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The old quantiser pulled accent ink toward any chromatic pixel using a flat chroma bonus, which smeared red across shadows and produced flat red blobs without depth. Two fixes: - Distance now weights L (lightness) ~1.6x more than chroma, so dark pixels go to black and light pixels to white before colour competes. That preserves the photograph's tonal structure. - Accent attraction is the squared *signed projection* of the pixel's chroma onto the accent direction. Red ink only pulls red-leaning pixels (positive a*); blue/green never picks red. The squaring gives a smooth ramp, so faint reds get sparse red dither and saturated reds get dense red - matching how a real risograph layers a single chromatic ink under W/B halftones. Also flipped Floyd-Steinberg to a serpentine scan with mirrored kernel on reverse rows, killing the diagonal worm artefacts that gave smooth gradients an obviously-dithered look.