Full overlap, 7mm slip
The purple crescent is doing all the work. Neither ink is that colour.
A quarterly about the beauty of the imperfect pull. Two drums, two inks, one sheet of paper that never quite sits still — and the halo of colour that happens when the second plate lands a few millimetres late.
Separation sheet
Every page in this issue is separated into exactly two channels. Nothing is trapped, nothing is choked. Where the channels overlap, the ink films multiply and make a third colour we never mixed.
| Channel | Ink | Hex | Density | Drum | Notes |
|---|---|---|---|---|---|
| A | Fluorescent Pink | #FF3D6E | 92% | 1st | Lays down wet, offsets onto sheet 2 |
| B | Federal Blue | #1440D6 | 85% | 2nd | Drifts +7mm x, +5mm y over the run |
| A×B | Overlap (multiply) | #4B1470 | — | — | Never mixed; produced on the sheet |
| — | Stock: Munken Pure 120 | #E2D9C7 | 0% | — | Grain long, uncoated, thirsty |
Registration console
Issue 14 · contents
Why the first forty sheets of any run are wrong, and why the shop keeps them anyway.
Essay · 6ppTwelve defects photographed at 1200dpi, named, and quietly recommended.
Plates · 12ppThe Rotterdam printer who charges extra for a misregistered edition, in conversation.
Interview · 8ppUncoated stock, humidity, and the slow stretch that ruins registration by sheet 200.
Technical · 4ppAn argument against process printing, illustrated entirely in pink and blue.
Manifesto · 3ppProof strip · scroll sideways
The purple crescent is doing all the work. Neither ink is that colour.
Straight lines are the cruellest test — a curve hides a millimetre, an edge never does.
Sheet 12 against sheet 212. Same file, four millimetres of difference.
When the plates never agreed to begin with, drift reads as intent.
Our reference pull, printed on a cold drum at six in the morning.