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no offense to anyone personally but I think we are way too used to and comfortable with weekly releases and if that wasn’t already bad enough, it seems like most of you aren’t even patient enough to wait for the official release date my point is this industry moves way too quickly
The way that people treat with the medium of manga is interesting and sad because a lot of mangaka are disabled and becoming disabled because of the intense workload. The grace extended to legendary author-artists like Togashi should be how all these artists are treated, and more. Your favorite artists are destroying themselves to create the pages you consume and make judgments on and they deserve to take the time their bodies need to recover from these efforts. The weekly release schedule is literally hurting artists.
What’s worse is how they’re expected to do extra work unpaid like exclusive bonus illustrations for retailers and are expected to pay for assistants themselves. Licensing deals with adaptions are fucked up Gureishi is not the only one who has said an anime adaption did nothing for them financially Hideaki Sorachi of Gintama fame has also been open about how little money he has made from the hugely successful Gintama live action projects. Its so fucked up out there for them with no safeguards when their health fails them aside from living off of royalties, and this is an “improvement” from when publishers were fully okay roping manga artists into doing more than one serial at a time or lock them up in hotels with no sleep until they completed their manuscripts
sometimes responding to media you like is articulate and sometimes it is microwave noises and static fizz
yeahh this is what prompted me to make this post
Was experimenting with halftone effects after watching this video and it almost has spiderverse vibes honestly. I actually learned some neat things about why printers use CMYK instead of just CMY so I thought I'd share !!
So in our optimal little computer space, Cyan (0,255,255), Magenta (255,0,255) and Yellow (255,255,0) all multiplied together gives us a perfect black (0,0,0) Awesome! The issue is that ink colors irl arent exactly perfect like this, and color is a bit more complicated irl compared to how computers represent it, so they aren't the greatest at combining into black if they aren't those perfect CMY values:
Left: CMY
Right: CMYK
(thats not even black, its a dark blue in the original image but dark colors just look so much richer)
An important step to make sure you arent doubling up on the black values though is to divide the image by it's own "value" (the max of all 3 color channels) that way the value is equal to 1 everywhere, and you're letting the black ink take care of the value on its own.
Left: CMY (normalized value)
Middle: K (black)
Right: Combined
Now obviously the grids of dots cant be aligned perfectly with each other because you'd just get a bunch of black dots in unwanted areas, but if the grids are misaligned, then some dots become more prominent than others which tints the whole image. This was an issue because older printing methods didn't have great accuracy and these grids were often misaligned.
The solution was to rotate these grids such that they can move around freely while getting rid of that tint effect if they aren't perfectly aligned :D
(I have no idea how they came up with these angles but that might be something to look into in the future who knows)
SPEAKING OF MISALIGNMENT
I wanted to implement that in my own filter to get some cool effects, and I discovered another reason CMYK is better than CMY for lots of stuff !!
With CMY, you're relying on the combination of 3 color channels to make the color black. This means if you have thin lines or just details in general, misalignment can make those details very fuzzy. Since CMYK uses a single color of ink to handle value, it reduces color fringing and improves clarity a lot even if you have the exact same misalignment as CMY!
Left: CMY
Right: You guessed it! CMYK
(yes these comparisons have the exact same color misalignment, the only difference is using a fourth ink color for black)
ANYWAY I just thought there was a lot of cool information in this tiny little day project, I also just think it looks really neat and wanted to share what I learned :3c
EDITING BECAUSE THERE'S ONE MORE THING I WANTED TO ADD
So, I talked about how to get K in addition to CMY instead of just CMY, but how exactly do you separate CMY from an image in the first place?
Well, CMY is a subtractive color space, meaning the "absence of color" is white, compared to RGB where it's black. This makes sense because ofc ink is printed on white paper. You can use dot product to get the "similarity" between two vectors, and this can be used to separate RGB actually! Using the dot product of a color and red (255,0,0) will give you just the red values of the image. This is cool though because if we plug in cyan and get the dot product of our image and the color cyan (0,255,255), we can get the cyan values from our image too! If we first divide our colors by their value to separate the value from them, then separate CMY using those dot product values, and using K for our final black color value, our individual color passes end up looking like this:
While it's called a "subtractive" color space, I find it more intuitive to treat white as the absence of color here, and then multiply all these passes together. It makes it much easier to understand how the colors are combined imo.
Notice how cyan is the opposite of red: (255,0,0) vs (0,255,255) and magenta and yellow are the opposites of green and blue respectively! This means you can actually kinda get away with separating the RGB values and just inverting some stuff to optimize this, but this example is much more intuitive and readable so I won't go too deep into that.
THANKS FOR READING
I know it's a very long post but I hope people find it interesting! I try my best to explain things in a clear and concise way :3
