So this week started with a bank holiday Monday that put a bit of a spanner in the works, in that everything was closed, and the fact that Stockline Plastics was closed on Friday, the weekend, and then this Monday, and that means that I wont be able to get the mounting board I need in time for the printing and mounting on Wednesday.
So today is a day for planning and chilling out, whether I like it or not.
Things are open again:
Ok, things are open again today. As I said in last week’s post, I’ve worked on the plinth design to solve the problems I had at the WIP and to consider what I’d need it to do for New Designers.
With the design and measurements from Friday, I went to the Reid workshop, and John was helpful in letting me know what won’t work with it, so I can fix it.
<image from notes of plinth problems and fixes>
So with the design changes, I went back to the Reid workshop and discussed a plan for the plinth. If I’m ahead of the game with the plinth, then I’ll have plenty of time to implement the extras that Tom and I worked out before.
Chat with Paul:
While chatting with Paul and having a bit of a moan about the photography mounting, he made the point that there are other ways of mounting the photography and that it might not need to be done at the Stow just because it’s “professional”, it was yet another moment when Paul, Cat or Gillian asked a simple question that makes me come to my senses and gives me permission to relax and not stress as much.
After the chat with Paul, I handed in the plinth redesign and then stocked up at Paint and Mortar with everything I need to mount the photography tomorrow.
Photos printed:
So, not the most productive day, but I got the photos printed at the Stow. It’s one thing off my list, and I’ll mount and cut the boards tomorrow when I’m 100%.
I feel like I am making progress, just slowly, like wading through water. The thing is that when I’m not here, I’ll miss it. I need to enjoy this last part of my time at GSA.
I have used the Miro Board to design the user flow for the piece, I undertstand that this might seem a bit extra but I was having trouble getting the user flow logic in my head and wanted a visual way of making sure I cover all my bases, so I can go through this flowchart and make sure I have accounted for every interaction that I want the user to experience.
As this week has been a whirlwind I’m updating this learning journal after the fact, there might not be as much to write as I’d like as most of this week is implementation and problem solving.
Monday:
After designing and sorting out the file for the laser cutter on Friday I was booked and read to get everything cut in the morning and then ready for the walk around of the Reid basement that morning. But as it was a bit later I had time to assemble and glue the box for the top of the plinth.
At this point I noticed a disservice I did myself in previous years, I hadn’t laser cut and glued a box before, I had either repurposed an existing box (control lunchbox) or had the wiring and components hidden away in a tupperwear container (expressive data chandelier).
We had the walk around the Reid basement when I was able to visualise my piece in the space and start to visualise how it would be in the space and how people use it, as well as how my piece might work with other pieces in the space.
Tuesday:
With a game plan with the space and the technical requirements of the the piece I knew that the wiring would need channels to move through and between the plinths and then out to the wall power.
With the box glue dry and the sanding sorted the box was ready for the first coat of paint along with the same paint to freshen up the podium so that both the box and the podium had the same colour and a similar texture to each other, the idea was for both of them to be indistinguishable from one another, now looking at it, that didn’t really work because I measured the plinth incorrectly so there was a slight overhang, but this will be sorted in the final piece because I want to get a plinth made for it.
Tuesday was a labour-intensive day as it was mainly transporting everything from the Barnes to the Reid.
Wednesday:
With the projection set up and a clear idea of the space and what I want to do, I was able to set up a screen, desk and my projector. I was able to map the images to the wall and work on remapping the motion graphics on the printed photography.
At this point, there was only a temporary wiring from the projector, the screen I was using for remapping the motion graphics, the Mac mini that I was working on, the touch screen, the media player Raspberry Pi that was running the touch screen sketch and the Ethernet switch that was connecting the mac mini to the Pi.
Thursday:
With the scenes mapped, exporting them was the next step and getting them plugged into the code that Paul had done for the projector and the Mac mini and the code that Cat had done for the Pi, plugging my media into the framework of that code was easy, but Paul and Cat were trying to get everything to work together seemed to be a bit annoying. The next iteration of the piece will need to be as easy as possible for both myself and my lecturers to implement.
