S1 Week 0: AE1 and Pinhole
Figure 2. Untitled (Brunswick), 2022, scan of 35mm negative — Photographed 9 April 2022, Week 00
Figure 1. Untitled (Brunswick), 2022, scan of 35mm negative — Photographed 9 April 2022, Week 00
Figure 3. Untitled (Chimney), 2022, scan of 35mm negative — Photographed 9 April 2022, Week 00
Figure 4. Untitled (freeway), 2022, scan of 35mm negative — Photographed 9 April 2022, Week 00
Figure 5. Untitled (Arts House), 2022, scan of 4x5” negative — Photographed 10 April 2022, Week 00
Paper negative exposure
ISO
As a rule, paper ISO is 3. In a post on the Large Format Photography Forum blog (the best large format blog I have found) “A brief flashing (2 sec. I think at f22, 10 in height on the enlarger w/#0 vc filter) prior to loading” (jamesaz 2017). With preflash, the paper rating increases to approximately ISO 12.
Blue wavelengths
Photo paper is “sensitive to the blue wavelengths of light so any subject reflecting or emitting blue light”, such as blue sky. Pre-flash paper under the enlarger before loading into the camera to control contrast “to add some exposure to your paper but not enough to alter the pure base white” (Tweedie 2009).
Pre-flash
Tweedie states that a pre-flash of “2 seconds at f16 with the enlarger head set at approx 65cm from the base board”, advising that to experiment as the formula will vary depending on the paper type and enlarger.
Figure 1. Mark Tweedie, Pre-flash exposure chart, 2009
Keywords
Paper negative, Exposure times
Bibliography
jamesaz. 2017. "Exposure Time For Ilford RC Pearl Used As Paper Negative". Blog. Large Format Photography Forum. https://www.largeformatphotography.info/forum/showthread.php?140900-Exposure-time-for-Ilford-RC-pearl-used-as-a-paper-negative.
Tweedie, Mark. 2009. "Paper Negative – The Underestimated Medium". Mark Tweedie. https://www.marktweedie.co.uk/paper-negative-the-underestimated-medium/.
Reflection
Today's supervisor meeting was very productive, with many breakthroughs. Dom followed up with an email outlining what was discussed and provided me with a plan of action for the rest of this semester.
My studio-based research was indeed prompted, or clarified, by the "Dinner Party" exercise, the outcome of which, as outlined in Dom's meeting debrief below, is in "pivoting the camera inwards" to reflect on my own life, surroundings and my humanity including mental and physical states.
The research includes Kintsugi and Wabi-Sabi aesthetics and philosophical theory in acknowledging fragments, fissures and the displaced with newfound beauty. The work intends to reinterpret what is perceived as broken as 'whole' – embracing how decay and time shape space, environment and existence.
The proposed equipment and method embrace and foster the unpredictable. This includes using a broken 35mm camera with a shutter that jams and slips on the reel producing fragmented images and novel gestalts. The pinhole camera epitomises unpredictability as there is no viewfinder or mechanisms to show or create any ‘settings’ – for example, exposure times are based on an educated guess.
Email from Dom
So big news today, something for you, something about you, not facing outwards but just pivoting to point the camera inwards in a more overt/deliberate way. In Zo’s words, ‘my life, my surrounds, my humanity’.
Rules
Kintugi, we are repairing and treasuring the broken and imperfect.
Wabi Sabi, we are embracing decay, time, aging and way it shapes things.
We are handicapping ourselves, we are using tools that won’t give us the ‘perfect’ photo – pinhole camera, Diana F, Broken SLR.
Pinhole cameras are key, it may be that we become interested in the object itself and consider how it’s size, design, or placement may become a vector in the project too.
Note: the pinhole and the broken SLR must be ‘performed’ and we cannot know what they might produce until developing – this is an important element of these processes.
