Elective B Supporting Material by Eleanor Maclure

Elective B Book Arts Supporting Material

MA Graphic Design Part Time Unit 2.2

Eleanor Maclure

MA Graphic Design Part Time Unit 2.2 Elective B Book Arts Supporting Material

Elective B Book Arts Supporting Material

Eleanor Maclure

Elective B Book Arts

Brief

Chosen Text: Alice in Wonderland 8

Alice’s Adventures in Wonderland (commonly shortened to Alice in Wonderland) is an 1865 novel written by English author Charles Lutwidge Dodgson under the pseudonym Lewis Carroll. It tells the story of a girl named Alice who falls down a rabbit hole into a fantasy world (the Wonderland of the title) populated by peculiar and anthropomorphic creatures. The tale plays with logic in ways that have given the story lasting popularity with adults as well as children. It is considered to be one of the best examples of the literary nonsense genre, and its narrative course and structure have been enormously influential, especially in the fantasy genre. Alice was published in 1865, three years after the Reverend Charles Lutwidge Dodgson and the Reverend Robinson Duckworth rowed in a boat, on 4 July 1862, up the River Thames with the three young daughters of Henry Liddell, (the Vice-Chancellor of Oxford University and Dean of Christ Church) : Lorina Charlotte Liddell (aged 13, born 1849) (“Prima” in the book’s prefatory verse); Alice Pleasance Liddell (aged 10, born 1852) (“Secunda” in the prefatory verse); Edith Mary Liddell (aged 8, born 1853) (“Tertia” in the prefatory verse). The journey began at Folly Bridge near Oxford and ended five miles away in the village of Godstow. To while away time the Reverend Dodgson told the girls a story that, not so coincidentally, featured a bored little girl named Alice who goes looking for an adventure. The girls loved it, and Alice Liddell asked Dodgson to write it down for her. After a lengthy delay—over two years—he eventually did so and on 26 November 1864 gave Alice the handwritten

manuscript of Alice’s Adventures Under Ground, with illustrations by Dodgson himself. Some, including Martin Gardner, speculate there was an earlier version that was destroyed later by Dodgson when he printed a more elaborate copy by hand,but there is no known prima facie evidence to support this. But before Alice received her copy, Dodgson was already preparing it for publication and expanding the 15,500-word original to 27,500 words, most notably adding the episodes about the Cheshire Cat and the Mad Tea-Party. In 1865, Dodgson’s tale was published as Alice’s Adventures in Wonderland by “Lewis Carroll” with illustrations by John Tenniel. The first print run of 2,000 was held back because Tenniel objected to the print quality. A new edition, released in December of the same year, but carrying an 1866 date, was quickly printed. As it turned out, the original edition was sold with Dodgson’s permission to the New York publishing house of Appleton. The binding for the Appleton Alice was virtually identical to the 1866 Macmillan Alice, except for the publisher’s name at the foot of the spine. The title page of the Appleton Alice was an insert cancelling the original Macmillan title page of 1865, and bearing the New York publisher’s imprint and the date 1866. The entire print run sold out quickly. Alice was a publishing sensation, beloved by children and adults alike. Among its first avid readers were Queen Victoria and the young Oscar Wilde. The book has never been out of print. Alice’s Adventures in Wonderland has been translated into 125 languages. There have now been over a hundred editions of the book, as well as countless adaptations in other media, especially theatre and film.

Reference: http://en.wikipedia.org/wiki/Alice_in_Wonderland [Accessed 16/11/10].

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9 The book is commonly referred to by the abbreviated title Alice in Wonderland, an alternative title popularized by the numerous stage, film and television adaptations of the story produced over the years. Some printings of this title contain both Aliceâ&#x20AC;&#x2122;s Adventures in Wonderland and its sequel Through the Looking-Glass, and, What Alice Found There.

Cover of the 1898 edition

Reference: http://en.wikipedia.org/wiki/Alice_in_Wonderland [Accessed 16/11/10].

