It's here.

My books have finally been printed, bound and embossed and it really is a great feeling to have them in my hands. The process from concept building, designing, organising, creating, editing and the final stage of printing has been a testing challenge, however is one of the most rewarding experiences of my professional life to date.

The velvet cover was a crucial design development for the book as it encapsulates the overall ethos and meaning behind the concept I have been working on for so long. The texture of the velvet leaves distinct finger marks, which act as a metaphor for human imprint on conscious and subconscious memory. I find that the more it is handled, the more fingerprints are left behind which is a truly fascinating aspect to the project for me. It seems to enable the images to continue to physically develop in meaning, even after print, and gradually documents the interaction with the reader through its physical form. The embossed title is another important design element as it further symbolises the way human beings have the power to leave an impression on not only other human beings, but nature, technologies, architecture and every other developing artefact that exists in the world. 

I am very happy with the paper choices within the book as I have chosen a mix of coated (semi-gloss), uncoated (textured matt) and simulators (transparent paper) which all work well together in creating the intended interactive feel of the book. My main aim was to create a body of work that makes the reader want to physically touch and feel each page, as well as touch and feel on an emotional level. 

One of my favourite sections of the book is the 'Descent' chapter as it encapsulates a striking sense of movement and interaction with both physical and emotional senses. I liaised with the printing company about which paper would be best for printing the faces on, so that when the page is turned, the face would still be visible, but reversed when turned. We agreed that a simulator sheet would be best in creating this effect, and I am very pleased with the results. I particularly like how the faces seem to connect with each other even before the page is turned as the features are visible through the paper. It gives a sense of striking mystery, almost like a premonition of what is to become. 

The pull-out section (pictured above) is another striking section to the book, and an idea that took a fair amount of preparation with the layout designer and printer to perfect. I decided that the only striking way to interweave this image into the series was to create a centrefold pull out, allowing for the image to stretch over four, A4 pages. I have edited the image so that it is very long, so having a large amount of space to print was essential in creating maximum impact. I am very proud of this image as every element, from the dress-making, to shooting and finally the editing process, took many hours to complete and perfect. The pull-out section, again, creates a dynamic and interactive feel to the book which is the ultimate aim.
The matt, uncoated paper for the Awakening chapter is a beautiful paper texture, creating a interesting dynamic between the graininess of the mind beginning to awaken, and the harsh grain of the paper. I particularly love the way it dusts the skin with a powdery finish, giving it a simultaneously soft yet harsh, textured finish. Overall, I am delighted with the finished product of my Final Major Project. The creation of the book has challenged my creative ability as not just a make-up and hair designer, but also a creative director, clothing designer and model scout. Sometimes, projects seem impossible until they are finished and this is certainly the feeling for this project. The book has stretched the possibilities of my creativity, and has boosted my ambition and passion to push the boundaries in make-up art within fashion, film and beauty for the future.