Tone words (themes if you like)
Energy
Rhythm
No truth
ASKEW – ‘nothing is rigid, particularly me’
And to get us loose, we are going to MAKE ONE COMPLETE ARTWORK EVERYWEEK FOR THE REMAINING 4 WEEKS OF SEMESTER.
Keywords
Kintsugi, Wabi Sabi, Pinhole photography, Lomography, Broken SLR
Pinhole photography
Expand on notes for Contemporary pinhole photography; What is pinhole photography; Making a pinhole camera; Film or paper; Field of view workaround; Light metering formulas; Contemporary pinhole and zone plate photography exhibition
While it can be very time consuming to find online photography resources, it is worth the investment. Pinhole cameras do not have a viewfinder. As such, one of the biggest issues of image capture with a pinhole camera is composition. The formula for estimating the field of view of a pinhole camera provides a reliable estimation (Henson 2020, 06:09).
Calculating field of view for pinhole camera
First measure from the inside left of the film gate to the outside left of the camera and transfer the measurement marking with a small dot on the top of the camera. Repeat for the right side. Next measure from the centre of the pinhole to the outer edge of one (left OR right) side of the camera body and make a small dot. As the pinhole in many cameras is not at the ‘true centre’ is it best to measure one side only. Using a ruler, join the measurement marks to make a ‘V-shape’ (Figure 1). Repeat the steps above on side of the camera to determine the height of the field of view.
Figure 1. Marking field of view guides on 4x5 pinhole camera
Exposure times (general)
https://www.alternativephotography.com/determining-exposures-for-the-pinhole-camera/
http://www.martinwinfield.co.uk/pinholetech.html
https://www.lomography.com/magazine/69260-holga-wide-pinhole-camera-wpc-user-review-exposure-table-and-more
https://www.lomography.com/magazine/10960-applied-mathematics-to-holga-cameras
Exposure times
Figure 1. Pinhole exposure times (PinholeCamera n.d.)
Keywords
Pinhole, Field of view, MFA, Studio 1
Bibliography
“Pinhole exposure times”. pinholecamera.com. Accessed April 10, 2022. http://www.pinholecamera.com/exposure.html.
Hammond, Mary Sayer. 1986. "THE CAMERA OBSCURA: A CHAPTER IN THE PRE-HISTORY OF PHOTOGRAPHY (PINHOLE PHOTOGRAPHY, ASTRONOMY, DRAWING MACHINES, KEPLER, PERSPECTIVE)." Order No. 8703552, The Ohio State University. https://login.ezproxy.lib.rmit.edu.au/login?url=https://www.proquest.com/dissertations-theses/camera-obscura-chapter-pre-history-photography/docview/303482885/se-2?accountid=13552.
Henson, Martin. 2020. “Pinhole photography, all about” Martin Henson. May 22, 2020. YouTube video, 09:51. https://youtu.be/nuI5l0t9PHg.
Hymer, Karen. 2021. "Layered Light: Contemporary Pinhole And Zone Plate Photography". Light Art Space. https://lightartspace.com/exhibition/layered-light-contemporary-pinhole-and-zone-plate-photography/.
Madison, James. 2020. "Shooting 8x10 On A Homemade Pinhole Camera With F/264? Why Not?". Fstoppers. https://fstoppers.com/film/shooting-8x10-homemade-pinhole-camera-f264-why-not-508286.
Broadening practice
Following the Master of Photography program, I am determined to broaden my analogue photographic practice and am at a complete creative loss. Dom has provided me with exercises that aim to prompt creative focus and direction, leading me to explore lumen printing and zone plate photography. I am also deepening my study of photograms and pinhole photography.
Recent works include a photogram of a vintage threadbare denim jacket (Figures 1–2) and a series of self-portraits captured using a 4x5" large format pinhole camera (Figure 3). Planning to capture lumen prints of the jacket to compare how the colours and tones in the final images correspond with the photograms and researching pinhole cameras, including how to make them, is inspiring.
