Thirteenth and final photobook

I went in today with the mindset of making the final photobook, but the initial book didn't turn out well, due to how I creased the pages; as I was advised not to cut the images beforehand by a member of staff at the printers, I tried to measure the actual book and find the middle point, so it was completely central. Yet it was difficult after making multiple attempts finding the crease, because the machine was in the way; therefore I had to guess where the middle was, and once the book was bound the creases were too noticeable.

However, this gave me an opportunity to change certain aspects of the book: for instance, the abstract image was flipped as I wanted it to coincide with the layout, since it is going from dark to light, ascending to something hopeful and optimistic, which is reflected in its layout.

And I've refined the text, by not making it too obvious with spacing "me" and "I", in addition to removing anything relating to displacement; I wanted the viewer to be able to get the message without having to spell it out for them.

Once the images were printed, I decided to simply crease all the pages the same, to make it easier for myself. But once the book was made and I was cutting it to size, one side of the book was smaller than the other; this bothered me as I wanted the book to look professional and symmetrical, but I can explain it away since it lends itself to the rough and handmade aesthetic of the project. I simply hope I won't be penalised because of the book, as if I had more time I would make another book and perfect it.

Eleventh and twelfth dummy book, and exhibition wall prints

In response to feedback given by Stella in our last meeting, I've changed the final image to an abstract image, and made it eye level to the image on the previous page; this conveys the impression that my younger self is staring off into nothingness, ending the book on a more ambiguous note.

Looking off into a grey void

Another aspect I have changed is the abstract image, by simply turning it around, in order to reflect the tones of the image next to it, as it goes from dark to light.

Also, I've added another name, Mario, to the text after being reminded of being called that in the past, and clarified the overall text further by including the feeling of displacement.

I decided to make two books as I had planned on one of them being used for the exhibition, and the other as a spare for myself. I wanted the crease to be consistent throughout the book, compared to my last dummy book where some images went across the page; but, despite trying my best to align the pages and take into account the white space around the images, both books didn't come out well. This was especially the case when I cut them down to size, wherein one was wonky and the other was cut too short on one side, as shown here.

For the exhibition, I have made the conceptual image A2 and blurred it, so it doesn't look too pixelated when made larger; it also links with blurring transition between past, present and future, as well as capturing something as intangible as memory. Furthermore- I have printed out images I've used in my last exhibition plan and other images, in case I plan on using these images for my wall.

Despite being disappointed with the finished books, in order for this not to happen again, I will cut the white space around the pages, so it is accurate when creasing the pages and stapling it. This should hopefully result in the creation of the final photobook that looks much more polished. 

Exhibition Plan - Continued

As I wanted to visualise what the exhibition wall would be like in person, I experimented by placing images on a big surface area, and changed the arrangement and added images each time; I felt some images repeated themselves and I wanted to see if I could refine it further.

Refining the plan each time, with the bottom image being the chosen exhibition design

Doing this has allowed the design of the exhibition to be refined by creating it in person, as oppose to composing it digitally, when its difficult to take into account image sizes and relations between other photographs.

As a result, I plan on using the last design pictured here, since it eliminates images that repeat themselves when grouped together; however, given how I am planning to mount the images, I can always alternate between different exhibition designs.

Peer review meeting with Tom Duffield

During the peer review with Tom Duffield, he looked through my blog (as my website wasn't online at this point), and mentioned that it looks good, and that I am on top of my work. However, he said that I should include the development of the exhibition plans and the research that I've done when composing the plans, to show I've been thorough documenting all the work I've done.

Speaking of which- he said to document everything for this project, and show how it has helped inform my practice (which can be presented in my CRSes).

He also said, when looking at my exhibition plan, if I wanted to differentiate between the section of images or not, depending on my intentions or how I want the viewer to perceive the work.

This meeting has reminded me what I need to do for my blog, by featuring the work I've done for the exhibition, to show I've included every aspect of the project.

Final meeting with Stella

In my final meeting with Stella, I showed her my latest dummy books and exhibition plans, in order to receive any new feedback in this final teaching week.

For my dummy books, she said that everything was working well, from image sequencing to paper type. However, she said to change the final image of the book, as it is too blunt for an ending, as well as not linking with the rest of the project; the image seems like a destructive view towards myself, compared to the rest of the book which explores my displacement and the duality within myself, of what makes me me.

The final image in the current dummy book

We also collaborated upon the layout for the exhibition, and agreed that this latest plan shown here would justify the work.

Nonetheless- we agreed to get rid of the 'Dario Not Dario' image on the plan, since it would be giving too much of the project away, and to let the exhibition wall be its own piece separate from the book.

She also mentioned that Wolfgang Tillmans mounts his photographs using photo corners and pins, and we agreed that mix-matching, alongside using masking tape, would work well with the rough and D.I.Y. approach of the work.

Overall, today has been really helpful in narrowing the book design and exhibition plan towards its finished piece.

Tenth dummy book

Using feedback I've received from my tutors, I have decided to saddle stitch this current dummy book, instead of using a bind, so as to see what it looks like with this project.

However, when creating the book, I had to change the arrangement of some of the abstract images, in order to conform to the layout of the saddle stitch.

Nonetheless, I like the new arrangement of the tracing paper, especially here as pictured, because it acts as a taster of what is to come in the book, as well illustrating a distant memory when it comes with the disused objects and attic space (due to its translucency).

Also, I like the saddle stitch since it shows the images fully now, without the bind covering aspects of the photos in the guttering, in addition to looking much more professional. I was unsure about using staples for the bind, because I was hoping to use thread, but I think using staples lends itself to the homemade and rough design of the project.

By creating this book, I have a clearer idea of what the final photobook will look like, in which I will continue to refine it.

Exhibition Plan

When composing plans for my exhibition wall, I stumbled upon Wolfgang Tillamans' exhibitions, as shown here.

Examples of Wolfgang Tillmans' exhibition layout

He places his image in different positions and uses different formats to mount them, i.e. framed, using pins, masking tape etc.. As a result, it creates an awkward and unique aesthetic that would work well for this project (due to how similar in layout it is to my book).

The plans I have created are more or less the same, but I've developed and narrowed the design each time; I initially incorporated all my images from the project, and then narrowed it down to a select few. However, the general style has remained the same: the images start off high and slowly descend, reflecting Tillman's exhibition work and the layout of the photographs in my book.

Furthermore, I plan on using the actual archive images that are presented in my book, as they are a key part of the project, and using a mixture of masking tape, pins and photo corners to mount the work will coincide with the homemade aesthetic of the project.

Creating these plans has allowed me to visualise what my wall will look like, so I don't hastily display the work last minute.

Reference:

• Wolfgang Tillmans' exhibition: https://www.pinterest.co.uk/pin/498140408761127177/, https://www.maureenpaley.com/exhibitions/wolfgang-tillmans-6?image=6