Dear all,
First off, congratulations on the work you presented today! huge improvement from last week
You're all on the right track and its looking good
push yourselves this last week, almost there, your work is worth it.
for next week bring ALL for review (except models, unless you want to look at that but probably not)
remember, its our last crit so manage accordingly so all your questions are addressed.
POSTER:
based on today's crit bring
—BW print in actual scale (can be tiled) bring options ( 2 at least) this entails: small variations on design as in: type scale, inks, materials, vinyls, silkscreens etc. Need to nail it.
INVITE:
same as poster. actual scale
—make sure you have the correct content as per last week's post
BOOK:
—full catalogue, actual text & images.
— imagery: the installation is the feature. include images from photoshoot today. remember to guide the viewer through the piece and its key aspects: what it does, how it does it. its behaviour. here is where you guides visually to the space (exterior and interior) but most importantly present your concept in all its complexity through a visual narrative.
— all materials intended for body matter (coloured sheet, newsprint, semi gloss, matte etc) / covers (plastics, fabric etc) / bookbinding method (and sample, so you test it out before).
— print or application technique for covers, spine, back cover (as in: printed fabric, or, fabric with type embroidered in, or vinly lettering on plastic etc)
INSTALLATION MEDIA PIECES:
— bring all for final review. this includes video & sound in actual format.
VISUAL NARRATIVE: 10 images slideshow
—bring a pdf slideshow of the best imagery for your piece (this is the one you'll place in your book). It should illustrate the concept, space and its behaviour (responsiveness) / in addition: bring all your images,
so we have a selection to chose from if some changes are needed)
—these will be projected on our final presentation as a collective loop. so I'd like to test that out.
WEBSITE:
—working site. should be able to view through browser.
christina, thank you for your work today and the bookbinding demo.
questions welcome
thank you
carolina
VINYLS:
if you need vinyl lettering you can contact printex design, they are great
ask for DAVIT, make sure you get specs on minimum x-height for cutting
http://www.printexdesign.com/home
Monday, April 5, 2010
Thursday, April 1, 2010
DUE WEEK 12: & subsequently till end of term /// PHOTOSHOOT NEXT WEEK, BRING YOUR FINAL MODELS
dear all,
please see below for what's due next week and subsequently, till final presentation (recap of what was discussed in class).
Looks dense, but its just very specific and marks everything you need for completion.
BOOKS:
— FULL CATALOGUE
---- printed, trimmed to scale. remember: the aim of the catalogue is to showcase your work (the media installation piece and all its ramifications)
/ this implies:
-------- all actual text & image content. No more dummy text
TEXT: For text: refer back to all the content you gathered throughput the term and use that. (research, quotes, self-generated thoughts etc that are relevant to and inform your project)
IMAGERY: To make this easier for yourself do the following: gather all your imagery so far. Recall the midterm presentation, which's purpose was to present a sequential walk-through of the piece as a whole.
The installation pics are the main focus. Same as with text: all imagery should support your argument— that is, the work you did—and provide its context (particularly with process & research / referential imagery)
BOOK MATERIALS:
— Bring in materials (sheets, fabrics, plastics etc) for your cover, spine and back cover / and of course, for the main body of the book.
—covers & spine: test your materials and their 'printability'. You can do other processes as well: emboss, deboss (faking it so to speak with layering and laser cuts), foil stamps, silkscreening, vinyl etc.
Think of how you can apply graphics to these surfaces
— visit HIROMI's in Sta.Monica / they have a wide range of materials for you to browse through. Ask questions re: printable materials (fabrics, unusual stocks etc)
http://www.hiromipaper.com/hpi_about_us.htm
STRUCTURE, INKS & BINDING:
— Inquire about binding, make sure you have your vendors, prep set up time for files & time allocated for production.
—structure is directly in line with the flow, tone and sequence of how you portray your narrative. Rremember, this catalog is primarily about your work, so that should be the main feature.