Figure 1. Untitled photogram, 2022
Figure 2. Untitled photogram (detail), 2022
Although creating artworks from items and events (Figure 3) that are part of my everyday life is engaging, it is also confronting, leading me to reflect on Dom frequently asking, "Yeah, but what do you want to make?" prompting me to reflect on past work and motivations. What do 'I' want to make indeed.
Figure 3. Zo Damage, Tea and falafel (self-portrait), 2022
Keywords
MFA, Studio 1, Photogram, Lumen, Pinhole, Cameraless photography, Film photography
Lumen printing
Lumen prints are photographic contact prints. As with a photogram, objects are placed on photographic paper and then exposed to direct sunlight for approximately one hour. Using translucent materials results in broader tonal ranges in the image. The paper is then rinsed in water (Figure 1). The print may then be treated in fixer for a permanent image (Figure 2). The lumen process dispenses with traditional darkroom materials, including an enlarger and a developing bath. Expired and vintage gelatin silver photographic paper is frequently used to create lumen prints. As with photograms, the lumen process produces unique one-of-a-kind photographic prints.
Figure 1. Bob St Cyr, Print before processing in fixer, 2020
Figure 2. Bob St Cyr, A dry print ready to matt, and frame and hand on the wall, 2020
Keywords
Cameraless photography, Lumen, Photogram, Colour, BW
Bibliography
Brough, Des. 2016. "How To Make Lumen Prints". Lomography. https://www.lomography.com/magazine/321837-how-to-make-lumen-prints.
St Cyr, Bob. 2020. A Dry Print Ready To Matt, Frame And Hang On A Wall. Image. https://www.ilfordphoto.com/making-lumen-prints-an-isolation-project/.8 aprilimagelumen print.
———. 2020. Print before processing in fixer. Image. https://www.ilfordphoto.com/making-lumen-prints-an-isolation-project/.
———. 2020. "Making Lumen Prints - An Isolation Project". Ilford Photo. https://www.ilfordphoto.com/making-lumen-prints-an-isolation-project.
Vintage gelatin silver paper
I have a significant amount of expired vintage gelatin silver paper (Figures 1–3) that may work well for making lumen prints. The paper stock includes Tura, Kodak, Ilford and Agfa. Some of the boxes are torn. Used for lumen printing, the age of the paper and light leaks from cracks in the boxes should produce colour hues of pink, purple, brown and blue in the final images. Using the expired stock as paper negatives in large format cameras could also result in interesting results. Although each package is stamped with a batch number, researching the history of the paper is proving to be more challenging than I expected.
Figure 1. Expired vintage gelatin silver paper
Figure 2. Expired vintage gelatin silver paper
Figure 3. Expired vintage gelatin silver paper
Keywords
Vintage paper, Expired paper, Photography, Agfa, Kodak, Ilford, Tura
S1 E1: Novice and expert Curiosity, openness and dialogue
Zo Gay
S9753760
Studio 1
Exercise
Novice and expert — Curiosity, openness and dialogue
Position / Dialogue
Novice, in dialogue with Melbourne painter, Angela Chauvin
Angela Chauvin is a Melbourne based painter who is currently studying a Master of Fine Art at RMIT, following her recent completion of a Bachelor of Fine Arts at RMIT and Honours year at VCA. “Angela’s work sits within the traditions of observational oil painting, documenting her experience of the physical world around her” (Stockrooms 2019).
Angela paints in situ (on location) directly onto a blank canvas or linen stretched over timber frames. She also paints on timber boards, stating that the firmness of the boards allows her to “push against” the surface applying “stronger gestures” as opposed to the springy-like surface of the stretched canvas and linen.
Figure 1. Angela shows the back of a painting on timber. Photo by Zo Gay
In 2019 Angela presented a solo exhibition titled “How is a Window” at Stockroom Gallery, Kyneton. Comprising paintings created in artists’ studios from 2016 to 2019, the series focuses on “how windows exist in these spaces symbolically and experientially … exploring the translation of perception of reality into visual and material artworks” (ibid 2019). Sourced from the Stockroom Gallery online room sheet, figures 2–6 are a selection of works from the exhibition, which display Angela’s observational style, creative vision and deep connection with her surroundings and subject matter.
