In the last conversation with Kristian he suggested thinking about the process of compiling a folio as being like preparing for an exhibition and so I decided that that was exactly what I would do!
Step 1: Identify a suitable space
I selected Gallery 4 at the Centre of Contemporary Photography (CCP) as the space I would exhibit. I went to the CCP web site to get the CCP Exhibition Proposal Guidelines. I have used these to shape my Folio preparation.
Gallery 4 details:
Ceiling height: 3 180mm
Walls • material: steel-studded MDF & plaster Floors • material: concrete
Lighting: Halogen lamps & floods
Technical: Fixed data projector
Walls • material: steel-studded MDF & plaster Floors • material: concrete
Lighting: Halogen lamps & floods
Technical: Fixed data projector
Wall 1: 3.000m approx
Wall 2: 3.865m
Wall 3: 3.900m
Wall 4: 4.010
Step 2: Draw up a floor plan and select possible photographs/objects for each wall
Based on the feedback I had received in various forums I decided to think of the exhibition as a selection of objects created using the double printing technique that I’ve been experimenting with. It wouldn’t be an overview but a selection of the most successful outcomes. In all instances I would increase the size to create the exhibition-sized objects.
I decided on:
- 2 x A2 double prints (Wall 1, hung/pinned)
- 4 x 3D openings joined to form a concertina (Wall 2, on shelf)
- 6 x multi-layered objects (Wall 3, on shelf, backlit)
- 4 x A3 double prints designed to be shown as a group (3D?).
Step 3: Draw up a wall elevation for each wall
Step 4: Make a plan of action for each wall/group of artworks
Step 5: Overview of arrangements and shopping
Step 6: Get perspex
I had already got several perspex samples from Omnus and so I visited again to discuss getting more. Dave, the manager, said he had off-cuts that he was going to throw away! He said I could have them for free or he could cut them for a price. I rang Ross, “yes” he could cut them. Fabulous!
Step 7: Meet with Ross about shelving and other display arrangements
Ross is my brother! Like me he picked up lots of practical skills from our father who was a cabinet maker/craftsman. Now he has a well-equipped workshop AND he’s looking for projects! He agreed to work with me, so I have a partner now.
In regard to the shelving for Walls 2 and 3 we discussed and made decisions about:
· type of wood, at this stage we agreed that where possible it was best to use the materials he had available
· measurements, we checked all my drawings and talked about the shelf thickness
· stain, we’re thinking black but will do some tests.
In regard to the Perspex/acrylic for the objects on Wall 3 we discussed and made decisions about:
· Thickness of the perspex (3mm)
· Size (A4 to be confirmed)
· Equipment need for cutting, drilling, sanding and polishing. I had found a website http://www.abplastics.com.au/hints-tips/that had fantastic tips for working with perspex. Ross checked this out and
In regard to the bolts:
· We looked at the options available
· Selected the best, the headless bolts with the rounded nuts in the left photograph:
Step 8: Meet with Peter about A2 printing
Wall 1 has 2 x A2 prints and I am going to use this opportunity to work with Peter in the Printshop for the first time. Up until now I have done all of my own printing but the largest I can print on my printer is A3+.
Our first step is to check that we will get the same result of Peter’s and my printers.
The second step involves Peter experimenting with double printing! This is quite tricky as it requires running the first print, then allowing drying time, then reloading the paper for the second print. This is challenging as it is hard to register the paper on the roller printer…so we’ll have to wait and see what happens. I might need a plan B!
Step 9: Researching and testing back-lighting for objects on Wall 3
Up until now I’ve used natural light to back-light these layered objects. This works well. However, there is not any natural light in Gallery 4 at the CCP. In fact, there are not many galleries that would natural light and so if I ever want to exhibit these, or similar objects I will have to find a lighting solution.
The things I’ve considered so far include:
· Type of lighting – LED or …
· Power source: plug-in or battery operated
· Design – strip LED, spot light, torch
So I went to Bunnings and Beacon Lighting.
At Beacon Lighting they didn’t really have anything that I thought would work!
I considered:
- LED strips but they were very expensive and I would have had to buy the strip as well as 5 transformers
- a string of outdoor lights that I thought might work but you couldn’t adjust the number of lights and there were too many
- some battery operated ‘candles’ but they came in sets of different sizes and I didn’t think they would shed enough light to be successful.
At Bunnings, the first thing I looked at was strip LEDs. My thinking went like this
- You have the option of plug-in or battery operated which is good
- Strip LEDs are good because you can cut the strips to length.
- Would I have one strip running the length of the shelf or 5 separate strips? One long strip would give you lights where there weren’t any objects and might interfere with viewer’s experience. Five separate strips could look messy.
- I can’t see how this is going to work!
- But I think I’m going to try it, especially if I’m not happy with any of the other solutions I test.
While at Bunnings I found one thing that might work – bright, white LED push lights.
They come in packs of three and take 3 x AAA batteries. The battery life is about 25 hours and they are very compact. They were only $10 for 3 so I bought a pack. When I first tried them out I didn’t think it would work as you could see the whole thing, not just the light, through the transparencies. But then I added a layer of tracing paper as a diffuser to the back of the maquette and that seems to work well. Now I’ll have to test it with the finished object.
I also bought a 3-in-1 LED light/torch which operates as a dim-able area light or a pivoting directional light.
The area light runs up to 100 hours at 165 lumens. (very good light and battery life)
The directional light runs up to 20 hours at 125 lumens. (too bright and specific)
On the down side this is quite bulky.
I’ll need to wait until the final objects are finished to properly test the available options. In the meantime I’ll keep researching to see if there are other options.
Step 10: Researching card for the concertina
With the increased size the backing material for the concertina is very important.
In terms of colour, I had original though that I would use one black and three white backing sheets but I now think it might looks better with all four black. Just in case I will test with several other colours, maybe grey and blue?
The card cannot be too thick as it needs to fold in the same way that the 3D openings do. On the other hand it needs to be strong enough so that when combined with the photograph it stands firmly, without giving or bending.
After a bit of looking around I settled on Canson Colourline in 300gsm.
No 38, Black
No 35 Light Grey
No 21, Primary Blue
Step 11: Double printing
These are the prints that I am making:
Wall 1 - 2 x A2 double prints (with Peter as described in Step 8)
Wall 2 - 4 x A3 double prints (for concertina) these need to be cut and folded after printing
Wall 3
A. 1 x A4 colour print/transparency (Burano, 1stlayer)
1 x A4 B&W transparency (folds in posters, 2ndlayer)
3 x sections of B&W transparency (3rdlayer)
4 x sections of B&W transparency (4thlayer)
B. 3 x A4 B&W transparencies (for 3 layers) curtain motif
3 x A4 B&W transparencies (for 3 layers) blue line
C. 6 x A4 B&W transparencies (for 2 layers in 3 objects)
2 x A4 tracing paper
Cut-outs (blue circles, positive and negative
Wall 4 - 4 x A3 double prints
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