Laying out the pages

 In addition to the page numbers on each page (which are separate characters), we have the comic strips themselves.  Mostly we have 4 strips per page, with blank horizontal rows between them. We don't need to keep or regenerate the blank rows.  We have a program that can identify the blank rows between the strips and pull out the strips and make them separate image files. 

Checking the sizes of the images, we find them all between 4050 and 4660 pixels wide and between 1230 and 1320 pixels high.  The actual location on the page varies due to either the original layout by Arriola or the scanning process.  But having isolated each strip, we can position them on the page consistently.  Of course, we need to take account of the left-hand/right-hand nature of each page and make sure we have enough extra room on the inside margin for the binding process.

Standard page layout for an 8.5 x 11 inch piece of paper allows us 1/4 inch for both the left and right margin, plus an extra 1/8 inch for the gutter.  This means we want each page to start horizontally at 150 pixels for a left-hand page and 225 for a right-hand page.  The page would end horizontally at 4950 pixels for a right-hand page and 4875 pixels for a left-hand page.  Since each image, however, is a different size, if we pin down the starting point of an image, we don't control the ending point -- the ending point is determined by the starting point plus the length of the image. 

We have allowed 4875 - 225 = 4650 pixels for each image, but we know most images are less than this.  So we position each image so that it is right-adjusted on a right-hand page, and left-adjusted for a left-hand page.  These leaves any extra space from the image being less than maximum size in the gutter. 

The longest page (ignore the page numbers) is 5808 pixels.  Add the top margin of 300 pixels, and the last panel ends by 6108.  We can put the page numbers so that the baseline is at 6300, centered under the pages (the center being at 2512 pixels for left-hand pages and 2737 for right-hand pages.

Fonts and characters for Gordo Redux

Having cleaned up the pages, more or less, we can then proceed to taking them apart.  Most pages consist of a couple of images (the comic strips images) and a page number.  We wrote a short program to identify and strip out the images, placing each one in a separate file, and recording where they are in a box file.  For example, page p008 is represented by the box file:

v 2
i 2gif/p008.gif 419 296 4912 1573 p008_1.gif      # 4494x1278
i 2gif/p008.gif 272 1763 4888 3034 p008_2.gif      # 4617x1272
i 2gif/p008.gif 272 3266 4905 4558 p008_3.gif      # 4634x1293
i 2gif/p008.gif 380 4771 4901 6037 p008_4.gif      # 4522x1267

which identifies the 4 strip files (p008_1, p008_2, p008_3, and p008_4) and their positions on page p008.  The "i" at the beginning of each line identifies that this is an "image" to be placed on the page.  A comment (# 4617x1272) provides the size of the image.

The other item on this page is the page number.   File p008 is page 3, and so we identify that character, and it's location on the page, with one additional line:

c 2gif/p008.gif 2523 6216 2571 6288 3      # 49x73

We obtain the location and digits of the page numbers by stripping out all the images and feeding the remaining scanned page into tesseract, the OCR program for Linux.  Tesseract is not happy scanning just a character or two, so there is quite a bit of hand work to get all the page numbers in the right places, but once we are done with that we can check that all the page numbers are correct.

Arriola used a personal style for numbering pages.  As is common, the front matter  -- the title page, dedication, foreword -- is not numbered. So page 1 starts in file p006.  Normally every page is then numbered, with page 1 on the right-hand side of a book. Since every spread has a left-hand page and a right-hand page, and page 1 is a left-hand page, all left-hand pages are odd numbers, and all right-hand pages are even numbers.

But Arriola does not apply page numbers to blank pages.  Page 9 (p014) is the end of a Section, and is an odd numbered, left-hand page.  To start the next section on a left-hand page, a blank page is inserted, for the right-hand page, and then the next section starts.  Normally the blank page would be page 10, and the new section would start on page 11.  But Arriola skips the page number for the blank page and starts the next section then as page 10.  Which means we now have an even-numbered left-hand page.

This problem occurs in three places: p015, p055, p079.  Which means that page 10, page 49, and page 72 should actually be on the blank pages before them.

We have two options: We can just reproduce the book as Arriola numbered it, or we can renumber the pages to match standard book page design.  Note that even if we follow standard design and number the blank pages, we don't have to actually print the page number on the otherwise blank page.  

While contemplating this problem, we can go ahead and use the identified page numbers to generate a font for these characters. This font has the ten decimal digits.  When we generate out book, we use the font characters to replace the scanned images for the page numbers, so that every "2" looks exactly the same.

If we decide to renumber the pages, we will generate the new page numbers from this font, so it will look the same as the original page numbers.