Figure 2. Angela Chauvin, EmptyFull, 2016, oil on linen, 138x112cm
Figure 3. Angela Chauvin, Studio Things, 2017, oil on linen, 41x77cm
Figure 4. Angela Chauvin, The Way Out, 2018, oil on linen, 150x112cm
Figure 5. Angela Chauvin, Blue Print Room, 2019, oil on linen, 120x90cm
Figure 6. Angela Chauvin, Pink Pigeons on Brunswick, 2019, oil on linen, 80x60cm
During our meeting at her RMIT studio, Angela explained that she “draws with paint” and then “paints a little bit on the drawing”, describing the painting as the “placement of paint”, while the drawing – working with line, akin to “handwriting” – fosters spontaneity and immediacy in the making that further asserts her “voice” and personal connection to and with each piece.
Angela is now experimenting with “bringing in elements from her imagination and possibly from photographs”, although she is considering developing her concept first, then sourcing representational objects to paint in a new approach to expressing her imagination combined with her existing observational painting practice.
We also discussed one of her paintings, a work in progress of a charred landscape from recent bushfires (Figures 7–9).
Figure 7. Angela Chauvin, Untitled work in progress, 2022, charcoal and oil on linen, 120x240cm. Photo by Zo Gay
On location, Angela first drew on the canvas using a “chunck of charcoal” taken from the burnt landscape. Returning to her studio, she began building the work with paint. Anglea states her intention is to include fragmented pieces of herself in the artwork and will need to source representational objects to paint to achieve this outcome.
To quote, “I want to bring in other elements, which will be me, in pieces. Then I’ll need to find objects that symbolise those pieces of me, and actually paint them in real life … I will be painting a collage of things from life, but they will not neccessarily be in front of me at the same time.”
When asked about the title, Angela replies, “It is untitled, although I think it will be something like ‘Me in pieces’”, stating that “It is a post-separation piece” and that her paintings “always relate to what is going on in my life as well as what is around me”.
Figure 8. Angela Chauvin, Untitled work in progress (detail), 2022, charcoal and oil on linen, 120x240cm. Photo by Zo Gay
Figure 9. Angela Chauvin, Untitled work in progress (detail), 2022, charcoal and oil on linen, 120x240cm.Photo by Zo Gay
Angela reflects that she grew up in the country, spending much time in the forest, and acknowledges that “nature” and the “non-human’ world” are a “safe space” for her which has significantly influenced the “post-separation” piece. Considered part of her healing process, the painting has enabled her to connect with the bush during a difficult time when she is committed to being city-bound.
When asked if creating the piece has been a cathartic process and conduit for her emotional health and well being, Angela replies, “That’s all my art has ever been”.
Influenced by artists including Nick Cave and Warren Ellis, Angela describes her creative themes as Australian Gothic, a moody melancholy whereby she endeavours to connect with the unspoken and “in betweens” along with the unrepresented and misrepresented fissures of life, with a primary focus on social injustice and contributing to the discourse of post-colonialism through her work.
Figure 10. Nick Cave and Warren Ellis (The Scotsman 2021)
Keywords
Studio 1, Novice, Expert, Dialogue
Bibliography
Chauvin, Angela. 2016. EmptyFull. Online image. https://stockroomspace.com/angela-chauvin-exhibitions.
———. 2017. Studio Things. Online image. https://stockroomspace.com/angela-chauvin-exhibitions.
———. 2018. The Way Out. Online image. https://stockroomspace.com/angela-chauvin-exhibitions.
———. 2019. Blue Print Room. Online image. https://stockroomspace.com/angela-chauvin-exhibitions.
———. 2019. Green Tablescape. Online image. https://stockroomspace.com/angela-chauvin-exhibitions.
