in diameter, up to thosemeasuring an inch and more.
The sketching umbrella is generallyof creamy white or very light gray cotton.It is so constructed as to be separatedfrom the long stick upon which it is arrangedwhen in use, this stick itselfbeing divided into two or more parts, accordingto its length. These are arrangedto fit into each other firmly, thelower end terminating in a long, sharp ironpoint which is to be planted in the ground.
The paper generally used in sketchingblocks is the ordinary grade of French charcoalpaper with a rough surface alreadymentioned. This paper comes in a varietyof tints, the most popular being the cream-whiteand the gray. The white paper isgenerally preferred for serious studies involvingcareful drawing and correctness ofvalue.
Some artists, however, prefer to usegray or light brown paper in sketching,as if one is skillful a very effective result[Pg 24]may be obtained with little labor byusing the local tone of the paper for thehalf tints, quickly rubbing in the shadowwith charcoal or crayon, both being sometimesused.
If the hair is dark, cover the light masswith a general tone of light gray, usingthe charcoal very lightly and rubbing itflat with the stump as before. If the hairis light, put in a fainter tone for the darkmass and a very delicate tone over thelight mass. Do not attempt to see anyreflected lights or small details as yet.
If the head be rather dark in its general[Pg 46]effect, a very delicate gray tint should beput all over the light mass of the face.This is done with a clean stump whichhas been used for half tints, and the toneis put on in the same manner, the crayonpoint not being used here.
Some very good effects are producedby using crayon or charcoal on tintedpaper, either gray, blue, or light brown,and, leaving the tone of the paper for thehalf-tint, put in the high lights with whitechalk.
Ground colour an even, smooth, bluish-gray, washed with smoky brown. Head with a little admixture of brownish in front. Collar with a small central brown spot. Patagiac margined with brown. Basal tuft of thorax with an admixture of black scales. Primaries with all the ordinary markings obscured, the most evident Feature being a broad light gray band at inner third outwardly margined by a brownish shade, which is the darkest part of the wing. The basal space is uniformly smoky gray to the t. a. line, which is narrow, geminate, even,a little incurved between the subcostal and submedian veins. The included space is light gray, and light gray shade extends to the rigid median shade, including the orbicular. T. p. line narrow, geminate, denticulate, widely bent over the cell, then with a deep incurve beneath, narrowing the median shade at the inner margin. The entire median space beyond the gray band has a warm brown tint in which the large reniform is obscurely visible as a dull, lead-coloured blotch, outlined by paler gray scales. Beyond the t. p. line the wing is of the same dull gray as at base, interrupted by the diffuse, somewhat irregular s. t. line. There is a dusky line at the base of the fringes, which are alternately black and white marked at their tips. Secondaries smoky brown, much paler at base, and with a darker line at the base of the fringes. Beneath, primaries smoky blackish, powdered with bluish-gray scales in the terminal space, secondaries grayish-white, powdery, with a blackish outer line and discal spot. 0852c4b9a8
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