—INKS: Bring stock samples (the actual sheet/s you will be using with test prints in actual colour: eg. monotone, full colour etc) Bring material samples for covers & spine (eg, fabrics, plastics and any other(
+++++++++++++++++++++++++++++++++++++++++++++++++++++
MODELS & MEDIA INSTALLATION: PHOTOSHOOT WEEK 12
— Bring in your final models, we will shoot these in class. I will bring lights but I do not have a camera, so if any of you have one please bring it in. (high res pls). Bring in a card reader and an external drive so you can leave class with your images in hand.
—PHOTOSHOOT: You will art direct your shoot, so, make sure you prep for this; meaning: test angles & lighting.
----- The images are a walk-through of the installation in ALL ITS CONDITIONS (daylight, nightime, interior, exterior etc)
----- I want you to document the piece objectively & subjectively. Objective shots: long shot, medium shot, close up (macro). The piece itself as an object. Subjective: also long,. medium & close up, but here you focus on the experience of being there and the behaviour of the piece itself. For example: Light shifts, shadows, displacements in form, different points of view to scale (as if you were inside the space, moving through it, living it. Don't forget your scale figures (little people). Simple analogy: if we were speaking of the ocean as the piece, the objective shots would observe the ocean as is (from far away, closer, details). The subjective shots would show us what its like to swim within it.
—MEDIA COMPONENTS OF INSTALLATION: Video, Sound, Performance, documentation in actual format. If sound, they will be played.
+++++++++++++++++++++++++++++++++++++++++++++++++++++
POSTER & INVITE:
— remember you can pair these up structurally (using folds as a revealer of content) or do then separately. Minimum poster size: 24" x 36"
POSTER:
— Bring comps in actual scale (can be tiled BW sheets) IIt is important we see it at full scale.
poster content: the posters should have:
—your logo (exhibition name)
_ location: make up a location (site-specific) or chose an existing venue (eg, moca, moma or something smaller)
_ exhibition dates: usually exhibits are open from 2-3 months
— url
— can include a brief text about the exhibit (your artist statement or a variation thereof)
same applies for the invite
+++++++++++++++++++++++++++++++++++++++++++++++++++++
WEBSITE REQUIREMENTS:
—web needs to be functioning.
—remember, indexhibit is a suggestion, if you have a website already or prefer cargo collective or dreamweaver that's fine,
use your criteria to execute what works best for you.
REQUIRED LINKS / CONTENT: 'PHYSICAL' IMAGES OF ALL YOU WORK (the idea here is that you show everything as a final, executed, physical object)
—Logo (ideally placed to one side, elegant, visible on all pages)
—Artist Statement
—Space: aka, images of your exhibition space or site-specific interventions (models / performance etc) Presented as a narrative sequence / visual storytelling. This is what you did in your book, just translate that into an online platform via images. They should be arranged in a way that presents your work in a cohesive and sequential manner.
—Catalog: shoot your final (PHYSICAL) book and include it as an image narrative. select the best spreads that tell the story in sequence.
—Poster: Shoot your poster. For this one you can also add a JPEG of your final layout
—Invite: shoot your printed invite. Can also include JPEG
—Process book: Shoot your final book. Same as catalog
+++++++++++++++++++++++++++++++++++++++++++++++++++++
PROCESS BOOK
doesn't need to be designed. just french fold your 11x 17 sheets and bring it in. You will need to create section dividers but that's it.
please see below for what's due next week and subsequently, till final presentation (recap of what was discussed in class).
Looks dense, but its just very specific and marks everything you need for completion.
BOOKS:
— FULL CATALOGUE
---- printed, trimmed to scale. remember: the aim of the catalogue is to showcase your work (the media installation piece and all its ramifications)
/ this implies:
-------- all actual text & image content. No more dummy text
TEXT: For text: refer back to all the content you gathered throughput the term and use that. (research, quotes, self-generated thoughts etc that are relevant to and inform your project)
IMAGERY: To make this easier for yourself do the following: gather all your imagery so far. Recall the midterm presentation, which's purpose was to present a sequential walk-through of the piece as a whole.
