photography yearbook pitch
DESCRIPTION
Design direction and print specificationsTRANSCRIPT
Photography Yearbook 2011Final Concept BoardsCollaboration: Emma Price / Heather Bradley / Chloë Galea / Carl Holderness
CONCEPT:
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The concept for this year’s photography catalogue is ‘unseen’, making reference to the work that is to be shown for the first time at their graduating exhibition (of the same name). To the photographers displaying work, this marks a moment in which they finally showcase their photography to the industry.
The logo designed plays on this idea of things being hidden and revealed by the separation of the word ‘unseen’ both physically (on the cover) and through weights of type on the inside pages. The same design applies to other headings throughout the publication.
Rather than a yearbook, the photographers are keen for this publication to act as a catalogue to accompany the exhibition and for this reason the inclusion of elements such as profile pictures have been decided as inappropriate. Instead it is important for the work to speak for itself. This has meant that the design of the actual spreads should be minimal with the main aim to direct attention towards the photographs, in a sense the design itself must be ‘unseen’.
Photography Yearbook 2011Final Concept BoardsCollaboration: Emma Price / Heather Bradley / Chloë Galea / Carl Holderness
DESIGN DIRECTION:
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The medium of Photography was given its name by using two Greek terms that described the process – drawing (graphy) with light (Photo). Though the process required very specific technical and scientific knowledge during its early stages of development, the term ‘Photography’ clearly implies an artistic reference in its description.
The medium of Photography has embedded itself within society and is used by a continuously increasing number of people. This has been encouraged through constant changes in camera technology as manufacturers were financially driven to make the process accessible for use by the public at large. With the possibilities of digital technology, we are fully immersed and bombarded by images. Not only are the general public more liberated with their use of the camera to record their personal lives, but they are also happy to place them in the public forum of internet sites for the world to see. Long gone are the fears of the camera stealing souls, replaced by a knowing awareness of how the camera ‘sees’ and can project a persona of ones self into the public realm.
As the world and our lives are recorded more frequently and covertly, the role of the photographer becomes even more important. CCTV cameras record mundane
FOREWORD
scenes un-relentlessly without consideration to composition and the ‘decisive moment’. Google’s Streetview shows us a virtual world through photographs where time is blurred to create 360% views of places we may never have visited. Yet to walk through this virtual world is still a complex and difficult experience. The artist Doug Rickard has split the photography world with his recent photographs taken through his computer screen of ‘Streetview’ scenes. These images reference the history of photography and reiterate the most important point that photography is all about ‘looking’.
Looking and communicating is at the heart of the work in this publication. The photographers have followed their individual interests to make visual engaging images. The camera may still be the mechanical recorder of what it is pointed at, but the personal intention and vision of the photographer is crucial to creating images that will challenge us to reconsider our understanding of the world we live in.
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Adrian Davies, 2011
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DANIEL ROSSNo Name Given
JOSEPH CREFFIELDNo Name Given
HOLLY SAXTONNo Title Given
JAYDE SCREATONWhy No Name
FREYA KRUCZENYKI Need a Name
JOHN ROYSay My Name
KIRSTY GARLANDNo Name
JACK BOOTHNo Name Today
ROY JOHNNo Name
AMY COCHRANEI Have No Name
HANNAH SUNDERLANDNo Title
LAUREN PISSOCHETNo Title
MARC BROWNNo Title
ELEANOR SMITHNo Name
ROSE-LOUISE COXNo Name
JOSH ROSENo Title Given
ALEX POLLThe Journey Inbetween
MARIA GALVINStatic
CHARYS ELLMERNo Name
30
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76 84
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681814 22
10 46
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RACHEAL BARKERNo Name
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ZAC HELMORENo Title Again
POLLY PARKERNo Title
CONTENTS
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ANNE-MARIE ATKINSONNo Title
DOUGLAS TONKINTransient Systems
9688
8072
64
50
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MARIA GALVIN48
No Title
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Issues relating to the environment form the focus of Maria Galvin’s practice. This project deliberates the idea of sustainability in relation to the symbiotic relationship between man and environment.
