Final book - the art of dreaming.

My final product of a photobook, the art of dreaming, has arrived under the estimated time of a week. The following video flicks through all content and design pages. 

Whole book - final page development

Viewing the pages for the final time before uploading, I found some adjustments to be made in terms of removing and adding pages alongside ensuring no spelling mistakes, alignment of text to the desired area and photographs, for example, reaching the end of the page for background pages or being equal distance from the left, right, bottom and top placement of the page. I found most adjustments being made for photographs reaching the end of pages alongside text being inside the print safe area (purple border as seen in previous screenshots)

Going on location, I had taken some portraiture photos I enjoyed, therefore felt they would be visually pleasing within the book. This specifically being page 24 /25. I felt the models actions of looking down to up was appropriate to 'realising' something, this being under the 'culture' theme, therefore linking well to the concept of 'realising' who you are on the inside and the beauty that holds, overall indicating confidence for readers and being proud, on the inside, as to where they come from, and adding background as to where said quote came from.

Constant adjustments and considerations had been made between page 26 and 27, though finalising I had decided to keep the spread due to the aesthetic of the silhouette pointing at the quote and photograph, the black and white ending the 'culture' theme and beginning the fellowship theme well  alongside demonstrating techniques learnt in the photography studio. The spread is a good introduction to fellowship as the silhouettes are in black and white therefore you cannot see the colour of both individuals or what they fully look like, showing no judgement for who you are, culturally and for who you love. 

Again on location under the art theme, I felt the photographs followed on page 42/43 were vibrant and of buildings and streets, being more obvious and linking to the concept of streets being full of life well. Photographic techniques of symmetry on page 42 and shallow depth of field on page 43 are demonstrated as a reflection of what I have practised and learnt technically in photography over the previous units.  Due to the size of the book - 33cm by 28cm, the photos had to be cropped to a certain square level. This may be aesthetically evident, though I will reflect on the result once the physical form arrives. 

The book takes 7 days to print and be shipped to my location. I found that the finalising stages of printing were fast and easy, though the software required updating first. The uploading process consisted of 4 stages - Signing in, selecting what to upload, reviewing the book including spelling mistakes and pixalation errors, finally rendering all content to then pay.

Previews and information on book details is as followed. The final book has 52 pages, 33x28cm in the form of a large landscape. 

A slight 3.D version of the book is available at this point, this however only being for the front cover and flicking of pages. The dust jacket is not put into context, though the website showing a preview of the final pages is visually assuring. I found the uploading process straightforward along with the shipping and printing timescale being a huge advantage under the site.

Page development - dust jacket

A dust jacket of a book is the outer detachable cover, placed over the front book cover in paper format.

Choosing this option as hardback, I have started to design the front and back cover of it. Looking at professional books alongside my mentor, we found that an introduction to the author themselves is common, therefore including a introduction to myself on the front jacket cover. At first, figuring out and imagining how the 3.D version of the front cover of the actual book, front of the jacket and black linen page option would be placed, this causing confusion and more room for thought about where the introduction to myself would be alongside the introduction of the book and further attributes to include, further ensuring the design stays simplistic.

Intro to myself -
Writing the introduction to myself was challenging, the tone of whats being said needing to be parallel to the tone of the introduction of the book. The English not being too formal, but somewhat poetic to match the consistency of tone within the writing of the book. Design wise, I was unsure as to whether to keep the introduction writing onto the next dusk jacket cover as it was empty. Through discussions with audience members and my mentor, I had concluded not to as it would not make sense though done by many authors- A mentioned point that this is a photo book with a simplistic style, and does not require overflowing amounts of text - an art to the design. The background colour for all design pages also will stay the same. The text begins with capital letters in comparison to the rest of the book, alongside a specific black and white portrait photograph. These actions undertaken due to the professionalism of an introduction and whats said being different from other pieces of writing.

Quote and spine -
Developing from the introduction, I had decided to embed a quote, using punctuation quotation marks for the concept of it being something famously said and being notable, alongside a pleasing aesthetic. The centre alignment gives the quote space to stand out with higher emphasis on whats said, the context of the quote linking to the title of the book. The colour of text is the initial grey experimented with for the front cover. This grey being the colour of text for the title, alongside this text. As the placement of this quote is by itself, the size is slightly bigger with font Proxima nova. Staying consistent with design, this font is the same as the pages within the book.
The spine of the book follows with the title and my name, the same grey and Proxima Nova font. One issue I found with the software was the inability to view the book as a 3.D option. I felt this may have added clarity for design, alongside font sizing as this was a challenge to imagine for places like the spine as the design is on a screen. I had therefore decided to keep the sizing of font for the spine the same as text within the book, this being 14.

