Over the course of my FMP, I've finally come up with my own definition of Synesthesia, which is a very fitting way of finishing this project.
This could also work as:
Over the course of my FMP, I've finally come up with my own definition of Synesthesia, which is a very fitting way of finishing this project.
This could also work as:
In the exhibition, I'd like to display more book than I am handing in. I'de like to display certain dummies that I feel have valuable things to say, however were excluded from the final outcomes during hand in. For example "The Yellow Wall-Paper" was excluded since I felt it did not quite fit in with the other books, add it would have required more books to be added to the final cut. Other books were excluded because they were simply a multiple of another book I am handing in. Finally, certain books just didn't meet the quality and quality I'd like to be graded on.
Ideally, I'd like to display my books in a book shelf, as this is how I originally envisioned my work to be shown. The bookshelf also acts as a way to invite people to read my books. I have also considered the option of a table, displaying my books side by side. This seems less inviting, but would place more emphasis on my over design of the book. My fears are that my books will not be read in their entirely, this shouldn't be a hard task, as they are mostly images. However, I know that my tutors will take their time and read what I have written. I'd like to have some chairs to invite people to stay longer to look at my books.
The feedback towards my project has been very positive. My main goal by giving people my books is to see how they will react with them. I'm glad people are looking at my visual interpretations of Synesthesia, but I wish they'd read it from beginning to end. My work always has more meaning when looked at in its entirely, this ties back to the way in which I work: conceptually. I've chosen to avoid tutors for feed back on the content of my books, since they all know what Synesthesia is. Instead, I've given my books and dummies to people know are not aware of it. This way I can more accurately tell if they are doing their job as I intend them to. For the most part they do, as people recall hearing about Synesthesia in the past, and if not this strikes up conversation and question. My goal with all my work is always to get viewers questioning, but its been hard balancing this with the aim of informing people about Synesthesia. As long as you read my books, you'll understand. Skimming does not do the concept justice, there are details you might miss.
My work for the project Tangible Synesthesia seeks to finds ways to translate unique experiences into physical objects for others, Synesthetes or not, to hold and explore. Bookbinding has been the main outlet of this, creating unique content under a general theme. My book, Things That Are Blue does just this; unrelated synesthetic experiences become patterns that form a greater documentation of “blue” experiences. I’ve explicitly decided to avoid any definition of Synesthesia in my work, as I feel my books themselves express Synesthesia in their own way. Furthermore, the textbook approach to Synesthesia is avoided this way; the outcomes are the genuine, personal and unique experiences from Synesthetes. The books I have made are not afraid of admitting to the novelty of Synesthesia, while remaining a neutral position to its uses or hindrances. My project faces Synesthesia head on, to inform and explore was the aim.
As suspected there are those days where everything seems to go wrong. I caught some mistakes before they happened, but others slipped past me. This entry should really be called problem solving the problem solving.
Problem: Booklet settings wrong, printing too big.
Solution: Stop the printer, start again.
Problem: Printer picks up two papers at once in the middle of printing and applies the double sided booklet settings to the stuck together papers. I effectively have 2 single sided papers where I should have 1 double sided page. This causes the last page to print on the wrong paper.
Solution: Print again.
Problem: Nice 130g paper running low.
Solution: Plan out every move.
Problem: End paper for book binding too small
Solution: Bigger paper, easy.
Problem: Printer settings wrong. Large paper unusable. Out of nice 130g paper completely now.
Solution: Aquire different paper.
Problem: First choice paper not available.
Solution: Move to second choice.
Problem: Second choice not available.
Solution: Third choice.
I kept my calm through all this, and did learn a new technique to print booklets much more reliably. Thanks to the Camberwell campus technicians I now know to export my pages and print from Adobe Acrobat instead of directly printing from InDesign. This will save me paper, time and energy for more efficient printing in the future.
At first I simply wanted a plain cover with the words "A Synesthestic Alphabet", I'm actually quite glad that did't work out. I much prefer the look of the marbles paper. in the future, I'd like to create my own marbles paper. Besides "The Yellow Wall-Paper" this is the only book for which I used pre-designed paper for my cover. All the over covers were my own creating. I'm especially proud of the cover for "Things That Are Blue", since it has both its title and my own cover design. Creating the cover for the Blue book was harder than the final product makes it look. Everything had to fit perfectly, with other paper wonky application doesn't matter, as the paper does not have any clear horizontal or vertical lines which must be kept aligned in relation to the book's edges.