———. 2019. Pink Pigeons on Brunswick. Online image. https://stockroomspace.com/angela-chauvin-exhibitions.
Gay, Zo. 2022. Conversation with Angela Chauvin.
The Scotsman. 2021. Nick Cave And Warren Ellis. Online image. https://www.scotsman.com/whats-on/arts-and-entertainment/music-review-nick-cave-warren-ellis-playhouse-edinburgh-3391472.
Chords and emotion
I am drawn to musical compositions with minor chords, prompting me to investigate the affects of musical composition on physical and psychological states and the different emotional responses to major and minor chords.
Keywords
Minor chords, Major chords, Emotion, Studio 1, MFA
Further reading
Fritz, Thomas, and Stefan Koelsch. 2008. "The Role Of Semantic Association And Emotional Contagion For The Induction Of Emotion With Music". Behavioral And Brain Sciences 31 (5): 579-580. doi:10.1017/s0140525x08005347.
Wager, Tor D, K.Luan Phan, Israel Liberzon, and Stephan F Taylor. 2003. "Valence, Gender, And Lateralization Of Functional Brain Anatomy In Emotion: A Meta-Analysis Of Findings From Neuroimaging". Neuroimage 19 (3): 513-531. doi:10.1016/s1053-8119(03)00078-8.
McGettigan, Carolyn, Andrew Faulkner, Irene Altarelli, Jonas Obleser, Harriet Baverstock, and Sophie K. Scott. 2012. "Speech Comprehension Aided By Multiple Modalities: Behavioural And Neural Interactions". Neuropsychologia 50 (5): 762-776. doi:10.1016/j.neuropsychologia.2012.01.010.
Bibliography
Bakker, David Radford, and Frances Heritage Martin. 2014. "Musical Chords And Emotion: Major And Minor Triads Are Processed For Emotion". Cognitive, Affective, & Behavioral Neuroscience 15 (1): 15-31. doi:10.3758/s13415-014-0309-4.
Craton, Lincoln G., Daniel S. Juergens, Hannah R. Michalak, and Christopher R. Poirier. “Roll Over Beethoven? An Initial Investigation of Listeners’ Perception of Chords Used in Rock Music.” Music Perception: An Interdisciplinary Journal 33, no. 3 (2016): 332–43. https://www.jstor.org/stable/26417411.
Willetts, Dale. 2020. "How To Make A Pinhole Film Camera At Home With Some Packaging". Petapixel. https://petapixel.com/2020/05/11/how-to-make-a-pinhole-film-camera-at-home-with-some-packaging/.
Biotextiles
Exploring visual iterations of “networks” I have been researching biotextiles, particularly mycelium structures, grown for artistic creative practice (Snoad 2020), although there are the ethics of manipulating organic form to consider. In reference to fungi, it has been suggested that I research psychedelic philosopher Terrance McKenna (Lamb 2021). First, I do not drink alcohol or take mind or mood-altering drugs (prescribed or otherwise). Second, after a precursory look into McKenna, I believe it is fair to state that even if I did use drugs and alcohol, his writing appears (at first glance) to be drug-addled nonsense and another conversation that I am not willing to be part of. My brief research into biotextiles applied methods in creative practice has led to two topics that have no interest to me and have decided to let go of the concept entirely.
Mycelium Lace, Design & Living Systems Lab, Carole Collet, 2015 (Ræbild et al. 2018)
Faber Futures | Void, Natsai Audrey Chieza in collaboration with Ginkgo Bioworks, exhibited at Hubweek, Boston, 2017 (Ræbild et al. 2018)
Keywords
Development of practice, DOP, MFA, Studio 1, Biotextiles, Biotechnology, Posthumanism, Transhumanism, Terrance McKenna, Mycelium, Fungi
Bibliography
Collet, Carole. 2021. "Biotextiles: Making Textiles In A Context Of Climate And Biodiversity Emergency". Materials Experience 2, 207-226. doi:10.1016/b978-0-12-819244-3.00029-6.