Page development 6 - two design pages

Start two design pages - 1 spread

The start two pages introduce what will happen within the story line of the book throughout the upcoming pages.

The bokeh photograph on page 2 represents a photographic skill, along with an abstract way of beginning the book - the photo does not have any set connotations, purely abstract. Writing the 'about' of the book was challenging, summing up the story line alongside the purpose of it in the tone of myself. Discussing this attribute with my mentor, this page was needed to make the book more professional and act as an introduction for the audience, something that one would buy. Though unplanned previously, I feel this is one of the most important attributes for the book and allows me to engage with the topic of books and publishing in a professional contextual manner.

Layout wise, I have aligned the text in the centre as I feel it's importance takes up the whole foreground. The initial font being Volkorn, a text experimented with at the beginning of my research.

Improvements to this page have been made. As I photographed a sunrise at 4/5am and liked the photograph, I embedded it onto page 3 behind the text. The dark tone of the photograph including a silhouette of trees has caused a change in text colour, now being white. I feel that the concept behind this photograph also has personal meaning, watching a sunrise. The background colour is now black as it blends in well with the bokeh photograph. Though I also feel the page before further additions / some improvements was more simplistic, this spread is aesthetic and worth experimenting with for viewing once printed. The text font has stayed with Volkorn, following through from previous research. The text is different to the front cover font - Crimson text and inside pages - Proxima nova as it is's layout is different - the most writing is on this page, alongside a desired consistency in experimentation of fonts. Sizing previously being 24, changed to 18.
One aesthetic element which is subtle yet visually strong is one singular bokeh light on page 3 at the bottom left corner, linking to the whole effect on page 2.

purposes of blogger
Structuring the text was also an important attribute, "change is needed" being on a separate line to the rest of the writing as it is the main message I want to get across for readers of this book.

End two pages - 1 spread
On the topic of change, the book has an open ending on how we should improve as a society and the 'future' being bright, therefore leaving suspense for the audience on the final pages. Through discussions with my mentor, a decision of using a timescale from the continuous timings throughout the book has been made, allowing the times to be highlighted to the fullest extent at this moment, with punctuation and the next timescale up leading to what possibly comes next.

Developing this page, I had also learnt a new skill within Photoshop, this being the use of the patch tool. As the photograph on page 51 did not contextually link due to a few words, I had removed them. I had no knowledge on the use of this tool previously, however I have been using it since as a progression skill. Other adjustments such as Camera Raw filter settings have also been applied.

after

before

Page development - journey ending  
Reflecting the beginning of the book where the journey begins, the layout and phrasing of the 'journey ending' page is parallel through the selection of ideas from using the time and one lined sentence, overall contributing to the simplistic style. A considerable thought about this spread included the photograph on page 48 - if the photograph would have technically been better with the bokeh effect, etc. The time of 6:30am represents when the character wakes up. 

The last poem of the book is one of the longest with a meaningful end message for the audience. A reflection to the beginning of the book is again made through both the writing and photograph -

Start                    End 

'golden hour'       'golden future'

sunset photo       sunrise photo 

Christopher Poindexter

When writing the last poem of the book, I found I needed an example for the structuring of words. When researching, I found a poet called Christopher Poindexter. Born in 1991, the poet, and author, is most known for his poetry books titled 'Old soul love,' 'Lavender: A romantic series' and 'Naked human.'  Common themes found in his poetry include romance, nature, life and heartbreak. One thing I found most interesting about his work included the layout and format of text, as all of his poetry is written in font 'american typewriter' along with his exploration of themes being similar to ones explored within my book. The structuring of text from a professional poet was the element I had been attempting to research, though I found Poindexter's work notable and in perfect link to the poetry element overall. 

  

The structuring of text such as the example below plays a big role when reading poetry and emphasises certain emotions. An independent reflection and improvement point I have for the writing of this book along with for future design and layout related projects, being more experimentation with layouts of text, as done (e.g) on page 4 and 5 of the 'cracks' image. 

Taking inspiration from Poindexter, I have structured the text so that 'love unconditionally' is the last point to be read. This being the overall biggest positive message, requiring most emphasis by itself.  Experimentation with more rhyme had also been taken into account,  structuring the text in the tone of an audience member and ensuring the words had rhythm when reading - e.g 'again, friend. need, please.'

