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Re A GUIDE TO REPRODUCTION A P R I M E R O N X E RO G R A P H Y, S I L K S C R

Re A GUIDE TO REPRODUCTION A P R I M E R O N X E RO G R A P H Y, S I L K S C R E E N I N G A N D O F F S E T P R I N T I N G by RON REGE JR. DAVE CHOE BRIAN RALPH & JORDAN CRANE And being a public service of reddingk and Highwater Books XEROGRAPHY BY RON REGE JR. I know there are lots of resources out there that instruct people on how to publish zines, but we are talking specif- ically about mini comics here, so I am going to try to give ya some tips that I've figured out while creating mini comics over the past 10 years. Whenever I get excited about comics these days, it's usually about mini comics. I may be excited about discovering a new cartoonist that I've never seen before, but often it's the presentation of the comic that I'm being impressed by. The world of mini comics is so special because it's about an artist creating the entire object. It is not only about the cartoonist's work, but also about the entire presentation of the work. The best mini comics in my collection are the ones that would not be the same when presented in any other format. Therefore, I encourage people to think about the presentation of the entire book, and not just about the comics within. There are infinite numbers of ways of going about creating a mini comic. You are only limited by the amount of work you want to put into it. The copying, folding, cutting and stapling of the comic can take up more time than actually drawing it. It's up to you how much time you want to spend. It all depends what you’re making the comic for. Minis run the gamut from simple thrown together Xeroxes of people’s work that they hope to publish in some other form, to the labor intensive "artist’s books". Most fall some- where in between. I worked on and off in a Xerox shop for the past 10 years while making my comics, and I suppose I’ve picked up a few tips along the way. The best way I can think of telling you how to do it is to describe how I would go about it. ART I’ve noticed lately that my style of cartooning, as well as that of a lot of my peers has developed around the fact that we would always be preparing our work for Xeroxing. To say it simply, tonality is out. To Xerox your comics, you’re probably going to be working several generations away from your original art. You’ve got black and white. Keep in mind the limitations of the Xerox. Strive to make a copy that looks good, even if it’s not necessarily accu- rate to the original. This goes for color copying as well. There are 2 important things to realize that copiers can’t do a) register with scientific accuracy, and b) copy flush to the edge of a page. This isn’t the copier’s fault. Nothing does. Anything that you see that is printed flush has been cut down. You have this option. COPIERS There are many different kinds, and they all yield different results I suggest you try every single one you can possi- bly find. The office desktop copier or beat up one at the library may offer exactly what you want for a particular task. A) Self service machines: in general, copy shops let the public use their "worst" copiers. These copiers are usually not made for large volume jobs, but may offer better photo settings, and the toner may not be as dense. A copier you can use gives you the greatest chance to experiment, and perhaps use unusual materials to copy onto. B) Color copiers: Are complicated beasts. If you can find a self-service one, you are set. They offer all kinds of special functions, most of which are not very self-explanatory, unfortunately . They can often enlarge desig- nated parts of an image, as well as stretching it, copying in negative, single colors or creating a mirror image. Quality is a person-to-person decision. Almost all of them have "original recognition". This means they only copy the rectangular white edges of a page. Be careful of this if what you’re copying doesn’t have it, It is best to always put a piece of white paper behind your original, and let about an 1/8 of an inch between your original and the edge of the copier. If you are using a canon copier, I suggest you use the designation pen to designate any image you are going to copy. Color copiers also like to center almost everything they copy. This can be frustrating if you don’t want it. They’re digital. It’s the price you pay. Color copiers are getting better every year, but will always have trou- ble with light originals, and with slight gradations. If your stuff looks like a comic book, you’ll be fine. If it’s a sub- tle watercolor, you’re shit outtta luck, especially if it’s yellow. Anything that’s light, or brown or even close to yel- low, turns into bright yellow. Color copiers scan your image in little lines - just like a TV. For this reason, it’s silly to use them to make clean B&W copies, especially if you have fine lines. It is possible to have tiny lines disappear in between, or to get Moiré patterns. Color copiers can now copy back to back, and on cardstock, but don’t expect to be making a whole comic this way. It takes a long time, and the copiers still don’t like to do it. They jam like crazy whenever the paper has any previous curl put on it. It’s just their nature. If you want to put standard Xerox on the back of a color copy, do the color side first. Black toner will come off under the extreme heat and pressure of the color copier. The machine will be printing your black toner on the next hundred or so copies that go through it. OUCH! Good luck! C) High speed/ Large Volume copiers: (Those things they keep in the back) are the shit. If you want a nice crisp b&w copy on white paper, use these, but remember that these things are designed, and calibrated to copy text. The closer your comics look to text, the better you will fare (now you know where my ridiculous style came from). Some of them have trouble with large areas of black, some don’t. -Ask. I’ll tell you in a minute how to set up your pages for them. A lot of places offer volume discounts as low as 2 or 3 cents a page. I love them because they are so fast. They can copy an entire ream of boring legal documents in about 3 minutes, think of how many 20-page comics that is! D) Docutech is the new line of high volume copiers. I have never used one, but the results are amazing. Instead of copying your original, these machines scan them at about the same rate it takes to copy. They can then spit out as many copies as you want, then or later. The greatest thing about them is that they can add this great looking diffusion dither that makes things with tone (like pencils) look amazing. E) Index Colors: Some copiers can copy in a toner that is not black. It’s usually green, red, or blue. These copiers can be hard to find, and some places try to gouge you to use them don’t let them charge you $5 for "set-up" that’s bullshit. You can try to use the index color machines to make duotones by copying the black on top of them, but don’t expect too much in the way of registration. But definitely screw around with them. They are cool. If you are really lucky, you may find a self-service one. I saw one at Kinko’s once. MATERIALS I suggest you use anything you can get away with. I try to make as many of comics as I can on anything but white paper. If you’ve got a crap copier, try feeding anything you can possibly think of through it, but don’t go too far. There are plenty of things that can cause thousands of dollars in damage to a copier. I should know. Don’t copy any plastic besides copier transparencies. It will melt. Toner often won’t land on paper that has too much of a tooth to it. It doesn’t go down into the crevices. Copier toner is plastic that is being melted and ironed onto your paper, while it spins around a drum. Choose cool colors, and stuff, but if you are making large quantities, stick to a stan- dard 60lb paper. Paper too heavy or too light may not stand up to the 2-sided process uploads/Industriel/ re-pro-guide.pdf