To start off the project, we were introduced to the idea of a travelling library, holding books that we produced with the subject “eavesdropping”. I normally eavesdrop on people naturally (which is one of the ways I can get into conversations), although I was a little daunting knowing that I’d have to do this actively and on purpose.
After seeing a presentation of a video featuring Raul lemesoff (driving a travelling library), giving books to families and children; I was convinced that the book I was creating should be created for children (after all, I behave like one). So associated with one memorable book from my childhood – Ladybird books. This childhood creativity was then enhanced after playing a childhood game of Chinese whispers with the whole of class.
I wanted to produce the book initially for children. As for layout, I was using the “Ladybird book” format of text on the left, image on the right; but with the unpredictable story plot and context, it would be better suited to a teenage audience.
Most of my research has come from looking at book Layout, and colour combinations for preparing to eventually print on a risograph printer. I though the colours would provide a book that would stand out to children as they’d walk past.
The best Ideas should’ve been the first to come to mind. The “conversation on the train” was one of the first eavesdrops that I heard, but I still waited weeks to see If anything better would come up. The reason I used the conversation as a basis of the book, was that it was the only eavesdrops I could visualize a narrative immediately, and vividly. The best Ideas came when I wasn’t consciously thinking about the Ideas. Mark making with Kate Brinksworth helped loosening up my drawing and painting (even more than it was.
In development, I had to create the story first, by writing each pages content into a notebook. After which, I wrote straight onto A5 paper and matched to Illustrations drawn roughly on facing pages. I then bound the pages together to stop me losing the order of the pages, and for convenience as a working draft. This cut out having to carry around a big storyboard with only tiny thumbnails showing a fraction of what would really be on each page.
There was one relevant practitioner I looked at. Although mainly at his content in his book “750 years in Paris”. Vincent Mahe’ used screen printed images, with recurring colours all highlighted with orange (in this one particular book). I wanted to use Bright colours from the start of the project to produce striking images; and if not technically accurate, they do stand out.
I researched myself as well. What do I find funny? What makes me tick? What happens if I do this? All to achieve a spontaneous story.
All of the other research used was towards layout and composition. I haven’t made a book before, so I thought of looking at the best presented, but the simplest of books.
To edit my Initial scanned Images and text, and add the blue overlays, I used Photoshop. To convert any lines to vectors, I used Adobe Illustrator. And then to produce the layout for the booklet I used Adobe InDesign. When printing 2 spreads on A3 paper, I used “Multiple print” setting, then printed to pdf. I then printed that final pdf as a single page. If I would’ve done it again, I would have used only Photoshop and illustrator, because of the ability to turn layers on and off.
For making a 2 colour Print on the risograph, I had to create an InDesign file with linked files, I could edit, so that I could turn layers on and off (to create two colour separations). I liked the overprint effect the risograph makes, so I chose 2 contrasting colours for my book (pink and blue).
I imposed 2 spreads on A3 pages (2 to a page), and printed from each pdf file. Odd pages first. Then even (when printing on the back of the sheets)
The risograph was a new Process to me. I could have used a normal CMYK print to print my work, but the overprints on the risograph can only be achieved when screen-printing. The colour is ready-mixed. The process If quite unpredictable which is reflected in the story of the book.
I also want to get to use the process more, so to make a whole book, on my first attempt, provides a steep learning curve.
The only thing I would judge as being completely successful, Is the CMYK print copy of the book. While it was duller than the Risograph prints, the registration was good, the colours were accurate to the digital copy, and the text wasn’t cut up. I was also able to print it on the same paper as my risograph prints. Although with inkjet prints, the paper becomes too glossy for the effect I wanted to achieve. The other thing that’s successful, is the fact that I’ve stuck to the brief. My Project still relates to eavesdropping. It may have turned into an improvised story, but it started with eavesdropping.
I had to keep reconfiguring the pdf booklet files that were imposed onto A3, the registration was always off, as well as consistent misprints. I got yesterday that this was because I needed to flatten the original files before Importing into InDesign, because the pdf can still pick up any faults in the files. I know for next time.
If I could try the project again, I’d get my book professionally printed on risograph. Somewhere like ROPE PRESS, and print a batch. That would beat any conventional printers in colour and quality. If it would be faster, I’d involve screen printing into the book, and with a thicker cover (card). I’ll concentrate on refining my drawings more in the future, and going with first ideas quickly, so I can get into drawing, rather than thinking what to draw.
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