Styling two, Front and back cover

Finishing the content under the themes of the book and clarifying the story line as much as possible, I have now started to design the book with the help of my mentor. This design includes the name of the book along with colours, fonts and texts of the front and back cover.

Starting off, the name of the book was discussed. Previous notations I had being -

- the exploration of society
- dream
- the art of dreaming

with new considered names such as -

- the power of dreaming
- imagination
- daydream
- the art of dreaming
- fantasies

Continuing through, I decided to use 'the art of dreaming.' Close names I wanted to use being 'the power of dreams' and 'daydream' I felt that 'the art of dreaming' was most appropriate, using the word 'art' as the hardback is an art form alongside 'art' being a theme in the story line. The concept of a dream leads the whole book, and I had a desire to keep the title simplistic.

As the book holds various colours and photographs, going alongside the simplistic aesthetic, we had decided to keep the front cover a simple, pastel colour with just the title placed in the foreground.  I feel that a vibrant colour or simple photo could not sum up the entire narrative. Due to the sunrise/sunset theme and golden lighting approach carried throughout in my photography, we had first experimented with warm yellow colours. Reflecting on this as a personal notation, I have realised a personal style developed in my practical photography, being a golden lighting look - this being an aspect in my photography that has developed through the process of photographing for this project.

Though the concept behind using this colour made sense, aesthetically the colour did not match and gave the book a old, sepia colour. This yellow also portraying young children or baby colour connotations.

Continuing experimenting with pastel colours under a similar golden look, I had changed the green/blue filter slightly more, giving more of a pink pigmentation. I also found, visually this did not look successful.

A colour from this I had considered more was a peach/ pink, I found this more appealing as it was lighter and would not clash with further coloured photographs in the book.

The pink / purple pigmentation was one in which I experimented with a few times due to the results and complimentary aesthetic they gave, leading me onto a lavender, purple colour. Though I also visually enjoyed this colour, I felt it was not low-hued enough.

 Suggested by others was a more delicate grey. I found that this colour contradicted the meaning inside the book as the photographs and certain backgrounds are high in saturation and vibrance. Although, I liked the colour for certain text, possibly for the dust jacket text and actual cover text.

Colours on the chart I had not yet experimented with yet included the green/blue spectrum. When viewing I found these more visually fitting, overall coming to the independent conclusion of 230R, 246G, and 255B. I found this subtle blue most aesthetically pleasing and professional, along with having associations with a blue sky. I felt that this links to the concept of looking up when dreaming, along with the colour being uplifting in relation to the positive attributes within the book.

The simplistic vibe continues by keeping the back of the book clear, simply with a barcode and same light toned colour.

Text fonts - 
As the text of the whole book is lowercase due to the usual style of poetry book being lowercase along with the aesthetic of lower cased letters indicating a form of informalness towards my target audience, the front cover will also be lower. The first considered font for the front cover was 'Avenir' I found this font to be quite bold, though considerable.

'Proxima nova'
Proxima nova being the font used for all text within the book, I had further experimented with the visuals of it on the front page. I felt it again gave an effortless form and was considerable, though I wanted to experiment with  a different font for this page in comparison to the whole book.

'Charter'
A further font titled charter was available with a strict, similar form to the following font, though due to software issues the text is no longer available.

'Crimson text'
The final font and decision made is for Crimson text. I feel that the writing notation of letters visually seems straight and strict, and gives a professional approach. The sizing of the text at 24 filling up the foreground of the front page alongside my name. Design wise, the title, background and font fit the natural style of what I visually planned.

Book PDF

As part of finalising my project as a book, I have presented my idea to a group of people also studying photography, creating products such as magazines.
The feedback included ideas on making the start of the book more clear - as there are only photos representing climate change catering only for the nature aspect of the book, and indicating the idea that the character does not her society more, therefore introducing the negative side to fellowship, a lack of art, to then develop to the "positive aspects." When thought about, I found that this feedback in context of the narrative made sense, I therefore considered more photographs and free verse writing ways that would reflect issues more clearly for the beginning of the book. The complex concept on the page of the cracked photograph and "with cracks running through directions" required an explanation, as seen in the video and, I have found, from audience members asking questions. Though the concept may require me to give this explanation, it is an "abstract" and un-subtle notation, overall giving a deeper meaning requiring thought which was my main goal.

