The plates of the album have been scanned and printed in four colours, the retouching and all the details (that we lose when reducing or colouring) will be visible. The original Ciro TOTA issues as you’ve never seen them before. A must!
- The entirety of the 80 pages of Les Enfants de l’Apocalypse reproduced from original plates, printed at 153% of the original size
- Printed in colour in HUV technique for an astonishing rendering
- Foreword by Thierry Mornet
- 40-page gallery
- A fold-out page
- Enlargements of panels to appreciate the power of the author’s line
- The book is protected in personalized cardboard packaging.
Cardboard cover with a selective gloss varnish on certain parts of the book + anti-scratch varnish on the cover. Printed on a beautiful superior Munken paper 170g. Sent in a shielded cardboard packaging.
- Editions Black and White, September 2021
- ISBN 979-10-94988-99-2
- 30×40 cm (12″ x 15.75″), 128 pages, hardcover
- 115 €
- Order online: Editions Black and White
As with all AE format material (Artist’s Editions, Artifact Editions, Gallery Editions, Art Editions, Studio Editions, etc.), this is a collection of classic comic material and I’ll be reviewing the book and not the story. For a complete list of all current and announced editions, with review links, please visit our Index. Also, see What is an Artist’s Edition and our Artist Index.
A numbered edition of 450, printed in the book and hand numbered on the box label. The volume opens with a preface, then the full story with no missing pages, a selection of unused pages, and finally a gallery of random Tota art.
The colophon provides this information:
The original boards of Les Enfants de l’Apocalypse are reproduced at 153% compared to their actual size. The original plates were cut at the printer for the most part, not always with the same attention to detail and with varying dimensions. This explains the visible white backgrounds.
Scan quality is excellent: no issues, with every page clear. Paste-ups, tape, and crumbled edges show wonderfully. Some production notes in red along the margins. Correction fluid is lightly used. Some of the blacks have gradients, and Tota doesn’t go heavy into the blacks anyway.
The design takes the greyish blue from the cover and uses that for chapter dividers, switching to a lighter grey for the colophon and preface. Image enlargements work very well. There isn’t a consistent page layout or colour choice for the text. The gallery has a table of contents with page numbers added where there is space below the image.
Production is excellent: a sewn binding of heavy matte paper stock, 170gsm. The book comes shrink-wrapped in a cardboard case that features a colour sticker showing an image and the edition number. For some reason, the image on the sticker appears designed as the cover but isn’t. The image is used in the book as the number plate; perhaps it was going to be the cover. As well this appears to be a generic-sized box as it is bigger than the book and two foam spacers were added.
I don’t know why but I love to see scans of original art on crumpled paper. Somehow it makes me feel closer to the original in an AE format book. Editions Black and White is the only AE format publisher that puts a good amount of interior book photos on their website: if every publisher was like this no one would need AE Index.