The reason I chose these marbled papers for my cover is because (at least the top line) makes me immediately think of Synesthesia. The second line were back ups. The way the multitude of colours swirl and combine together, and even the choice of colour matches my own experiences and the one's I've been told about from others. The black and white paper was also a serious candidate for cover paper. Even though it does not match the description above as to why I chose these papers, it follows a similar pattern. The black and white paper as the cover for "A Synesthestic Alphabet" would have had meaning of its own. The idea behind this was the the colour would all be inside the book. Unfortunately, this paper was out of stock. Thus I chose the 3rd paper, and am really happy with it actually. And finally, I chose a purple end paper to match the colour scheme of the cover paper. It gives it a completed look. What enhances this look, is seeing the two books together. The pattern is obviously not identical on each cover, thus allowing enough difference between the two to tell them apart.
A great use for this documentation of my work is that it has provided my with a step by step guide that I can reffer back to when I am stuck when bookbinding. I've discovered that I learn best visually, thus explaining why the bookbinding instruction books in the print studio were hard for my to follow but looking at past images of me doing book binding for "The Yellow Wall-Paper" was most instructive.
My least favourite part is the stitching. I am, by nature, not a gifted sewist (sewer, seamstress?). Stitching is often where things go wrong for me and I have to stitch again. There's so much pressure to get it right, its the last step in the process and hold the entire book together. Everything leads up to this moment. I did however learn how to do the stitching by heart by doing so often. I've been looking at alternatives to stitching, and stapling seems like a good option. Still... it doesn't look as good, or even professional, nor can it hold more than a certain number of pages. Thats why I've used staples on my soft covers, and not my final pieces. I'm still a strong believer in staples, and in their use. If we take a look back at the BA Branding and Identity book from which I still draw inspiration, it is held together by two staples. What I like about this, is that they went for red staples to suit the colour scheme. In future projects I will definitely plan out staple colour, I simply didn't know that coloured staples are a thing, they could have been useful in my project.
My mind now wanders to the possibilities of colour staples. Finding staples in the exact colours of my alphabet and using this a morse code to produce a new form of writing. Words written out in coloured staples. Stapling the entire spine of a book in colour. My "Things That Are Blue" book could have had blue staples.
This book is part of my book making experimentation. Its a soft cover book containing images from my experimentation. The cover talks about Synesthesia being Neurological and Genetic, the paintings inside are a visual exploration of this.
Parts of the cover are concealed, and only revealed when the wrap around cover (which doubles up as a poster) is removed. The contents of the book are put back into perspective when the cover is looked at thoroughly. The art work mimics neurons, approaching Synesthsia in an entirely new perspective to my other books. I like it in combination with "Things That Are Blue" and "A Synesthetic Alphabet", as this book seems like the odd one out. But I see so much of Synesthesia in this: strange and unexplained. The wrap around cover incorporates my experimentation back into my final outcome, as it comes from my initial screen prints. The clashing colours of the red within the book and the green outside are representative of the uncontrollable nature of Synesthesia, as in you do not have a say as to what you experience. There is no perfect colour scheme, it's random. Its a visual joke, commenting on the fact that there are so many books about the neurological and scientific side of synesthesia, but so little just about the reactions and, honestly, strangeness of it. My book covers both, in my style.
I've decided to make the "I don't agree with your Alphabet" into two books. Book 1: "A Synesthetic Alphabet". Book 2: "I Don't Agree With Your Alphabet". Book 1 takes a more objective view on Grapheme to Colour Synesthesia, as shown in a previous post. While Book 2 is far more subjective, the idea behind this is to create two identical (hard cover) books, with the exception of "Christine" to be changed into "Me" in Book 2. I will then, by hand, comment on the colours we all see in my personal sarcastic way. Scribbling out the title to then write "I Don't Agree With Your Alphabet" on the cover instead.
I've incorporated my Screenprints back into a lot of my dummies, using them as covers and or content. I really like what I've created during my experimentation stage, and therefore want to use them in my bookbinding experimentation. I'd rather make trial books with content, than completely empty ones. The dummy for "A Synesthetic Alphabet" uses the screenprint which made me come up with the concept for it in the first place as its cover.
While working in the print studio today, the technicians informed me about their new gadget: a typewriter. I was immediately left to play with it. I'm already trying to figure out how I could possibly incorporate this into my current project. Maybe typing over screenprints I've made, adding information or context about synesthesia. I'm still amazed by the fact that it can erase anything you've typed. I've already considered the idea of typing out an entire document only to erase everything again. A word document on a computer does not have the same effect, perhaps if you tipex-ed over a printed copy... The typewriter leave a sort of mark behind, an indent, of the letter was previously there. I am aware of the time constraints of this experimentation, thus might not end up doing it. I've thought of writing a word, then typing and subsequently erasing, the Synesthetic reaction to said word.