Initial Inspiration

Spring Snow A Translation by Alison Turnbull 10

Alison Turnbull takes Japanese author Yukio Mishima’s novel ‘Spring Snow’ as a starting point to produce Spring Snow – A Translation, which is literally a visual translation ordered by colour. Drawing on Mishima’s evocative use of colour in the novel, Turnbull condenses the narrative into a colour palette. Working from the English edition, she isolates and orders each of the more than six hundred colours as they appear in the text - what emerges is a visual essay on the nature of translation. In the introduction - which in turn is translated into Japanese - novelist Tony White creates a narrative remix of cut-ups from various sources, reflecting on Turnbull’s work and its relationship to the life and work of Kimitake Hiraoka, also known as Yukio Mishima. Printed offset litho Edition of 1,000 copies Full colour images 152 pages and a soft cover with jacket Designed by Practise 148 x 105 mm.

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Reference: http://www.bookworks.org.uk/asp/detail.asp?uid=book_2E1B85A5-554D-44AE-B43E-97A970E7918D&sub=pas [Accessed 14/11/10].

Analysis of Text

Colours Featured in Alice in Wonderland

The Occurrence of the Colour in the Text

Analysis of the text in Alice in Wonderland for instances of colour names within the narrative in order to create an interpretation of the text through the use of colours. However the number and variety of colour names used in the book is actually relatively limited and would not create a very satisfactory interpretation of the narrative.

White Rabbit Pink Eyes Orange Marmalade White Rabbit Golden key Golden key Red-hot poker Golden key Golden key White Rabbit White kid gloves Golden scale White kid gloves Golden key Brown hair White Rabbit White kid gloves White kid gloves White Grey locks Green leaves Green stuff Green leaves Golden key White (roses) Red

Red rose-tree White White Rabbit Crimson velvet cushion Crimson with fury White Rabbit White Rabbit Brown Green White Rabbit White Rabbit White Rabbit White Rabbit White Rabbit White Rabbit White Rabbit White Rabbit White Rabbit White Rabbit White Rabbit White Rabbit

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Colour Interpretation 13

White Rabbit

Pink Eyes

Orange Marmalade

Golden Key

Red Hot Poker

White Kid Gloves

Golden Scale

Brown Hair

Grey Locks

Green Leaves

Red Rose Tree

Crimson Velvet Cushion

Additional Inspiration

Extension and Further Exploration of Ideas from Unit 2.3 Design & Rhetoric 14

My work in Unit 2.3 Design & Rhetoric is based on how colours acquire culture and meaning through naming. In the project I have been exploring the idea through looking at the names given to consumer paint colours. How the name ascribed to a colour can be used to anchor the meaning and imagery it evokes to a particular concept. The colour red has many associations and connotations, however naming a particular swatch of red ‘Valentine’ creates very different associations than if it was named ‘Post Box’ As an extension of this idea I wanted to interpret the text of Alice in Wonderland in colours. As few actual colour names appeared in the text I decided to take characters, key objects and events and assign colours to the words as a reversal of the process of assigning names to colours. This would then almost create a palette of the colours in the story. A similar concept to this was a project by Raw design studio called Christmas by Colour. This was a collaborative online project where suggestions from their blog, of colours on the theme of Christmas, were turned into a poster.

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Reference: http://www.christmasbycolour.co.uk/ [Accessed 28/09/10].

Additional Inspiration

Ella Young Best of British 16

A tongue in cheek exploration of colours associated with British heritage. Using the swatches of wellestablished British colour specialist Farrow & Ball, we created colour palettes influenced by visuals that we consider to be truly British. From a greasy spoon fry up, to control-top knickers swaying on a clothesline, this publication is a celebration of British culture; the good the bad and the ugly.

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Reference: http://www.ellayoung.co.uk/index.php?/project/best-of-british/ [Accessed 28/09/10].

Analysing the Narrative

Summary of the Text 18

Chapter 1 – Down the Rabbit Hole: Alice is bored sitting on the riverbank with her sister, when she notices a talking, clothed White Rabbit with a watch run past. She follows it down a rabbit hole when suddenly she falls a long way to a curious hall with many locked doors of all sizes. She finds a small key to a door too small for her to fit, but through which she sees an attractive garden. She then discovers a bottle labelled “DRINK ME”, the contents of which cause her to shrink too small to reach the key. A cake with “EAT ME” on it causes her to grow to such a tremendous size her head hits the ceiling. Chapter 2 – The Pool of Tears: Alice is unhappy and cries and her tears flood the hallway. After shrinking down again due to a fan she had picked up, Alice swims through her own tears and meets a Mouse, who is swimming as well. She tries to make small talk with him but all she can think of talking about is her cat, which offends the mouse. Chapter 3 – The Caucus Race and a Long Tale: The sea of tears becomes crowded with other animals and birds that have been swept away. Alice and the other animals convene on the bank and the question among them is how to get dry again. The mouse gives them a very dry lecture on William the Conqueror. A Dodo decides that the best thing to dry them off would be a Caucus-Race, which consists of everyone running in a circle with no clear winner. Alice eventually frightens all the animals away, unwittingly, by talking about her cat. Chapter 4 – The Rabbit Sends a Little Bill: The White Rabbit appears again in search of the