Improvement made: 

(text made bigger for purposes of blogger screenshot:)

An increase in first person and difference of two photographs and word phrases have been made in response to highlighting issues the character has within her society / herself and adding clarity in the story-line for the rest of the book.
"A continental drift" with the photograph of an individual placed beside it indicates the division in 'culture,' along with the 'memories are drowned' and photograph of a rose indicating heartbreak under 'fellowship' along with the use of first person. Reflecting on this, I feel I could make either the photograph or piece of writing more universally relatable, for example by portraying the concept of missing someone - this still being fellowship, though allowing further audiences to relate to missing a close friend, someone they have lost, etc. However, clarifying the memories idea, I have written this from personal experience therefore feel this has deeper meaning behind it. The text is a development from a page I wanted to include previously within the book -

Page development 5

Finalisation's of text under the art theme have been completed, for example, the description of creative individuals in society on page 41 including photographers, skaters and graffiti artists. Said quote of "Do what you love and love what you do"  again from artist and photographer Connor Franta. I have decided to place these two images together due to the vibrancy they both have, along with the link between the use of objects this being that they interrupt the landscape. Linking to my previous project in photography in unit 7, where human attributes such as a human hand, eye and objects interrupted the landscape background image, contributing to the idea of human vs nature.

When photographing on location, I found that there were frames and shots in which I did not initially plan but visually liked. The process of this links to the message of the narrative within the nature theme, this being the idea of appreciating your surroundings and environmental beauty. These photographs include the photograph of shoes on page 36 and bokeh effect on page 29. Being more in the headspace to write at this stage of the book allowed me to link words to photographs better, these links being obvious for example the 'neon lights' linking to the image of bokeh lights, and more subtle links such as 'the application of silence' and photo of two individuals holding hands expressing the comfort two people can have with each other through body language, movement, or the simple presence without using language.
Design wise, more pages have been added - previously 'peace is possible' was page 35, now page 37. The pages added beforehand under the fellowship theme being 28-29. These had been added due to the continuity of timing in the book - I felt more events were needed throughout the night to allow the dream to flow and seem natural, along with a desire to add photographs I took on location unplanned. Coming to an overall conclusion of page increase.

Linking the topic of LGBT more clearly and embedding rainbow/ abstract photography as discussed in planning, I have placed the photograph of the rainbow eye next to another rainbow photograph. In comparison to before, where the rainbow eye and holding hands silhouette were placed together, I feel that this spread links more aesthetically and by narrative. 

Content wise including the writing and photographs upto this point are complete, finalising the end pages of the book are in process. Discussing design with my mentor, I have added two pages from the front and back of the book. The design and layout of these are indicated under 'front and back cover' Other design elements such as the sizing of text has also been changed, as I have been working on a screen, smaller sizes cannot be seen though appropriately when printed, the sizing must be between 12-14. Discussing this with my mentor Scott, who also showed me sizes 12-14 on paper already printed. Going through the book, I have therefore changed all font sizes to size 14, this being an appropriate size and middle sized length of text as there is not much text on the pages.

Page development 4

Developing from added photographs, I have now embedded text under the fellowship and art theme, considering many personal thoughts and experiences. As I have been working for time periods on content, I feel I have developed a personal writing style along with a better headspace to ensure photographs link to quotations.

Page 28/29 has developed through the addition of text and a time. The quote on page 28 being a lyric from singer Troye Sivan's 'Talk me down,' I felt the lyric linked contextually to the theme along with visually to the photographs of ones lips and a hand. The placement of text breaks 'hands' and 'lips' as the photographs of both human features are also separate. Though subtle, this message expressed from the placement is imaginative and allows deeper thought. This specific artist also playing a role in terms of personal music listened to, making it more intimate between myself and the book. Another quotation on page 27 from inspiration Connor Franta's 'note to self,' and visual experimentation with the silhouette pointing towards the other page. The black and white being un-intentional, though linking to the anonymous identity idea silhouette photography has and quotation on page 27. Photographic settings for the photograph on page 27 included a brighter key light dial,  along with enhancement of highlights in Photoshop, to include some detail of the models face for a further aesthetic visual.