The one other issue with text in the book is the Foreword, file p004.  The forward is a typewritten page from Mell Lazarus.  That page is all text, and is the only text in the book (except the page numbers).  We go back to the original scanned image and feed that into tesseract to OCR the characters.  Again there are missing characters and mis-identified characters, but with some work, we get a box file identifying each character and where it goes on the page.  

The Foreword page is typewritten, which is a different type face from the page numbers, so we again use the characters from the page to generate a font.  However, faced with the need to go back and edit those characters (with a limited number of characters, some of the automatically generated characters in the font are rather rough), I realized that we have a typewriter font already from the Willamette High School literary magazine, and so decided to try that.  It works! So now we have that page done.  There is some work to make sure that each character is sitting on the base line perfectly, since scanned characters can easily be up or down a pixel or two.

As we are processing p004, we notice two typos on the page: (1) a space before a comma in one place and (2) a use of a semi-colon which should be a colon.  Since these are simple typos, we correct them.

Cleaning up the scanned images

Having scanned the pages at 600 dpi, gray scale, and then converted them to pure black and white, we need to look at each image to see that it is good enough for printing.  Experience tells us that there will be stray black and white bits where they should not be.

So the first step is to try to clean up those little bits.  We have a program that looks for a single black bit in a field of white, or a single white bit in a field of black.  At 600 dpi, you cannot see something that small.  And once we have that, we can expand it to a small set of bits in a field of other bits.  The question becomes: At what point does a small set of bits become part of the image, instead of just extraneous bits?  My original thought was maybe 40 bits.  Any clump of 40 bits or less, surrounded by a field of the opposite color can be erased without changing the image.

But working on that premise, I noticed the following panel (page 9):

The nose on this person is:

So the right nostril is 10 pixels in a 5x3 rectangle.  The left nostril is less than 35 pixels.  And if either of them was "cleaned up" as random noise, it would change the image significantly.  So it would seem that Arriola's drawings are meaningful at a very small number of bits.

Of course that is in the actual drawings -- the strips.  Outside the strips, any stray bits would be safely considered extraneous, and can be cleaned up.  Which leads us to another approach.  If we identify the "background" white paper regions that are not part of the strips, then we can clean up larger spurious black bits.  Which leads us to write  a program to identify the background of the page.  This is simply starting at the upper left corner and "flooding" the page until we come to a barrier, a set of black bits that surround the comic strips themselves.  If we turn these background bits to green to make it easy to see what we are classifying as background we get pages like:

The smallest group of meaningful bits that are not background would be individual panels, or letters, or the page numbers.  But even a page number, like the "1" on this page, is 100x300 pixels.

The smallest meaning character would be a period, which would be 40x40 pixels.  But in the background areas, we could reasonably clean up anything under, say 15x15 pixels.

At the same time, we ran across several pages where the holes for the binding went through part of the drawing -- some 20 pages had problems with the holes.  We used a bit editor (GIMP) to go in and fix up those pages.  For example,  page 89 was scanned as:

but using the bit editor, by hand, we restored it to

Black and White Gordo

The Gordo books are black and white, except for the covers.  There is some text on the introductory pages, but once we get to the actual comic strips, they are all just black and white.  Or maybe shades of gray?  When we scanned the images, we told the scanner program "Gray", but what did we actually get?

First we convert from TIFF to GIF, since most of our software works on GIF images.  Both formats are loss-less so  we can easily convert from one to the other.  For GIF images, we have a 256 entry color table of (R,G,B) values and each pixel in the image is an index into this table.  So any given image has no more than 256 different colors.  Different images, of course, might have different color tables, in which case the total number of colors may exceed 256, but for one image we have only 256.  TIFF files can hold up to 24 bits of color data (8 bits for each of R, G, B) for each pixel.

But of course, if we actually have gray scale, then the value of R is the same as the value of G and the value of B for each pixel, since gray is the result of equal R, G, B values.  So even with 24 bits, we still only have 256 different levels of gray.

We have a program that will read a GIF file and produce a list of all the different colors in the file, and the number of times each color is used.  If we run that on all the GIF files for both books, we find there are only 256 different colors, in all the files for all the pages, and each of those colors is a gray level, with R = G = B. 

If we plot the number of occurrences of each color in a file, for example p135.gif, we get a plot like:

where we see a number of black pixels on the left of the plot, a very small number of gray pixels, followed by a whole bunch of white pixels at the right of the plot. The minimum number of a color is 11,339 (90,90,90) and the maximum is 21,667,543 for (255,255,255) (white).  This is out of a total of 33,660,000 which is an 8.5 x 11 inch image at 600 dpi (5100 x 6600 pixels).  So for this image 64% of the pixels are pure white.

The second largest number of pixels (2,194,373) are for (248,248,248).  I suggest that for our purposes, the difference between (248,248,248) and (255,255,255) is not meaningful -- a person can not tell the difference between these two colors.  Both are effectively "white".  Similarly the next two most common colors are (14,14,14) and (9,9,9), both of which are effectively "black".  