Duchess’s gloves and fan. Mistaking her for his maidservant, Mary Ann, he orders Alice to go into the house and retrieve them, but once she gets inside she starts growing. The horrified Rabbit orders his gardener, Bill the Lizard, to climb on the roof and go down the chimney. Outside, Alice hears the voices of animals that have gathered to gawk at her giant arm. The crowd hurls pebbles at her, which turn into little cakes. Alice eats them, and they reduce her again in size. Chapter 5 – Advice from a Caterpillar: Alice comes upon a mushroom and sitting on it is a blue Caterpillar smoking a hookah. The Caterpillar questions Alice and she admits to her current identity crisis, compounded by her inability to remember a poem. Before crawling away, the caterpillar tells Alice that one side of the mushroom will make her taller and the other side will make her shorter. She breaks off two pieces from the mushroom. One side makes her shrink smaller than ever, while another causes her neck to grow high into the trees, where a pigeon mistakes her for a serpent. With some effort, Alice brings herself back to her usual height. She stumbles upon a small estate and uses the mushroom to reach a more appropriate height. Chapter 6 – Pig and Pepper: A Fish-Footman has an invitation for the Duchess of the house, which he delivers to a Frog-Footman. Alice observes this transaction and, after a perplexing conversation with the frog, lets herself into the house. The Duchess’s Cook is throwing dishes and making a soup that has too much pepper, which causes Alice, the Duchess and her baby (but not the cook or her

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grinning Cheshire Cat) to sneeze violently. Alice is given the baby by the Duchess and to her surprise, the baby turns into a pig. The Cheshire Cat appears in a tree, directing her to the March Hare’s house. He disappears but his grin remains behind to float on its own in the air prompting Alice to remark that she has often seen a cat without a grin but never a grin without a cat.

into chaos. Live flamingos are used as mallets and hedgehogs as balls and Alice once again meets the Cheshire Cat. The Queen of Hearts then orders the Cat to be beheaded, only to have her executioner complain that this is impossible since the head is all that can be seen of him. Because the cat belongs to the Duchess, the Queen is prompted to release the Duchess from prison to resolve the matter.

Chapter 7 – A Mad Tea Party: Alice becomes a guest at a “mad” tea party along with the Hatter (now more commonly known as the Mad Hatter), the March Hare, and a sleeping Dormouse who remains asleep for most of the chapter. The other characters give Alice many riddles and stories. The Mad Hatter reveals that they have tea all day because time has punished him by eternally standing still at 6 pm (tea time). Alice becomes insulted and tired of being bombarded with riddles and she leaves claiming that it was the stupidest tea party that she had ever been to.

Chapter 9 – The Mock Turtle’s Story: The Duchess is brought to the croquet ground at Alice’s request. She ruminates on finding morals in everything around her. The Queen of Hearts dismisses her on the threat of execution and she introduces Alice to the Gryphon, who takes her to the Mock Turtle. The Mock Turtle is very sad, even though he has no sorrow. He tries to tell his story about how he used to be a real turtle in school, which The Gryphon interrupts so they can play a game.

