BOOK COVER
I find the design really intercepting because it could be applied to my publication, communicating the idea of interlocking.
--> a page could be indented while another page could be pushed upwards to fill the indented space of the underlying page. this could form an interlocking structure
TYPESETTING
- these spreads explore the visual experience of a block of words on a page
- They ask the reader to engage with the physical and formal nature of the book that they’re holding
- it’s difficult to get too lost in the words, as Studio Pandan’s contributions jolt your concentration, reminding you continuously how and what you’re engaging with.
this makes me think of the importance of typesetting in a publication. The way how texts are placed is basically what the book is all about. It helps to guide how readers are going to read the book and it creates the overall impression of audiences towards the book. Therefore, I think I could out more effort in playing around with different typesettings to communicate how I felt when I was visiting the Nunnery, which is really disciplinary and serious.
BOOKBINDING
A bookbinding method that requires no sewing is considered. After doing research and going to book stores, I realised that there are not many ways of hard cover binding that uses no threads. The following two ways are considered doable for my publication.
the most significant difference of the two methods is the spine of the final product. Method 1 has a hard spine, while 2 has a soft spine. This makes me think of the spine of my own publication, whether I want it to be wood as well, or not.
1.
This method is basically using a large piece of card board, cutting it into three sections, two as the covers and one thin one as the spine. Then, glue the cover design onto the boards.
IS IT APPLICABLE TO MY WORK?
This method allows the spine to be wood as well when applied to my publication, however, the final outcome might not look at professional.
2.
This is a book that was found in VILLAGE. The binding method caught my attention cause apparently no threads were used and it has a card cover. After looking at the book for a while, I believe that it was bonded with the method of perfect binding. After binding the pages together with glue, a piece of paper/ tape was is used for sealing the glued edge. When everything was set, the two cardboards were then stuck onto the front and the back of the book as the hard covers.
IS IT APPLICABLE TO MY WORK?
This binging method is applicable to my publication as it doesn't require any sewing process and it allows the book to have a hard cover. It fulfils the the characteristics that I wanted my book to look like.
EXISTING PUBLICATIONS
Irma Boom " MANIFESTO FOR THE BOOK"
“My books are all industrially made. What you see is that the book is not simply a book; it’s also an object. That’s what makes it special.”- a book to showcase Sheila Hicks' work
- no work on the cover
--> front cover
--> interpretation of the artist's work
- be really confident on her own
- a book that means something to somebody
- QUOTE - big type
--> become smaller and smaller when you turn the pages
--> before you think that you are reading the text, you are totally into it, suddenly you are reading the text
- book in its simplest form
- a very visible spine
--> always can see the book from the shelf, very eye-catching
--> title inside the book
- edges show the artist's work, rugged edge correlates to the textile work
MY THOUGHTS
*a physical/ book form of a cloth
--> how do I make my book into a physical form of a city escape?
* nothing on the cover?
--> minimalism
--> the structure of the book explains everything
--> do I need to explain my book through the title? or let the cover and the packaging speak for themselves?
Theme and Permutation (2012)
Marlene MacCallum
Hand sewn pamphlet, images custom-printed in offset lithography on Mohawk Superfine, text printed in inkjet, covers inkjet printed on translucent Glama.
H235 × W216 mm
"The sixteen offset lithographic plates were custom printed in twenty-nine separate press runs. Each image is the result of a different combination of plates. The structure is a sewn pamphlet with translucent covers. The viewer enters the body of the book with a tritone image of a single Townsite window. As one moves into the piece, new window images appear and layer over each other. The images become darker and more heavily layered towards the mid-point.
The ensuing pages continue to provide new combinations of window layers, gradually lightening in tonality and allowing the individual windows to become more distinct. "
MY THOUGHTS
This book looks really impressed to me and I was amused when I first saw it online. The designer wisely made use of paper stock to visualise his experience in 4 different rooms. The use of black and white ink on translucent paper is a really smart way to present lights and shades of a place. The images also become more and more clear when you flip the pages.
IS IT APPLICABLE TO MY WORK?
I don't find this method of production relating to my place, it has nothing to do with visibility. Although his method of production might not be applicable to my publication, it is really creative and I think I should learn from it and maybe apply it onto some of my works in the future.
Chicago Octet (2014)
Marlene MacCallum
Hand bound artist’s book with folded paper structure, letterpress and inkjet printing,
H166 × W78 mm closed, H443 x W293 mm open
Unique. Acquired 5 October 2018.
"The images were a digital layering of every cityscape photograph that I made and then inkjet printed on top of the letterpress."
MY THOUGHTS
This book is a product of letterpress. After looking at the description of the book, I learnt that we can actually play around with overprinting. The designer overprinted an image onto the letterpressed text. A different kind of feeling is created as the letterpressed ink looks washed off by the overprinted dark ink. It created a vintage feeling and this method could also be applied to my work. It might not be exactly the way how this book was produced, but the way of overprinting on different text or images could be used.
IS IT APPLICABLE TO MY WORK?
As I would like my book to be really minimal, this method of overprinting might not be applicable to my publication as the outcome looks really busy and gives audiences a feeling of many things going on at the same time.
EXISTING CONCRETE BOOK
- features abstract photographic compositions of and within concrete structures
- content is all on concrete architecture
This is an existing publication that is designed to be packaged with a concrete box. This book inspired me to create a publication that is encased in a concrete box. There is no existing concrete box online that is of the right size as my book. Therefore, a DIY concrete box was planned to be made out of cement. Using a concrete box to encase my publication could create a contrast between the city and the nunnery. Making audiences think that this is a book about the city before taking it out from the box. They would not be expecting to have a wooden book inside such an ‘industrial’ box.
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