The installation pics are the main focus. Same as with text: all imagery should support your argument— that is, the work you did—and provide its context (particularly with process & research / referential imagery)
BOOK MATERIALS:
— Bring in materials (sheets, fabrics, plastics etc) for your cover, spine and back cover / and of course, for the main body of the book.
—covers & spine: test your materials and their 'printability'. You can do other processes as well: emboss, deboss (faking it so to speak with layering and laser cuts), foil stamps, silkscreening, vinyl etc.
Think of how you can apply graphics to these surfaces
— visit HIROMI's in Sta.Monica / they have a wide range of materials for you to browse through. Ask questions re: printable materials (fabrics, unusual stocks etc)
http://www.hiromipaper.com/hpi_about_us.htm
STRUCTURE, INKS & BINDING:
— Inquire about binding, make sure you have your vendors, prep set up time for files & time allocated for production.
—structure is directly in line with the flow, tone and sequence of how you portray your narrative. Rremember, this catalog is primarily about your work, so that should be the main feature.
—INKS: Bring stock samples (the actual sheet/s you will be using with test prints in actual colour: eg. monotone, full colour etc) Bring material samples for covers & spine (eg, fabrics, plastics and any other(
+++++++++++++++++++++++++++++++++++++++++++++++++++++
MODELS & MEDIA INSTALLATION: PHOTOSHOOT WEEK 12
— Bring in your final models, we will shoot these in class. I will bring lights but I do not have a camera, so if any of you have one please bring it in. (high res pls). Bring in a card reader and an external drive so you can leave class with your images in hand.
—PHOTOSHOOT: You will art direct your shoot, so, make sure you prep for this; meaning: test angles & lighting.
----- The images are a walk-through of the installation in ALL ITS CONDITIONS (daylight, nightime, interior, exterior etc)
----- I want you to document the piece objectively & subjectively. Objective shots: long shot, medium shot, close up (macro). The piece itself as an object. Subjective: also long,. medium & close up, but here you focus on the experience of being there and the behaviour of the piece itself. For example: Light shifts, shadows, displacements in form, different points of view to scale (as if you were inside the space, moving through it, living it. Don't forget your scale figures (little people). Simple analogy: if we were speaking of the ocean as the piece, the objective shots would observe the ocean as is (from far away, closer, details). The subjective shots would show us what its like to swim within it.
—MEDIA COMPONENTS OF INSTALLATION: Video, Sound, Performance, documentation in actual format. If sound, they will be played.
+++++++++++++++++++++++++++++++++++++++++++++++++++++
POSTER & INVITE:
— remember you can pair these up structurally (using folds as a revealer of content) or do then separately. Minimum poster size: 24" x 36"
POSTER:
— Bring comps in actual scale (can be tiled BW sheets) IIt is important we see it at full scale.
poster content: the posters should have:
—your logo (exhibition name)
_ location: make up a location (site-specific) or chose an existing venue (eg, moca, moma or something smaller)
_ exhibition dates: usually exhibits are open from 2-3 months
— url
— can include a brief text about the exhibit (your artist statement or a variation thereof)
same applies for the invite
+++++++++++++++++++++++++++++++++++++++++++++++++++++
WEBSITE REQUIREMENTS:
—web needs to be functioning.
—remember, indexhibit is a suggestion, if you have a website already or prefer cargo collective or dreamweaver that's fine,
use your criteria to execute what works best for you.
REQUIRED LINKS / CONTENT: 'PHYSICAL' IMAGES OF ALL YOU WORK (the idea here is that you show everything as a final, executed, physical object)
—Logo (ideally placed to one side, elegant, visible on all pages)
—Artist Statement
—Space: aka, images of your exhibition space or site-specific interventions (models / performance etc) Presented as a narrative sequence / visual storytelling. This is what you did in your book, just translate that into an online platform via images. They should be arranged in a way that presents your work in a cohesive and sequential manner.
—Catalog: shoot your final (PHYSICAL) book and include it as an image narrative. select the best spreads that tell the story in sequence.
