Here is the method I use for registration. I hope it covers your questions
dated 5/4/96
For an example with numbers imagine an 8X10 sheet of rubylith, a 5 X 7
negative and a sheet of sized paper 11X14. Cut out a 5 X 7 centered
rectangle right through the acetate . This gives me a minimum of 1½ inches
of border that makes handling easier. [I have also used "goldenrod" in place
of the rubylith; it's probably much cheaper, the disadvantage for me is not
being able to see through it in order to mask off the image area.] The
leftover window is then used for a smaller neg.
Tape the negative to the rubylith with four small pieces of scotch (green
plaid) type tape; acetate of the film against the acetate side of the
rubylith. Yes, each negative gets it's own piece of rubylith. I use dup
film; so I don't mind using the scotch tape on these. [btw I keep each flat
in it's own negative preserver page with the originial and dup neg specifics
so making a replacement is a snap, no scratches, no dust.] In each corner of
the rubylith; on the red film side, I remove a square half inch of the film.
I use an Xacto #11 blade to lightly cut into the film and use the tip to
coax out the square. Then I place a single crosshair registration mark,
either tape or transfer type* onto the now clear acetate mini window.
Position the flat (the rubylith/negative bundle) emulsion side down on the
paper over a light box. Weigh it down in the center ( I use a couple of
scratched up 4 x 5 quarter inch sheets of glass) but keep the corners of the
flat unobstructed so that you can lift them one at a time. A registration
mark now has to be positioned onto each corner of the paper so that each time
you make a new emulsion the marks and image line up. On a light table you
can see what you are doing through the paper and on to the flat. I use the
#11 Xacto rather like a hemostat here; it takes a little practice to place
the mark correctly. If your paper is properly sized the mark can be moved
without tearing the surface.
Once the registration marks on the paper line up with the marks on the flat
you can realign the image for each exposure by just realigning the
registration marks. The particulars of this method can be simplified and/or
made less expensive; substituting punch holes in the flat and tracing them
onto the paper, ect.
While the paper is sitting on the light table with the negative lined up I
mask off the image for coating. Keep in mind that I am after a very clean
image, no manipulation during development. I attach three inch wide strips
of newsprint to the paper with Scotch #230 drafting tape. Rather like the
way you would cover the glass of a window before you paint only in reverse.
Use a very light touch so the adhesive doesn't become permanently adhered.
I mask off the image area before I coat the paper so that I can "see" the
paper's registration marks. Again I use the light table with glass weighing
down the flat so I can see where to lay out the tape. After the first
printing I can eyeball this.
After the emulsion is dry I remove the tape/paper s-l-o-w-l-y and the
corners are quickly lined up; using that heavy glass again, on the light box.
I keep a 5 X 7 sheet of rubylith under the image area so I am not concerned
the image area of the paper receiving much light. Secure the flat to the
paper with two pieces of the drafting tape and expose.
* when using transfer type on the paper it is "sealed" with a dab of rubber
cement and removed after the final bath.
I bought a few packages of 8 1/2 X 11 Rubylith in Phoenix about a year ago.
It was roughly $13 for 25 sheets. The address on the package is:
BaseLine Graphic Arts Products
P.O. Box 68
Kent Washington 98035
I also have the store's name and address if this doesn't work. It comes in
many sizes and thicknesses but being in a hurry to gitalong to the Grand
Canyon I bought what made sense at the moment {with the car baking out in the
parking lot, husband melting into the steering wheel and the kids becoming
one with their juice boxes... ;-) this is my life}. I believe the sizes
correspond to presses.
Carole