Chapter 8 – The Queen’s Croquet Ground: Alice leaves the tea party and enters the garden where she comes upon three living playing cards painting the white roses on a rose tree red because the Queen of Hearts hates white roses. A procession of more cards, kings and queens and even the White Rabbit enters the garden. Alice then meets the King and Queen. The Queen, a figure difficult to please, introduces her trademark phrase “Off with his head!” which she utters at the slightest dissatisfaction with a subject. Alice is invited (or some might say ordered) to play a game of croquet with the Queen and the rest of her subjects but the game quickly descends

Chapter 10 – Lobster Quadrille: The Mock Turtle and the Gryphon dance to the Lobster Quadrille, while Alice recites (rather incorrectly) “’Tis the Voice of the Lobster”. The Mock Turtle sings them “Beautiful Soup” during which the Gryphon drags Alice away for an impending trial. Chapter 11 – Who Stole the Tarts?: Alice attends a trial whereby the Knave of Hearts is accused of stealing the Queen’s tarts. The jury is composed of various animals, including Bill the Lizard, the White Rabbit is the court’s trumpeter, and the judge is the King of Hearts. During the proceedings, Alice finds that she is steadily growing larger. The dormouse scolds Alice and tells her she

Analysing the Narrative

Summary of the Text

List of Characters

has no right to grow at such a rapid pace and take up all the air. Alice scoffs and calls the dormouse’s accusation ridiculous because everyone grows and she can’t help it. Meanwhile, witnesses at the trial include the Mad Hatter, who displeases and frustrates the King through his indirect answers to the questioning, and the Duchess’s cook.

Chapter 12 – Alice’s Evidence: Alice is then called up as a witness. She accidentally knocks over the jury box with the animals inside them and the King orders the animals be placed back into their seats before the trial continues. The King and Queen order Alice to be gone, citing Rule 42 (“All persons more than a mile high to leave the court”), but Alice disputes their judgement and refuses to leave. She argues with the King and Queen of Hearts over the ridiculous proceedings, eventually refusing to hold her tongue. The Queen shouts her familiar “Off with her head!” but Alice is unafraid, calling them out as just a pack of cards; just as they start to swarm over her. Alice’s sister wakes her up for tea, brushing what turns out to be some leaves and not a shower of playing cards from Alice’s face. Alice leaves her sister on the bank to imagine all the curious happenings for herself.

Reference: http://en.wikipedia.org/wiki/Alice%27s_Adventures_in_Wonderland [Accessed 4/11/10].

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Additional Influences

Associations of Alice In Wonderland with Psychedelic Drugs Culture It has been suggested that Lewis Carroll was under the influence of hallucinogenic drugs at the time of writing Alice in Wonderland, however there is no actual evidence to support this claim. Despite this the story was influential on music and colourful psychedelic art in the drugs culture of the 1960s.

There has been much speculation that Dodgson used psychoactive drugs, however there is no direct evidence that he ever did. It is true that the most common painkiller of the time – laudanum – was in fact a tincture of opium and could produce a “high” if used in a large enough dose. Most historians would admit Dodgson probably used it from time to time, since it was the standard domestic painkiller of its day and was to be found in numerous patent medicines of the time, but there is no evidence he ever abused it or that its effects had any impact on his work. There is no factual evidence to support a suggestion that he smoked cannabis. However, many people regard Alice’s hallucinations in the Wonderland, when surrounded by teas, mushrooms and smoking insects, as references to psychedelic substances. This suggestion of psychedelic drug use made him extremely popular to the counterculture of the 1960s and was a positive way of showing the mainstream that one of their most famous and highly regarded writers also used these forbidden substances. Grace Slick wrote a song, “White Rabbit,” recorded with both The Great Society and Jefferson Airplane, which depicted Carroll’s Alice in Wonderland as a psychedelic drug trip. It has also been suggested that Dodgson suffered from lead poisoning, as it was common at the time, though no evidence supports this claim.

Reference: http://answers.yahoo.com/question/index?qid=20100418155854AAnZ6Q6 [Accessed 7/11/10].

Assigning Colours

Initial List of Key References in Narrative to Interpret as Colours 22

Alice The White Rabbit The Mouse The Dodo The Lory The Eaglet The Duck Pat Bill the Lizard The Caterpillar The Duchess The Cheshire Cat The Hatter The March Hare The Dormouse The Queen of Hearts The Knave of Hearts The King of Hearts The Gryphon The Mock Turtle Pig Baby? Pigeon? Mary Ann? Frog Footman The Cook The Executioner Rabbit Hole Tea Party Drink Me Eat Me Golden Key Garden Curiouser and Curiouser I’m Late I’m Late Mouse’s Tail

Kid Gloves Pepper Mushroom Pocket Watch Treacle Bread & Butter Croquet Lobster Quadrille Treacle Tart Pack of Cards Tears White Roses Flamingos Hedgehogs Beautiful Soup

