Glasgow and Oxford.
Two ‘architectural’ studies. Looking at different ways of collecting information.
Carbon paper, tracing paper, pen, pencil and collage.
Glasgow and Oxford.
Two ‘architectural’ studies. Looking at different ways of collecting information.
Carbon paper, tracing paper, pen, pencil and collage.
Boy oh boy.
On a typewritten piece:
“The text I used was Evelyn Waugh’s ‘Vile Bodies’. If I wanted to be pretentious I could observe that the post-modernist passage at the start of a book is fitting to be broken up by my rules, as this part of the book itself is confusing and haphazard, but really I selected the book because it is one of my favourites, I happened to have a copy, and also it has lots of funny names.”
So I discovered textures and you can tell. This is me figuring out how to use them on photoshop. Drawings based on photos I took in New York and Madrid.
Textures from lostandtaken.com
Photobooth photos - what’s on your desk? Not all of these made it into the book. I want to collect them forever!
Rejected page for my book of pockets.
Rejected because it’s pretty horrible. The positioning of the hand and something about the smudge tool makes me feel a little queasy. I ultimately decided to reject this because of a conversation I had with Hannah, which went the along the lines of:
- When you have really good pages and really shit pages, should you mix them up to hide the bad ones, or does that just make them more obvious?
-Get rid of it.
She’s quite wise, really. Which may or may not have something to do with her owning a soybean keyring.
I was initially a little sad to reject this because the subject matter is Rose’s signet ring, and Rose was one of the more forthcoming of the people I asked to talk about what they were carrying. When it became more obvious that text and overt explanations were not going to feature as prominently in the book, however, though I missed The Legend of the Mullis Mule, my book did not.