Friday 27 December 2013

Artist's Books: Which Filter Works?




The book was produced in an edition of 7 printed on 130gm cartridge paper, the cover is yellow card and the cigarette cards are printed on glossy card. 3D Glasses accompany the book.
The book measures 190mm x 120mm.
This book was one of the elements within my practice-based PhD about anxiety in advertising.


The book Which Filter Works? began with the series of six cigarette cards, each one based on an existing factual diagram found within U.S. cigarette advertisements of the period. I felt the re-drawn diagrams needed to be placed within the context of a collectors book, the book was planned to parody the science and technology, of Filter-Tip cigarettes. My invented brand Lemorette was the focus, as if the book was a promotional item to introduce a new brand. The name Lemorette is mentioned as many times as possible. The tone of the book is instructional but rather patronising assuming the consumer is childlike in intellect. The consumer's children are encouraged to participate. 3D glasses are included in the front of the book. It was intended that viewing the book via the glasses should feel a little ridiculous.

For more information about the choice to use 3D imagery select The use of 3D section.
The book is in two sections, the first half is informational and offers advice and justifications, including headings such as;

A Doctor Speaks... 
This is a bogus endorsement from a medical specialist suggesting he has been paid to say whatever the manufacturers want him to.


What's 3D and why the funny-looking glasses
?
Explanation of how to view 3D, suggesting that the novelty glasses can enhance understanding.


Psychological fact: PLEASURE HELPS YOUR DISPOSITION
Double page chart intended to show how smoking more can ease anxiety, the title 'PLEASURE HELPS YOUR DISPOSITION' was used by Camel in their 1954 advertisements.


So what's wrong with cigarettes? / Worries melt away...
This diagram needs to be viewed by blinking each eye in turn, hence the diseases associated with smoking that appear listed above the woman's head fade away and the brand name Lemorette takes their place.
What's a filter anyway? / How do other brands compare? 
Although the title suggests that this section will explain what a filter is, the text goes on to skirt around the issue by taking about umbrellas and roofs, again speaking, as if to a child. The diagram needs to be viewed by blinking each eye in turn to see the Lemorette brand stopping all harmful lines from penetrating the body, closing the other eye shows tangled lines in the lung area when a different brand is smoked.


What about these rigorous tests? 
This double page pread shows a bar graph that is all but useless since it has no axis numerals. Instead the danger is shown by simply making the bars longer or shorter, the categories read 'safe', 'inert', 'concern', 'risky', 'dangerous' and 'deadly' but again no qualification of the measurements are given. Opposite is a cross-section of the Lemorette filtered cigarette, parodying the conventions of the cross-section diagrams that appear so frequently in Filter-Tipped brands' advertisements. The Lemorette filter is so complex that only about a sixth of the cigarette is actually tobacco. The filter names however are all genuine.



The second section is an image of a large extended cigarette - this is where the six cigarette cards are stuck-in. This section also has additional statistics and comments about the brand, it ends with a performance chart and image of the factory where Lemorette is supposedly made. The book ends on a final endorsement from Dr.Wolf about Lemorette 'The World's first SAFE Cigarette'.









About the use of 3D



I experimented with 3D imagery to give a 'gimmicky' feel to the book. The book was therefore created in red/green anaglyph 3D for a sense of cheap novelty. 3D glasses are included in the front of the book and the consumer is instructed when to put them on and take them off. Some diagrams require the viewer to close one eye and then switch to the other in order to get the hidden messages within the pages - Viewing the book should feel complex and yet embarrassing.
The section, What's 3D and why the funny-looking glasses? Seeks to explain how to view 3D, suggesting that the novely glasses can enhance understanding, whereas the over complex information instead seeks to cloud the issue and bedazzle the consumer.

There are two types of anaglyph illustrations used in the book;

  1. A composite image that appears to have several levels when viewed with the red/green glasses. e.g. the image of the Lemorette factory on p.20, A Doctor Speaks... the image of Dr.Wolf's endorsement on p.2 and all six of the separate stuck-in cigarette cards.
  2. Two separate images, one in green, the other in red viewed by opening and closing each eye in turn. e.g. the image of the woman on p.6 Worries melt away... , the diagram on p.7 What's a filter anyway? and the face in the rounded box on the cover of the book.
Shown below is 'What's a filter anyway? / How do other brands compare?'
This diagram needs to be viewed by blinking each eye in turn to see the Lemorette brand stopping all harmful lines from penetrating the body, closing the other eye shows tangled lines in the lung area when a different brand is smoked.
The illustrations (below) show how the illustration is seen in the green lense only (left) and the red lense only (right).


