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Topic: Fantastic Four by John Byrne Omnibus Vol 1 (Topic Closed Topic Closed) Post ReplyPost New Topic
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Brennan Voboril
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Joined: 15 January 2011
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Posted: 18 May 2011 at 9:55am | IP Logged | 1  

I've come to realize that the style of coloring used on comics in the 
eighties just doesn't work well with the glossy stock the Marvel trades 
and omnibuses use, as a rule. 

Bingo!  I wonder if this is why DC decided to finish the Kamandi series as an Omnibus rather than issue another Archive? 
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William Lukash
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Posted: 18 May 2011 at 10:20am | IP Logged | 2  

The coloring marvel used in the 80s didn't work in the 80s.  I refuse to buy anything from that period unless it is recolored or in black and white.

I think it was called the Flexographic process, or something.  It was horrible and drove me away from comics for a long time.

Wow, thats a lot of angst over coloring, isn't it?

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Paul Greer
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Posted: 18 May 2011 at 10:43am | IP Logged | 3  

Was the coloring bad or was the printing process bad in the 80's? I ask because there is a difference.
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John Byrne
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Joined: 11 May 2005
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Posted: 18 May 2011 at 10:58am | IP Logged | 4  

The coloring marvel used in the 80s didn't work in the 80s. I refuse to buy anything from that period unless it is recolored or in black and white.

I think it was called the Flexographic process, or something. It was horrible and drove me away from comics for a long time.

Wow, thats a lot of angst over coloring, isn't it?

•••

Especially since it's not actually the COLORING you're angsting over.

Flexigraphic was a printing process, which, among other things, used plastic plates instead of the traditional metal ones. These plates would often soften and deform under the heat of printing many, many pages, and that resulted in what we came to call "boogie lines", which were wavy or even dropped out completely.

Flexi, as we called it, also used different inks, which were much brighter than regular comic inks. This was the source of your angst. Problem, you see, was that the colorists were continuing, business as usual, but the printers were not compensating for the new inks.

Fortunately, the prices of letterpress printing kept going up and up, and eventually it actually became economically viable to use off-set printing, and the industry standard was switched.

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William Lukash
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Posted: 18 May 2011 at 11:57am | IP Logged | 5  

It all runs together into a tiny ball of hate, JB.

I didn't realize brighter inks were required.  I always thought it was a choice by the art team.  An effort to use popular 80s colors, so to speak.  Thanks for pointing that out.

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Stephen Churay
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Posted: 18 May 2011 at 8:06pm | IP Logged | 6  

That seems to be one of my biggest issues with comics reprinted on
glossy stock paper. The colors seem too bright to me. There are
issues of JB's FF that I think are really nicely colored (ex.FF 268).
With the old paper, the colors seem to add an atmosphere to the
book, not just color. The glossy paper in the Visionaries trade adds a
brightness to the colors; the mood is almost all but gone.
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Joe Alexander
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Posted: 18 May 2011 at 8:13pm | IP Logged | 7  

JB's last post is one of the things I really love about this site---an education!---I've heard about flexographic printing (mostly grumbling) for a while but never really knew what it actually was. I love insight like that. Cool!
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James Lansberry
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Posted: 18 May 2011 at 8:14pm | IP Logged | 8  

All I gotta say is "`bout damn time!".  Also nice to know that it won't be one HUGE volume! 
I would love to see this recolored like the Walt Simonson Thor omnibus (which I felt enhanced Walt's art and didn't muddy it up), but if it's like the Visionaries sets, no big deal either.
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Juan Jose Colin Arciniega
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Posted: 18 May 2011 at 10:06pm | IP Logged | 9  

I'm happy with my Visionaries collection, Thanks!
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Ed Love
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Posted: 18 May 2011 at 10:59pm | IP Logged | 10  

I remember when the newspaper I worked at switched from letterpress to flexography. We were very happy with the results. The ink density was a little less than off-set but much greater than letterpress and the production was a lot cleaner and allowed finer screens than the letterpress as well, which meant a wider printing color gamut than previously possible. Of course, most of us involved with imaging color graphics underwent extensive training and the differences in color separations and controls were put in place in platemaking and pressroom as well. There were some other bonuses in choosing flexo over offset as well: the inks were water based meaning cheaper and easier to clean up with less dangerous solvents, pages dried faster and more completely, reading the paper no longer left nasty residues on hands. Water based inks also meant that the newspapers were considered biodegradable and thus widened recycling options. Meant quite a bit of money in indirect ways.

The only real downsides was that we didn't have full margin bleeds like off-set (nor did we with letterpress, so cannot miss what you never had), and we lost the capability to print spot color or special inks. Everything had to be cmyk. So no more strawberry smelling ink during strawberry season that one grocer liked to run every year.


Edited by Ed Love on 18 May 2011 at 11:00pm
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Robert White
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Posted: 18 May 2011 at 11:10pm | IP Logged | 11  

When did Marvel start and stop using the flexigraphic process exactly?
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John Byrne
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Joined: 11 May 2005
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Posted: 19 May 2011 at 4:13am | IP Logged | 12  

When did Marvel start and stop using the flexigraphic process exactly?

••

Hard to set an exact time frame. It kind of trickled in and trickled out.

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