Square, circle, triangle

After time spent collating and examining data, and with no decisions reached regarding how to progress, we determined to spend a week researching artists who utilise data visualisation and to also revisit our own previous work for inspiration.

Findings were shared and discussed at the regular FaceTime meeting, alongside reviewing the page structure and how information could be added. We recognised that, where possible, the visualisation of the data should not replicate recent methodologies – i.e typewriter patterns; we agreed to take a further week to explore how to interpret the list of verbs as a series of symbols. A decision was formed to use three different shaped stickers to represent the three categories of plan, produce and present.

Having researched definitions and explored a range of symbols to represent the list of 47 verbs, our pre-arranged FaceTime discussion highlighted the problem of developing work for such a wide range of words – the ideas lacked structure and a system that could be easily adopted and applied to the three agreed shapes of square, circle, triangle. Further dialogue enabled a simpler idea to be formed whereby symbols would be developed for each category and by applying sub-categories we could extend the range whilst maintaining a more controlled approach.

Data and Decision Making

A pre-arranged break to Milan with others offered a small opportunity to discuss the next phase of the project. Initially two alternative layouts for the book were considered and a decision made as to the most appropriate format – at the allocation of one page per four days of data. The flight enabled a further discussion around the equipment theme; by studying the spreadsheet and corresponding pages of the book we allocated each piece of equipment to the relevant pages – to correlate to the original book –recollections, I would print images from templates – defined by using a pale grey for singular use objects and darker grey for multiple use, whilst T would trace around objects using a similar process of single line or multiple line. The paper was divided to enable us to both begin working on a proportion of the pages.

P: Having cut the templates, I started by mixing the pale grey ink, the original plan was to print the same object on each page of every book, however I adjusted this method and instead completed a book at a time which seemed more efficient. It soon became clear that printing the darker grey objects would be even more arduous – each book took an hour to complete.

Whilst in theory discussed ideas can appear straightforward, in practice the reality is that production methods can be unpredictable – and having started the process on half the pages, this process will have to be repeated when I receive T’s pages. We also discussed using the format of the page to replicate our making spaces and whereby position each object in relation to the physical space – this idea did not work due to the size of the templates, so the layout each page was defined by the aesthetic.

T: Following conversations around challenges encountered and solutions found, I approached the tracing of each piece of equipment as a pattern making aesthetic to compliment the printed pages produced by P. With some exploration around scale and complexity, the typewriter ribbon was selected to represent the typewriter and sections of larger objects were used.

Plan. Produce. Present.

Over a period of several weeks we collected a range of data in relation to the process of making. Regular pre-arranged FaceTime meetings enabled an ongoing discussion around comparing and formulating how the data could be utilised. The largest sized paper available and a mathematical approach dictated the size and format of the book – a 10pp concertina with three inserted sewn sections to relate to the three stages of making – planning, production and presentation. We determined to use the following information within the book: equipment used, mapping of movement in connection with the three stages and verbs that express the process of making. Whilst some production decisions were made swiftly, others remain unresolved, however we will use the opportunity of a face-to-face meeting in a weeks’ time to discuss and explore solutions.

Rhythm Revised

At the end of March, we received an email from AM Bruno thanking us for submitting a proposal for Rhythm and notifying us that this had not been chosen to be a part of the project. Having already collected data to make use of, we determined to continue to develop and realise a new book work informed by our original rhythm proposal.

Reflecting around individual and collective areas of interest we made use of our regular weekly FaceTime conversation to discuss and agree next steps. Reviewing first coding of the data collected, we talked around the sequence of making, project timelines, pivotal points in the design journey and making in partnership.

Taking inspiration from a series of our previous books we agreed to begin a revised rhythm by collating actions of making with each of us listing verbs used to discuss next week.

A Sense of Rhythm

A ‘call for entries’ from AM Bruno was an opportunity to consider our next project; the theme offered a choice of three pathways exploring different aspects of Rhythm – the phrase that most resonated was ‘a regularly recurring sequence of events or processes in time’. We were reminded of the cover artwork for Plot which highlighted, in abstract form, the making process of the book (rather than its theme). As, at this time we were developing work for Recollections and a proposal document was required, this afforded the chance to use the current making process as a basis for the proposal. Working to the set criteria we determined over a four week period to:

• observe our individual working practices
• document how we interact with materials and respective studio spaces 
• categorise the data
• collectively generate a series of typographic typewriter patterns to represent the activities and tasks emerging. 

The proposed book format – a 10-16pp concertina will offer an abstract timeline of events and flexibility to view the coded data as an uninterrupted flow of pattern or page by page. The proposed size of 10 x 10cm represents the period from 10 February–10 March when data was collected; like previous projects a series of rules and systems will be put in place once data has been gathered and catalogued.