Late night on Thursday, after a day of trying to get everything working, I was writing the description in the middle of the night, looking at Trotter’s photography with fresh eyes, trying to communicate the passion I had for the photography and how I wanted the piece to make people feel.
This piece explores the work of actor, writer, director and then photographer Robert Trotter, in his work ‘Sing the City’.
When photographing Glasgow, Trotter captures a city in transition, stripping away stereotypes to reveal a landscape of rugged resilience and raw character. Trotter’s history of performance art shines through here; it’s not just people we see in these photographs, but characters, the unknown parts played within each photograph serving as a soulful anchor to his photography, proving that the city's true heart isn't in its buildings, but in the grit and humour of its inhabitants.
Through the exploration of this photography and the utilisation of motion graphics, the aim is to create a new way of displaying, viewing and appreciating photography, opening the door for those who might not have considered it before or reigniting a passion in others. May this be a gateway into the work of Robert Trotter and photography as a whole.
Friday:
As was the plan, Friday was for nothing else but finishing up and tidying, so that’s what we did, I still had to finalise the wiring when I knew there was nothing else to be done with my piece.
With the extra time I had, Cat asked me to create the name card designs for the exhibition. I just followed the direction of the Captcha idea we were working from with the same font, shade of blue and formatting as seen below.
Independent Study Week:
As this is an independent study week, the only thing to do is man the exhibition opening and catch up on some documentation. It seems that as soon as I started actually focusing on and making my piece with the WIP in mind, my learning journal lost a bit of focus.
Since everyone got the WIP running and sorted in time with great help from Paul and Cat we were free to sort out the invidulation ahead of this week.
Thanks to Paul showing me that Mac computers can be set to run programs, boot up or even turn on themselves, for the most part, my work doesn’t need much fixing, other than having to reset the sketch on the touchscreen controller, but Cat has let me know that that can also be automated and boot up itself. I imagine with the Raspberry Pi’s internal clock and code to talk to it. If I don’t implement this feature in the WIP prototype, then I’ll definitely get it working in the final piece for the degree show.
Autopsy
Pav also told me that in ISO, they conduct a project autopsy when they review the project to determine what worked, what didn’t, and how it could be improved next time, so wile its still fresh, I should do mine, and then I’ll have a list of improvements for the degree show version of my piece.
What worked:
Users of the piece liked the simple touchscreen interaction.
The overall concept of the work grabbed attention and engaged people in the photography.
The scenes were not too long.
The soft transitions allowed the eye to follow everything.
The photography chosen was engaging.
It was obvious to use.
The slant of the box on the plinth gave clear direction on where to stand and how to use.
What didn’t:
It was too slow
The quality of the After Effects got messed up when having to remap in the Reid basement.
People wanted to know more about Robert Trotter.
People wanted more options for photography.
The podium could be more solid.
The transitions of the scenes could be smoother and quicker
The user interaction could be more obvious; most people knew exactly what to do, but there were one or two who had some hesitation
The highlight square on the printed photography wasn’t obvious enough; some didn’t notice it until their second turn or exploring a second scene.
More obvious feedback
Ideas:
Subtle Audio in the piece to add to the stories of each shot.
Subtle Audio feedback in the piece
There could be a more tactile way of exploring the photography
Bring more depth to the projected photography to tie it in to the printed photography (more foam board).
Custom Plinth:
Specifically designed for this project
To hide the projector
To hold the wiring neatly
To highlight the touchscreen more – Same Touchscreen? Bigger?
Custom Vinyl cut for the plinth?
Paint the wall to frame the projection and the piece more.
How do the experts do it?:
With a clear idea of what I’m looking to go into in the future concerning my career I’m now going into museums and interacting with displays to give myself ideas and to inspire myself of what I’m aiming towards.
Mackintosh Tea Room:
I enjoyed the storytelling of the Tea Room exhibition. What the teams involved did well was the attention to detail, and the set design of the exhibition; the only problem with it was that some of the pieces weren’t robust enough, they would either lag, stop working or not be working at all and just have a sign up saying that.
There was also one or two signs up for broken interactions in the Burrell Collection, but there was so much to see in that, and I didn’t have to pay to get in, but did with the tea rooms.
