Final prints

A selection of the final prints which I will include in my concertina book. I think they turned out quite well, after lots of practice prints I became better at the technique of applying the ink to create a clearer print, and feel this is nicely demonstrated through the prints.

I decided to print in blue finally, as I wanted an appropriate colour which wouldn't seem too out of place (e.g. like red would have) with the entire presentation of the piece. The tones of the prints remind me of the sea; which features at the end of the dream, with the dream taking place on an island in the middle of the ocean. I feel that due to this the chosen colour addresses the nature and content of the narrative. Also I think that blue is quite a spiritual, calm colour, that compliments the dream and sleep themes of the project.

Finding Anthony on the island, he told us of an exit we could take.

The original first print of the sequence; beginning to watch TV as I sat talking with friends.

The plane beginning to crash.

Leaving the island on the bridge, with Anthony and Ross.

Walking with Ross, exploring. Decided to leave some details a bit basic for the figures of some of the etches; to create the effect of some aspects being forgotten/hazy in memory. In other scenes these details will reappear, which I hope will construct some continuity for the viewer.

Being shown the statue by Anthony, which 'marks' the exit of the island and the bridge.

Watching the group of survivors as they settled on the island.  The details of these people have been left a blank as due to memory and the dream I couldn't remember exactly what they looked like; instead drawing them and indistinguishable shadows.

Watching the survivors panic as I sat calmly; no one could see me apparently in the dream so I just observed.

Trying to call out to someone who could not hear me, and was also preoccupied with the disaster.

Watching the show, tried to convey the sense of my being drawn in by the crash and feeling like I was the only one in the room watching TV.

Literally being drawn in by the TV, and sort of diving into what was happening.

Final piece

08.05.13 Making the final book. Used smaller measurements of 18cm x 26cm pages, big enough for the prints to fit in without being too big and overbalancing. I also used half the pages since deciding to display the prints on both sides, so the book feels more compact now.

A photo of the book being held in place as I stuck the pages together. It was tricky to not over glue and end up sticking multiple pages together, as I found out last time, so I used sheets of news print paper between each page when gluing. This method took longer but was a lot cleaner and meant all the pages were neatly glued.

All the paper stuck together and dried, before I attached the back cover. I chose black as it was simple and elegant, without detracting too much from the book's contents. Also I feel it is relevant as the colour black relates to a sense of the unknown, and unconsciousness which links to sleep and dreaming.  

This area was embossed for the title and space for my name/website to go. In hindsight I feel the design is a little dull and unexciting, but I hope to add a personal touch by hand-writing the words onto the cover. I think the lack of a complex design would add an element of mystery to the contents and intention of the piece; causing the viewer to make up their own mind about it.

The book with the back cover attached.

Ways of exhibiting the final piece

I had a few different ideas, including hanging and presenting on a plinth of shelf. 

Arranging the concertina in a circular star shape was the idea I decided upon, since the prints will be displayed on both sides of the pages this allows the viewer to see everything.

 Also thought about a possible booth that I could create around the piece; made from hanging curtains on three sides around the plinth to create an enclosed space. However due to space this is only a secondary idea, as I have requested to have my work in the darkened space of the exhibition with a small overhead light to illuminate the work. If there is not enough room for my work then I would like to do this idea, or maybe just include one side of fabric (which would be something light and shimmery like silk voile) against the wall behind my work.

 Hanging the book was another idea; piercing the pages and cover with wire so the piece would be suspended at eye level, but I realised this would probably cause the book to tear over time.

 A shelf or long table with the book arranged in a zig-zagging pattern seemed quite simple, but would depend on how/where it was displayed for the book to be fully seen, e.g. if against a wall only one side would be visible. 

I had a similar problem with arranging it in an open but outwards shape, due to the duality of the piece's viewing.

 

04.05.13

All plates have been etched now, the final one is pictured below finished on Thursday (2nd) morning. Relief! So now I only need to focus on printing from all of them, I can have the final prints finished early next week.

From then need to arrange a sequencing and make the book (Wednesday 8th) to have everything finished for the week of the final crit- w/c 13th May.

Tried printing in green and red as well. Finished etching all the plates now so just need to print from them. I decided to do the final prints in blue as I think it has a calming effect on the images, which fits with the narrative. 

 I have been experimenting with the dry point technique this week, methods in applying the ink and trying to create an even layer on the plate.

An earlier attempt above, where the ink was a little more uneven and left a smeared effect on the final plate.

Ink has to be applied evenly in a thin coat on to the plate it has, then rubbed into the image using netted fabric. It has to be pushed into the lines of the etch, when the whole plate is covered excess ink is wiped away gently so as to not take any ink away from the etch, but not leave any unwanted smudges on the final print.

A very messy process, the ink has the be rubbed into the plate with a netted piece of fabric after being applied in a spread with a piece of card. 

An even coat on one of the plates, 

Artists recommended in tutorial (26/02/13):

Alberto Giacometti

Raymond Pettibon

Notes from tutorial with Simon 02.05.13 

Discussed possible ways to display; hanging in an open format? So people can engage with both sides of the piece, with storyboard printed on both sides as opposed to my original idea of just one side.

Book size so far, I'm going to make the final version a little smaller with smaller page size and less pages since I'll be using both sides. Also the cover may not be this colour, I only chose from the scraps of cover available to try it out.

It folds out to quite a length when opened, so would need a long strip of shelf or floor area to display. I've thought about hanging it via fish-wire, with each page or so hooked and attached and then suspended from a wire mesh above. This would allow the audience to walk around and view each image; engaging with it how they want. However this idea isn't completely practically, as the wire may not support the weight of the book and could result in it falling. Also I haven't tried anything like this out prior to installing, so it would be best to know that it would definitely work if I was to commit to hanging it like this.

Also discussed the sequencing of the images; should it be read in a 'logical' order or an order which allows the viewer to their own interactions/interpretations? Potentially arranging them non-chronologically, which would benefit the dream narrative.