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Revised List of References Alice The White Rabbit The Dodo The Lory The Eaglet The Duck Bill the Lizard The Caterpillar The Duchess The Cheshire Cat The Hatter The March Hare The Dormouse The Queen of Hearts The Knave of Hearts King of Hearts The Gryphon The Mock Turtle Pig Baby Pigeon Frog Footman The Cook The Executioner Rabbit Hole Tea Party Time Drink Me Eat Me Golden Key Garden Curiouser and Curiouser I’m Late I’m Late Mouse’s Tail Kid Gloves Pepper

The Mushroom Pocket Watch Treacle Bread & Butter Croquet Lobster Quadrille Treacle Tart Pack of Cards Tears White Roses Flamingos Hedgehogs Beautiful Soup Alice’s Dream Puppy Mouse Off With Their Heads

Assigning Colours

Visualising Colours 24

Alice Light Blue The White Rabbit White The Dodo Grey/Brown The Lory Bright Red The Eaglet Light Grey The Duck Orange Bill the Lizard Green The Caterpillar Light Green The Duchess Burgundy The Cheshire Cat Ginger The Hatter Green The March Hare Mid Brown The Dormouse Light Brown The Queen of Hearts Bright Red The Knave of Hearts Red King of Hearts Dark Red The Gryphon Dark Green The Mock Turtle Tortoise Shell Pig Baby Peachy Pink Pigeon Mid Grey Frog Footman Olive Green The Cook Mid Blue The Executioner Black Rabbit Hole Dark Brown Tea Party Pink Time Light Grey Drink Me Purple Eat Me Bright Pink Golden Key Gold Garden Lush Green Curiouser and Curiouser Light Mauve I’m Late I’m Late Red Mouse’s Tail Taupe Kid Gloves White Pepper Burnt Orange

Mushroom Brass Very Dark Brown/Black Pale Yellow Off White Coral Pale Golden Yellow Dirty Light Grey Pale Grey-Blue White Pale Pink Brown Pale Green Pale Blue Pale Golden Brown Brown Dark Red

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Visual References 25

Assigning Colours

Visual References 26

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Assigning Colours

Visual References 28

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Visualising Colours 29

Alice

The White Rabbit

The Dodo

The Lory

The Eaglet

The Duck

Bill the Lizard

The Caterpillar

The Duchess

The Cheshire Cat

The Hatter

The March Hare

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Visualising Colours 30

The Dormouse

The Queen of Hearts

The Knave of Hearts

King of Hearts

The Gryphon

The Mock Turtle

Pig Baby

Pigeon

Frog Footman

The Cook

The Executioner

Rabbit Hole

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Tea Party

Time

Drink Me

Eat Me

Golden Key

Garden

Curiouser and Curiouser

I’m Late I’m Late

Mouse’s Tail

Kid Gloves

Pepper

The Mushroom

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Visualising Colours 32

Pocket Watch

Treacle

Bread & Butter

Croquet

Lobster Quadrille

Treacle Tart

Pack of Cards

Tears

White Roses

Flamingos

Hedgehogs

Beautiful Soup

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Aliceâ&#x20AC;&#x2122;s Dream

Puppy

Mouse

Off With Their Heads

Research on Paint Colours

Background Research into Paint Colours 34

Looking at modern and traditional paint colours and charts

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Research on Paint Colours

Historical Paint Colours 36

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Reference: Papers and Paints, 2010. The 1950s Colours. [online] Available at: <http://www.papers-paints.co.uk/colour_1950.asp> [Accessed 20/08/10].

Paint Charts

Farrow & Ball 38

Farrow and Ball are well known for their unusual colour names, for example Dead Salmon and Elephantâ&#x20AC;&#x2122;s Breath. Their colour range is traditional and has historical influences.