Writing and experimenting further with text placements, page 34 contains a draft of a poem associated with 'Art.' As most phrases upto this point of the book have been free verse, I have attempted to rhyme and wordplay more. The photograph being 'Peace is possible,' the tone of the poem takes an angry / frustrated perspective to then develop to 'peace' being 'possible.' Presenting more complex concepts towards my audience adds depth to the storyline - emphasising how much this character wants society to improve, overall linking to the project theme, how there are improvements to Waltham Forest due to London's Borough of Culture. Contextually for primary photography audiences, there is again an emphasis with evidence on how photographs can help tell stories. The negative space on page 33 allows the photograph to stand out by itself, especially emphasising what the graffiti sais.

Page 36/37 have been designed in a visually and aesthetically pleasing way. This being a page added in the moment rather than planned, as my thought process on location was to experiment capturing two photographs using shallow depth of field - one with the main subject - the 'lensball' in focus and one without, then to contrast with each other on a spread. The photographic technique of shallow depth of field is emphasised here, both photographs allowing separate perspectives of surrounding detail. Dull surrounding weather has further required me to 'enhance' the image in Bookwright.

My intentions for the ending had to overall include the sunrise, though the story begins with the character falling asleep, the journey just begins, therefore the sun rises in the dream. As the story ends, the sun sets, though she just wakes up in reality. Changes of this idea have been made from my previous production documentation under 'Free verse writing.'
The picture used for the final ending of journey could not be made into a full spread due to pixalation issues, this being the aesthetic I desired as the end of the journey was to be made dramatic, along with a visible photographic horizon line. This page therefore requires improvement. A further aspect that I have figured out whilst designing this ending is the continuity of timings in the book. As the times represent the dream development every often page, there had been a challenge of ensuring these made sense upto the point in the morning in which the character awakens. A personal conclusion I had come to was the idea that the character would wake up / the journey ends at 6:30am rather than 7:00, due to the amount of pages that contained timings and continuity. Planning for further improvements, more photographs that have not yet been included may be added therefore allowing more timings and an in-depth dream.

Page development 3

Finalising text for the culture and nature theme of my book, I have further progressed to the next two themes, fellowship and art. Silhouettes taken in the photography studio and on location has been added on page 28/29. I felt that both photos visually fit together due to the warm yellow backdrop created using Vivid on camera settings, and direct sunlight white balance on the location silhouette. The idea of being able to love anyone within this society is expressed here, as silhouette photography covers an individuals features and the photos are under the fellowship theme - overall indicating the message to love whoever you want to love.

Adding photographs and deciding placements of these under the fellowship theme was easier than before, as I have become more comfortable and familiar with the software as a whole. Writing from personal experience was most important for this section / theme of the book,  as I wanted to make the story line as relatable and as clear as possible for my target audience.
Certain quotes such as 'Love is Love' on page 32/33 are ones in which I had planned to use from pre production - the symbolisation of this quote linking to the photograph of a rainbow eye. The placement of this links to the contextual form of photographing. Using colours can widely express a subject, in this case, the rainbow represents the LGBT flag, with the universal statement by the community, 'Love is Love.' This appropriate process further contributes to fellowship and loving each other. Aesthetically, the silhouette of holding hands symbolises again the process of loving no matter the colour, gender, form etc. The placement of images from right to left also has the rainbow eye looking towards those holding hands, and looking at the quote. My intention behind this adding further depth to the holding hands and quote, by making the audience look in the direction of where the eye looks, faster than the usual passing through pages. Though not final, the concept on this spread explores deeper and sparks further visual ambitions for upcoming pages.

For the images under art, I photographed at the same location as stated in my production documentation, in Shoreditch, London. Some issues I had faced here included timing of photographing - as the area is sociable, I decided to photograph on a weekday to avoid ethical issues of individuals in the frame, along with being interrupted by members of the public. Though weather was also a considered factor and affected the weekday in which I decided to photograph, the main goal was to capture the vibrant street art no matter the weather surrounding along with fixations of vibrance and brightness completed in Photoshop, e.g -

Before                                                                                                                                             After

Bookwright also has a software option to 'enhance' an image, making it brighter for printing. For all photos, I checked this option just to view how bright the software would recommend -

Enhanced (bottom option)

Not enhanced (bottom option)

The last page designed upto this point is under the art theme with photographs taken and edited in Photoshop, one of myself in a mirror and the other of a building in said location, Shoreditch. Both represent the vibrancy of streets and contribute to the idea of being artistic within the society. This takes a positive view on street art, a form in which those are able to express themselves. As I personally feel this, the quotations added are thoughts I hold. I found these pages most easy to design and write, compared to other parts of the book so far.