Lamb, Robert. 2021. "The Stoned Ape Hypothesis: Did Magic Mushrooms Influence Human Evolution?". Howstuffworks. https://science.howstuffworks.com/life/evolution/stoned-ape-hypothesis.htm.
Ræbild, Ulla & Piper, Anna & Nimkulrat, Nithikul. 2018. Soft Landing.
Snoad, Laura. 2022. "8 Makers Using Biodesign To Grow Their Work". Crafts Council. https://www.craftscouncil.org.uk/stories/8-makers-using-biodesign-grow-their-work.
Thacker, Eugene. 2003. “Data Made Flesh: Biotechnology and the Discourse of the Posthuman.” Cultural Critique, no. 53: 72–97. http://www.jstor.org/stable/1354625.
Painting
I have been experimenting with paint. In the process of a said experiment, I painted on one of my archival pigment prints, hated it, tore it up, then salvaged a section (it was a huge print) and stuck it to some cardboard I had lying around my uni studio. Stepping back I thought, “that's better”. Painting does not in any way shape or form come naturally to me, and I don't know how I feel about sharing this piece. But that is exactly the point.
Fragile, 2022
Acrylic on archival pigment print and cardboard
594x841mm (approx)
Keywords
Painting, Development of practice, Fragile, Studio 1, MFA
Textures and colour
Preparing and making photogravure [1] plates, inspired by and repurposing printmaking artefacts.
Artefacts
Photogravure (photopolymer) printing plates are placed on a magnetic sheet taped to the workbench, stabilising the plate and preventing it from slipping during the inking process. A sheet of newsprint is placed between the magnet and plate to help keep the workstation clean and enable lifting the plate off the magnet post-inking. The black marks on the paper in Figures 1 and 2 clearly show the position of the photopolymer plates and the rub-over of ink from the buffing or polishing in preparation to print. The “under-sheets” are then discarded after two or three uses. The traces of ink are captivating, beautiful and immersive.
Figure 1
Figure 2
Figure 3
Figure 4
Footnotes
Photogravure etching is non-toxic and without use of solvents, or acids. Images are transferred directly onto a photopolymer plate with the use of an inkjet printer. The plate is then exposed using UV light, processed with water, and printed via an etching press (Glattauer 2021).
Keywords
MFA, Studio 1, Development of practice, Photogravure, Printmaking, Artefacts
Bibliography
Glattauer, Silvi. 2021. “PHOTOPOLYMER PHOTOGRAVURE - WEEK-END WORKSHOP.” Melbourne: Baldessin Press. https://baldessinpress.com.au/upcoming-workshops/photopolymer-photogravure-july2021-wgxz.
Bookbinding 4: Clamshell enclosure
Although I am teaching myself how to make the clamshell enclosure (Figures 1–2), the power-to-weight ratio of time versus cost must also be considered. As such, I am sourcing professional bookbinders to order a completed unit. Onward and upward.
Figure 1. Uncovered clamshell enclosure (right-side base).
Figure 2. Checking prints fit in clamshell enclosure.
Keywords
Bookbinding, Clamshell
Bibliography
Schneider, Darryn A. 2020. “Making a Clamshell Enclosure for Rare, Valuable or Fragile Books Part 1 // Adventures in Bookbinding”. DAS Bookbinding. April 18, 2020. YouTube video, 29:25. https://www.youtube.com/watch?v=a5sa0KXJf3Y.
Schneider, Darryn A. 2020. “Making a Clamshell Enclosure for Rare, Valuable or Fragile Books Part 2 // Adventures in Bookbinding”. DAS Bookbinding. April 25, 2020. YouTube video, 25:19. https://www.youtube.com/watch?v=8Tc6CFXq-_k.
