RESTORING THE INKING ON THE ORIGINAL PLATES
Regarding the inking, some of Albert Uderzo's strokes are restored using a brush and Indian ink.
Then the plates are digitized to 1200dpi, in bitmap format. A systematic "dusting down" process eliminates all undesirable elements.
The external frames of each plate are also rebalanced.
In the pre-press software, a copy is made of this TIF format file, with a view to superimposing the black ink on the colour to ensure optimal quality in the final print run.
RE-INKING TEXTS AND ONOMATOPOEIAS
Most of the texts and onomatopoeias in the first 26 albums need to be re-inked by hand.
For the others, a simple retouch by hand is made to restore any defective strokes.
These texts are also digitized at 1200dpi, in bitmap and TIF format. In the pre-press software, a copy of them is saved in Pantone black C, with a view to printing Asterix albums in various foreign languages.
NEW COLOURS FOR THE ASTERIX COLLECTION
The financial constraints of the early 1960s as well as very tight deadlines prevented the plates for Asterix's adventures in the original publications from receiving quality colouring.21st century colour artists therefore had to roll up their sleeves to bestow the collection with all the advantages of the latest technology and new digital colour printing.
Rather than digitize the plates using the "copy-dot" process, which reproduces all the weaknesses and errors in the films, which have degenerated significantly over time, the artists actually restored the artwork by entirely recolouring Asterix under the watchful eye of the great master Albert Uderzo.
A copy of the colours is then saved in a separate 300dpi CMYK file.
To obtain a denser black, an area of neutral grey, underlying the black by a few pixels, reinforces the opaqueness of the black printing ink.
EXAMPLE OF WORK ON A VIGNETTE