During the final crit, I presented my whole process, beginning at the typewritter-written pages, to the postcards towards the booklets.
The typewriter-pages still seem to be the most interesting to me, because they have something spontaneous about them, due to the fact that I just wrote without really seriously thinking about what I was doing, since the pages were supposed to be scanned and changed afterwards anyway.
The postcards which have a variety of scales and changes made to the text (as well as isolating and separating the different parts from each other), but the change of scale can’t really convince. They don’t make statements, which is why I abandoned them to continue onto the format of booklets as they seem more appropriate and discret.
The ones with a lot of text on them were actually only supposed to help me find all the different arguments, as they were the pages where I accumulated them all, and from where I separated them into separate parts.
Continuing to the format of booklets, I used the pages I had already created for the postcards and adapted them, as well as adding quite a few, which left me with 28 pages for the Luxembourg-Booklet (and I had to leave some away as well). But as I had enjoyed the London-texts the most, I decided to also do half of those. The different format and form somehow allowed me to experiment a bit more. I then printed the booklets onto sugar paper (cut down from A1 paper), as I thought it would be interesting to have as tone and texture, giving it more of a rough feeling. For the covers I chose four different colours for the four topics. A beige-y colour for Luxembourg as I thought it represented the characteristics of a basic, ordinary and normal country, dark red for Paris to give it a sophisticated feeling, dark blue for London’s light, rainy atmosphere and yellow for the random blasts and blessings. They are binded with coloured threat, as I didn’t want it to be matched, but more to stand out.
The booklet seemed as the best version compared to the postcards, mainly also due to the less changed scale of the type.
The different paths and versions, even if not working, allowed me to experiment and develop the project.
I was advised to go back to the beginning, and use the inital typewriting, without intermediate scanning or changing. So from the typewriter over the postcards to the booklets, I am now going backwards again, using the typewriter to create the postcards immediately. As with calligraphy and handwriting, the cards can’t be mass-produced, but every postcard will be handtyped.
This way it keeps the original scale, but also keeps the touch of the printed letters onto the paper, which give it an indiviual and more report-like feeling. It also allows me to play more with the textures I used for London.
Now I will have to try to not make too many typing mistakes.