Visiting the Burrell Collection:
While at the Burrell Collection, I couldn’t help but think of my own piece and how I could apply some of the same designs to my work.
Notes from Pav:
Where to next?
What do you want people to take away from it?
It was way too slow; the animation has to be quicker.
It’s about the content; the content has to be engaging to keep people engaged.
As with last week, most of this week has been spent either sorting out the different elements of this project or working on After Effects again, trying to make it more engaging and using the time more efficiently.
Again I was so focused on trying to do a good job I neglected the documentation of the changes I was doing and just changing things until I feel like they worked and then saved it and moved on.
Cowboy Bebop Test:
When I was staring at the same After Effects scenes for a while, I was going a bit mad and wanted to look at something different, something completely different. Also taking on board the note Paul gave me to do After Effects experiments on something else, away from the project, and then bring what I have learned into the main projects.
Help from Paul and Cat:
With the After Effects scenes to a point where I’m happy, Paul and Cat have helped me with coding the framework that turns my exported After Effects scenes into the interactive display I wanted.
Integrating the 3 selected photographs as buttons on the touch screen to select each scene.
Going through the logic and requirements of what I will actually need for each piece of this project to talk to each other and work seamlessly.
The Plinth and The Box:
Initially, my plan was to have a custom plinth made for the WIP that would hold everything, but after a conversation with Gillian, she pointed out that going through the effort of that might be too costly, take too much time and be a bit overkill when the WIP is just that a Work In Progress and not the final thing and that designing and building a custom plinth it better to do at the degree show.
Above are some rough sketches of the sizes and requirements I would need for the WIP before changing the plan.
Below are more rough sketches, but now with the idea of taking an existing plinth that we have in the studio and either modifying it or building a box to act as a top of the plinth that will hold the touch screen and the wiring of the media player
And below is a more finalised idea of how close the short-throw projector will need to be before the keystoning becomes too extreme, and images start to lose quality.
Another note on this sketch is that, by cutting channels into existing plinths, I can wire everything internally, getting a little closer to the clean, professional look I’m aiming for.
Photography:
After getting the photography printed at the Stow, I had them ready to mount, and luckily for me, Nat generously donated the foam board that she had from the previous year and was no longer using. They were a bit larger than A4 and discoloured around the edges, but that meant I could cut and spray-mount the photography roughly in the centre, then trim the excess.
When discussing with the TSD photography staff at the stow, they showed me that simply mounting the pictures on foam board and mounting them to the wall with command strips elevated them to the level of a photography exhibition.
DeSimulate:
Throughout most of this year, as well as working on my studio work, my DH&T and Extending Design, I have also been part of an exhibition outside GSA/IxD, with a few of my colleagues. At the end of this week, there was the first run of our exhibition.
After the initial walk around the Reid basement and telling Paul about my plans, he pointed out that it would be too much and that I should simplify and focus on quality instead of quantity. So at this point, the interactive table was set aside, and the interactive wall display became the main and only piece.
My piece always seems to be changing and developing, dealing with limitations or developments in the project, from the early concept, to the WIP and onto the Final degree show and hand-in. I’m curious to see what it will finish as.
Looking back, that made sense because if I were doing the table as well, the main display would have suffered or not been finished at all. I need to keep reminding myself that the exhibitions I’ve seen and the work I’ve enjoyed have not been done by one person, but by a team.
Archived Photography:
After my visit to the archives last week, most of this week has been spent emailing back and forth with the archives staff to let them know which pictures I wanted and to complete the necessary paperwork to have high-quality digital images transferred for use in the exhibition. I feel like this gives me insight into what an integral part of my job might be after GSA: either working with clients who already have the information and media for the display, or touching base with another studio to collect the media I need for a piece.
At this moment, I have been using low-res versions of Robert Trotter’s photography in the fourth-year studio, but now with the high-quality TIF images, I have a better Idea of what I’ll be working with when moving it into the Reid basement.
Developing the piece:
When I haven’t been emailing the archives, I’ve been working on the after-effects scenes for the piece. In all honesty, I was horrible at documenting the process for my After Effects. I was changing things so much, but only in small increments, that I would notice the change only after the fact.
