Barbe (André Barbe, dit) - 1 Original page - Erotique - - - 1998
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Description from the seller
André Barbe, known as Barbe
(1936-2014)
Humour, erotica and comic strip illustrator
Member of the Humoristes Associés
Worked for “Le Rire”, “Pilote”, “Hara Kiri”, Charlie Hebdo
Illustrator of numerous works including the “Cantique des Cantiques” (Ed. La Musardine), “Don Juan, Mozart, Da Ponte, full text of the opera” (Ed. La Découverte), Ed. Glenat, Albin-Michel, etc.
This Rhodoïd is a unique piece from my personal collection. It consists of 6 strips of Rhodoïd taped onto a sheet of the same material for final insolation (see below for technical details). Suggestion: before framing, you can peel these strips off and tape them to a glass plate and place everything on a colored background for a beautiful decorative effect (see photo example). Note that the two pink stains on a Rhodoïd are only light reflections; the document has no defect.
The Rhodoïd will be carefully packed.
In offset printing, the Rhodoïd (or transparent acetate/polyester film) historically referred to the clear sheet that served as an intermediate support for transferring the image before the final engraving of the printing plates.
In the jargon of printers from the traditional prepress era (before digital), people often spoke of the “film” or the “Rhodoïd.”
Here are its two major historical and technical functions:
1. Mounting and insolation of the plates (Traditional era)
Before current digital technologies, creating an offset printing plate involved a manual montage step:
* Negative or positive film: The texts and images were first flashed onto transparent films (often misleadingly called Rhodoïds).
* The montage: The prepress operator assembled and taped these transparent films onto a stable transparent support (astralon) to compose the final page.
* Insolation: This transparent montage was placed against the offset plate (light-sensitive) in an insolation frame. Ultraviolet light passed through the transparent areas of the “Rhodoïd” to fix the image onto the metal plate.
2. Color control and registration (The “Blue” or Cromalin)
Since offset printing relies on the overlay of several colors (the four-color process: Cyan, Magenta, Yellow, Black), the Rhodoïd played a crucial verification role:
* Each color had its own transparent film.
* By stacking the different Rhodoïds on top of each other by transparency, the printer could check registration (whether elements were properly aligned) and get a preview of the final result before running the machines.
What has changed today: CTP (Computer to Plate)
Today, the use of Rhodoïd in offset printing has almost completely disappeared in favor of CTP technology (Computer to Plate).
André Barbe, known as Barbe
(1936-2014)
Humour, erotica and comic strip illustrator
Member of the Humoristes Associés
Worked for “Le Rire”, “Pilote”, “Hara Kiri”, Charlie Hebdo
Illustrator of numerous works including the “Cantique des Cantiques” (Ed. La Musardine), “Don Juan, Mozart, Da Ponte, full text of the opera” (Ed. La Découverte), Ed. Glenat, Albin-Michel, etc.
This Rhodoïd is a unique piece from my personal collection. It consists of 6 strips of Rhodoïd taped onto a sheet of the same material for final insolation (see below for technical details). Suggestion: before framing, you can peel these strips off and tape them to a glass plate and place everything on a colored background for a beautiful decorative effect (see photo example). Note that the two pink stains on a Rhodoïd are only light reflections; the document has no defect.
The Rhodoïd will be carefully packed.
In offset printing, the Rhodoïd (or transparent acetate/polyester film) historically referred to the clear sheet that served as an intermediate support for transferring the image before the final engraving of the printing plates.
In the jargon of printers from the traditional prepress era (before digital), people often spoke of the “film” or the “Rhodoïd.”
Here are its two major historical and technical functions:
1. Mounting and insolation of the plates (Traditional era)
Before current digital technologies, creating an offset printing plate involved a manual montage step:
* Negative or positive film: The texts and images were first flashed onto transparent films (often misleadingly called Rhodoïds).
* The montage: The prepress operator assembled and taped these transparent films onto a stable transparent support (astralon) to compose the final page.
* Insolation: This transparent montage was placed against the offset plate (light-sensitive) in an insolation frame. Ultraviolet light passed through the transparent areas of the “Rhodoïd” to fix the image onto the metal plate.
2. Color control and registration (The “Blue” or Cromalin)
Since offset printing relies on the overlay of several colors (the four-color process: Cyan, Magenta, Yellow, Black), the Rhodoïd played a crucial verification role:
* Each color had its own transparent film.
* By stacking the different Rhodoïds on top of each other by transparency, the printer could check registration (whether elements were properly aligned) and get a preview of the final result before running the machines.
What has changed today: CTP (Computer to Plate)
Today, the use of Rhodoïd in offset printing has almost completely disappeared in favor of CTP technology (Computer to Plate).
Details
Item
Original page
Number of objects
1
Series
Erotique
Condition
Good condition
Artist
Barbe (André Barbe, dit)
Title of artwork
-
Year
1998
Width
60 cm
Height
40 cm
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