IN THE BEGINNING Fad贸: The documentation process from pagination to publication
04 The brief
08 Inspiration
12 Publication development
22 Writing practice
28 Video process
In The Beginning is a publication produced to document the development of Fad贸, from the early stages of concept through to the process of writing and creating moving images. A short look at the thought process and key design decisions made throughout the main part of my final major project.
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“I knew I wanted the project to be personal to me, but didn’t want this to restrict the content”
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THE BRIEF
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I set out on this project with the aim of presenting audiences with creative writing. I wanted to combine my interests in moving image and publication design to create a body of work that is both provocative and emotive. I needed each piece of writing to be unique and have the ability to stand alone, being personal yet striking. I aimed to use my time to explore binding techniques and experimental book forms while creating a magazine or book as a project outcome. I knew I wanted the project to be personal to me, but didn’t want this to restrict the content.
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“The personal aspect is a definite stand out point�
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INSPIRATION fig. 3
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In early stages I found content that intrigued me and started the ball rolling on my project. The concept of Laia Abril’s The Epilogue caught my attention and I’m more than happy that it did. Like Icarus to the sun, I was drawn to this piece of work. While the content is personal and somewhat harsh, it feels still feels relatable and inviting. The design makes the reader become involved in the story through fold out imagery and flaps, even at key stages that might make them feel uncomfortable. The overall design to me has the perfect balance of simplicity, so the reader is taken on a journey through the book, rather than searching for what they should be reading next. The personal aspect is a definite stand out point in this piece of work.
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Dylan McDonough’s styling is something that I really wanted to take on board myself in this project. A recent graduate in Australia, Dylan’s work is beyond his years. It is so well conceived and delivered, like someone who has been in the business for years. Minimal yet new at the same time, a youthful twist on the classic, his use of space and placement all fell just right. Even in the way he photographs his work, Dylan is creative and ahead of the trend. I’m inspired by his originality and would like to convey his use of spacing, especially his mutual love for white space.
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Inspiration also came from the work of RE:Design’s redesign of the Reconciliation Action Plan. A document that outlines the key information that recognises the problems between indigenous and non-indigenous Australians, and how to solve the inequality between them. The documents use of colour and changing paper sizes keeps it an interesting read, allowing information to be hidden and then revealed. While there are lots of different colours, images and bodies of text, the whole look remains clean and sharp – a quality that is commendable. However, as a whole the project does have quite a masculine look to it, something that I would certainly aim to soften within my own work.
fig. 1 Laia Abri, The Epilogue | fig. 2 RE:Design, RAP | fig. 3 Dylan McDonough, Dream Psychology
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“Setting a grid was important to ensure that there was a cohesive look with placement and sizing� 12
PUBLICATION DEVELOPMENT
“I began to develop an identity”
The development process began with pagination, where I created initial layouts based upon large images taking a main role. Setting a grid was important to ensure that there was a cohesive look with placement and sizing, and then I was able to experiment with countless layouts. As there were no images or text at this point, it was loose and free feeling, allowing me to see how far I could push the layouts. This was soon taken from 2d drawings and into 3d pagination. Taking some of the layouts and seeing how they work together, assessing flow and readability of pages together. One thing that was prominent at this stage was that one page size felt lackluster and dull, so I tried alternative sizes. The addition of new page sizes, but within the same grid system helped to keep it cohesive.
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Through drafts I began to develop an identity for the project, through typeface choice and colour schemes. By the point of a full draft being established I had chosen to base my work on the life of my grandmother, a woman I admire and have the upmost respect for. She’s lived a varied and hectic life so far which she feels is a normal life, but when I’m told stories of things she’s been through and experienced, I think it’s beyond ordinary.
