I hope that's not true. We have a major investment in time and equipment.
>>system and all the Scitex equipment designed for offset reproduction. I'm
>>sure EverColor doesn't need cold rooms with humidity control, either.
>>We use a black to achieve the highest possible Dmax and tone modulation.
>I was just trying to tell you that one of the advantages of a three-color
>process is that you never have problems making the black layer transfer
>properly (the object of your original post) since there ain't no black
It's a great solution, and cheaper too, but after seeing the two, I can't
work without it (most of the time).
>This said, a system designed to work with four colors does need all of
>them. BTW, do you use the undercolor removal technique with your color
We are experimenting now with UCR (actually on the Crosfield it's GCR). It
can be useful, especially when we work from a supplied RGB file and have no
control over the original gray balance settings. It does reduce the
relief, however. It's strange, some people don't like the relief. It may
also prove helpful in my repellance problem, who knows?
Interesting, Luis (if it's ok to call you that?) I just found an old
correspondence between us (Dec. '89 - Jan. '90) where I asked permission to
quote your book "Modern Carbon" about the beauty of the process.
David E. Le Vine