—Poster: Shoot your poster. For this one you can also add a JPEG of your final layout
—Invite: shoot your printed invite. Can also include JPEG
—Process book: Shoot your final book. Same as catalog
+++++++++++++++++++++++++++++++++++++++++++++++++++++
PROCESS BOOK
doesn't need to be designed. just french fold your 11x 17 sheets and bring it in. You will need to create section dividers but that's it.
DUE WEEK 12: & subsequently till end of term
dear all,
please see below for what's due next week and subsequently, till final presentation (recap of what was discussed in class).
Looks dense, but its just very specific and marks everything you need for completion.
BOOKS:
— FULL CATALOGUE
---- printed, trimmed to scale. remember: the aim of the catalogue is to showcase your work (the media installation piece and all its ramifications)
/ this implies:
-------- all actual text & image content. No more dummy text
TEXT: For text: refer back to all the content you gathered throughput the term and use that. (research, quotes, self-generated thoughts etc that are relevant to and inform your project)
IMAGERY: To make this easier for yourself do the following: gather all your imagery so far. Recall the midterm presentation, which's purpose was to present a sequential walk-through of the piece as a whole.
The installation pics are the main focus. Same as with text: all imagery should support your argument— that is, the work you did—and provide its context (particularly with process & research / referential imagery)
BOOK MATERIALS:
— Bring in materials (sheets, fabrics, plastics etc) for your cover, spine and back cover / and of course, for the main body of the book.
—covers & spine: test your materials and their 'printability'. You can do other processes as well: emboss, deboss (faking it so to speak with layering and laser cuts), foil stamps, silkscreening, vinyl etc.
Think of how you can apply graphics to these surfaces
— visit HIROMI's in Sta.Monica / they have a wide range of materials for you to browse through. Ask questions re: printable materials (fabrics, unusual stocks etc)
http://www.hiromipaper.com/hpi_about_us.htm
STRUCTURE, INKS & BINDING:
— Inquire about binding, make sure you have your vendors, prep set up time for files & time allocated for production.
—structure is directly in line with the flow, tone and sequence of how you portray your narrative. Rremember, this catalog is primarily about your work, so that should be the main feature.
—INKS: Bring stock samples (the actual sheet/s you will be using with test prints in actual colour: eg. monotone, full colour etc) Bring material samples for covers & spine (eg, fabrics, plastics and any other(
+++++++++++++++++++++++++++++++++++++++++++++++++++++
MODELS & MEDIA INSTALLATION: PHOTOSHOOT WEEK 12
— Bring in your final models, we will shoot these in class. I will bring lights but I do not have a camera, so if any of you have one please bring it in. (high res pls). Bring in a card reader and an external drive so you can leave class with your images in hand.
—PHOTOSHOOT: You will art direct your shoot, so, make sure you prep for this; meaning: test angles & lighting.
----- The images are a walk-through of the installation in ALL ITS CONDITIONS (daylight, nightime, interior, exterior etc)
----- I want you to document the piece objectively & subjectively. Objective shots: long shot, medium shot, close up (macro). The piece itself as an object. Subjective: also long,. medium & close up, but here you focus on the experience of being there and the behaviour of the piece itself. For example: Light shifts, shadows, displacements in form, different points of view to scale (as if you were inside the space, moving through it, living it. Don't forget your scale figures (little people). Simple analogy: if we were speaking of the ocean as the piece, the objective shots would observe the ocean as is (from far away, closer, details). The subjective shots would show us what its like to swim within it.
—MEDIA COMPONENTS OF INSTALLATION: Video, Sound, Performance, documentation in actual format. If sound, they will be played.
+++++++++++++++++++++++++++++++++++++++++++++++++++++
POSTER & INVITE:
— remember you can pair these up structurally (using folds as a revealer of content) or do then separately. Minimum poster size: 24" x 36"
POSTER:
— Bring comps in actual scale (can be tiled BW sheets) IIt is important we see it at full scale.
poster content: the posters should have:
—your logo (exhibition name)
_ location: make up a location (site-specific) or chose an existing venue (eg, moca, moma or something smaller)
_ exhibition dates: usually exhibits are open from 2-3 months
— url
— can include a brief text about the exhibit (your artist statement or a variation thereof)
same applies for the invite
+++++++++++++++++++++++++++++++++++++++++++++++++++++
WEBSITE REQUIREMENTS:
—web needs to be functioning.
