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What it does
A conventional halftone varies one dot's size. Cross Dot varies the mark itself, so shadows gain structure rather than just filling in. It behaves more like an engraver's decision than a printer's screen.
How it works
The image is divided into cells and each cell is reduced to a single tone, which decides what mark that cell gets.
Cells below roughly eight percent darkness are left empty, so highlights stay genuinely blank instead of dusty.
Between eight and thirty-two percent, the cell gets a small dot whose radius grows gently with tone.
Past thirty-two percent the mark switches to a cross, whose arm reach and stroke weight both grow with darkness, and the deepest cells gain a further element.
Because the transitions are thresholds rather than a smooth ramp, tonal bands stay visually separable, which is what keeps the result readable when printed in one colour.
What each control changes
Scale
Cell size, and therefore the screen ruling. This is the control that decides how coarse the halftone reads.
Contrast
Moves tones across the empty, dot, and cross thresholds, so it changes mark distribution rather than just brightness.
Intensity
Opacity of the halftone layer over the untouched image. At one hundred you see only marks and ground; lower values let the original photograph show through between the crosses.
Ink palette
Ink keeps it a single-colour print; the coloured palettes push it toward screen-print territory.
Good for
Single-colour print and photocopy aesthetics
Editorial portraits that need graphic structure
Artwork that must survive being printed cheaply
Less suited to: Small output sizes. The mark vocabulary needs enough pixels per cell to be legible.