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Peter Panâs shadowÂ
FINAL// Every chapter had an element that used light to cast a shadow and some chapters even had pop-up and moving aspects. This created a less âon the noseâ design, allowing the mature reader to enjoy the book with familiar images. It was interesting casting these pages onto my ceiling and wall of my room, it brought back memories of my childhood and the big kid inside me.
FINAL//
Un-stitched shadow
Revisiting my idea, Andy challenged me to progress my idea with the focus that the reader was in fact an adult. Therefore removing the familiar images from the Disney film and focusing on less obvious imagery. Here the concept of shadows was applied and my previous design was transformed into a book that used light. This idea stemmed from Peter Pan and his shadow and what a shadow meant. Where there is dark there is light and in the deepest of dark can a light shine bright.
PROCESS// After weeks of workshops and each of us discovering our own preferred body and method, we began the creation of our final project. The idea was that it could take any form, but it needed to represent our knowledge we had gained within the studio. I continued with the exploding body and decided that I would also like to work with a dead body and give it new life, just like Dr Frankenstein (in the book Frankenstein) did with his Monster. I picked Peter Pan, as it has always been my favourite book and something that I treasured both in my childhood and even in my adulthood.
My first idea was to hide a book within a book, allowing the reader to be perceived as reading a book suited for an adult, when in fact inside was the book Peter Pan, by J. M. Barrie. To adapt my exploding body aspect, I was to hide various pop ups and images within the book, that were masked by the text. I discussed with Andy on the idea of taking iconic scenes from Disneyâs movie Peter Pan and remastering the images to create pop ups and kinetic objects the reader would interact with.
Unbinding my paperback edition of Peter Pan Before trying this with my final Peter Pan, I wanted to see how clean I could remove the pages and unbind the book. After doing this I will either cut it myself on the guillotine to clean the sine edges or take it office works to get a professional cut from their guillotine I think I will attempt to cut these ones myself in small batches on my guillotine and if Iâm not happy with the result, Iâll take my final Peter Pan to Office Works to be cut. I admit it was rather sad to be pulling apart a book I love, but I did give up some fight :P
Andyâs scummy glue binding
How to bind with only three ingredients!
ingredients:
Silicon sealant, cornflour and oil paint (optional)
Tools:
Clamp(s), caulking gun, PPE (gloves and face mask), box cutter, wood block (for bigger publications), something to mix and spread the binding paste with (used today: icy pole sticks), and something to make the binding paste in (used today: disposable plastic cups)
Method:
Clamp the text block and score the edges of the pages of the side to be bound. Smaller text blocks can be bound directly with the clamps, and bigger blocks will benefit from being clamped between too wooden blocks. Create the paste by mixing cornflour and silicon sealant with a respective ratio of 1:1, 1:2 or 1:3 depending on the level of malleability you want: more sealant will allow for more time to work with the paste before it dries. Add as much oil paint to colour the paste as preferred. Mix quickly until the pasteâs consistency is even. Spread the paste along the edge of the paper block.
Helen Schell- Unbinding the bookÂ
Schell specializes in projects about space exploration and science of the cosmos. For this book, a large book about the Moon, she will incorporate light reactive smart materials, paintings and optical illusions to create various versions of the book depending on flash and lighting conditions. Helen Schell invited us into her studio in Newcastle to show us the Moon Book she has been creating for Unbinding The Book.
Kate Morrell - Unbinding the book Sculpture artist, Kate Morrell joins the Unbinding the book project by incorporating her love for textures and her love for old fashioned typesetting.
Studio Noot - Unbinding the book  A collaborative project, which explores the transience and impermanence of the book. As the book is read over the course of the exhibition, the text will gradually disappear, pages fade to black.
Laura Jouan an artist apart of Unbinding the book project Laura is a graphic designer who wants to focus on the architecture of a Book and the physicality, structure and value of graphic mediums.
Looking into the idea of a book and what can be classified as a book
Each of these artists have a unique background and unique outlook on what a book is This project reminds me of our Frankenstein unbound project It even includes an artist who is combining two old technologies together to create something new from it Itâs worth a watch :)
What a book means to me
It seems that books may be classified as something of  nostalgia, as we are predominantly in a technological period in time.