If we create a similar graph for all the pixels in all the pages, we have the following:

which again has a small cluster of black pixels at the left, and a very high cluster of white pixels at the right, with a vast sequence of gray colors in-between which are almost never used. There is that unusual spike just to the left of the white spike.  We believe that is in fact caused by the scanning of the rectangular holes for the GBC binding.  If we take just the blank pages, which have nothing other than the holes and random variation from a white surface, and plot the colors from that we get:

Thus, I think if we collapse all the colors above from around 150 to be 255 (mapping all those really light greys to white), we will both get rid of the scanning artifact of the GBC holes, and get a much brighter, whiter, background white color.

Similarly, if we map all the colors from about 100 down to be 0 (black), we will get a solid black for the images.  That leaves a small number of gray level colors (between 100 and 150 to be considered.

If we try this on a sample from p135.gif, we start with

 and converting the range 0 to 100 to black (0) and 150 to 255 to white (255), we get

Notice that the GBC holes are gone.  Otherwise, the only change I can see is that the lamp shade is somewhat lighter.

This still leaves gray colors from 102 to 145 (for this image).  Where are those gray colors?  If we zoom in further, and convert all those gray level colors to red,

we can see that these gray colors are in the transition from black to white (or white to black).  If we convert all these to white, it will "thin" the strokes that make up the image; converting them all to black will make them "thicker".

However, about half way between these two numbers is 128.  If we use 128 as the dividing line between black and white, we would get something like:

where green represents all the colors above 128, and red all the colors below 128. It looks roughly equal, so that should not make the strokes thicker or thinner.

Gordo Books

I found a website (https://gordocomics.com/) that had most of the comic strips for Gordo.  Gordo was a comic strip by Gustavo "Gus" Arriola from 1941 to 1985.  There were a number of printed compilations of the strip, including "Gordo's Critters", "Gordo's Cat", and "Accidental Ambassador Gordo: The Comic Strip Art of Gus Arriola".

The website mentions an unpublished collection "Gordo Redux".  

 

After corresponding with Jim Guida who put the website together, we thought we could use modern print-on-demand printing to get this unpublished collection into print, so he mailed me the proof that Arriola had put together.

When the package arrived, it had the proof for "Gordo Redux" but also another unpublished collection "Gordo Galore".

The proof books were 8.5 x 11 inch paper, bound with a plastic GBC binding spine.  The binding involves punching a series of rectangular holes along the edge of the paper and inserting a special piece of plastic to hold things together.

The first order of business was to remove the binder and then scan the pages.  The covers are in color, so they were scanned first and separately.  The pages themselve are printed on both sides.  We used our Canon Pixma TR7020a scanner driven by xsane on our Linux computer to do the scanning.  The Pixma has an automatic document feeder, which saved a lot of work.  We scanned them as "Gray" at 600 dots per inch (dpi) with an 8.5 by 11 inch paper in TIFF format.  We started with a file p000.tiff and increased the file name by +2 to scan the front (right hand side) of the pages, and then increased the file name by one, changed the increment to -2 and fed the pages back in to get the back (left hand side) of the pages.  That gives us files p000.tiff to p147.tiff for Redux and p000.tiff to p153.tiff for Galore.

As we were scanning the pages, we noticed a number of at least potential issues to be considered.

1. It looked like one page scanned at a slight angle (skew), so we will need to check the images for skew and if need be, rescan those pages by hand.

2. There were, of course, some completely blank pages.  These provide a clear representation showing that the rectangular holes for the GBC binding will need to be removed.  The image of the holes is faint, but clearly there.

On some of these otherwise blank pages, there seems to be some bleed thru of image from the page on the other side of the paper.

3. It appears that the proof copies we have were produced by a photocopying process.  Some of the pages, particularly for Galore seem to have horizontal stripes where the printing process fails in black areas.

4. It also seems that the back side (which would be the right hand pages) of the Galore printing is not as vibrant as the front sides.  The black is not as black and the white seems to have more of a touch of gray.  But at this point that is subjective, at best.

5. Also note that the GBC holes on this page got "close" to the actual image.  On some pages it appears to actually go thru the image.

6. There appears to be faint pencil writings on some pages.  This might be a date?

The scanning process went pretty well.  There was one instance where the ADF apparently fed two pages, instead of one, thru the scanner, and as a result one page was skipped.  That required me to stop the process, scan the missing page, move a bunch of files down two in the file naming scheme and restart the scanning.

The result is two large directories of TIFF files representing the two books at 600 dpi.  We can now start processing them to try to correct the known problems we listed above.  Once we have a full set of "clean" images, we can consider the problem of how to turn them into a PDF document.