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Assigning Colours

Initial Allocation of Colours 40

Alice The White Rabbit Mouse The Dodo The Lory The Eaglet The Duck Bill the Lizard The Caterpillar The Duchess The Cheshire Cat The Hatter The March Hare The Dormouse The Queen of Hearts The Knave of Hearts King of Hearts The Gryphon The Mock Turtle Pig Baby Puppy Pigeon Frog Footman The Cook The Executioner Rabbit Hole Tea Party Time Drink Me Eat Me Golden Key Garden Curiouser and Curiouser I’m Late I’m Late Mouse’s Tail

(Blue) Cooks Blue (White) Strong White Charlestown Grey Lamp Room Grey Radiccio Blackened Orangery Stone White (Green) Folly Green Porphyry Pink (Ginger) Sand Churlish Green (Light Brown) Dauphin (Light Brown) Buff (Red) Rectory Red Incarnadine Eating Room Red Lichen Mahogany Setting Plaster Cat’s Paw Pigeon Olive Drawing Room Blue Pitch Black (Dark Brown) Off Black (Pink) Middleton Pink (Light Blue) Arsenic (Pink) Cinder Rose Print Room Yellow Saxon Green (Mauve) Dead Salmon (Red) Blazer Smoked Trout

Kid Gloves Pepper The Mushroom Pocket Watch Treacle Bread & Butter Croquet Lobster Quadrille Treacle Tart Pack of Cards Tears Off With Their Heads White Roses Flamingos Hedgehogs Beautiful Soup Alice’s Dream

(White) All White (Burnt Orange) Terre d’Egypte London Stone Sudbury Yellow Tanner’s Brown Dorset Cream Clunch Red Earth India Yellow Skimming Stone Borrowed Light Brinjal James White Pink Ground Mouse’s Back Farrows Cream Lulworth Blue

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Assigning Colours

References with Assigned Colour in the Order of the Narrative Alice The White Rabbit I’m Late I’m Late Pocket Watch Rabbit Hole Golden Key Garden Drink Me Eat Me Curiouser and Curiouser Tears Kid Gloves Mouse The Duck The Dodo The Lory The Eaglet Mouse’s Tail Bill the Lizard Puppy The Mushroom The Caterpillar Pigeon Frog Footman The Duchess The Cook Pepper The Cheshire Cat Pig The March Hare The Hatter The Dormouse Tea Party Time Treacle

Cooks Blue Strong White Blazer Sudbury Yellow Pelt Print Room Yellow Saxon Green Arsenic Cinder Rose Dead Salmon Borrowed Light All White Charlestown Grey Orangery Lamp Room Grey Radiccio Blackened Smoked Trout Stone White Cat’s Paw London Stone Folly Green Pigeon Olive Porphyry Pink Drawing Room Blue Terre d’Egypte Sand Setting Plaster Dauphin Churlish Green Buff Middleton Pink Pavillion Grey Tanner’s Brown

Bread & Butter White Roses The Knave of Hearts King of Hearts The Queen of Hearts Pack of Cards Off With Their Heads Croquet Hedgehogs Flamingos The Executioner The Gryphon The Mock Turtle Lobster Quadrille Beautiful Soup Treacle Tart Alice’s Dream

Dorset Cream James White Incarnadine Eating Room Red Rectory Red Skimming Stone Brinjal Clunch Mouse’s Back Pink Ground Pitch Black Lichen Mahogany Red Earth Breakfast Room Green India Yellow Lulworth Blue

Final Text

Colours for Book 42

Alice Cooks Blue White Rabbit Strong White I’m Late Blazer Pocket Watch Sudbury Yellow Rabbit Hole Pelt Golden Key Print Room Yellow Garden Calke Green Drink Me Arsenic Eat Me Cinder Rose Curiouser and Curiouser Dead Salmon Tears Borrowed Light Kid Gloves Slipper Satin Mouse Charlestown Grey Duck Orangery Dodo Lamp Room Grey Lory Radiccio Eaglet Blackened Mouse’s Tail Smoked Trout Lizard Stone White Puppy Cat’s Paw Mushroom London Stone Caterpillar Churlish Green Pigeon Pigeon Frog Olive Duchess Porphyry Pink The Cook Drawing Room Blue Pepper Terre d’Egypte Cheshire Cat Sand Pig Setting Plaster March Hare Dauphin Mad Hatter Folly Green Dormouse Buff Tea Party Middleton Pink Time Skylight Treacle Tanner’s Brown

White Roses Knave of Hearts King of Hearts The Queen of Hearts Pack of Cards Croquet Hedgehog Flamingo The Executioner Gryphon Mock Turtle Lobster Quadrille Beautiful Soup Treacle Tart Alice’s Dream

