I was fairly confident with how my wipp was looking off the back of the zine design and reception that publication received, however I was still keen to gain feedback on it. During the last webinar, it was noted that I had a couple of similar images in the broken tree stumps (Fig: 1), something that I had overlooked. As soon as this was pointed out to me, it became immediately obvious and really makes it clear the importance of being able to print work out and ‘live’ with it in a tangible form. Something that I am looking forward to being able to do once I can return to my work and use the facilities there. I quickly moved on to create version 2 of my wipp
Figure 1: Phil Hill (July, 2020) Broken tree stump images. [Left] kept in WIPP [Right] edited out of WIPP
I opened this version with the image of the disused rail link (Fig: 2) and aimed to create a mix of single portrait juxtaposed with a subtle version of the Watford yellow, inspired by Bryan Schutmaat, and also a way of continuing connection to place. I have also created a number of diptych combinations, as they would be seen in a double page spread, for example the image of the youth centre next to the train bridge arch (Fig: 3&4) to consider the commuting connection and potential impact on community, the arches of this train bridge are also quite synonymous with the part of Watford, called Bushey. I don’t think this particular dyptich is working however. Although there are visual similarities in these images in the bricks and the architecture, the individual meaning of the images is lost when going for a mere aesthetic combination of images, so I sought to change this again. I also placed some of the portraits together with details of Watford, however again I felt that the visual impact of some of these portraits is lost when placed with other imagery (Fig: 5 & 6).
Feedback received for this version support some of my own conclusions. Ross noted that the sequence would really benefit from opening with a portrait and on reflection I would agree. My project has always been based around the portrait so feels more logical to start with one of these. It also creates a ‘hook’ to lead you into the work. Ross also mentioned that the last image, which I had left from the design of my zine might be better changed too. The image of Owen is gazing out of the frame and pushes the eye out of the frame (Fig: 7), so it might better to finish with a portrait of a direct gaze, such as Luis (Fig: 8) to really plant you into the narrative, which is something that I have been aiming for.
With this edit, I have decided to utilise more of the yellow juxtaposition next to the single image spreads (Fig: 9). I feel this adds a nice contrast to the black and white as well as bringing the Watford connection through the work. I also consider it a way of carrying you through the narrative and not be confronted by a jarring blank white page, which in turn allows the reader to examine the single image more fully as the eye is directed to focus on the portrait. The yellow also warms the tone of the reading. As discussed before, I have a number of images that reveal an underlying anxiety, yet I do not want the narrative to solely be about this, or at least, I do not want the reader to immediately come to this conclusion, perhaps after one or two viewings of the work to fully understand it. To warm it up also links to the summer months that the work was created. This version feels the most complete to me.