—remember, indexhibit is a suggestion, if you have a website already or prefer cargo collective or dreamweaver that's fine,
use your criteria to execute what works best for you.
REQUIRED LINKS / CONTENT: 'PHYSICAL' IMAGES OF ALL YOU WORK (the idea here is that you show everything as a final, executed, physical object)
—Logo (ideally placed to one side, elegant, visible on all pages)
—Artist Statement
—Space: aka, images of your exhibition space or site-specific interventions (models / performance etc) Presented as a narrative sequence / visual storytelling. This is what you did in your book, just translate that into an online platform via images. They should be arranged in a way that presents your work in a cohesive and sequential manner.
—Catalog: shoot your final (PHYSICAL) book and include it as an image narrative. select the best spreads that tell the story in sequence.
—Poster: Shoot your poster. For this one you can also add a JPEG of your final layout
—Invite: shoot your printed invite. Can also include JPEG
—Process book: Shoot your final book. Same as catalog
+++++++++++++++++++++++++++++++++++++++++++++++++++++
PROCESS BOOK
doesn't need to be designed. just french fold your 11x 17 sheets and bring it in. You will need to create section dividers but that's it.
please see below for what's due next week and subsequently, till final presentation (recap of what was discussed in class).
Looks dense, but its just very specific and marks everything you need for completion.
BOOKS:
— FULL CATALOGUE
---- printed, trimmed to scale. remember: the aim of the catalogue is to showcase your work (the media installation piece and all its ramifications)
/ this implies:
-------- all actual text & image content. No more dummy text
TEXT: For text: refer back to all the content you gathered throughput the term and use that. (research, quotes, self-generated thoughts etc that are relevant to and inform your project)
IMAGERY: To make this easier for yourself do the following: gather all your imagery so far. Recall the midterm presentation, which's purpose was to present a sequential walk-through of the piece as a whole.
The installation pics are the main focus. Same as with text: all imagery should support your argument— that is, the work you did—and provide its context (particularly with process & research / referential imagery)
BOOK MATERIALS:
— Bring in materials (sheets, fabrics, plastics etc) for your cover, spine and back cover / and of course, for the main body of the book.
—covers & spine: test your materials and their 'printability'. You can do other processes as well: emboss, deboss (faking it so to speak with layering and laser cuts), foil stamps, silkscreening, vinyl etc.
Think of how you can apply graphics to these surfaces
— visit HIROMI's in Sta.Monica / they have a wide range of materials for you to browse through. Ask questions re: printable materials (fabrics, unusual stocks etc)
http://www.hiromipaper.com/hpi_about_us.htm
STRUCTURE, INKS & BINDING:
— Inquire about binding, make sure you have your vendors, prep set up time for files & time allocated for production.
—structure is directly in line with the flow, tone and sequence of how you portray your narrative. Rremember, this catalog is primarily about your work, so that should be the main feature.
—INKS: Bring stock samples (the actual sheet/s you will be using with test prints in actual colour: eg. monotone, full colour etc) Bring material samples for covers & spine (eg, fabrics, plastics and any other(
+++++++++++++++++++++++++++++++++++++++++++++++++++++
MODELS & MEDIA INSTALLATION: PHOTOSHOOT WEEK 12
— Bring in your final models, we will shoot these in class. I will bring lights but I do not have a camera, so if any of you have one please bring it in. (high res pls). Bring in a card reader and an external drive so you can leave class with your images in hand.
—PHOTOSHOOT: You will art direct your shoot, so, make sure you prep for this; meaning: test angles & lighting.
----- The images are a walk-through of the installation in ALL ITS CONDITIONS (daylight, nightime, interior, exterior etc)
----- I want you to document the piece objectively & subjectively. Objective shots: long shot, medium shot, close up (macro). The piece itself as an object. Subjective: also long,. medium & close up, but here you focus on the experience of being there and the behaviour of the piece itself. For example: Light shifts, shadows, displacements in form, different points of view to scale (as if you were inside the space, moving through it, living it. Don't forget your scale figures (little people). Simple analogy: if we were speaking of the ocean as the piece, the objective shots would observe the ocean as is (from far away, closer, details). The subjective shots would show us what its like to swim within it.
