Watch back on the video and comment.
Nigel Ready CRJ here worked on a book on his FMP worked with Victoria.
We’re now into the new year 2020 and a good time to have looked back at this video of the making of a book on the landscapes of Seamus Heaney, for now, MA graduate Nigel Ready.
There is more activity with Victoria who is returning to give another talk in her series followed shortly afterwards with a review session which has been ‘booked’.
Addressed during the break has been the limited numbers of pictures available to publish and so this has been worked on. Still not satisfied, there are now more images where each theme has a limited to draw upon. Making a book is going to be a big challenge notwithstanding having hand bound a book already for the course.
Challenges also are cover embossing / cover image as that craft has not been tried out.
Victoria’s Guest Lecture
What follows are some key points and a few images that serve to remind.
Apart from the introductory slide showing some of the scope of Victoria’s work, the others cover: the brief, reply, embossing of cover, the outake with shovel that determined something of the cover design.
This outlines some of the points when working with a book designer.
The brief in the slide above was accompanied by a tight edit. The reply slide content widens what the book designer gets to see for the edit.
At the early stage the photographer has cropped in to images and they have a significance that can be lost on the viewer. The scope was quickly reduced to poet Seamus Heaney. Victoria twice used web resources to get a feel of the poet speaking/reading his poetry and of the styles of cover others had used before taking inspiration from Nigel’s photos.
Resolve what you are saying.
Determine emotional response and voice.
Allow wider selection to depict the subtleties of a complex subject. This used 150 photographs. It was only 64 at the start.
Get a feel (YouTube readings).
Work always starts with the photography and cases of two images saying the same thing reduced to one image.
Choose top images in editing down.
Made pairings and made a run (narrative).
Narrative shouldn’t be forced.
Go by the run of the images. Outcomes could be adjust, re-create or reshoot. Probably best is to stick to the run where possible?
Title VERSO inspired by listening to the poet. Digging the earth and turning the soil, turning words and in bookmaking verso is the left had turned page. So a name and a narrative.
Developments led to borders and lines and visual themes.
Some photographs remain personal to the photographer yet fall outside the narrative e.g. being not moody enough. These are separated out.
With a PDF and printed pages, many hours are spent re-arranging pages and tweaking.
Next were design features. The photography informs the design, Accompanied by the Google search of visual language others have used.
Decide on graphics and type to create a mood and tone. The cover design was embossed as ploughed fields with typography inspired by the poet’s gravestone.
Summary in relation to the Motherline project.
The starting position was alluded to at the top of this blog. Book experience has included being published in a group photographic project, and having learned how images are laid out and paired up, along with an awareness of typography being important as well as transitions etc. Finally, rudimentary making has been done by way of a practice book, a dummy and an exhibition pamphlet. A number of other books have been witnessed being reviewed.
In essence, the subject matter of design has many varied parts and practice is neat but fairly elementary, especially compared to what is on the shelves of the bookshop.
An attempt will be made at preparing a piece of work needed for the meeting with Victoria. The base question is whether there is enough image content to fill a book in a consistent manner.
Related activity around a module end and the lead in to a book and an exhibition was an experience gained. The challenge is over what can be done in the available time and being ready.