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Week #15
This work was done by Robin Gebhart in 2016 in Seattle for the session “Experiencing the Book as a New Structure” in PRIMITIVE TO MODERN. In her own words:
This book was the last assignment for our Primitive to Modern class. (sigh) The meeting before, Reggie told us to bring in photo printouts on paper and transparency, but was rather mysterious about how we would be using them. My impression was that he wanted us to bring in images of pattern and color. So when I went home after class, I grabbed the camera, went into my yard and captured some of those types of images. Then I went through my digital archive of photos, to get a better variety.

Armed and ready, we came to class and had a whirlwind weekend of book creation. As I was working with the format and images, trying to pull something cohesive together, it occurred to me that instead of just one main panel in the middle, with throw-away sections to the outside, there was an opportunity to make this a three-panel image. So I worked backward and forward, trying to pay attention to how all three panels worked together.
As the main panel pieces moved to the side, it created a secondary, reversed, image. That meant every page had an image front and back. And I was really happy with the peek-a-boo effect in the later pages of the book. (The light table was a big help with positioning and designing).

There was not enough time to complete the book in class, so I finished it at home, thankful for the perspective a little time can give a project. But still limited myself to the items brought to class. Calligraphy was added at the very end using a ruling pen, Moon Palace sumi and Dr. Martin’s Pen White.

I’m sure that there are many additional, interesting design options for this book structure, especially when the three panels are taken into consideration. Additional planning ahead of time could produce some surprise elements and bold storylines to the structure.

A big thank you to Reggie for challenging us to bring our best efforts to class

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