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Today I started editing a video that will also make part of the final exhibition. I decided to add this video as a way to implement more information about my grandmother's story.
For this video, I used pieces of video of Koch-Grünberg's expedition to Roraima (where I'm from) and added two audios of parts of a conversation I've had with my grandmother, and how she feels about being taken away from her village by her dad's family.

I'll be adding subtitles as well, as the conversation happened in Portuguese.

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After trying to meet the deadline making everything by myself, I accepted that I wouldn't be able to finish all the zines on time. I wanted to be more independent and make this my project, but I had to be realistic. I contacted Awesome Merchandise explaining my tight deadline, and was actually able to book a faster delivery of my zines.
Of course I will still be showing the prints I've made with the risograph machine, but they will now be more of a part of my development rather than a final process. They are in a way a delicate print with sensible ink, and printing on both sides of the paper would take much longer than I first had in mind. I'm happy, though, that I was able to find a solution to this (even though I had to pay slightly more, given that I only contacted the merchandise place a week before the deadline) and now can focus on making my short video, which will also be an interesting process.

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Because the risograph printer is having some issues, and I planned to print 25 copies of the zine, the process would take me too long to complete all of them, and I''m afraid I wouldn't be able to meet the deadline of the FMP, which is next week.
I decided to research alternatives to print all of the zines on time, so I looked into different places where I could send the pdfs to be printed on time of the deadline. Awesome Merchandise   gave me a good deadline to finish all of them on time, so I will making an order of my zine designs and ask to be printed as a A5 mono print zine.

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Issuu is a digital publishing platform that makes it simple to publish magazines, catalogs, newspapers, books, and more online. Easily share your publications and get them in front of Issuu's millions of monthly readers. Title: Wapixana , Author: b.melodemeiralins, Name: Wapixana , Length: 16 pages, Page: 1, Published: 2021-05-05

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Today I'm finally printing the final zine, after all the editions. I'm hoping to get the first sides done today, and finish the other layers on Monday.
I'm thinking of a different platform to upload the work digitally, but I think Issuu is the best option so far.

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During the final editions I've made, I decided to incorporate text only on the first page of the zine, instead of incorporating it on the images. I used a font that imitates a typewriter, instead of using my handwriting, as I think it didn't match the aesthetic I was looking for.
I also tried to use collage, by cutting out the words I wanted to use, and then scan it to create the first page, but the result was also not what I expected.

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Dafna and I discussed the changes I've made since the beginning of my FMP, as well as research of other artists and inspirations for my project.
Reminder to upload more pictures showing my process.

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I decided to re-do the template of my zine using InDesign and see how I will incorporate the writing and

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Today I started testing the prints onto different paper. I'm glad with the results, but the riso printer was having some printing problems, and I couldn't set the size of the images as I expected, so I had to manually scan the pictures again, instead of using my PDF/JPEG archives.

I'm planning to add the text by printing the text I've made instead of handwriting, as I feel it "completes" the aesthetic and ideas of this project.

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Today is one of the last steps before printing, where I'll be finishing to write some of the things I'd like to be part of the zine, both in English and Portuguese, getting it ready to be printed and edited along with the images.

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Today we had the last crit before delivering our project, and it was a necessary conversation, and to make myself feel more confident about my work.
Everyone showed and explained their process, and what they were hoping to achieve in the end of their projects. I accepted some suggestions of how I wanted to make my zine and the short video I would also want to be part of my FMP.
I'm looking forward for the final results, and hopefully it will go smoothly.

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As I was trying to "fill these spaces", I noticed the textures that were created by the paper, and I'm hoping some of these textures will be visible on riso, because I think they also make part of the composition as a whole. I don't expect the changes I've made to be unnoticeable, but to instigate the viewer too imagine why the person was taken out of the image and what that represents on my work.

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I started to rise de the dpi of my images and as I was editing them, I started to feel that the quality of the images should not be the main focus of my work among the message, but what the image communicates, regardless of its quality. I got to better the resolution, but not as much as I was hoping for in som e pf the images, but I believe even that brings some character to the message behind these images.
I then manually scrapped them, and then scanned it back, and I'm happy with the results. Hopefully, the process of editing them to riso (CMYK) to maybe start to print them on Monday.

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I will be organising the sequence I want my images to be in the zine, using the template from Publisher, so tomorrow I can continue to edit the pictures at the Tech Lab.

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So I decided to play around with the picture, because I had another printed copy of the same image, and I decided to replace this blank space by another part of the background, and scanned it again. It's still visible that something (in this case someone) was taken off the picture, but only if you really look into the picture. This brought so many other aspects to the image that made me really happy. I intend to go back to the tech lab to better the resolution of the images I have, so I can print them, manually take people off the images, to then scan again. I'm hoping to finish this process this week, to finally start printing.

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After scanning the image and seeing the blank space, I felt it wasn't exactly the effect I was looking for, because even though the shadows are good and show that it was something manually done, it still didn't have the effect or result I was expecting.

