{"id":571,"date":"2017-12-01T09:00:29","date_gmt":"2017-12-01T07:00:29","guid":{"rendered":"http:\/\/www.facsimilefinder.com\/articles\/?p=571"},"modified":"2017-11-06T10:45:56","modified_gmt":"2017-11-06T08:45:56","slug":"making-a-facsimile","status":"publish","type":"post","link":"https:\/\/www.facsimilefinder.com\/articles\/making-a-facsimile\/","title":{"rendered":"Making a Facsimile: Story of Faksimile Verlag \u2013 part 6"},"content":{"rendered":"<h2>How is a Facsimile Edition Made?<\/h2>\n<p>Today&#8217;s post deals with the description of the individual steps involved in faithfully <strong>reproducing a unique original<\/strong> with the present technique.<\/p>\n<h3>Image data<\/h3>\n<p>It all begins with capturing an exact image of each page of a manuscript. Until just a few years ago, this was best done on the book removed from its binding and disassembled; today it suffices to open the volume by just over 90 degrees. Opening the book in this manner ensures that the manuscript page can be shot without image loss, even when text and decoration extend quite near the gutter (the middle between two facing pages).<\/p>\n<figure id=\"attachment_1347\" class=\"wp-caption aligncenter\" ><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1347 size-large\" title=\"Modern digital camera\" src=\"https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/TAC-aufnahme-1024x1405.jpg\" alt=\"Modern digital camera\" width=\"720\" height=\"988\" srcset=\"https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/TAC-aufnahme-1024x1405.jpg 1024w, https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/TAC-aufnahme-218x300.jpg 218w, https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/TAC-aufnahme.jpg 1182w\" sizes=\"(max-width: 720px) 100vw, 720px\" \/><figcaption class=\"wp-caption-text\">Modern digital camera used by Faksimile Verlag. It has a special lighting system, and a particularly gentle recording technology, perfect for fragile manuscripts<\/figcaption><\/figure>\n<p>After years of work, the restoration department of the manuscript collection at the <strong>Universit\u00e4tsbibliothek Graz<\/strong>\u00a0developed a camera table for digitizing sensitive book material, which not only is used in the world\u2019s libraries but has also revolutionized the imaging technique for facsimile editions. <strong>Faksimile Verlag<\/strong> helped substantially in fostering this development for its own purposes.<\/p>\n<blockquote><p>It is now possible to photograph with extreme care even the most valuable illuminated manuscripts, that couldn\u2019t possibly have a facsimile until now for conservational reasons.<\/p><\/blockquote>\n<p>While image capture was carried out with classic \u2013 analog \u2013 photography until the end of the 1990s, <strong>digital imaging technology<\/strong> has triumphed since then to a level unimaginable just a few years ago. The advantage of digital image data capture lies in the significantly higher amount of \u201cinformation\u201d about each individual page than was provided by diapositives. Furthermore, it means that a lesser number of color comparisons, than with analog image data, needs to be done on the original. Anyone who knows how important it is to reduce the handling of thousand-year-old <strong>manuscripts<\/strong> to a minimum will appreciate this as an especially important advance.<\/p>\n<h3>Color separations<\/h3>\n<p>As soon as the image data have been captured, in whatever form, they will be analyzed by applying the principles of color theory. The three <strong>primary colors<\/strong> of the spectrum are read (scanned) from the image data and changed into the four <strong>printing colors<\/strong> (cyan, magenta, yellow and black, in printer language). These data are then processed on screen by a trained <strong>lithographer<\/strong>.<\/p>\n<figure id=\"attachment_1363\" class=\"wp-caption aligncenter\" ><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1363 size-full\" title=\"Color panels\" src=\"https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/002_FAKSIMILE_07228.jpg\" alt=\"Four pictures in the three primary colors with a black one for basis. \" width=\"870\" height=\"1372\" srcset=\"https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/002_FAKSIMILE_07228.jpg 870w, https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/002_FAKSIMILE_07228-190x300.jpg 190w\" sizes=\"(max-width: 870px) 100vw, 870px\" \/><figcaption class=\"wp-caption-text\">The same page in the three primary colors. The black one was used as the basis for later color printing<\/figcaption><\/figure>\n<p>Since even the most precise image data capture does not always\u00a0register\u00a0the original\u2019s colors exactly, a skilled specialist must manually correct them \u2013 formerly this was done on film, today it is done on the computer. An offset plate is then exposed to these modified image data, fixing them on the plate in the manuscript original\u2019s format.