Book Dummy Construction V2

Continuing the development of my book dummy, I have started to look at ways that I can make a book, which can be mass produced easily. I feel that the outcome should exist somewhere between the accessible and unique limited-edition art object. I intend to create a short-limited edition that includes unique and hand made elements to the book. For example, the use of the carbon copy paper, hand typed, and potentially screen-printed pages. These books could also have an individual unique aspect to the sequence or another part, which supports the unreliable aspects of the project.

Ideas for this could include:

  • Unique sequence for each book
  • Supporting ‘end notes’ that changes the caption information
  • ‘End Notes’ booklet that has captions for more images than are in the publication or the inclusion of additional contact pages to acknowledge the subjectivity of the photographic edit.
  • Limited edition prints included
  • Hand printed elements within the book.
  • If I decide to use elements such as the correspondence paper, this could actually be included
  • Hand torn edges – creating a unique object

Unreliable V2:

Figure 1: Phil Hill (April, 2021) Unreliable narrator book dummy version 2

I was able to access a printer that can create booklets, which makes it quite easy to run off sequences and see how these work in a book form (Fig: 1). The stapled edge also would work similar to the Japanese binding that I looked at previously in terms if the gutter and center margin. Although, I would aim for a higher quality for any final book, this was a useful way of seeing how I could quickly and economically produce a larger run of the book should it be self-published.

I am not sure about the A4 size, as the aspect ratio of the 6X7 format might look better in a 10×8 format. Some of the images within the book, really need the space to breath and I would have to consider the way that some of the image plays a role in the way the book reads.

Courier Type

Figure 2: Howard Kettler (1956) Courier Typeface

As I have been using a physical typewriter, I decided to use a typeface that would still be recognised as such. Courier is a ‘slab serif’ style (Fig: 2), which was created originally as a typewriter font. It’s use in later versions of my book would mean that the style and feel of the type would not be too compromised switching between a hand typed to digital text, albeit with a lost physicality.


From conversations that I have started to have with family and others around the project, I have been collecting together quotes that I can use within the sequence so I have attempted to work some of them into this version


Figure 3: Phil Hill (April, 2021) Endnotes accompanying booklet

As an attempt to bring in a bit more of a contextualisation to the work, I have produced an accompanying booklet called ‘endnotes’ (Fig: 3), which creates an opportunity to play with the concept of unreliability by potentially producing different versions to go with the main publication. At the start, I have added a contextualising statement and then followed it by providing caption information via a corresponding number within the main book. Alternatively, I could use the Twin check label idea, which I have linked to ideas of memory, or could create a mini version of the main book that would have images.


Figure 4: Script Studio (2021) Script format for printing out

Following the narrative structures that I am using, I might also work to create the next iteration of the book in the format of how a script is produced (Fig: 4). The format and presentation lends itself to the goals I am aiming for with my book. The size and script format create connotations supporting the unreliable narrator narrative structure. This kind of referencing is also similar to the way that Jack Latham’s ‘Sugar Paper Theories’ (Fig: 5) is presented as a kind of court evidence document. The format lends itself to a modular approach in the way that it is bound together using brass split pins, which could work as a way of mixing up the sequences. It would also be a relatively economic way of producing multiple copies in preparation for sharing with people interested in disseminating the work. This also means that I can easily create a copy for book awards.

Figure 5: Jack Latham (2015) Cover of Sugar Paper Theories

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