Tuesday, April 26, 2005
type, of all things
i had not expected to be working so much w/type -- in fact, i thought that the type would be a relatively small part of my installation. I'm not very comfortable with it, and don't necessarily trust my abilities. YET, in thinking about why i've opted for the "neat" option (type on/inside the forms) vs. the "messy" option (ink strung over/through the forms, replacing the text), i think it's the way that the forms provide an entree for working with type (actually the opposite for how a viewer would gain access to the form, that is, through the text) - instead of just a flat, blank page where i can begin anywhere, the form gives me a place to start and comes with its own inherent rules, based on its form.
*I understand where to put things because I can visualize them in 3-dimensions, where they fall on the back score, on the right and left curves, how far I can place them toward the margin before they get cut off, how close to where the stitch will run.*
cassandra suggested merging the installation with the publication -- turn in the publication in its current design (stacked up and held together by a vellum casing with no front or back so that the forms show through; 2 vellum forms at the bottom to support the weight of the stacked pages), then just treat the thesis as something else altogether.
* thread running through all pieces, "signatures" bound loosely or tightly to govern shape and pacing
* preceding/following pages relate to each other somehow; for example, a thesis page will be followed by a vellum page on which certain words pulled from the thesis page will appear.
* don't feature the "academic" writing as it is -- it's too dense and makes the merging of the two kinds of paper/text seem awkward and arbitrary
* decide roughly the phrases you'll be working with and order them linearly so you have a skeleton to work from
* sketch out (even in just words) roughly how the spreads will run from each to each - this will help you determine how many you have to make
it's a little bit insane -- it's taken me forever to get 40 pages done. how am i going to make 100 of these forms, all with type on them? i just looked at the calendar and basically if i work straight throught from the evening of 5/1 through 5/11, i think i can do this.
*I understand where to put things because I can visualize them in 3-dimensions, where they fall on the back score, on the right and left curves, how far I can place them toward the margin before they get cut off, how close to where the stitch will run.*
cassandra suggested merging the installation with the publication -- turn in the publication in its current design (stacked up and held together by a vellum casing with no front or back so that the forms show through; 2 vellum forms at the bottom to support the weight of the stacked pages), then just treat the thesis as something else altogether.
* thread running through all pieces, "signatures" bound loosely or tightly to govern shape and pacing
* preceding/following pages relate to each other somehow; for example, a thesis page will be followed by a vellum page on which certain words pulled from the thesis page will appear.
* don't feature the "academic" writing as it is -- it's too dense and makes the merging of the two kinds of paper/text seem awkward and arbitrary
* decide roughly the phrases you'll be working with and order them linearly so you have a skeleton to work from
* sketch out (even in just words) roughly how the spreads will run from each to each - this will help you determine how many you have to make
it's a little bit insane -- it's taken me forever to get 40 pages done. how am i going to make 100 of these forms, all with type on them? i just looked at the calendar and basically if i work straight throught from the evening of 5/1 through 5/11, i think i can do this.
// posted by Scoop @ 11:40 PM 
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