During this process, I kept trying, developing and running by everyone in the studio for their input on timing, as I was worried that I had been looking at it for so long that I made things too fast or too slow.
What should I take away from formative assessment, and how will I realise it moving forward? That being more making, a deeper exploration of research, a clear direction of my project, maintaining good documentation, and finalising the pieces of work from the archives.
More Making:
When it comes to the materials and the physical making, I have done enough research and planning for this project, and now I am ready to start making. I have already completed both metal and woodworking workshops, but if my plans are correct, I might need the casting workshop as well to create the interactive objects for the table idea.
When considering the electrical work, I have an idea of what I’ll need, but I’ll allow for some trial and error as I make it, so I can fine-tune the pieces. As the final idea will seem simple, I want to focus on the minor details that will elevate the work, and those details can only be ironed out with prototyping.
With ‘The Wall’, the motion graphics will need to be fine-tuned with special focus on the speed and style of the information presented.
With ‘The Table’ again, motion graphics will be a big part of it, but I think the timing and speed of user interaction will be the main focus to achieve that professional polish.
Deeper Exploration:
With my existing and ongoing research, whether through artefacts or trial and error, I aim to ‘show my workings’ because I have the habit of knowing what I mean and just assuming everyone else does. So, moving forward, deeper exploration of not just my research but also each aspect of the process, writing about what worked and what didn’t.
Clear Direction:
A lot of semester one was spent trying to find my direction, what I want to make, and who I am as a practitioner. But after the winter break, I feel like I am coming back to this with a clear head and a clear direction. I am a designer, and I will produce an interactive exhibition showcasing the lives of industrial workers in West Dumbartonshire through archival photography, design elements, and documents, creating a moving and engaging collection.
I will also be rewriting a brief to keep my vision on track.
WIP Briefing:
After the WIP briefing and the walk around the Reid basement, a few things differ from the initial plan. After discussing with Paul the idea of a wall projection, an interactive table, and a vitrine, it was deemed too much for now, and that, by developing a more modular system and finalising the look, feel, and initial piece, more could be added later.
The wall is staying as it is, and I’ll start prototyping it as soon as.
When discussing the table and the vitrine, there are two options:
Option One – The table and the vitrine are two separate things; the table is an interactive piece with large, accurate replicas of pieces of machinery used in shipbuilding, and when the table is moved, it will display more information.
Option Two – The table and the vitrine are combined into one piece for the WIP, and either through user interaction or by sensing when the user walks up to the vitrine, the artefacts will be enhanced or ‘brought to life’ within the box.
Lighting :
As with photography exhibitions, great consideration is always given to lighting, with spotlights used to highlight work and draw attention. But in normal exhibitions, the lighting is usually stationary spotlights. But since I am using a projector, I can replicate the look of those spotlights and have more control over the simulated lights.
Above is a test of the fake spotlight effect; the lights will be programmed so that when each photograph is being explored, it will have the “spotlight”.
Plan of Action:
I find myself getting stuck for no reason. I know what to do, I have an idea of how to do it, and I know that the most I’ll learn is through doing it, trial and error, but I find myself overthinking or overplanning things again. Scared to take the wrong step, I take no step.
After diving deep into Robbert Trotter’s work, I fell in love with his street photography, which focuses on the people of Glasgow, and I want to shift the focus of my project to his work and highlight the characters of Glasgow.
Going back to the feedback I received during my formative assessment, I think this shift in project focus is also taking a step towards my strengths as a designer. I will design the piece around Robert Trotter’s Glasgow street photography at its core and use my strengths as a designer to bring Trotter’s work to life, elevating a normal photography exhibition.
I didn’t get the pleasure of watching all of ‘Mimesis- African Soldier’ due to time constraints. Still, my IxD hat was one, and what I couldn’t stop thinking about was the use of three large projectors, each playing a different film that intertwined to make something bigger. Screen 1 would be referring to footage on screen 3, as screen 2 provides more context or shows an abstract recreation of a young African soldier walking through the jungle.
The dance of the 3 different screens that sometimes had Q&A, other times they followed one another or sometimes visually harmonised, I’d love the opportunity to bring some of this into my own work.