<\/p>\n<h3>Printing<\/h3>\n<p>In the actual <strong>printing process<\/strong>, the exposed areas on the <strong>offset plate<\/strong> accept the individual printing colors, only to transfer them indirectly via a special rubber mat onto the paper. The color uptake and release take place through minute dots that neither the naked eye nor most magnifiers can detect.<\/p>\n<figure id=\"attachment_1364\" class=\"wp-caption aligncenter\" ><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1364 size-full\" title=\"Color process (part 1)\" src=\"https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/002_FAKSIMILE_07231.jpg\" alt=\"First stages of the color process, necessary to obtain the final result.\" width=\"861\" height=\"1204\" srcset=\"https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/002_FAKSIMILE_07231.jpg 861w, https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/002_FAKSIMILE_07231-214x300.jpg 214w\" sizes=\"(max-width: 861px) 100vw, 861px\" \/><figcaption class=\"wp-caption-text\">First stages of the color process, necessary to obtain the final result.<\/figcaption><\/figure>\n<figure id=\"attachment_1368\" class=\"wp-caption aligncenter\" ><a href=\"https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/002_FAKSIMILE_07232.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1368 size-full\" title=\"Color process (part 2)\" src=\"https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/002_FAKSIMILE_07232.jpg\" alt=\"Last stages of the color process, necessary to obtain the final result.\" width=\"859\" height=\"1201\" srcset=\"https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/002_FAKSIMILE_07232.jpg 859w, https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/002_FAKSIMILE_07232-214x300.jpg 214w\" sizes=\"(max-width: 859px) 100vw, 859px\" \/><\/a><figcaption class=\"wp-caption-text\">Last stages of the color process, necessary to obtain the final result<\/figcaption><\/figure>\n<p>Nevertheless, the colors used during the <strong>Middle Ages<\/strong> cannot be reproduced with modern printing colors in every instance, often because neither analog nor digital can discern them correctly. For this reason, special colors have to be used for certain tones like red lead, turquoise or specific shades of blue, that is, individually matched color hues are printed over the four standard colors. In order to recreate the brilliance of some of the original\u2019s hues, occasionally even <strong>metal pigments<\/strong> are added to the print colors.<\/p>\n<h3>Comparison with the original<\/h3>\n<p>Printing many proofs on the same machine that will be used to print the edition is required, so that the <strong>facsimile<\/strong> can ultimately stand comparison with the original. Individual pages are printed repeatedly and compared to the <strong>original<\/strong>. Taking into account that the originals may not leave the <strong>libraries<\/strong> for these comparisons, and that these libraries in turn are scattered all over the globe (Munich, Brussels, New York, London, Los Angeles or Alba Julia\/Rumania, just to name a few places), gives an idea of the amount of effort that must be expended at this stage.<\/p>\n<blockquote><p>To be sure that the facsimile can stand comparison with the original, it is necessary to print many proofs on the same machine that will be used to print the edition.<\/p><\/blockquote>\n<p>Not until the colors, after many adjustments, are identical with the <strong>illuminated manuscript<\/strong>\u2019s original will the edition be printed under constant quality control.<\/p>\n<h3>Gold and silver<\/h3>\n<p>A phenomenon that even today in large measure still eludes technical realization is the <strong>metallic gold<\/strong> and <strong>silver colors<\/strong>, which give these <strong>magnificent manuscripts<\/strong> their great charm and often have considerable\u00a0importance for the content. Both <strong>analog and digital image<\/strong> data capture registers them only as part of the color spectrum: gold, depending on its reflectivity, from yellow through green and brown to black; silver, from white through blue to yellow, provided oxidation has not yet robbed it of its metallic character.