Creating Anaglyphs
I used Adobe Photoshop to separate my illustrations into about 6 layers and then created a red and green version of each layer. To make images appear closer to the viewer the red layer should be shunted to the right. In order to make the image recede the red layer should be shunted to the left.

Artist's Book: Menthol Daze


The booklet is 107mm X 150mm. The inside page once opened is 297mm x 420mm (A3)
The cover is printed on white card, the inside page is black and white on 130g cartridge paper.
There is space for 14 collectors' cards. Each edition has 9 cards pasted in. The collectors' cards are printed in colour on archival glossy card.
Menthol Daze is produced in editions of 7.




Menthol Daze is a single fold-out page containing spaces for collected cigarette cards. The booklet is produced under my own invented brand Elysian's Cigarettes.
The images are manipulated collages from Salem cigarette advertisements and images from the Sierra Club publications from the 'fifties. The cards are numbered and when pasted into the booklet, text accompanies each picture. The images are intended to represent the clichéd images of delightful countryside, so often used in selling products - by attempting to make them appear healthy and natural.
The text that accompanies each image however details reasons to be uncertain of the countryside. Threats in the natural environment range from nuclear testing contamination, dangerous infections carried in rivers and annual lawn mower injuries, to the link between temperature change and heart attacks. The intention of Menthol Daze was to juxtapose threat and relaxation found in the Great Outdoors in order to satirize the inflated claims made for nature in advertisements - cereals, shampoo, cars, sweets and snacks, insurance and mobile phones.
  

 



This book was created as part of my practice-based PhD researching at anxiety in advertisements.

Artist's Book: Reboot



Reboot - Limited Edition of 10, Brighton 2008
400mm x 170mm, a double-spiral bound pair of books each of 20 pages.
The cover is clear acrylic closed with magnetic catches.
Hand-cut rubber stamp icons are added to final printed pages.
Several real capacitors and fuses are threaded into two of the pages.


This is a book about computers. Do they really hate us? Why are computers so indignant when you want to open files, rewarding your impetuousness with spinning balls and hourglass icons. This is a book about technological brokenness. We rely more and more on technology and computers, ignoring the fact that there seems to be a mechanical revolt gradually gathering pace all around us - soon the only tasks left for us will be hand-drawing the 'Out of Order' signs to hang on the machines.
Over a period of time, I’ve been recording technology failures photographically as well as drawing the language of brokenness, cryptic messages such as, disc error and are you sure you want to shut-down?
I've combined my photographs and drawings into this pair of books, added to this hand-cut rubber stamps of familiar computer icons - hourglass, watch, cursor arrow and older legacy icons such as the floppy disk. Scanned legacy peripherals such as scssi leads and old network cables tangle across the pages, to remind us just how fast technology is moving.

The books work as a pair and should be opened and read simultaneously.





Artist's Book: My Favourite Souvenir


This book is dual language and is available in two colours within the edition:
Red cover (English/Malay) or Blue cover (Malay/English). The book is hardcover bound in bookcloth.
The book measures 200mm x 200mm when closed and 200mm x 600mm when fully opened.
The book unfolds once to reveal the first sewn-in 14 page section, it then unfolds again to the left to reveal the second sewn-in 14 page section.
The main body of the book is printed on 130gsm cartridge paper with colour images printed on 260gsm photographic paper tipped-in. Both sections have patterned endpapers.
A white card band holds the book closed, it has the title printed on it, which is either:
Red: MY Favourite SOUVENIR ....... Blue: CENDERAHATI kegemaran KU
Handmade by Artist, made to order in either red or blue, total edition limited to 20, Brighton 2005


