Week 22

What I did

Saturday March 3rd [all day]:

Writing and editing thesis paper.

Option to blind emboss map onto the slip cases,

distinguishable but still a mystery to what the location really is.

It all seems to be adding together with the idea of revealing and concealing.

I also want to think about the structure of the slip-cases, if they should have chambers that reveal certain books to get to the next one. 

And do I have time for that

Silent London, blind embossed etching (Simon Elvins) and part ofThe Map as Art: Contemporary Artists Explore Cartography

I would make my maps in woodblock relief just like how my prints are done.

This is a shot of all 3 of my unnamed places in relation to each other spatially. I want each slip case to have their respective chunk of the map, and together all the slipcases create the map above. (not including names of cities) This could be put into the laser cutter on mdf board to get a precise cut, then further carved out by hand. 

To Do in less than a month:

-Build slip cases

-Decide on paper for slipcases that match Rives Ltwght in the booklets

-Blind emboss "Unnamed Places" and map x 3 to incorporate into the cases

-Finish carving woodblocks

-Poetry finalization

-Layout finalization with woodblocks printed

-Book-making

How many editions?

And I need time to prototype for mistakes.

Is this going to happen?

Sunday March 4th [all day]:

Finding reference artists and origins of woodblock printing

WRITING

Revised proposal...

Unnamed Places is an accumulation of memories and poetic writing of places I go to be alone. I am interested in working with solitary locations because I have a strong connection to certain areas when I’m in need of an escape. I want to explore where these feelings come from personally, I want to share them, and I want to make them accessible to others. There is a strong potential in revealing and concealing information through a booklet form. My intent is to portray solitary needs, specifically locations of escape that are often overlooked by many people. There will be no traditional title page, as I want to create an interest with the form itself, and use the sequence of poetry and unfolding to immerse the reader in an intimate experience. 

Monday March 5th [5hrs]: Writing Thesis!

Tuesday March 6th [6hrs]: Studio Hours
Carving the cormorant block.
Creating stencils to get rid of noise around the print area.
Meeting with Professor Brown about slip cases and blind embossing.
Came up with a few ideas. She offered to help me create one on an open studio night at Hollander's.
Sketching the next illustrations for the woodblocks.

Wednesday March 7th [1hr]: Finished all the drawings for the next series on tracing paper, scanned into the computer.

Thursday [6hrs]: Adjusted the drawings to fit into my spread size, printed them out, and transfered them onto the blocks. Bought Rives Heavy Weight paper to use instead of Rives Lightweight.
Plans to do binding on Tuesday with part of the class.
Paper or board slipcase? Can't create multiple due to the thin size of the books.
One to encase all, then slip bands to encase each series.
Plans to bombard Signal Return and Megan with questions.

Friday: doing things later.

What I Discovered
Things are possible. I am having a hard time writing the poetry for the other two areas, it isn't flowing yet. I hope something clicks over the weekend.


What to Do Next
Simulate the thickness of all the books and see how the dimensions of the slip case will work.
Bands around the books?
Cut blocks! The best part.
Finish up poetry to see how many books each series will need.
Prototype.