Utilising printmaking artefacts
Experimenting with artefacts to incorporate into prints. Photopolymer printing plates are placed on a magnetic sheet taped to the workbench, stabilising the plate and preventing it from slipping during the inking process. A sheet of newsprint is placed between the magnet and plate to help keep the workstation clean and enable lifting the plate off the magnet post-inking. The black marks on the paper in Figures 1 and 2 clearly show the position of the photopolymer plates and the rub-over of ink from the buffing or polishing in preparation to print. The “under-sheets” are then discarded after two or three uses. The traces of ink are captivating, beautiful and immersive. Time to play.
Figure 1. Photogravure printmaking artefact
Figure 2. Photogravure printmaking artefact
Studio and paint
Advice for Studio 1 is to experiment and start small and create several small pieces as a preliminary exploration to work from in building the year’s major project moving forward, and most importantly, to have fun with the processes. I am learning how paint behaves, confronting and pushing my comfort zones. I found myself navigating expectations of what painting is and began questioning myself and my creative ability. For some reason, I have a preconception that one must be good at drawing to paint, which I am not. This led to disastrous results and frustration. Although I was not happy with my initial outcomes and felt I was fighting with or against the medium, it did result in some intriguing developments and a personal breakthrough. Michael, Sally, and Steven’s advice came to the forefront, “have fun, experiment, be playful with your practice”. Thus, I changed my approach and am now experimenting with how the medium “behaves” how I can work with it to incorporate it into my photographic and printmaking practice.
Figure 1. It took a lot of experimenting with different brands of acrylic to find the quality and pigmentation I was happy with.
Figure 2. Making a colour mixing book and preparing to hand colour a selection of photogravure test prints.
I am working with foam core as I have a lot of offcuts. Being light and sturdy, it enables me to make a collage of my experiments and tests with darkroom prints, photogravure, screen prints and paintings on my studio wall at uni. I am also working with Fabriano Roseapina, as it is what I use for photogravure printmaking. However, Roseapina is a course paper and will be problematic, as I intend to combine photogravure and screen printing in a series of works. Testing how a variety of substrates I use in my practice respond to paint is as important as how to use paint to make images, so I regard these trials relevant.
Figure 3. “Cracking the shits”, 2022. Acrylic on archival pigment print.
Shift in approach and design
Figure 4. Permaprint rolled onto 5mm foam core
Figure 5. Permaprint rolled onto Fabriano Roseapina printmaking paper
Figure 6. Drying substrates
Figure 7. Applying gesso as a base coat prior to painting
Meaningful object
For our first Studio 1` class, we had to bring in a meaningful object, which, for me, is akin to asking how long is a piece of string. The level of meaningfulness of any given object fluctuates and changes. It's like asking me, "what is your favourite song?" to which my response is simply, "today?" Reflecting on the class requirement, I would say no one object is particularly significant or embodies my creative practice. However, I have chosen to bring my vintage Canon AE1 35mm film camera. This camera gave me the freedom to see and explore the nuances of light play and the photographic image, despite being unable to fully articulate how, through the lens of the AE1, I found a voice and means by which to express the rhythm, energy and emotion – and my mental and physical responses to my surroundings. The camera and its influence on my perception and my ability to articulate narratives through the image have changed my life and are, in part, a major contributing factor that inspired me to formalise my art practice with a university degree.
Keywords
MFA, Studio 1, Meaningful object, AE1
Bookbinding 3: Knots
Keywords
Bookbinding, Knots
Bibliography
Schneider, Darryn A. 2019. “Bookbinding Knots: Square, Kettle, Weavers Knot // Adventures in Bookbinding”. DAS Bookbinding. April 24, 2019. YouTube video, 08:52. https://www.youtube.com/watch?v=fS0TknH4MUc.
Bookbinding 2: Reinforced springback sewing
After much research, reinforced springback sewing is an ideal finish for an artist's book. Although this method of bookbinding is generally applied when working with “sections”, it should work well with printmakers’ paper and single spreads.
Figure 1. Reinforced Springback Sewing (Schneider 2019).
Figure 2. Reinforced Springback Sewing Revisited (Schneider 2020).