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fig. 4-6 initial pagination pages on loose pages and in sketchbook
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As a first draft came into place it was a real excuse to experiment. I hadn’t made many publications in the past and wanted to use this a reason to play. Cropped images, distorted text and lots of white space were the main design elements. While forming this draft I came across what is now the name of my final major project – Fadó. An Irish Gaelic term used to start a story or description, the nearest translation being ‘once upon a time’ or ‘in the beginning’. While I was initially happy with my first draft publication, my crit helped me realise what needed to change and how to develop my project. A lack of hierarchy in text and imagery left a feeling of confusion, while a visual narrative was needed to guide a reader. I felt certain aspects of this draft were strong enough aesthetically to move forward with, after some much needed changes.
First Draft
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fig. 7-16 first draft of Fad贸, handwritten notes with changes added
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Second Draft
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Draft two is when the project really started to feel more cohesive. The introduction of a duotone colour scheme brought the imagery together rather than multiple images fighting for attention on one page. I considered more black and white imagery, but thought this might have caused the photos to disappear on the page and be forgotten, and as they are my gran’s original photos I wanted them to be more of a feature. This development also went side by side with the addition of different page sizes being a more prominent feature. The way they could be used within the publication to show segregation between pieces of writing without being too blatant was ideal. Adding a miniature zine to the binding was an element I really thought brought a new dimension to the work and was something I really wanted to work with.
fig. 17-21 pages from second draft of Fadó
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While this draft had a very different aesthetic to the first, I still carried over the parts I wanted to. The distorted text in my opinion is a subtle feature that adds a lot of meaning. The concept of memories and how easily they are forgotten or muddled was the influence. I wanted to show how my grandmother’s started to forget sections of her own life. The smells she once could recall instantly and colours that would allude to those childhood memories. Kristy Wilson’s work on ‘The Art of Google Books’ shows the anomalies found in the Google Books database. The beauty in the imperfection is what I played on and it really is intriguing. Images both analogue and digital plagued with defects, blurs and even photos of people’s hands blocking the entire shot.
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Third Draft As my work continued, the format and sizes of the publication also began to change. After making an experimental chinese stab bind book of all the photos I collected of my gran, I decided to try more single page binding. Moving between the concept of clamps and stab binding, I settled with chinese stab binding, as it is a more secure way to hold the pages together and offers a mote feminine quality over the metal clasps. The draft is of a larger size, 320mm x 220mm, a size that fits comfortably within the hand but still offers a lot of space to play with. I wanted to avoid A paper sizes as I feel they are over used and don’t fit the premise of the publication as it needs to be more personal and unique. This unique factor is also partially the reason for using different paper stocks
throughout this draft. I wanted to differentiate between key stages and changer in her life, in a subtle manner making some easier to flick through and leaving some harder to. As I tried new paper stocks I also built up a much thicker document, the publication grew in length rapidly which is a huge positive as the previous draft had felt too light and lacked that feel of a real book. I’m happy with the development I made with the aesthetics of Fadó. At the time you don’t necessarily notice the changes that are being made, yet on reflection I can see that the project has indeed come a long way. From simple drawings, the mere foundations of the publication, it has been built up to an end result that I am pleased with.
fig. 22 pages from third draft of Fadó | fig. 23 Kristy Wilson’s The Art of Google Books
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“without the writing there would be a large void within Fado�
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The aesthetic is just one part of this project however, without the writing there would be a large void within Fadó. My writing began with researching my gran’s life. This was done through conducting interviews with her about different stages of her life. I broke her life into decades and wanted to know the most influential things that happened in those times and her fondest memories. I wanted to know everything from 1936 to today. It’s odd how I have known her my entire life but know so little. A woman I see almost every week, yet I couldn’t say where she met my granddad or when she first moved to England. I took her interview and reinterpreted the events that stood out the most for me. I wanted to make these personal events as true as I could but distance her from them at the same time, protect her almost. These initial writings took forms of pros, poetry and descriptions. I liked them but knew they lacked something.