—MEDIA COMPONENTS OF INSTALLATION: Video, Sound, Performance, documentation in actual format. If sound, they will be played.
+++++++++++++++++++++++++++++++++++++++++++++++++++++
POSTER & INVITE:
— remember you can pair these up structurally (using folds as a revealer of content) or do then separately. Minimum poster size: 24" x 36"
POSTER:
— Bring comps in actual scale (can be tiled BW sheets) IIt is important we see it at full scale.
poster content: the posters should have:
—your logo (exhibition name)
_ location: make up a location (site-specific) or chose an existing venue (eg, moca, moma or something smaller)
_ exhibition dates: usually exhibits are open from 2-3 months
— url
— can include a brief text about the exhibit (your artist statement or a variation thereof)
same applies for the invite
+++++++++++++++++++++++++++++++++++++++++++++++++++++
WEBSITE REQUIREMENTS:
—web needs to be functioning.
—remember, indexhibit is a suggestion, if you have a website already or prefer cargo collective or dreamweaver that's fine,
use your criteria to execute what works best for you.
REQUIRED LINKS / CONTENT: 'PHYSICAL' IMAGES OF ALL YOU WORK (the idea here is that you show everything as a final, executed, physical object)
—Logo (ideally placed to one side, elegant, visible on all pages)
—Artist Statement
—Space: aka, images of your exhibition space or site-specific interventions (models / performance etc) Presented as a narrative sequence / visual storytelling. This is what you did in your book, just translate that into an online platform via images. They should be arranged in a way that presents your work in a cohesive and sequential manner.
—Catalog: shoot your final (PHYSICAL) book and include it as an image narrative. select the best spreads that tell the story in sequence.
—Poster: Shoot your poster. For this one you can also add a JPEG of your final layout
—Invite: shoot your printed invite. Can also include JPEG
—Process book: Shoot your final book. Same as catalog
+++++++++++++++++++++++++++++++++++++++++++++++++++++
PROCESS BOOK
doesn't need to be designed. just french fold your 11x 17 sheets and bring it in. You will need to create section dividers but that's it.
Tuesday, March 23, 2010
Next week :11 notes & due
Dear all,
I was a bit underwhelmed by the work you presented yesterday, as mentioned in class. Most of you are working in teams & the quality and amount of work showcased did not stand up to what I expect at this point in the course. I met with my tuesday studio today and saw a different picture: well thought out books, structures and lots of content; which only indicates that this is certainly possible. Not only possible but necessary.
This is not intended to demoralize you, on the contrary, it is a necessary push. I expect excellence. Remember: the work we did on grids in the past weeks was not a study, but rather a preparation for the book, and an inherent part of it. So don;t start from zero, build up from what you already have.
due next class:
— 20 spreads minimum (incluidng all book structures & typologies, i.e. all chapters and content. If not all completed chapters then at least 3 spreads each)
—logos: 5 variations minimum
upcoming:
— poster & invite ideas (digital sketches)
— get familiar with indexhibit.org (for your website) / think of your domain name / think of a host (i recommend dreamhost.com, you can purchase your domain name & hosting service from them, they are linked with indexhibit)
make it shine, you were ahead of tuesday's work in the midterm, don't fall behind.
nb: you are welcome to look at the tuesday books through your peers, that's an indication of the level of work I am after.
thank you
carolina
I was a bit underwhelmed by the work you presented yesterday, as mentioned in class. Most of you are working in teams & the quality and amount of work showcased did not stand up to what I expect at this point in the course. I met with my tuesday studio today and saw a different picture: well thought out books, structures and lots of content; which only indicates that this is certainly possible. Not only possible but necessary.