You see more kids using their parents iPads as their source of knowledge and method of learning, however I donât believe thereâs an expiry date for books and we are a fair way away from declaring the death of books.
As a vision impaired person, youâd think my connection with books would have been severed along with my eyesight, however thatâs not the case.
It is indeed hard to find large print versions of the books I wish to read, but as silly as it might seem; I still prefer buying a psychical book that I may indeed struggle to visually read, over a digital version youâd read on your iPad or kindle.
Why?
There are many reasons and I guess nostalgia would play a part, but thereâs so many elements and takeaways that I get  from reading an actual psychical book.
Senses. The smell; how can you not enjoy the smell of the pages, especially when itâs a pre owned or borrowed book that has a lifetime in itself of memories captured in its sent. My copy of Harry Potter and the Prisoner of Azkaban to this day smells of wizz fizz and I can recall that exact moment when I was reading it for the 5th time, that I dropped the little spoon of wizz fizz on it. Â
The feeling; turning each page and feeling an achievement of progressing. How itâs designed and made to sit in your hand comfortably for long periods of time and how it warms with the heat of your touch. It crinkles and bends as you delve further into itâs story, leaving your personal mark; a scar and imprint of your time with it.
The look; I look at my copy of The Hobbit that I recieved on my 5th birthday and I see itâs cracked spin and worn pages and to me it looks like something that has been loved. It was the first ârealâ book I read and it was the first book that was read to me by my parents and itâs all visible with itâs folded pages and tatty dust cover.
The biggest thing that I love that I donât get from reading digitally, is when I put my bookmark in the chapter Iâve read up to and I look at the book closed and I see just how far Iâve read and how much I achieved. Sometimes you feel sad because you donât want to story to end or you get to see just how much more youâve got left.
The iPad and Kindle are in most ways a very practical and great idea, youâre able to hold hundreds of books in your hand in one small compact object. However, you lose some of the aspects and emotions you get from reading a physical book.
I must look like a complete weirdo with my face so close to the pages trying to read the words printed, but itâs something I enjoy and cherish. Itâs my escape from my own life and by portal to a new world and adventure.
Just like CDâs and DVDâs, I prefer to own the physical thing opposed to downloading or owning a digital version. Thereâs something about owning and collecting something that adds value to it, I feel as though I donât value the things I own digitally as I cannot hold it or feel it.
Andy's scummy glue binding
My dead bodies I dug up at Savers. They smell awesome
It was during the Renaissance that 'popular literature' was first produced - for adults. I wonder how many people could actually read at that time, and what kind of people actually bought the books?
'Chap books' sold by peldars, from the late 1500s through to the Victorian era, provided religious stories and commentaries, romances and ballads. Nursery rhymes, legends of Robin Hood and King Arthur, and Fables started to be told to children - but I haven't found when were they were first available in illustrated book form.
Ballads of Robin Hood started in the 14th century. The Arthurian Legend was described in the 12th and 13th centuries, retold verbally through generations to follow, written by Mallory in the late 15th Century and then by Tennyson in Victorian times.
In 1693, John Locke was the first to suggest the idea that children should read for pleasure, and recommended Aesop for them to try. (It is not certain who Aesop really was. I have read that he may have been an advisor to King Croesus of Lydia in the 6th century BC, but the first written collection of fables, designed for adults, appeared in the 4th century BC - but I don't know anything about later editions.)
People thought this idea of providing children with books for enjoyment was crazy, and it failed to catch on, though when hymn composer Isaac Watts wrote 'Divine and Moral Songs for Children' at least some lines had a fun ring to them - like "How doth the little busy bee ....". The dawn of writing for children was about to break.
Dream Notebook by Lolo Zhang
For more information, click here
Perhaps you could create a book that allowed you to have a hidden children adaption. The illustrations were hidden or pop up was hidden beneath the text.
DIY Japanese Stab Binding Tutorial from Life Love Paper.
This is an excellent tutorial on DIY Japanese Stab Binding. There is a diagram and download of how to stitch this quick 3 hole Japanese bound booklet that makes this tutorial so easy to follow (but I am not legally allowed to reproduce).
Not too sure if this is a method I would use, but I can see how you might be able to create something interesting with the side binding.Â