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This page [left to right]: Drink Are On Me / EscapeNext Page [left to right]: Home Time / Early Morning Start
HOLLY SAXTON48
No title Given
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In the world of fashion, rarely do we see works-in-progress or unfinished garments before they grace catwalks and glossy magazines. This project provides a documentary insight into the backstage of fashion. Holly Saxton explores a wide range of fashion studios: a local designer constructing garments to support a cause is juxtaposed with a big-name designer who showcased at London Fashion Week. The images reveal unseen aspects of this sometimes intimidating and elusive world. Does the glitz and the glamour live on after Fashion Week? Is everything as beautiful and perfect as what is shown in magazines? Blurring the line between fashion and documentary, the grainy fly-on-the-wall aesthetic contrasts with airbrushed magazine images and challenges stereotyped ideas about the fashion world.
+44 (0) 7949 002 884 [email protected]
This page: Sweet Green GrassNext Page [clockwise from top left]: Trailer Park / Pentax, Tarmac / Canon 76, Patio / Static.
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Sponsors
CribsJack BoothRobert Wigmanwww.cribs.co.uk
PholioTimothy Smithwww.pholio.co.uk
ACKNOWLEDGEMENTS
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Course LeaderAdrian Davies
Course TutorsAaron ChadyRoss WilliamsJoanna Craddock Maria AllenAndy JoskowskiPaul Bennet Todd
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Leeds College of Art
Leeds College of Art, Blenheim Walk, Leeds, West Yorkshire LS2 9AQ
+44 (0) 113 202 8000
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Sponsors
CribsJack BoothRobert Wigmanwww.cribs.co.uk
PholioTimothy Smithwww.pholio.co.uk
A Special Thanks To
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12.3 mm
420 mm
210 mm
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Each photographer is to have 2 double page spreads each.On the first page of each photographers spreads is the photographers personal and series information. This helps to define the beginning of the next photographers work as well as allow maximum space for photographs on the next spread.
We have some restrictions to do with images printed across the crease and making use of the bleed, which individual photographers have specified their preference.
Type Spec:
Headings: Helvetica Neau Light & Bold, 12pt (Uppercase)Series Name: Helvetica Neau Bold Italic, 7.8pt on 9.8ptBody: Helvetica Neau Regular, 7.8pt on 9.8ptPage Numbers: Helvetica Neau Bold, 7.8pt on 9.8ptCaptions: Helvetica Neau Regular, 6.8pt on 8.2ptDashes: Helvetica Neau Regular, 12ptContents Captions: Helvetica Neau Light & Bold 7pt on 9.8pt
Photography Yearbook 2011Final Concept BoardsCollaboration: Emma Price / Heather Bradley / Chloë Galea / Carl Holderness
PRINT SPECIFICATIONS:
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LOW SPEC:
MID SPEC:
HIGH SPEC:
500 copies 210 x 210 mm (+ 3 mm bleed)Pages: 108 pp + 4 cover4 CYMK colour process
Text: 150 gsm Premium SilkCover: 300 gsm Challenger EdixionBind: Lock bind
500 copies 210 x 210 mm (+ 3 mm bleed)Pages: 108 pp + 4 cover4 CYMK colour process
Text: 150 gsm Premium SilkCover: 350 gsm uncoated matt boardFinishes: White foil (max A6)Bind: ‘Layflat’ bind with fabric spine
500 copies 210 x 210 mm (+ 3 mm bleed)Pages: 108 pp + 4 cover4 CYMK colour process
Text: 150 gsm Premium SilkCover: 350 gsm uncoated matt boardFinishes: Emboss + white matte foil (max A6)Bind: ‘Lay-flat’ bind with fabric spine
CONTEXTUAL EXAMPLES
Currently each quote is over the initial budget of £2,500. However, through fundraising and sponsorship photography are to commit some of their own funds to contribute towards the cost of the book. We are to have written confirmation of this commitment of funds and the exact amount by the end of Weds 30th March. But we are confident that the amount will be a minimum of £500, bringing our total available funds to £3000.