Chava Vietze is pronounced hah-vah veet-zuh.
Selected Works
Play / Experimentation
More...
Bio
CV
Contact me
Chava Vietze is pronounced hah-vah veet-zuh.
Selected Works
Play / Experimentation
More...
Bio
CV
Contact me
Book, Thesis
What I Did: Creative Writing, Research, Photography, Book Design, Fabrication, Print Production, Editorial Pacing, Cover Design, Long-form Layout, Grid Systems, Typography, Structural Thinking, Materials Specification
This project was a culmination of two semesters of research, experimenting, documenting, and making. Ways of Noticing admires the subtlties that make life beautiful and provides practical ways for people to develop their own sensitivities, taste, and judgment. It shows why we so desperately need to preserve the humanmade and asks that we all slow down to notice the details. Humanmade cannot become a luxury only available to few. The 256 page book is hand-sewn and Swiss-bound. The work spans across Venice, Italy and New York and combines a variety of forms of writing and photography projects. It examines the work of Carlo Scarpa, Tintoretto, Josef and Anni Albers, George Nakashima, and Lorraine O’Grady. The book itself serves as a material production of ways of noticing and sensitivity. Each and every detail was considered, the paper choice (Mohawk Superfine and GF Smith Colorplan), the pacing, the lithograph book cover, the forms of writing, the curated photography (all taken by me unless otherwise noted), the blue text, the exposed binding... This project is a part of an ever-evolving multimedia practice.
You may view the full, growing, living archive (under construction) of photographs here.
This project was developed under the mentorship of Michael Dyer and Jo Livingstone.
Process Work for the Production of the Book:
The production of the book took several iterations. From the initial concept, I knew that the book would need to lie flat. I knew it was going to be a large book, but figuring out the exact size took some time. After going through a variety of dummy sizes, I landed on a size that is just a little bit off of 8x10 in (205x272 mm). Printing was another challenge to tackle. I wanted to get the truest colors that I could in print, but through using laser printing. And for the cover, I needed it to have texture, with the littlest bit of imperfection. It needed to show craft and layering of methods. I was already taking a lithography class and chose to use a photo-litho plate. I designed the cover in InDesign and printed it on acetate, and then exposed the acetate using UV exposure. I used silver ink and tested several types of GF Smith ColorPlan coverweight papers.
Edition 1:
The book is meant to be opened at any page. Start from anywhere. It lays flat open on your coffee table, where it’s mean to be viewed, read, and pondered.