This book was created as a response to the many souvenirs that are available at popular tourist destinations. In this case a journey of six and a half thousand miles (about 10473km) over 12 hours bought me face to face with the same snow storms I had left behind in my home town - even though snow is not a familiar sight in tropical Kuala Lumpur. Popular attractions were visited and many plastic souvenirs were collected such as, key rings, fridge magnets, spoons, shot glasses, pens, plates and of course snowstorms. The souvenirs were all branded with the image of Kuala Lumpur's ultra-modern Petronus towers. I had noticed that my home town of Brighton seemed to sell itself by pasting images of the Royal Pavilion on snowstorms, ironically the Pavilion's indian architectural style is also prevalent in older areas of Kuala Lumpur. I photographed a set of souvenirs concentrating on close-ups to capture the garishness and build quality. I then collected and contrasted these with photographs of the same souvenir objects bought in Brighton, my home town. I shopped for souvenirs and soon had like for like, but with a different building stuck on the magnet, so to speak.



The book is made in two sections: The red section is from the perspective of a traveler from England to Malaysia and the blue section is from the perspective of a traveler from Malaysia to England. Both travelers have bought the same souvenirs and the book can be opened to contrast similar items. Melancholy travel and memory quotes accompany the images along with drawings that were created during my journey. In the red section the quotes are in English, in the blue section the same quotes appear in Malay. The red covered book has the English section first, the blue covered book has the Malay section first otherwise the insides are the same. Malay turned out to be much longer than English so the typography and design were designed to be flexible enough to hold either language in the same format. Translations from English into Malay were kindly supplied by Shep Sharer who has my thanks.





Research Funding
This book was supported through Images in Practice a research center at the University of Portsmouth.
As part of a student 'project exchange' staff research was also supported, in this case, research and reference gathering for a limited edition artist's book called My Favourite Souvenir. As part of the visit to Malaysia myself and colleague Dr. Maureen O'Neill, also from the University of Portsmouth, visited as external examiners ALIF Creative Academy in Kuala Lumpur, assessing final year multimedia design and graphic design student presentations.
The main focus of this funded research exercise was to provide a project exchange for final year students studying illustration at the University of Portsmouth with graphics students at the Universiti Teknologi MARA, Kuala Lumpur, Malaysia. The project is called 'Daily Routine' and visually explored the daily tasks that are often taken for granted, it also sought to celebrate cultural similarities and differences. Myself and Dr. Maureen O'Neil worked in collaboration with Dr. Ruslan Rahim and Mr. Wan Zamani from the Universiti Teknologi MARATo see the Daily Routine Project click here...


Artist's Book: We're Sorry_


110mm x 135mm with 30 pages.
The cover is printed on heavy card and is held shut by a slide-off hazard-tape belly band. 
The inside cover is printed with a pattern of apologies. The 30 inside pages are printed in black on blue paper, they are bound into the book in two sections in an unusual 'W' sewn binding. Click on the image for a detail. The photographic images are printed on sticker paper then cut out using a perforation cutter and stuck into the book. Produced in an edition of 10 each book is numbered and signed.




Have you noticed that the more life apparently gets better, the more things seem to break down? Vending machines, ticket machines, cash machines and computers all conspire to refuse us their automated service - spitting-out notes and stealing change. It doesn't end there, public toilets are locked or broken and automated turnstiles simply refuse to let us pass.
Surprisingly this mechanical entropy seems to have gone unnoticed. However, through the course of
a few months armed with a camera phone I recorded the mechanical revolt that is gradually gathering pace all around us. We're Sorry_ is a salute to brokenness and the signs that announce it.



Current edition has a white cover and alternative images within

Selected Exhibitions:

Closure 2009, The Gallery, The University of Northampton, 15th August–19th September 2009 at artworks-MK, Milton Keynes, UK.We're Sorry_ has been accepted for this travelling artists' book exhibition from the We Love Your Books Collective.
After the exhibiton, We're Sorry_ will join the WLYB permanent archive

Montage Over Britain: David Ferry plus Artists’ Books from the CFPR Collection
Saturday 9 December 2006 - Sunday 14 January 2007
Permanent Gallery and Bookshop, Brighton
We're Sorry_ from Damp Flat Books will be in the exhibition.
Accompanying the show will be a unique collection of 45 contemporary books by artists, available for visitors to view. This collection has been especially selected for The Permanent Bookshop by Sarah Bodman, and includes the work of Jake Tilson, Yoko Ono, Sophie Calle and David Shrigley.