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Re: etchings bound into book

>Dear Michael,
My name is Paul Emmanuel from Johannesburg.
My final year project for my fine arts degree was a book of 27 copperplate
etchings bound into book form. I used single signatures of 280 gsm Fabriano
Tiepolo paper (It is a big book) and bound it using a traditional case
binding. The binding suited this book because it was intended to be an old
volume that one might discover in an old library. The etchings are all
drypoints and mezzotints and most are very small.

Positioning them perfectly on the page was crucial and I did this by having
a dummy of the signature made out of newsprint placed inside a flat plastic
bag that was placed on the press bed. In this way, I could impose the plate
on the plastic bag and measure exactly where it was supposed to go etc. and
then be able to precisely place the newly soaked signature in position over
the plate. My images were all one colour but this would be great for
registration too if you had multiplate images. All this was of course, done
following a carefully worked out mock up of the entire book first.

Text for titles of each work was silkscreened on paper of a much lighter
stock so that it is semi transparent. These pages were tipped in as pages
preceding the images. In other words, one would be able to read the title,
as well as have a mysterious veiling of the image underneath, before the
reader turns the page to reveal the image.

The front cover was and intricate design resembling a persian carpet
printed in black ink on black paper, with the actual copper plate of the
final image of the book, placed in the middle of the design.

Before I start rambling, let me stop. I hope this will inspire you to go
further.  Perhaps I can help with something specific that you need to know.

Best wishes


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