Still Glasgow:
The photography exhibition Still Glasgow featured works by several artists from different time periods in Glasgow’s modern history. I mainly wanted to see this exhibition on how a traditional photography exhibition is presented for the consideration of the general public.
My personal takeaway from this exhibition was that it was a collection of photographs, but there was not enough space for each to ‘speak’. The one piece I did feel connected to was the video of children holding their breath going through the Clyde tunnel, which was given space and focus, a fake wall presenting the screen flush like the rest of the photography, but given an indent in the room to stand alone.
I thought I also had this, and while observing others, I considered the distance from the viewer and the art on the walls; some seemed to keep their distance, while others wanted to interrogate the details of others’. I’ll need to keep this in mind when considering how people will view my work.
Also, something I didn’t consider was the framing of the photography. If I plan to use projectors, the frames will need to be considered, along with the glass within those frames and the reflections… I might not use frames or frames wih no glass.
Glasgow Kiss- 25 Years of Art:
I didn’t plan on seeing Glasgow Kiss, but during my Christmas shopping, I happened across it. I loved the humour, the attitude, how game it is.
How this exhibition informs my own is that it’s not trapped within the frames that it uses for some of the work; some of the work wouldn’t fit in a frame, or maybe doesn’t need one. My own piece won’t be similar to this, but I want to bring a small sense of its fun and adventure into my own.
By finding the line between ‘Still Glasgow’ and ‘Glasgow Kiss’, using technology and my own vision, it might hit the target I’m aiming for: sparking something within people and asking them to really look at the work.
At the end of last week I spend some time working on some design aspects of the project within my new framing of being more abstract with it or less like a real exhibition in a museum and trying to do everything myself when usually it would be a team of people for each section.
Sadly the quest of finding unknown stories of Clydebank and Glasgow might have been too much of an ask so along with being less literal with the outcome I’ll be less laser focused on one aspect when considering my focus for the exhibition which I think might allow me to be more artistically open than before.
At this moment I want to select a couple of objects from the GSA archives, Katie at the archives who have suggested a few great work to include, some not digitised yet but I would love to have digital copies, physical copies or even the real work displayed in my collection. Katie has also put me in contact with one of her colleagues Jennifer who is in the WestDunbartonshire archives, so that might supply me with even more material.
GSA Archives:
Katie in the archives has already suggested the photography work of Robert Trotter who was a street photographer from Dumbarton (which I have also spent most of my life as my mothers family is from there) who has one digitised work (seen below) and a collection in the archives that I’d like to see properly and integrate into my project.
Robert Trotter, a piece from his ‘At Work’ collection.
My thoughts at point:
At this point of the project as my focus shifts and the project shifts so does my feelings towards it, before I was feeling stressed and a lot of pressure to produce meaningful work or to do something that has never been done before. But as the shift focuses more to artistic curation and displaying and engaging in work as well as helping others engage with it I cant stop thinking about the C.S. Lewis quote :
“Even in literature and art, no man who bothers about originality will ever be original: whereas if you simply try to tell the truth (without caring twopence how often it has been told before) you will, nine times out of ten, become original without ever having noticed it”
I also think the meaning of this exhibition has shifted, and not just in a literal sense as the outcome will be different as I imagined it, but for myself, I’m not really sure I even know what it was before but now its a subtle celebration of where I grew up, Clydebank, Dumbarton and Glasgow, after trying to distance myself for so long, those who shaped me, my family and my friends who would encourage my creative spirit as I would try and see myself as a one man army doing it all myself and my creative interests and endeavours that have been with me from a young age, encouraged by those around me and what I aim to continue into my life.
More Media:
As well as photography displayed from the GSA archives, I’d also like to get some archival footage of Glasgow, Clydebank and Dumbarton, so I’ve had a look at the National Library of Scotlands video archives and would either like to stabilise some footage and have it playing through to add to the overall theme and aid in the story of the project or to use them for a piece of my own work that I can display alongside the archival work.
During my appointment at the Mitchell Library I was told firstly that any pictures I take had to be documented and that anything from their archive was not allowed for exhibition or display of any kind, so anything I did find or found interesting can only be shown here in my research.
