EV 7.745

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Final photos. 

Because this was part of a larger design project, I actually had the forethought to take nice photographs before turning it in. Well, was required to have the forethought by virtue of a process PDF. 

Country Food is being sold for $10, with all proceeds being donated to the Inuit Collective Kitchen of Chez Doris. 

I’ve also been recommended to look into Artexte as a means of displaying it and informing a larger audience about the project. 

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Second prototype. Went smaller and moved the title to the package band. 

Suggestions for improvement: reframing of the photographs.

Q: is the newsprint too delicate/too precious?  A: for me, I don’t mind if the band rips, it is only a temporary packaging in my mind. I think the books are a little more sturdy than people think but maybe because I built it, I know how to handle it...I shortened the cut so that it was a little stronger, hopefully that helps. 

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Country Food, first prototype.

I printed on newsprint to save Fabriano but it turns out I like the combination of this color print on the sensual quality of the newsprint? I decided to use it instead. My approach was to design this object such that it can be viewed as a book of Duffy’s text and a full-sized poster of Pottle’s. I also wanted to include a full-color version of Pottle’s photo because it was important to me that the viewer also see it as the photographer intended it to be seen. 

Feedback includes: readability of the orange text on the blue of volume 2; the size, could go smaller with larger font; use one column for the smaller size; title of piece. 

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sketches.

Given that I wanted to make multiples and there was a quick turnaround time, I decided to go with a zine fold to avoid binding. In order to make it more interesting, I decided to add an extra panel so it would have 10 pages instead of 8. 

I have some Fabriano paper I have yet to find a use for, a roll of 39 inches. I was interested in having a 9″ x 6″ book; with the Fabriano, I took it down to 5″ wide to account for border.

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Foodland Security, Barry Pottle, 2012

Barry Pottle is the second artist with whom I was able to collaborate. His Foodland Security photograph series speaks directly to issues urban-bound Inuit people face. 

“Country food is intertwined with the Inuit culture. This food comes from animals and plants that people hunt, fish, or gather. These traditional foods include caribou, seal, whale, fish, birds, and berries. Food preparation includes the skinning and butchering of animals, cleaning of plants, and further preparation for eating such as boiling, drying, and other techniques. Once in urban centres, Inuit experience a great shift in diet from traditional or country food to store-bought, processed foods. My plan in setting out to do this project was—first and foremost—an art project as I strive to bring awareness and justice to what I call Contemporary Urban Inuit Photography. “

Barry Pottle on his photograph series

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My cousin Dave and I were always the first to kneel by the cardboard. We’d wait patiently and expectantly as my grandfather began placing various Arctic delicacies out for his family to enjoy. Surrounded by aunts, uncles and cousins, there was little room for standing, let alone sitting. But there was always room for anyone who wanted to eat. Their door was never locked and they never turned anyone away, especially if you were hungry.

Adina Tarralik Duffy of Ugly Fish Design is an Inuit artist I’ve contacted in order to work with for this project. This is one of her texts on her relationship with food, family, and culture. I would love to work wit this text specifically but because I am intending to sell the book (though it is specifically to generate funding for a local non-profit) there may be copyright issues with the magazine. 

[buromarks]

https://instagram.com/p/5X2OFqSJ-u/

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[twotimeselliott]

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Occupied Mono, Aaron Gillett

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[zdenekruzicka]

Zine — Guilty Pleasure # 01 / 35 limited copies / Riso print / 2016

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Printing Proofs, round 2

I work for the print media department and in order to save money, I’m printing my book in the digital lab facilities. They’re large formate inkjet printers that aren’t actually designed for recto-verso printing so you have to invest time in aligning the document to be printed. 

Cheap. Fast. Good. You can only choose two.

Print quality, 1440 dpi vs 720 dpi. 

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[moiré] is the working title of my book(let). 

We’re taught about moiré patterns in screenprinting; the bitmapping of stencils can have a mismatched pattern with the mesh of the screen, resulting in visual interference. The resulting animated illusion I feel is relevant to the topic of personality so I’m using it as a motif. 

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Mapping out printing. I can never mentally deconstruct these books so it’s always best to write it down. Then write it down again.

Then one more time!

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A first draft. An exercise in how to display texts simultaneously. 

I’m playing mostly with the irregular use of columns, reflecting the concept but still working within a grid system. Major notes for myself: typeface could be smaller, page numbers are too intrusive for the size of the book, add a folio. 

Texts appropriated from invisibilia (podcast and npr article) and Luvina Barbosa. Typefaces: Young Serif and Work Sans. 

[womenofgraphicdesign]

Yulia Popova (Berlin, Germany)

Monstrous Feminine, 2014, thesis for BA Integrated Design program at the Cologne International School of Design

Keep reading

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Fragments d’un voyage, Camille Palandjian