Fourth Trip

 Two days running that I have visited the tower, and today looked like the best day yet. Clear blue skies and only a slight breeze. My family came with me today, including my seven year old brother Finn who moaned the whole way. It normally takes me about an hour to get to the summit, but today it took us nearly two hours. 

We found a blue football on the way which kept us entertained and we kicked it up to How Hill Road. I promised Finn that we could have a competition to 'find the most treasure' once we got to the hill.

I don't like sharing my tower with people. It loses part of its magic every time someone else finds out about it. It's my secret place and it feels less safe the more people know. I knew my family, these little magpies, would love it though. It's right up their street.

Howard, you seem different today. You seem much farther away than you usually are. You seem distant somehow. Don't be shy now, How. These are my people. They won't hurt you.

Your hills are much steeper today and you won't let me up. Don't worry, Howard, there's nothing to be afraid of.

Look at this weather, so gorgeous! It suits you, How.

Why is there still a cross on the top? This is the remains of the house, not the Chapel. This building had nothing to do with religion - was this just reused from the old Chapel?

What a view. Which direction is Boroughbridge from here? How far would it be to throw the Devil's Arrows from here? I am so bad at Geography.

I added a paper flower to the lock on the outbuildings and cleared away some more beer cans. Maybe it's better to not be able to get in, to keep the mystery alive. It might not live up to my expectations. My family have been making jokes about this being my house, where I will live one day. 

"TAKE YOUR SHOES OFF AT THE DOOR." "Welcome to my humble abode."

Why are there so many skeletons inside the outbuildings? I think this one is was a rabbit.

I found at least four complete skeletons of that size and some scattered smaller bones too. So animals just come in here to die? They could easily get out of the gate. Weird.

I love treasure collecting. My dad got really into it and was scavenging for ages. We found even more pottery and some glass bottles (medicine?). My dad reckons the shards of glass date to the late 1800s and my mum commented on how Victorians would go on picnics and leave their dirty plates there (the litterbugs of their time).

I AM SO TIRED.

Let's Get Creative

I got a Hobbycraft giftcard for Christmas and I knew EXACTLY what I wanted to invest in:

Needle felting supplies.

I've only had a go at this once before, and that was at secondary school with very cheap equipment. I've been looking at things made with this technique on Pinterest and have become really interested in the fibres and organic quality of roving wool sculptures.

The messy, wild aesthetic of needle felt reminds me of the woods, especially of moss, and I wanted to have a go at recreating the forest through this process.

Here is my first attempt at a needle felted tree:

I love to make images this way, to create THINGS rather than just drawings. To make elements of a world.

I'm really happy with how this tree turned out and I will continue to play with needle felting. It would be great to make a whole scene of these trees.

I'd like to add lights to the scene too, exploring how the felt soaks up or blocks little specks of fairy lights and how I can possibly create the illusion of night time.

Could I make the tower using the same technique? Probably not. It's a completely different material and maybe I need that juxtaposition of manmade and natural in my scene... I could make a cardboard model? Paper cut?

How would I capture and print this as a scene? Would I be able to photograph the entire view at once or would I need to take multiple shots panning the scene and then paste them together digitally?

It would be so cute to make little animals too!

I WANT TO MAKE BIG TREES! Bigger, better, more detailed.

Buy some more coloured wool roving.

Third Trip up the Hill

Adventure time with my friend Nikki. 

Prepared for the weather and anticipating flooded country roads.

Nikki had never been to How Hill before but I told her about my project on the way.

AIM FOR THE DAY: Find interesting things. Get muddy. Eat jam sandwiches. Take photos. Draw.

Baffled that she hadn't heard of the tower before and discussing how I could put in an offer with the National Trust to buy it. 'I'LL GI' YA' A TENNA?' 

Looking for natural textures and organisms on the way. Spiky thistles.

Wild ferns, makes a pretty pattern.

Ivy covering rocks. Cheeky ivy.

Random discarded horse shoe. We picked this up.

Weird bark. Gnarly.

Wet gnarly bark.

Geese. Do they have a set rank in the flight structure? The cool kids at the back, the nerds at the front? Nikki doesn't like geese.

Still there! Still standing!

Grungy rust. So punk rock. 

Being the idiots we are, we walked up the steepest way whilst another couple walked easily up the hill on the other side. Fools. FALLING DOWN IS PART OF THE ADVENTURE!

So many mole hills.

Stone walls. Texture. Patchwork colours. How long would it take to build something like this? Who carried the stone up here?

'It must have been so beautiful' - other couple on the hill. They knew nothing about the history of it.

Perhaps I'll find them and tell them what I have found out.

I did something risky. I squeezed through the bars of the gate into the outbuildings. I didn't break anything or move any locks, just squeezed through (and it was the biggest squeeze ever). I'm such a worrier and I hate doing anything wrong, so going in was an impulsive, naughty Jay-move but I was just so curious!

Not a lot inside, just some beer cans (which I tried to clean up a little) and animal skeletons. Why would anyone want to drink up here and why would they not take the cans away? Grr.

I think this is where the animals were kept when it was a farm house. Now they're just empty outbuildings locked away behind a gate. 

Pink plastered walls with graffiti. Mostly just names, but one strange message 'THIS IS THE WAY TO HEVEN'. Odd... why would you scratch that into a wall?

Found even more pottery inside and loads on top of the mole hills. Lil moles just digging it all up?