James White Incarnadine Eating Room Red Rectory Red Skimming Stone Clunch Mouse’s Back Pink Ground Pitch Black Lichen Mahogany Red Earth Cooking Apple Green India Yellow Parma Grey

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Layout Iterations

White Rabbit

Iâ&#x20AC;&#x2122;m Late

Initial Layout

With Headers & Footers

Lewis Carroll

Alice in Wonderland

White Rabbit

Iâ&#x20AC;&#x2122;m Late

Layout Iterations

White Rabbit

With Small Caps

Full Bleed Printed Colour

Iâ&#x20AC;&#x2122;m Late

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Curiouser & Curiouser

With Printed Colour Swatches

With the Colours Showing their Position in the Text

Iâ&#x20AC;&#x2122;m Late

Colour Swatches Used in the Interpretation

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Colour Swatches Used in the Interpretation

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Book Structures From the Elective

Single Sheet

Japanese Binding

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Pamphlet Stitch

Concertina

Book Structures From the Elective

Dissertation Binding

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Case Bound

Prototype of Concertina Book

First Prototype

First and Second Prototypes

Second Prototype Detail

Third Prototype

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Third Prototype Detail

First Reverse Prototype

Second Reverse Prototype

Third Prototype with Covers

Prototype of Concertina Book

Front Cover

Back Cover

Third Prototype with Covers

Prototype of Reverse with Covers

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Covers Before Foiling

Prototype with Covers

Prototype of Miniature Book

First Prototype

First Prototype Inside

Second Prototype Stitching

Second Prototype Inside

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Third Prototype, Stitching & Gluing

Third Prototype Inside

Prototype of Miniature Book

Fourth Prototype, Stitching, Gluing & Taping

Fourth Prototype, Spine

Fourth Prototype, Inside

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Fourth Prototype, Cover

Fourth Prototype, Binding

Fourth Prototype, Inside

Prototype of Miniature Book

Fifth Prototype, Cover

Fifth Prototype, Inside

Fifth Prototype, Binding

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Sixth Prototype, Cover

Sixth Prototype, Inside

Sixth Prototype, Binding

Prototype of Text/Colour Book

Test Prints 64

Text Only

Colour & Text

Colour, Header & Footer

Colour Only

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Prototyping 65

Printing, Folding and Punching

Case

Cover

Inside

Influences on Potential Outputs

Victorian Plant Specimen Books 66

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Prototype of ‘Specimen’ Book

Test Binding 68

Cover

Binding

Text Close-up

Paint Sample Close-up

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Spread

Output for Submission

Alice In Wonderland â&#x20AC;&#x201C; A Very Curious Interpretation 70

Cover

Spine

Binding

Text

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Spread

Additional Output

The Colours of Wonderland Paint Chart 72

Cover

Spine

Inside

Reverse

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Inside

Paint Sample Close-up

Text Close-up

Submission Report

Supporting the Interpretation of the Text – Alice in Wonderland by Lewis Carroll 74

I wanted to produce a case bound book for the submission because it was a method of binding and book production, which I have had least experience with. I also wanted to produce a book object that had a relatively robust, hardback structure and that was recognisable as a traditional form of hardback book, something that would have been familiar to readers when Alice in Wonderland was first published in 1865. I felt that this idea was relevant to my choice of binding because on reading the text in full it was apparent just how much the story is routed in a time very different to the present and I wanted to evoke that with a binding which was synonymous with the older traditions of book crafts but still within my technical remit. Originally I wanted to subvert the scale of the book by producing a miniature book, as a reference to the events in the narrative. A miniature book, defined by the Miniature Book Society of America, is a book ‘which is no more than three inches in height, width, or thickness’. Although in the story Alice grows bigger as well as smaller, I wanted to create the book on a small scale because most of the other creatures in Wonderland were small, so the book would be more identifiable with their scale. However after producing several prototypes I found that the scale of the book was unsuitable for the content that I wanted to include and the binding wasn’t particularly satisfactory. My interpretation of the text is, in part, an extension of the work I have been doing for Unit 2.3 Design and Rhetoric, which looks at how colours acquire culture

