#printing process

[arthistoryanimalia]

#InternationalPrimateDay 🐒🦧🦍:

Ohara Hōson (Koson) (Japan, 1877-1945)

Five Monkeys, c.1931

Watercolor, proof, 2 woodblock prints (peach & yellow variants)

https://www.scholten-japanese-art.com/printsH/3317

[hclib]

NOW ON VIEW IN SPECIAL COLLECTIONS

Plans, Elevations, Sections, and Details of the Alhambra

In exploring the Arts Collection for our rare book exhibit, curators Heather and Maya came upon the incredibly detailed and stunning lithographs and engravings in Jules Goury and Owen Jones's Plans, Elevations, Sections, and Details of the Alhambra. Through further research, we learned that this 2-volume set, published in London between 1842 and 1845, was one of the first published books to use the technique of chromolithography, a process that later dominated color reproduction for most of the second half of the 19th century. The set is also an important historical record of the Alhambra, created from drawings done at least twenty years before the first detailed photographic records were made. In 1836, while preparing the original drawings, Jules Goury died of cholera in Granada. This left Owen Jones with the complicated task of finding a printer capable of carrying out the work. He finally resolved to set up his own printing press. The experimental color printing process required up to seven pressings and nearly nine years of trial and error before the work was successfully completed. Jones’s flat colors anticipated the work of William Morris, the Pre-Raphaelites, and the Art Nouveau movement.

Due to its monumental size, we couldn't include this bound set in our exhibit, but it's now on view in the Special Collections reading room along with other portfolios of leaves in the exhibit. The exhibit runs through November 29, but the material in the reading room will be available to view through 2023.

[merissalissa]

Ghoulish Skeleton Carousel Horse Linocut Print | Limited Series | Handcrafted Art by Hello Magnolia Add a touch of the macabre to your decor

[strontiumsun]

How I designed a new cover for my webcomic's Book 1 reprint

The cover. It's the first impression anyone has of your comic book, so it's got to make an impact. Which is why I'm really proud of the new cover of Heroes of Thantopolis Book 1.

Who are these characters? What kinds of fun and colorful adventures do they get up to? That's what I hope people think when they see the book when it debuts at Cartoon Crossroads Columbus.

But the journey to get to this cover was full of trial and error. Today I want to share that journey and what I learned along the way. Let's go!

The original print cover of Book 1

I self-published the original print of HoT Book 1 in 2016. This was before I joined @hiveworks, and I was using an on-demand printer not really known for their comics, so everything - including the InDesign template I placed the pages in - was done from scratch.

Here's what the cover for the original print looked like:

Helene and Cyrus are front and center amidst tapestries depicting the four chapters of the comic. It's not a bad illustration - not in the slightest! And the comic sold very well at TCAF 2017. But I think you can tell it's an amateur effort. I may have completed four chapters of my comic, but I didn't have comparable experience designing books.

Brainstorming for the reprint

I joined Hiveworks in 2018. Hiveworks has a lot of experience independently publishing webcomics. I planned to re-print Book 1 as well as print the first editions of the rest of the comic under their banner.

I had a good idea of the bonus content I wanted to include in the reprint. I had less of an idea of what I wanted the cover to look like. My first sketches were very movie poster-esque:

All of the main characters are here, with the villain ominously looming over everyone. It felt like an upgrade from the original cover. But... it felt generic, too. It didn't capture what was unique about my comic.

I put preparations for the reprint to the side for a while, until...

Inspiration

I love the opening of the Netflix cartoon Hilda. I love the music, the fluid animation and the super cool transitions between her adventures. Hilda goes from riding a dragon to dodging viking warriors, running through the locations and characters she meets during the season. It really captures the vibe of the show!

That's when it occurred to me what was missing from my cover. Readers of Heroes of Thantopolis will know that every chapter has a different color palette, giving them each a unique feel. A unified illustration wouldn't show the diversity of color or feelings. But a cover made of flowing segments, like the Hilda opening...

Now I felt like I was really getting somewhere!

The final cover

Working with my editor Isa (@secondlina), I continued to refine the design of the comic. I wasn't sure what to put in the top left. Isa suggested creating a special version of the logo that flowed along the border created by the Sag segment.

(Isa's sketch in green, on the right)

From there, the final cover began to take shape.

Until we got to the final cover that appears on the actual book!

(Print colors are never as vibrant at RGB, but it still captures that colorful vibe.)

Conclusion

If there's one lesson in my creative life that I've seen play out over and over again, it's that your first idea may not be the best idea. Iteration and reflection improves the end result. I'm not saying you need to waffle over every decision. But rather, tp let your creative juices marinade your idea, rather than immediately put the concept to the fire.

I also couldn't have done this without help from people more knowledgeable than I on book design. Not every webcomic creator has access to print experts, true, but there are communities of webcomic creators out there that pool resources and share advice. We can always learn from other people. And that's why I made this post! I hope you enjoyed a peek into my creative process.

I look forward to seeing you at CXC on September 30th and October 1st! If you can't make it to the show, you can read all of Heroes of Thantopolis online, FOR FREE, anytime you want. Book 1 will be sold online soon!

[philamuseum]

The cyanotype printing process Frederick DeBourg Richards used for this work involved combining two chemicals to produce photographic prints in ethereal shades of blue, which here echo the hues of the sea and sky. See this photograph on view in our installation "Seascapes." 

"Wagons on Beach," around 1885–90, by Frederick DeBourg Richards

[ambisun]

Behind the scenes of Little Rain Oracle’s printing process!!!

[nemfrog]

On a page intended to be blank, ink bled through from an illustration on the prior page. A handbook to the order Lepidoptera. 1896-97.

Internet Archive

[loynosca]

A few more images from Dante's Inferno, translated by Henry Francis Cary and illustrated by Gustave Doré, Cassell & Company, limited [ca. 1885]