Dry point etches
This weeks work of printing and etching the original nine images from the story board. I've extended the storyboard to 23 frames now so will be continuing to etch and print from these.

Some of them may need going over a little with the scribe, as they have printed out a bit faintly despite how much ink was applied. I like the colour blue but am going to try others next week, and a larger paper size as the smaller paper cut part of the image off. Was thinking it would be nice if the image was framed inside the paper, and then I could crop it to whichever size for the concertina.

I really like the prints so far, they retain the 'drawn' quality of my original images and people have remarked that they look like drawings rather than prints.

A close up of one of the etches started yesterday, the process of scratching into plastic is quite tiresome especially over a long period of time.

Notes from crit 18.04.13
Dan/Paula/Patrick

Things to consider for bookmaking:

• Production quality- type of paper, style and materials of the cover. A one off production or mass produced for people to take a copy? Think about time management and numbers; one copy might be easier and that way I could be completely focused on creating a high quality piece, rather than rushed multiple versions. Also would need LOADS of copies to take away, slightly unpractical and time consuming.
• How will people interact with it- read in the exhibition? Take home and read later? Are they supposed to read it- how to present it in an exhibition manner yet still remain inviting and unrestricted. Thought about a plinth, but this might create a barrier between the audience and the work- white space don't touch etc. Paula had a good idea to create a walled booth around the plinth, darkened with overhead lighting on the piece. Also mentioned a chair, for people to sit whilst they read? To make the space more inviting.
• Printing- digital print? Printmaking- screen, dry point? Like the idea of dry point, the drawings I've done already look similar to etches so I think this would really suit the style of my work. 
• Text or no? Would add the extra issue of typography to consider- fitting for the images/piece. Handwriting? Must have confidence in the images to convey the story without words, words might add unnecessary information that clutters the work. Researched "The Depository" which has no words- quite striking.

Things to do now:

• Research handmade artist's books- their quality and methods pursued.
• Adapt and develop image narrative so to be wordless.
• Dry point etch images already done (smaller scale), print.

Printed my booklet of first dream sequence, made on InDesign.

Thinking about titles for the piece I felt this summed up the theme, or something along the lines of this which creates a sense of narrative. This design is only a draft (pages haven't been fastened or glued yet) but I want the finished piece to have the same minimalist appearance. 

 I tried a few different ways of organising the text and images, I prefer layout with the image above and text below, I think more concise having all the information on one page. 

DIY video demo for bookbinding stitching: Saddle stitch

Daniel K. Sparkes

 An illustrator who incorporates photography into his  work. I'd like to try something similar to this technique within my own drawings, creating a surreal bridge between two mediums.

Scene 2, 3 and 6 of the storyboard complete, will scan these in when it's all finished to create the booklet. Also thinking about experimenting with some colour, to give the images a bit more depth.

I've been consciously trying to create some mystery of the dream figures through obscuring detail by heavily shading the faces. I wanted to sketch them as I remembered them through the dream; a sort of half remembered shadow that has no defining characteristics.