and associations, through the use of language and naming. Much of the research I have done on this subject has been through the analysis of paint charts and the names given to consumer paint colours. My initial thoughts on the brief were influenced by the artist’s book Spring Snow – A Translation by Alison Turnbull. The book is a series of coloured blocks, which are a visual translation of all the colours written in the story Spring Snow by Japanese writer Yukio Mishima. I analysed the text of Alice in Wonderland in the same way to pick out the instances that colours were named within the text. My assumption was that the text would feature a rainbow of colour names, due to it being a children’s story about a fantastical place. However I found that there were actually very few instances of colour names, most of which were repetitions of a handful of colours, for example White Rabbit and Golden Key. As a result of this analysis I felt that the concept was not strong enough to use as an interpretation of this particular text. Instead I referred directly to work I had done in Unit 2.3 looking at the names of colours in paint charts. I initially thought about creating a concertina book, which would employ the visual language of the paint chart. I created a set of colours interpreting key characters, objects and created the connection between the hue and the narrative with the name given to each colour. The paint chart I chose to reinterpret was Farrow & Ball because they produce traditional colours with some historical reference, so the colours in their palette have more relevance to the world in 1865 rather than that of a modern colour chart. Farrow

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& Ball also have an extensive range of colours, representing all hues of the colour spectrum and are also well known for unusual and obscure colour names, which have also previously been used to create stories from. So using colours that already have a significant amount of meaning attached to them and then removing that and adding a different layer of meaning through re-naming was an interesting exercise, which opened up opportunities for further exploration of the ideas I had been working on in Unit 2.3. Although the original names of the colours are not revealed some interesting combinations have arisen, the colour “Arsenic”, has become “Drink Me” and the colour “Cat’s Paw”, has become “Puppy” The colours chosen to represent the characters, objects and events in the narrative are subjective, they are my own interpretation of the story; how I imagine it in colour. Much like the mental pictures you get when you read any story. However, I have been influenced, consciously or not by colours in real life (particularly for some of the animals, like the Eaglet) and also by previous interpretations of the story such as the animated Disney version, where Alice wears a blue dress and the Mad Hatter wears green. The idea of the chart worked well. It was playful and had a tactile feel to it, so I created a finished version with foil blocking on the cover as an additional output for the elective. However I wanted to create a book so I decided to use case binding to produce the main output for the submission and to maintain the reference to the fact that it was an interpretation of a story. With some

minor adjustments I continued with the palette of colours chosen for the concertina paint chart. This had the effect of taking the swatches out of their original context as well as removing their original names and re-appropriating and reinterpreting them in the form of the book, and therefore adding another layer of meaning to the colour. I feel that the interpretation of Alice in Wonderland using colour is valid. Although the actual text employs few colour names, the fantastical world of Wonderland generally evokes the impression of a colourful and peculiar adventure. It has also been suggested that Carroll was under the influence of hallucinogenic drugs at the time of writing, however there is no actual evidence to support this claim. Despite this the story was influential on music and colourful psychedelic art in the drugs culture of the 1960s. In the context of book arts this interpretation of Alice in Wonderland references Victorian specimen and botany books, traditional binding and some aspects of traditional typesetting, and in terms of authorship the ideas of re-appropriation and semiotics.

Bibliography

Weblinks Bookworks, 2010. Spring Snow – A Translation. [online] Available at: <http://www.bookworks.org.uk/asp/detail. asp?uid=book_2E1B85A5-554D-44AE-B43E-97A970E7918D&sub=pas> [Accessed 14/11/10]. Christmas by Colour, 2008. [online] Available at: <http://www.christmasbycolour.co.uk/> [Accessed 28/09/10]. Ella Young, 2010. Best of British. [online] Available at: <http://www.ellayoung.co.uk/index.php?/project/best-of-british/> [Accessed 28/09/10]. Papers and Paints, 2010. The 1950s Colours. [online] Available at: <http://www.papers-paints.co.uk/colour_1950.asp> [Accessed 20/08/10]. Wikipedia, 2011. Alice in Wonderland. [online] Available at: <http://en.wikipedia.org/wiki/Alice_in_Wonderland> [Accessed 16/11/10]. Wikipedia, 2011. Alice’s Adventures in Wonderland. [online] Available at: <http://en.wikipedia.org/wiki/Alice%27s_ Adventures_in_Wonderland> [Accessed 4/11/10]. Yahoo Answers, 2010. [online] Available at: <http://answers.yahoo.com/question/index?qid=20100418155854AAnZ6Q6> [Accessed 7/11/10].