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WRITING PRACTICE
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fig. 23, 24 stills from initial interview footage
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While writing this project I knew I was out of practice, I had let my love of writing sit dormant for a few years, I was slightly rusty and almost embarrassed to pick up the pen again. I pushed my comfort zone and attended a creative writing workshop with author Paul Magr. This session was highly useful in making me think outside the box with my writing, avoiding the norm and writing in a way that suited me. I learnt how to plan my work to aid creativity and the best ways to edit and refine. It was definitely an experience I needed to help me and aided me in the rewriting of my text. After rewriting and allowing myself to be free with my style, I attended a few tutorials with author Helen Cross. We spoke about tone of voice and pace of reading, and
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how it can be affected by the way you write. I knew these pieces of writing were a main focus in both my publication and accompanying videos so needed to be happy with how they sounded when read aloud. I have a style that is short and to the point. I’m precise by nature and straight to the point. My writing is often short, but leaves you wanting to read more.
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fig. 26, 27 development of A Call, fig. 28, 29 development of Walk Home, fig. 30 Generating ideas stills from initial interview footage
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“the numbers are dwindling, only a few remain who hold the memory of the day�
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FILM PROCESS Trunk
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With the writing complete I was able to begin my videos. Trunk is the first moving image piece from Fadó. Set in 1930/40s rural Republic of Ireland, themes of childhood memories and fashion are explored. The contrast between the rich and poor is the premise of the tale; a trunk of highend clothing, furs and fabrics from America arrived at a small cottage of an Irish farmer family. These exotic materials were not resources the family had seen before and did not need; therefore they were kept in the trunk and not to be touched. Despite being related, the two parts of the family were obviously separated by more than just the Atlantic. This earliest memory in Fadó is introduced by a soundtrack that gives an atmospheric tone, it is reminiscent of times gone by and nostalgic memories. To keep the fashions of the era, only footage from those decades was used, for example ‘Good Grooming for Girls’ of 1940. A video guide explaining how glamour is achieved through good grooming and personal appearance. As the clip gets to a mid way point, the scene begins to breakdown, repeating and jumping. This imagery is reminiscent of the age of the memory, how 70+ years have passed and the recollection is beginning to fade and be forgotten.
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fig. 31 -35 stills from Trunk
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Darker Grey The next video is entitled Darker Grey. After leaving home and moving to London, Lena realised why it was nicknamed ‘The Big Smoke’. A transition from a small country home to a huge concrete city, Darker Grey explores the acceptance of this change. 1950s London is documented through archival footage, mainly sourced from Pathé, with scenes being chosen that closely fit Lena’s descriptions. The sounds heard throughout reflect the love hate relationship with moving to a new place. The love of a new adventure and the resulting freedom, yet the longing desire for home. Slick and smooth, the soundtrack is representative of London, with sudden shocks of thunder and city sounds interrupting the new dream, crashing it back down to reality.
fig. 36 -38 stills from Darker Grey
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Purest Veil Purest veil is the most obvious video from Fadó, with its church bells ringing and simplistic imagery; it is very much a wedding day scene. A love that was real and pure, it is one of Lena’s fondest memories. An age she blossomed as a woman, and a day that confirmed true electric love. The imagery in the video ranges from opening flowers to beauty shots to walking down the wedding aisle. Traditional imagery from a wedding day, which takes a twist when the video begins to glitch and appears to come apart towards the end of the clip. As Lena had only been in the country a short while, she knew few people and her family were back home, therefore the wedding was small. A handful of names attended, where she was one of the youngest. Now over 60 years later, the numbers are dwindling, only a few remain who hold the memory of the day.
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fig. 39 -42 stills from Purest Veil
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Fadó closes with a short named Goodbye. Before going into open heart surgery for atrial myxoma, being given a slim chance of survival, Lena had to say goodbye to all her family before going in for surgery. It’s fair to say she has been thrown her fair share of challenges in life, and this is the one that she states as her hardest. Exploring themes of raw sadness and nature, Goodbye uses clips from many cult classics to give it a relatable and recognisable feel, to give the impression that it’s closer to home. Scenes from Hollywood hits such as Wizard of Oz and Alice in Wonderland are instantly recognisable. These scenes are cut and blocked by soft nature extracts, as Lena tried to hide her fear from her family and herself.
fig. 39 -42 stills from Fadó
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