That being said, even though its not for my exhibition this was still eye opening and moving to see real stories of the people of Glasgow and really put it into perspective that if I am using these photographs from the past that, I know it might seem obvious, but that they are real people.
At this stage I’m still wanting to focus on the fact that my first draft of my dissertation in due by the end of Week 9 but I am still continuing with my research and looking for stories and objects.
Over the weekend on my way to Edinburgh for my friend Neil’s stag do I had a conversation with another friend of mine, Keir, who’s grandfather had worked one of the bridges we past, who then became the bridgemaster for that same bridge and who then stopped a man from jumping of the bridge, saving his life.
I’ve asked Keir to allow me to include this story and one of his grandfathers belongings because this is exactly the sort of thing I’m looking for, just a normal man who had worked his life and during that life stepped up to save another mans, without want or need for accolades.
Through the starting stages of these two stories I have so far, the photography of Robert G Taylor and now the story of Keir’s family the growing through line is one of Glasgows industrial past. This is a topic that has been covered more than enough but I want to focus on the people that made it happen.
Archived Industrial Images:
Looking through the Trove Digital Archive and searching for Clydebank now with this vision of people and Glasgows industrial past has narrowed my search, below is some images taken from the archive that caught my eye either for their artistic vision or the potential to use them within my work somewhere.
With this gallery of collected archived images I wanted to paint the visual image and lanuage of the work, I think with a black and white images with choice colours or full colour images with in them then it will draw more attention to them, highlighting certain aspects, people or places.
Another detail I want to point out with some of these images is the difference in scale, the relationship between the structures and the people that build them.
Finally Seeing SEEP:
It was long awaited as the exhibition was either closed or I was busy but I finally got in to see the exhibition and was not disappointed the level of multimedia outputs but still with the amount of consideration and attention that went to displaying these pieces in such a way.
In such a small space they used the space efficiently with consideration to the hight of the room as well as the audience and eye levels. Even something as simply elevating the projection felt like a dynamic use of the space, the spaces created with the use of walls to make them feel like almost different rooms.
The use of light and even multiple light sources, to either highlight or use in a dynamic lighting of the exhibition its self.
When looking at the videos shown the mix of speaker audio on the larger more focused custom built rig and the personal headphone output, the only problem that I personally had with it was that one custom rig was welded metal and the other was a wooden set up for the projection stand and I understand that both are the exposed material but personally I would have liked if they both were the same material.
To Do:
Getting myself back on track.
Keep looking for the objects and stories of the people Glasgow and Clydebank.
At this moment I have contacted people about stories, turned to my family and friends to try and find stories as well, I have now been in contact with Barbra at the Glasgow Archieves in the Mitchell Library though, so thats another line to follow. I am worried that I wont find the stories I’m looking for and that this might have been too big of an ask.
Develop the exhibition that I will put on when I have these stories, how will I display the work, how will I realise the stories and objects that I have collected with the same amount of respect and consideration I have seen SEEP.
I think it might be a good use of my time to get a stand in object or a collection of stand in objects that I can then start to develop with and realise so that when I do have the stories and objects I can insert them in and find out any issues or developments before I have peoples things and stories so that I might make them proud of the output and show the stories and objects respect.
Tidy up my Design Domain digitial form sculpture for TechTonic.
I won’t let it get into my way but I would like to allocate some time to the Design Domain VR scultpure so that I may display that confidently at the exhibition, I want to tidy it up and impliment some things that make it impossible to break or wander.
Continue developing the REDACTED night.
I want to continue dedicating my weekends to REDACTED at ISO with Pav and faciliate the guys on making a great show and showcasing their talents and abilities as well as showcasing my capabilities to those in the field.
Continue researching and writing my essay
Even though I have sent away the draft I still want to continue working on it, writing the second half to a passible level and then once I have the feedback redraft the essay.
Extended Design development
Extended Design will take a back seat until semester two, once everything else is sorted and the essay is submitted then I can focus on Extended Design and give it the time it requires.
Group Tutorial:
Initially I was worried about the group tutorial and felt like I didnt have enough to show because I’ve got bogged down in trying to find the story and the object but after talking about my project with Paul and the guys helping me think less about the story and the object and more about how its shown, it reminds me about what Nicholas Oddy said:
Its less about the object and what the facts are and more about the story and how its told.
