The printing process was straight-forward enough and my document had no issues when it came to sending it to print.
I chose a very smooth white finish of paper which had a slight sheen to it. I asked James (the printing technician) which were the best papers to use for printing and assembling books and he suggested two: a white and a cream. I did not think that the cream would work well with my artwork so that made my paper options easy. This paper was also a great thickness for folding, not too thick but heavyweight enough to not crease easily.
The only problem I did notice once I had printed my first copy, was that one of the artwork backgrounds hadn't come out white enough, therefore stood out in the set as having a light grey background.
To fix this I edited the artwork once more in photoshop using the digital techniques I had used previously - involving the airbrush tool. Once I was satisfied with the changes, I saved the document and reprinted the spreads of my book. The second print was perfect and although areas of detail in the artwork I felt could have come out a lot cleaner, I was happy with the overall look.
When printing I asked for the registration marks to be printed outside of the artwork pages. This helped me greatly in knowing exactly where to trim the pages of my book and where the centre line should be when folding the spine.
Hand Binding
I chose a deep yellow thread when hand binding as this colour really complimented the colour scheme within the artwork throughout the whole book. The decision to hand bind also added a natural quality to the finish of the book, something which I feel metal staples would not have achieved.I arranged my final trimmed pages in order and pinned them to a reference sheet on which I had marked out my binding hole design. I decided to bind using 3 sets of 3 holes, each set with the holes at 1.5cm apart. I felt this would work best at keeping the pages sturdy and in line with each other when the book is being handled.
I have never properly hand bound a book before so I was lucky enough to have a friend on the course to show me.
Stages:
- I placed the needle through the middle hole in the set of 3 from the outside first and pulled the thread through, leaving a little extra for tying at the end.
- I then poked the needle through the top hole from the inside leading outwards.
- I poked the needle through the bottom end hole from the outside and then pulled the thread taught.
- I lastly put the needle back up through the centre hole from the inside and tied the remaining thread to the extra I had left over at the beginning.
- I repeated this for each set of holes, removed the paper clips holding the pages in place, cut away any excess thread and my book was now neatly bound
Hand bind complete:
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| Inside bind |
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| Outside bind |
Final Book
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| Front Cover |
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| Pages 2 & 3 |
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| Pages 4 & 5 |
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| Pages 6 & 7 |
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| Pages 8 & 9 |
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| Pages 10 & 11 |
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| Pages 12 & 13 |
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| Pages 14 & 15 |
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| Back cover |
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| Collection for 'Mega Crit' |
Feedback from 'Mega Crit'
Overall Successes
- I really think the size and format of my final book works well with the artwork within it, complimenting and framing it on every page. I like the page dimensions because each image is large enough to see every detail of the painted images on wood, but the book is small enough to be held easily in the hand. (Important for people with little hands like me)
- I am surprisingly pleased with the artwork itself and my first attempt at painting. I put a lot of time and effort into it and I feel it conveys the story I wanted to tell and the journey through my chosen location well.
- I was initially worried about my snap decision to change the layout of the book from concertina to saddle stitch, but I think this change has been effective in a positive way and it hasn't in anyway taken away from the pace and flow I had been trying to achieve throughout this book.
- I have never been a fan of digital methods full stop, as I much prefer analogue methods, things you can touch and feel. In some ways I almost see it as a challenge to take it upon myself to create things traditionally to match that and exceed work done digitally. Throughout this module however, I have learnt to work with digital methods and this has been really beneficial to me in the overall outcome of my artwork. It is because of this that I would like to explore these methods in greater detail, to help improve my practice as a whole.
- In light of the amazing feedback I received during the final crit, I was so pleased to see how much people liked and responded to my book. I was worried it would be too simple and not engaging enough, but everyone seemed to love the concept, my choice in media and the story itself. Even some offers to buy it - wow
Overal Failures
- Despite the decision to change the layout of my book working well in the final product, I would have really liked to explore the concertina side to book making. When done right the layout of a concertina book is so beautiful and interesting and I think this would have really complimented my story.
- I would have really liked the artwork to be properly photographed instead of scanned, as although the final blurred edges result of the wood is quirky, it is not "finished" enough for me. Also I think I would have been able to achieve a higher quality of digital image using photographic methods. I will keep this in mind when digitalising artwork in the future.
It took a lot (A LOT) of courage for me to produce artwork in the style I have for this book and step away from areas of comfort well known to me such as paper cut and fine liner. It was partly a process of training my brain to think in other ways, take new paths and reach other visual solutions, as well as being brave. Overall I am proud of myself for trying something completely new and having something with a real sense of completion and professionalism to show for it. I have learnt so much throughout this process and these battles have given me the confidence to be a lot braver in the future.
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