It kept on growing. Then I had a conversation with my tutor, and it got smaller, back down to one concept with a supporting cast of thousands. Then I met Holly Woodward, who’s studying Identity and Place (blog here) at Lacock and she diagnosed the problem in about three lines and half a cup of coffee. Now, the book is tighter, more logical and just feels like it’s right. It needs a fine black cord through the holes as my ribbon is too wide.
What did I change? I took the front cover off, along with the transparency inside it (it wasn’t as good as the other transparency). I removed one of the negatives from its home on watercolour paper. Again, it wasn’t as good as the other one, which remains in place. I took the film’s protective cover and made that the cover (“It’s the title! There’s your title!” as Holly said.) I reordered, so there’s a rhythm to the pages now and a logic to each double page spread. To me, there’s a feeling of balance between the backs and the fronts, each is as important as the other. The transparent Mylar sheet, painstakingly lifted from an embossed Polaroid and generally ignored from that point on as it kept being flicked over in favour of whatever was visible through it, became the first page after the front cover. It’s in between two plain black back pages so now has to be looked at. I punched a couple of extra holes to allow pages to be flipped over and re-ordered. That last lovely transparent image can be turned in its own right, and viewed either from the front with a silver background or from the back with a cream paper background.
So next up is a condensed blog post for assessment. In the meantime, here’s a rough video of the book, minus its ribbon.