Hi folks Sorry for the slow response Heres some ideas.
Colour remapping from RGB to CMYK Yes sounds nice but I think there should be a fairly accurate preview of the image so you can see if it rejiggers colours dramatically as you can get some pretty odd looking things in that transition. Would be nice to be able to look at it and say yep that will map across safely and OK it into the CMYK range. Moire Often moire occurs when people use an image which has previously been printed scan the image in and then send the artwork to press - it gets rescreened and the moire occurs when the second screening coincides with the first dot pattern. Usually with jobs with more than 4 colours it will be cmyk plus a colour for a corporate logo and or a varnish or foil(gold) or emboss. the non CMYK colours are often specified in order to get those effects purely and so are often not used in a 'grey' way or screened as much. If those colours were screened they could be treated like a cmyk job with a monotone, duotone or tritone type of thing happening over the top but yes the screen angles would get interesting. I have often used moire as a feature using coarse grained line screens to create texture so being able to scale or import textures or screens which could be used might be nice. Mezzotint types of screens are sort of gritty and irregular and are a handy way of avoiding moire on jobs with prescreened imagery moire generally happens on regular dot patterns. Old bromide screens included wavey lines and concentric circles for feral moire effects. I have also used 2 colour inks such as orange and cyan to make a brochure which used different kinds of duotone to create skin colour through to black(100% overlay of orange and blue) on some pages and pale blue through to amber on other pages. Being able to do this ready for press is only possible if what you see on screen is really what you can get on press. As I understand it this is tricky with colour calibration on PC hardware as the fine tuning of calibration is not there in the same way it is for macintosh computers. Theyve put a bit of effort into that aspect of things. I certainly had a tricky time trying to scan in and replicate colour accurately in print of some botanical illustrations with pale subtle colours which tended to become more yellow through the scanning and printing path even with be tweaking the colour. This probably isnt relevant to Scribus from a software perspective except to give an example of the kind of pale beige colours which were in those are an example of colours that get made more primary through gamut changes. I guess to cut a long story short my answer re colour is that those features sound great but the screen representation = print outcome will be the clincher as to whether they are 'safe' to trust in terms of what comes out of a press job = desktop printer = screen. I have also wanted to be able to do artwork where I use the standard CMYK plates to retain their screen pattern but to use spot colour inks or split duct ink work to create different effects. This would be possible with standard CMYK screens and plates and just a creative printer on the press so is possibly not a must have for the actual artwork. Not sure if this helps. Cheers Janet