<\/p>\n<figure id=\"attachment_1358\" class=\"wp-caption aligncenter\" ><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1358 size-full\" title=\"Application of the gold\" src=\"https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/Herstellung_vergolden_2_Ottheinrich.jpg\" alt=\"Application of the gold\" width=\"822\" height=\"1000\" srcset=\"https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/Herstellung_vergolden_2_Ottheinrich.jpg 822w, https:\/\/www.facsimilefinder.com\/articles\/wp-content\/uploads\/2013\/11\/Herstellung_vergolden_2_Ottheinrich-246x300.jpg 246w\" sizes=\"(max-width: 822px) 100vw, 822px\" \/><figcaption class=\"wp-caption-text\">The application of the different gold cards based on the same technical prerequisite used for centuries, but using modern techniques<\/figcaption><\/figure>\n<p>In order to create forms for <strong>gilding<\/strong> the individual manuscript pages, all metallic colors have to be traced and reworked on the computer screen in what resembles meticulous monastic copying work. The reader of these lines needs not to be told what this entails for a<strong> codex aureus<\/strong>, a manuscript written entirely in gold, such as the <a title=\"Lorsch Gospels\" href=\"http:\/\/www.facsimilefinder.com\/facsimile\/27\/lorsch-gospels\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Lorsch Gospels<\/strong><\/a>, the <a href=\"https:\/\/www.facsimilefinder.com\/facsimiles\/codex-aureus-echternach-facsimile\" target=\"_blank\" rel=\"noopener\"><strong>Codex Aureus of Echternach<\/strong><\/a>,\u00a0the<strong>\u00a0<a href=\"https:\/\/www.facsimilefinder.com\/facsimiles\/gospels-john-opava-johann-troppau-facsimile\" target=\"_blank\" rel=\"noopener\">Gospels of John of Opava<\/a><\/strong> or even the little <a title=\"Royal Prayer Book for Otto III\" href=\"http:\/\/www.facsimilefinder.com\/facsimile\/29\/royal-prayer-book-for-otto-iii\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Prayerbook of Otto III<\/strong><\/a>.<\/p>\n<h2>Conclusions<\/h2>\n<p>Making a facsimile is not easy and there are many rules that have to be observed in order to get it right. Those presented in this post are not the only important features that make of a printed book a real facsimile, and we will be glad to present the others to you next time. Be sure not to miss this opportunity!<\/p>\n<h2>Coming Next..<\/h2>\n<ol>\n<li><a href=\"https:\/\/www.facsimilefinder.com\/articles\/story-manuscript-facsimile-production\/\" target=\"_blank\" rel=\"noopener\"><em>The Story of Faksimile Verlag, Publisher of Fine Facsimile Editions \u2013 part 1<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.facsimilefinder.com\/articles\/facsimiles-role-illuminated-manuscripts-story-faksimile-verlag-part-2\/\" target=\"_blank\" rel=\"noopener\"><em>Facsimiles and the Role of Illuminated Manuscripts: the Story of Faksimile Verlag \u2013 part 2<\/em><\/a><\/li>\n<li><strong>\u00a0<\/strong><a href=\"https:\/\/www.facsimilefinder.com\/articles\/?p=4432&amp;preview=1&amp;_ppp=6344606506\" target=\"_blank\" rel=\"noopener\"><em>What is a Facsimile: the Story of Faksimile Verlag \u2013 part 3<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.facsimilefinder.com\/articles\/how-it-all-began\/\" target=\"_blank\" rel=\"noopener\"><em>How it All Began: the Story of Faksimile Verlag \u2013 part 4<\/em><\/a><\/li>\n<li><em>From Analog to Digital: the Story of Faksimile Verlag \u2013 part 5<\/em><\/li>\n<li><em>The Making Process of a Facsimile: the Story of Faksimile Verlag \u2013 part 6<\/em><\/li>\n<li><em>Challenges and Magic of Facsimile Production: the Story of Faksimile Verlag \u2013 part 7<\/em><\/li>\n<li><em>Binding, Paper, and Commentary: the Story of Faksimile Verlag \u2013 part 8<\/em><\/li>\n<li><em>Treasures of the Past: the Story of Faksimile Verlag \u2013 part 9<\/em><\/li>\n<li><em>Gems of the Middle Ages: the Story of Faksimile Verlag &#8211; part 10<\/em><\/li>\n<li><em>Flemish, Burgundian, and Biblical Art: the Story of Faksimile Verlag \u2013 part 11<\/em><\/li>\n<li><em>Middle Ages through the Manuscripts: the Story of Faksimile Verlag \u2013 part 12<\/em><\/li>\n<li><em>The Challenges of Gothic Art: the Story of Faksimile Verlag \u2013 part 13<\/em><\/li>\n<li><em>Ottonian and Charlemagne\u2019s Art: the Story of Faksimile Verlag \u2013 part 14<\/em><\/li>\n<\/ol>\n<p class=\"p1\"><span class=\"s1\"><div class=\"subscribe_blog landing-block text-center boxed\" style=\"margin-top:0;\"><h2 class='entry-title'>Subscribe to Our Newsletter<\/h2><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><div class=\"ml-embedded\" data-form=\"pugS4g\"><\/div><\/div><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>What are the modern techniques which allow the turning of a unique original illuminated manuscript into a perfect facsimile? How can a faithful to the original copy be achieved, from the use of colors to the application of gold and silver shades?<\/p>\n","protected":false},"author":13,"featured_media":4838,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[7],"tags":[16,45,12,10,96],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The story of Faksimile Verlag: making a facsimile<\/title>\n<meta name=\"description\" content=\"What are the techniques behind the beautiful books we experience today? 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