 Ah, thank you for your patience. It's some serious gear to get my computer connected to this conference. I'm here today to introduce the multi-toner. Zatula started last year. And I'm going to tell you the whole story of the multi-toner. I'm going to give you a short live demonstration of the current state. And then I will talk about the next steps and invite everyone to become a contributor. So first things first, my name is Lasse. I work as a freelance web application developer for different clients. And I studied visual communication at the Bowers University in Weimar, which is quite close to Leipzig, so I'm mentioning it. And I think often that I should do more design work. But I'm definitely not going back to in design because it doesn't run in my system. And I don't want it there. So my partner, Anne, is a trained photographer, and geographer, and writer. And it felt quite natural for us to start making books together. So we founded our label, Silver and Bly, which is German for silver and lead. Silver stands for silver salts using analog photography. And the lead stands for metal casting metal type. So Anne's part is the photography, the silver, and my part is the lead. We decided to make really good and valuable books using only open source software. And that includes that we provide tools by ourselves if they are missing. Our first book will be about angel statues and cemeteries. And there will be only black and white photography in it. When researching printing techniques, we found out that using only one ink for black and white reproduction is not enough for our purposes. One ink in this case for black and white photography can only display around 60 different colors. Gamut is really small, I could say. A lot of detail is lost. The image looks really dull and misses depth. So the solution used by printers is to use more than one ink to display the black and white channel. So what you do is to widen the gamut of the output device. Gamut is the set of different colors that the device can display, so how many colors the device can display. What you could do is using black for the shadows, darker green for the mid-tones, and the lighter gray to display the highlights. When you use three inks, it's called tritone. With two inks, it's called a duotone. And with four inks, it's called a quadtone. And in printing, there's no name like pentatone or stuff like that, but it's possible entirely to print with seven colors or so. I think PostScript has the limitation on eight colors, or so. PostScript does more. I'm not sure about that. So multi-tones stands for any of these options. And we are most probably going to use tritone for our book. So what we thought about is this workflow for our images. They're coming from camera scanner. We process them and create black and white images and remove some visible flaws. And then we create the multi-tone images and include these in our final document using context for layout. That's all. But turns out there was no open source tool to create these multi-tone images. So we had to create it ourselves. That's why I'm here, actually. The best known tool to create multi-tones is the duotone mode by Adobe Photoshop. And that one lets us export the multi-tone images as EPS files. EPS stands for Encapsulated PostScript. That is essentially PostScript with some comments in it. And PostScript is a programming language by Adobe. And it's documented very well. A PostScript file can be opened in any text editor. And there is a very good open source interpreter for PostScript. It's called GoScript. I think probably everybody heard about that. So everything, what we needed, is already available. I started with learning some PostScript enough to understand what Photoshop was exporting. Created to start a minimalistic multi-tone template myself. And then I had to enhance the Python GoScript C bindings for the GoScript CRP. Because an important part for the direct EPS preview that I'm using was not implemented then. The multi-tone is written in Python using GTK plus 3 as a toolkit. All color previews are rendered using GoScript directly. There are two bigger widgets that I implemented myself on top of GTK. It's the Curves Editor and the Preview window. Now I'm going to show you the tool itself. I prepared a multi-tone profile of calling it. So I don't have it to do this live, because that's boring stuff, right? Everything. This one could be smaller. And two images. You can actually display many preview images as much as your computer takes. There's no limit for it. A new file would look like this. Just empty. Here's an add button, where you can add new inks. Click the ink, and then you can set up the ink. Like the name, CurveType, and CMYK values for the preview. It's not going to be spot color colors at the end, but the color swatches of the swatch books are often giving CMYK values. So I decided to do CMYK first. In the upper left corner is the control panel, where we can arrange inks. The order is going to be important when it's being printed, because that's the order what the printer will use to print the inks. To change the properties of an ink, I told that already. On the right side, in this area, color previews for all inks from the output for white is on the left side. So when the input is white, this is on the left side, two black input on the right side. And this in the lower right area is the curve editor, where you can change the transformation functions that are used. So you can see how the disfunction behave according to the output very well. The final export of EPS files is done from the preview window, like this one. Just press Export and Save. And there is a command line tool that you could use in an automated process. So if you have 100 images and change them, sometimes it might be better to have some built process or so. And you can give these EPS files directly to your print shop or embed them in your PDF file. The print shop should know what you are about to do. So what's missing? Color management is really important for good food feedback. And what I'm doing just now is not enough for you don't know how it will look at the end. Actually, so GoScript has an option to load ICC profiles for multi-tone images. And I count on it. Unfortunately, it's broken at the moment. So I don't know how good it will work at the end. So I'm waiting for GoScript to fix it back. With color management, there will be new work again. The interface will need some additions. And some data structures will have to change, too. And after that, I'll need to organize a serious color profile for the first print job. I never did this, so I don't know how well print shops will help me with that. So if anyone can help me with that, please drop me a mail. It will be much appreciated. And then it's time to go printing and see if everything works out. We'll make a poster for the first test. And when everything is fine, I call it a version 1.0. After that, here are some possible features for version 2.0. This library of good color profiles could help people massively to get started. Photoshop has something similar. And it helps. Better previews without color profiles would be nice, too. The best fit Curves feature would help to get running as well. And including component-based separations as input would open the door for high-fidelity color, like hexachrome or more experimental ideas. So there's some things we could add to the program. If you like this project and need some inspiration to contribute, here it is. I won't add support for Windows or Mac myself anytime soon because I don't need this. But I would support you if you plan to do so. Packaging would be a good start to attract more users as well as writing documentation. And if anyone would start a Libre printing project, like to go to actual print shops and that everybody knows how to work with those tools we don't have at the moment, that would be really good, too. That's all. Thank you. So we've talked a few questions. So a few questions. Yes. So it seems to me that one obvious feature that's missing is the ability to save out a set of inks, the order of the inks, and the curves that you've produced. No, you can't do that. You can do that. If you can do that, the next thing you need is a standardized image that goes 0.1%, 0.2%, 0.3% little swatches like that, which you can then measure. And then you can bring that in. So effectively, you're not producing an appearance on screen and then using color management to help you get the same. What you're really doing is mixing up mixtures that you hope will give the end result and having a not very good visualization. Whereas if you did it like that, essentially, your visualization would be, OK, for all of the points on this curve, I have a measured swatch result there, so I can produce an alternate image derived from that, which can be color managed in the normal way. I thought about the profile would not include the curves, but would measure the whole device like under the inks in the right order. And so you could do color management for the whole device. But that would be more interesting, I think. Not just the curve set up would change between images, I think. Some more questions? Not right now. I'm sure people will come up to you and you will be here the coming days. I mean, I think all the time. OK, good. Thank you very much. All right.