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Today I went to the Tech Lab to start printing some of my pictures to have a better sense of how the textures and image would behave on the zine, and after the talk I had with Melinda Gibson, I decided to explore a bit more how I could deal with these sensitive collages.
I started by printing the image as it is, and manually taking off people from the image. I scanned the image to see how this "blank" space would be like digitally and latter printed, but I felt something else was missing.

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Maria Kapajeva is a Estonian artist who works based on research and archive, focusing on women's position on contemporary society. I first heard of her after a 1:1 with my tutor, where she pointed out someone that had a similar work to mine. When I decided to "cut out" people from my pictures as a form of collage, I knew other artists had done it before, but I couldn't remember the name of any, and Dafna suggested me to have a look at Maria's work.
In Cutbacks, Maria made her collages using old fibre-based photographies she found in an abandoned textile mill, and manually painted over some of the people, in a way to maybe express the replacement of manual labour to machinery development.

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Melinda Gibson is a British artist who works with archival photographs, who I had the opportunity to speak with today and show a bit more of my work.

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Today I will be working from the studio, and I will be finishing editing the pictures I'll be using on the risograph.
I booked a Tech Lab session to help me understand the better ways to edit some of the pictures and make them ready for printing next week.
So far, I was trying to "avoid" black and white as it is something I usually do, but I think these images will look even better in B&W

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I think this new way of showing some of the images better describe what I want to tell, and I'll soon add the text, which I want to be hand-written. The texture I'm looking for is something similar to risograph, so I think this result might be possible soon. I'll be going to the printing workshop tomorrow, and hopefully I'll get to test some of these ideas.

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I downloaded both Affinity Designer and Affinity Publisher to develop how I will present and print my zine, and here are some other pictures that I edited so far, and I think I might as well add another effects, or just print them with Riso.

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Today I had a 1:1 with Joy Gregory, who saw a bit of my work and gave me some feedback on what I've done so far. I'm going got follow some of her suggestions, and not make collages of all of the pictures and material that I collected, as she mentioned this could end up "taking" some of the energy I want to pass with my work.
Along with feedback, she also suggested me some artists for research, such as Rosie Martin and Maria Theresa Alves.

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Still editing my first picture, I decided to add different elements to it (a hummingbird, some plants), but I still wasn't happy with the text, so I looked into typewriters simulator to recreate the font I was looking for.
I opted for a bird my grandmother likes, and a typical tree that grows in the cerrado, where I'm from. I will be also using the same image, but re-writing them in English, for a second version of my zine.

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As I already have most of the photos I want to use for my collages, I'm starting to look for my options to edit and create the collages for an experimental digital zine. Canva is one of my main options to develop the idea, but I'm also considering using the tool from Newspaper Club, which is a considerable option for printing as well. I'm yet not too sure of how many pages I'll be making, but I also want to add text to it, which would be in English and Portuguese (with Wapixana as well)

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I'm starting to explore how I would like to develop my FMP, and I'm thinking of making a zine where I can create some collages of the images I found, along with some text, giving more context to my work. I'm looking for alternatives for printing the zines, but I'm also considering a digital format.

I'm also considering having the zine in different languages (English, Portuguese and Wapixana) as a way to approach more people and maybe make my work more relatable to some.

I'm exploring the possibility of making a small video with audios from conversations I've had with my grandmother during the making of this project.

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I collected some extra photographs I want to add to this photography zine, I'm still not completely sure of the arrangements, but I'll be editing some of them today and later will be finding the best way to convert them to a zine format.

As I started to work on my collages, I've noticed that it wasn't making me as happy as I wanted with the result, and that doing a whole zine with different collages may not be my main intention now. I will still be using the pictures from my research, but in a different approach (that do remind zines). So far, I decided to cut out some people from the original images, as a way to represent this erasure in their story.

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I started editing my first collage, which will be the "dedication" page for my zine. I used an app on my phone called Bazaart, which is similar to other editing programs. I first used a picture of my grandmother, and tried to find a program were I could do the writing part without needing to "write" with my phone, something that wither simulated magazine words or a typewriter.

I decided to use a clear background, and create a it more "texture" for the sun. I didn't really like the effect the letters had for this collage, so I latter decided to change it.

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Tarrah Krejnak has become a great influence on this research, as she also investigates her own history as a Peruvian child adopted by an American family. In El Jardín de Senderos Que Se Bifurcan,(https://www.tarrahkrajnak.com/el-jard-n-de-senderos-que-se-bifurcan) she documents the process of tracing her origins and the contradictions between these two realities.

I think of using projections again, as I did forMemory Palace, during the recording of the film, using some of the archives and family photographs.

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The idea for this project started as an expansion of Memory Palace, where I explored the story of my grandmother, an indigenous woman who was raised by a white family (her father's family), which erased a lot of her own identity.

I first started by doing personal research on family photographs, as well as talking with my mum and grandmother, their understanding of identity, and the process of seeing themselves as indigenous women, and the interruption of their culture by colonialism.

I also started to research on Koch-Grünberg, a german ethnologist who did expeditions on the state where I was born at the beginning of the 20th century. This brought to my project a different perspective on my project and helped me to show the impacts it caused on our own understanding of identity.