C + S II Restoration update-- Look at the Pretty Pictures

Greetings Cerebites!

After polishing off Reads two weeks ago, I've been pounding away at the remaining work on the Church & State II restoration. Good news--I'll be done with the bulk of the work (excluding layout, essay, and any revisions) by the end of this week.

All of this cleanup work, especially the tone cleanup which takes up the bulk of the work time, gives me a strange kind of relationship to the artwork. Specifically, I get to see it up close. Really up close. Closer--so Gerhard told me--than it was ever intended to be seen.

Mostly, this leaves me with a greater admiration for the sheer sweat expended on these pages, the visual invention and flare, some of which never made it to the printed page.

I was interested to see Michael G's comment this week on the just-released Church & State I--

What better way to see the improvements than to take a look at one of my favorite issues with some direct comparisons?

Issue 89, "Dead Friends", is the third "Odd Transformation" story in the series so far. It's a dream sequence, and like the previous Odd Transformations stories, is visually stunning, but in a more subdued way than the previous installments, which relied on more dramatic cinematic techniques and double-page spreads/size of images to carry the visual weight. Instead, "Dead Friends" has a fairly static "camera," and it's the imagery itself, and the drawing and rendering itself, that is powerful and surreal.

Which makes me very happy that we have scans of all the original artwork for this issue!

Here's a scan of the lower right panel of page two, from a ninth-printing copy of the C & S II graphic novel, followed by a cleaned up version scanned from the original artwork.

This is a particularly dramatic example, as this page was replaced by a second-generation negative at some point in the print run of the book. Second generation negatives make up around 4 percent of the whole book previously.

On page 13 is another image that's made illegible in previous printings by fill-in in photography and dot gain in the printing. Bran and Weissapt/Thrunk fight in the Prime Minister's office while the tower grows around them. These dense dark areas, especially with fine lines or tone, can be difficult to keep "open" in print.

Page ten has some really inventive use of photocopies on the part of both Dave and Gerhard. I always wondered how they achieved this effect-- now, looking at the color scan, it's clear-- Gerhard photocopied the panel, cut arcs out of the photocopy, and then pasted down the remainder on top of the original drawing, leaving a sort of visual distortion/smearing effect across the architecture. (Am I mistaken in thinking the Weisshaupt figures are photocopy transfers, i.e. acetone rubbed on the back of a photocopy to transfer the image to the art board? notice the gray area of overlap)