While out of wifi reach, I've been doing the layout of all of my books, the idea for which was inspired by going through magazines and "correcting" the colours of the text within. The choice of typeface goes back to when I made a hardcover version of "The Yellow-Wallpaper", as I really liked the font. I don't usually like serif fonts, I don't feel as if they lack a more current style, and are never quite relevant to my needs. The exceptions I have found over this project are Bernard MT Condensed and American Typewriter, which will be added to my very short list of liked serif fonts: Rockwell. I feel as if they have more of a personality over other serif fonts. Also, when enlarged to an unreasonable size for a conventional book, but rather to demonstrate shape and colour, Bernard MT Condensed fits my needs.
The letters are wide enough to show the colour clearly, without having to distort them. I've also added labels to clarify that these are actual people's Synesthesia I am comparing against another. I have enough data to complete more "case study" colour samples, but for the small, landscape format I want, 6 is the right choice. Adding the world average / mode colour was a good choice in my mind, as it seemingly adds more data to my book, and further compares Synesthesia across a wider scope. I've also added my name "Christine" to the right hand page.
Sadly, when going to print, Bernard MT Condensed what not available in the UAL Library's InDesign typebase. I had to change font. I went for Polar as is does the same job.
I've been enjoying this book so much over the course of my FMP, and its what drove me to stylise my "Things That are Blue" book. Its section on Synesthesia was, however, not as helpful. It almost seems as if it avoided the topic slightly. I hope achieve a more accurate portrayal of Synesthesia with my own data.
Mendelsund, P. (2014). What we see when we read. New York: Knopf Doubleday Publishing Group.
I've been searching for different ways of book binding, and came across this in my book shelf, a MA Branding & Identity book from 2015. I really like the fact that the cover folds out to become a poster, because this could allow me to incorporate my screen prints back into my book making.
MA Graphic Branding and Identity, (2015). Blood, Sweat and Tears. London: London College of Communication.
Things That are Blue (Complete Data):
· Lola: 2, Foot massages
· Rebecca: D, T, 2, Tuesday, December, 2000-2008
· Ben: 4, four, IV
· Aaron: Mentors, teachers, role models
· Patricia: C, T, J, July, Tuesday, Thursday, Coincidence
· CC: A, C, S, 1920s
· Anna: 5, 47, Clarinets, Electronic Bass
· Mark: John Mayer’s Voice, The smell of Sugar, The taste of Tomatoes, Front flips with a half twist, A, F, V, W, 2, 4
· Mark N.: Pink’s Voice, The Smell of Vanilla Incense, The texture of Coffee with Heavy Cream
· Christine: my Music Taste, Windows, 6, 8
· Helene: Guitar Riffs, Piano, 3
· Elliot: The letters B, L, O, and W, 9 and 6 are also shades of blue, The sound of a piano, Circles
· Aaron W.: Me, the taste of tomatoes, Ukulele and guitar sounds, cheeseburgers are bluey green
· Amanda: Cold temperatures are blue (temperature>colour), The feelings of loneliness, emptiness, paranoia, and calmness are all shades of blue (emotion>colour), Males with red hair always have a blue aura.
· Sarah: A, 4, the sound of an antique John Deere running, Monday, April, August, Math
· Anonymous: O, S. O is a dark blue and S is a light blue, 2 is a darker blue, Circles, September (not the word like the actual month)
· Anonymous: the letters A(lowercase) and D(uppercase), the months of April and January, and December, the number 4
· Alayna: happiness and nice people
· Carlyn: the number 3 is purplish blue, the vocals in songs by Black Tide and Guns N Roses - more specifically bright darkish blue glowing circles that aren’t filled in, a bunch of songs by Animals As Leaders have lots of blue elements in them
· Kryx: Tuesday, Saturday
· Sandra: O, T, 5, 6
· Abby: E, M, P, march, may, September, Monday, 2, 5
· Star: B, Z, December, Katy Perry’s voice, pianos, flutes
· Rosa: D, 4, blue, circles, musical symbol fermata
· Jade: Wednesday, 5
· Anonymous: B, L, W, X, 2, bed, cold soup
· Rachel: B, L, O, W, December, Wednesday, 7, 4, biology
· Sammy: 8, doctor, biology, satin
· Amy: B, S, T, April, 2, 6
· Meghan: January, Saturday
· Camillé: Tuesday, French horn, January
References for book:
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Rolling Stone, (2016). Joe Perry. [image] Available at: http://www.rollingstone.com/music/news/aerosmiths-steven-tyler-and-joe-perry-on-oh-yeah-track-by-track-premiere-20121018 [Accessed 17 Mar. 2016].
Roundorama, (2016). Tomato. [image] Available at: http://roundorama.com/?attachment_id=1371 [Accessed 17 Mar. 2016].
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Trevor Jones Brass and Woodwind LTD, (2016). Amati 345H Full Double French Horn. [image] Available at: http://www.trevorjonesltd.co.uk/Amati_French_Horn_Full_Double.htm [Accessed 17 Mar. 2016].
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