This is not intended to demoralize you, on the contrary, it is a necessary push. I expect excellence. Remember: the work we did on grids in the past weeks was not a study, but rather a preparation for the book, and an inherent part of it. So don;t start from zero, build up from what you already have.
due next class:
— 20 spreads minimum (incluidng all book structures & typologies, i.e. all chapters and content. If not all completed chapters then at least 3 spreads each)
—logos: 5 variations minimum
upcoming:
— poster & invite ideas (digital sketches)
— get familiar with indexhibit.org (for your website) / think of your domain name / think of a host (i recommend dreamhost.com, you can purchase your domain name & hosting service from them, they are linked with indexhibit)
make it shine, you were ahead of tuesday's work in the midterm, don't fall behind.
nb: you are welcome to look at the tuesday books through your peers, that's an indication of the level of work I am after.
thank you
carolina
Saturday, March 20, 2010
Hi carolina
I have a question. I thinking about dividing my book into two parts. One part would be from "Nanna, the artist" only containing stuff about the exhibition ( like, it was a real exhibition ) nice paper, tight grid and so on, and if you flip the book, the second part of the book would be from " Nanna, the frustrated ACCD student" going through my actual process from week to week (including my thought process), this part of the book would be on would shitty paper, untight grid. The reason for doing so, is that i see my process in this class as dual. The first couple of weeks, i had no idea what i was doing, till I started to get a hang of it (sort of) and created an actual narrative for my exhibition. I want my book to reflect my overall process in this class, but i'm not sure, if it's okay to have a "personal voice" in the book?
Thank you / Nanna
ohhhh also, I thinking about calling my exhibition "Nexus", yes/no?
I have a question. I thinking about dividing my book into two parts. One part would be from "Nanna, the artist" only containing stuff about the exhibition ( like, it was a real exhibition ) nice paper, tight grid and so on, and if you flip the book, the second part of the book would be from " Nanna, the frustrated ACCD student" going through my actual process from week to week (including my thought process), this part of the book would be on would shitty paper, untight grid. The reason for doing so, is that i see my process in this class as dual. The first couple of weeks, i had no idea what i was doing, till I started to get a hang of it (sort of) and created an actual narrative for my exhibition. I want my book to reflect my overall process in this class, but i'm not sure, if it's okay to have a "personal voice" in the book?
Thank you / Nanna
ohhhh also, I thinking about calling my exhibition "Nexus", yes/no?
Visualizing Sequencing
Green Dragon is a LA firm who focuses on book design. On their website, they have a videos of their books being flipped through. Maybe it will help you visualize the flow and sequencing of your catalog. There are 3 examples, of which tell different stories. http://www.greendragonoffice.com/
Monday, March 15, 2010
further notes for next week
hello all,
please see notes below on whats due next week. In addition to that I'd like to remark this: at this point your concept—and your ability to speak of it and about it—should be solid. In line with this, make sure the format, structure and sequence of your book evokes your concept and its intent eloquently. So, when you design the book think of the story unfolding form spread to spread, in movement, in shift(s) of intonation, pace, rhythm, density, colour etc...
think of the book as a sculptural voice, a cinematic object set in written and visual language.
also, keep this in mind:
on week 11 we will review the FINAL models and all of its inherent media components. So don't forget about this as you more forward. We will have a photoshoot then. This being said, make sure you give yourselves the opportunity to work on this PRIOR to week 11 (i.e. bring work to class alongside your book so we can assess)
thank you
carolina
please see notes below on whats due next week. In addition to that I'd like to remark this: at this point your concept—and your ability to speak of it and about it—should be solid. In line with this, make sure the format, structure and sequence of your book evokes your concept and its intent eloquently. So, when you design the book think of the story unfolding form spread to spread, in movement, in shift(s) of intonation, pace, rhythm, density, colour etc...
think of the book as a sculptural voice, a cinematic object set in written and visual language.
also, keep this in mind:
on week 11 we will review the FINAL models and all of its inherent media components. So don't forget about this as you more forward. We will have a photoshoot then. This being said, make sure you give yourselves the opportunity to work on this PRIOR to week 11 (i.e. bring work to class alongside your book so we can assess)
thank you
carolina
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