Keywords
Bookbinding, Sewing, Reinforced springback
Bibliography
Schneider, Darryn A. 2019. “Reinforced Springback Sewing // Adventures in Bookbinding”. DAS Bookbinding. September 10, 2019. YouTube video, 14:23. https://youtu.be/sjROFTuimEA.
Schneider, Darryn A. 2020. Reinforced Springback Sewing Revisited // Adventures in Bookbinding”. DAS Bookbinding. January 3, 2020. YouTube video, 09:06. https://youtu.be/nukFW_bm0tg.
Bookbinding 1: Constraints
Constraints
Contact bookbinder to discuss binding methods I am interested in and the pre-binding allowances that should be considered in the book design. As I am creating a series of artist books using printmaking methods such as photogravure, the overall design must be considered and incorporated into the printmaking process to ensure that all works are made to the correct specifications to achieve the best results in the final outcome.
Printmaking is expensive and time-consuming. As with any project with a set outcome, I factor in the constraints of the ‘outcome’ and then troubleshoot the presentation of the work and move forward. Although the ‘troubleshooting process’ takes time and may be perceived as ‘putting the cart before the horse’, doing so provides clarity for the creative process and project direction. The end result speaks for itself.
Printmaking and bookbinding constraints:
Allowance for binding margin (gutter).
Most efficient paper sizes.
Working with printmaking paper.
Glassine between each sheet/page.
Clean versus deckle edging on paper stock.
Keywords
Book binding, Constraints, Project planning
Sound therapy notes
Notes from happen-chance meeting with a sound therapist. Hearing about the basic foundation of sound therapy and how it differs from music therapy. After some cross-referencing and rudimentary follow-up research based on notes I made during our two-hour conversation, I am looking for scientific research to substantiate the information shared with me. Although the notes below still need to be unpacked, they provide a good starting point.
Sound therapy uses frequency and vibration, which differs from music therapy which uses 'music' (compositions/songs) as a foundational therapeutic treatment.
Sound therapy.
The body (human) is approximately 80% water. Sound travels through water.
Vibrational instruments.
Specific frequencies affect and are directly associated with areas of the body and brain.
Sound as medicine is used to massage, simulate or remap (?) neural pathways.
Determine what frequency range sensitivity is and how frequency range may impact mental and bodily sensations.
Classical music assists memory retention — NOTE: music therapy used to aid memory retention is based on 'frequency range'. Full range of frequency (and full-scale ranges (RATIOS)) in a musical composition stimulates 'all neural pathways'.
Human ear: Organ of balance, one of the first organs to form (I wonder what the first is, skin perhaps?) and the last to shut down.
What is:
Johansen therapy?
Metronome program?
Metronome program in sports therapy?
Audiology?
Mozart theory/affect?
Keywords
Sound therapy, Music therapy, Neuroscience, Psychotherapy
Bibliography
ABC Science. 2016. Power Of Music On The Brain | Dementia & Parkinson's. YouTube video, 00:29:17. https://www.youtube.com/watch?v=rnUSNbqtVJI&t=943s.
Bennett, Andy, and Susanne Janssen. 2015. "Popular Music, Cultural Memory, And Heritage". Popular Music And Society 39 (1): 1-7. doi:10.1080/03007766.2015.1061332.
Crum, Lawrence, and Kullervo Hynynen. 1996. "Sound Therapy". Physics World 9 (8): 28-34. doi:10.1088/2058-7058/9/8/22.
Bruscia, Kenneth E. 2013. Defining Music Therapy. eBook. University Park: Barcelona. ProQuest Ebook Central. https://ebookcentral.proquest.com/lib/rmit/reader.action?docID=3117673&ppg=28.
Heaney, Conor. 2019. "Tragic Rhythms: Nietzsche and Agamben on Rhythm and Art." PDF. la Deleuziana 10: 61–78. http://www.ladeleuziana.org/wp-content/uploads/2020/01/Heaney.pdf.