Also after a cobversation with Marco about how today went he said something about my project that I liked “you’re working on the envelope, not whats inside… work on the envelope”
Devlopment with the new direction:
Below is a initial sketches and development considering the new direction for my project and how I will display the the research and artifacts, with more of a focus on the soul of the story and the artitsic expression of my final year, instead of being too literal which I often struggle with when it comes to design work.
The three sketches above show the development and the detatchment from the usual work seen in exhibitions and building upon that, by using exhibition displays that I felt communcated well as a starting point I believed that I then could.
Appointments:
Mitchell Library:
I have an appointment with the archieves at the Mitchell Library on Wednesday the 3rd of December to look through the most recent Glasgow Poor relief records with a request of any stories that tie to Clydebank or industry, due to the information act the records from 100 years ago are the only ones I can access but it might still be informative.
GSA Archives:
I have also been in contact with the GSA archives and messaged them to contact Katie who I met when I tagged along to the year 3 scanning days at the archives, who asked me to just contact her with any questions or requests for access to the archives. With the new direction I have now, I feel more confident with what to ask for and because its less specific or tied to the objects.
Week 7 has been independent study week and I’ve took this time to focus on finishing the first draft off my dissertation as well as planning.
Collecting Images:
Typographic History:
Even from old painted signs of business on the wall can tell the story id people, their lives, the times they lived, the state and style of Glasgow at the time.
Photographic History of Clydebank:
A collection of archival photography from Clydebank’s history, the main draw of these is the people of Clydebank.
Personal Object Stories:
Recently I have snapped my house key, it sits in my flat as a reminder but now I have a story, emotions and a time and story in my life of the time.
War and Peace of a Garden Exhibition:
My main focus on with the ‘War and Peace of a Garden Exhibition’ was the character communicated through it, I felt a greater connection just through the amount of care and attention the the display and layout of the objects. The ability to do so much in such a small amount of space.
Write a brief:
Chat with Gillian:
Finding the Stories:
As the main hurdle I’m facing now is that I do not have the specific stories and objects to focus my work on and as advised by Gillian, I need to find the story and the objects and then all the work and set up I’ve done can be put to good use.
This message was also stated by Jeremy Sutton-Hibbert:
‘Just get out and do the work and it’ll all come eventually, you’ll find your way.”
Following good advice my next step is to go out and find the stories, my only concern is that people spend a lot of time trying to find what they consider the ‘best story’, I don’t have years to search so I’ve contacted the people who might know on the off chance of sending me in the right direction, so I have emailed:
The Clydebank Post
The Clydebank Post Photography Club
Clydebank Museum and Local History & Archives
Hub Singer Camera Club
I need to revisit the idea of crowd sourcing these stories and objects, be that through online, or by making posters and then posting them around Glasgow, Clydebank and more of West Dunbartonshire. As well as physical posters I think it will be useful to utilise the community of local groups online and in social media, after a conversation with Lil and her suggestion of the app Nextdoor and putting posts on asking for objects and inputs, or doing the same on facebook market place and asking for stories for the objects they’re selling.
First Contact:
After sending out a number of emails I came into one reply from Rab Taylor of the Hub Singer Camera Club who let me know that his father, Robert G Taylor, was an avid photgrapher and that he had scanned in his fathers photography from the 50’s and 60’s.
Above is a few of the photos I’ve selected from the archive that Rab has supplied, personally these photos appealed to me the most, either for his portrait photgraphy work or even just the snap shot into the lives of life at that time.
I know these locations and streets so well but they are also so different and alien to me, seen in this era.
I’ve emailed Rab to ask more about his father, his photpgraphy, if there is any objects that remind him of his father and that if he would mind that his father and the photography be included in my piece.
Clydebank Industry:
When thinking about making a poster to ask people for stories and objects, I thought that looking to two of Clydebank’s biggest histoical business would inform my use of font and style to be indicative of that time.
At this moment in time the questionnaire isnt live bnecause as I’m asking for peoples names and contact information which means an ethics form will need to be filled out.
I’m also working on posters and posts for the online communities on social media to ask for their input.
Nicholas McLaughlin Blog 