There's a door to the house in the outbuildings entrance that is locked with a padlock but the wood seems to be quite soft from the damp; I could quite easily wear down the wood frame past the lock to get in. I love this place and I don't want to break in or anything, I don't want to destroy it but I just want SO MUCH to see what it's like from the inside. Hm, If only the National Trust would unlock the doors, just for a minute, to let me have a peak. The view from the top window! I just want a moment of that.

More ceramics, beautiful things.

Nikki's thoughts on the tower: 'It's just so beautiful. And so forgotten. Why does noone know about it?' 'It's like you're solving a mystery, putting together all the little bits you find' 'You have to get married here, you know that?'

Foresty Scenes

I didn't know how to translate the candle light (or sunrise/sunset) into a drawing or painting...

This is a personal interpretation of an experience, what makes it relatable? I want to transport the reader into the woods in search of the tower. 

What is the theme or familiar sensation that I am attempting to evoke in the reader?

How would I convey the feeling of darkness and loneliness in the woods?

https://www.pinterest.com/pin/188236459403313577/

I've really enjoyed building models in Visual Language and would love to continue this process in this project, perhaps making dioramas of the scene and photographing them as pages with real depth.

I'd want to make these images full bleed and to span the entirety of the concertina, so would I need to sew sections together if I'm photographing them? Can I take a panorama? 

https://www.pinterest.com/pin/188236459403313562/

As well as considering perspective and pacing, the setting has other variables to decide upon too. I want to document how the scene changes in different seasons and in different light. The two images above have very different atmospheres simply by changing the colour palette.

I'm still wanting to convey the isolation of this remote and bleak location, I need to play with colours to see which tones achieve this.

https://www.pinterest.com/pin/188236459403313354/

The blue feels cold 

how did the artist make this?

Love the silhouettes, fixes the problem of making the story too cartoon-like or character focused. People are relevant but shouldn't be in the foreground of the narrative. Simply woven into the scene.

Animals behind trees, adds depth by building layers on top of one another. 

I like how this one is dark, but not spooky. Love the little yellow bulbs of light, is that digital? How can it be achieved digitally?

https://www.pinterest.com/pin/188236459403313346/

Shadows are so clever. Immediately evokes childish terror in me, the nightmare of the mind playing tricks with shadows on my bedroom wall. Although the above shadow isn't obviously threatening, it has the faint suggestion of looming beasts. Would it be too much to create shadows of scary beasts and hide them within the scene? Or just make them vaguely frightening? Eyes in the dark?

Gran

My Gran is a mind of wonderful information.

When she heard about my How Hill project, she told me the extent of her knowledge on the location:

it was featured in an episode of 'Flambards' and my mum's grandad had a sister who narried Pete Holder and lived in the tower for a short while.

I'm going to visit my gran again later this week and drag out some more information about that one.

In the mean time, I found the clip from 'Flambards'. Since the series is set in North Yorkshire I assumed that the whole story would be set on How Hill, but in fact it only features for a mere minute in one single episode. It's still weird to see the tower un-boarded and in use.

It's also weird to see a lady on a horse in Edwardian attire stood up there. Odd...

Everything I find about the tower makes the story weirder. It's still a mystery, no matter how much I have found out about it.

ARTIST CASE STUDY - Johana Molina

This little creature caught my attention on Pinterest
and I just had to find out more! What is he made of?
The delicate features on this miniature scale intrigued me, especially in that the model also stands and can be posed too.

https://uk.pinterest.com/pin/423197696205457461/

The artist is Johana Molina.
She makes creatures using a process called needle felting.
I have only ever done this once and I had NO IDEA that it could be used to make models or figurines! I thought it could only achieve flat, felted surfaces, but look at these incredible creations she makes.

https://uk.pinterest.com/pin/390405861420280718/

I find these characters utterly charming and full of character.
The behaviour of the fibres gives the suggestion of fur and hair, something that I don't think can be achieved as well in other materials. The process involves repeatedly 'stabbing' wool roving fibres on top of a special felting mat and using a precise felting needle tool. This repetitive action causes the roving to  knot together and form felt!

https://uk.pinterest.com/pin/423197696205457461/

I really love how Molina has used costume and props to bring the characters to life, accentuating their personalities with glasses or a book.
Because the creatures can be posed and clothed, she can also devise scenes and worlds for the felted animals to exist within. I think her felting skills could be expanded to crafting the scene too, rather than just posing the creations in a natural environment, she could felt some trees and plants to surround them.

I think it would be brilliant to use a similar technique for my project and possibly create some little felted animals to live in How Hill Wood. I don't want to take away from the factual element of my project by inventing make-believe things, so I would probably opt to make less stylised, cartoony characters and instead form slightly more realistic animals without clothes or props for this project.

Molina sells her creatures as 'sculptures' on Etsy. It's great that she can craft these things and make a profit from them. I would argue that these are more than just 'sculptures'. To me, they are dolls. They are a collectable art item, sure, but they are also powerful play things that are so much more interactive than a sculpture.

I would love to see Molina branch into animation! Imagine those little guys moving! Stop motion. She uses wire frames underneath the felt, so it could be easily achieved.

National Trust

I emailed the National Trust about a week ago and still haven't had a reply

but I decided to try their Facebook page too (which claimed that they usually reply within 1 hour)

and that they did!

Hello Jay, thanks for getting in touch. You're right - we do have some holiday cottages close to How Hill Tower. How Hill Tower is close to Studley Royal and the local team will have lots of information for you about the history of the tower. We've spoken to the team about your interest and they would be keen to tell you a little more about How Hill Tower. You can call them on 01765 608888 and hold to speak to someone directly. Good luck with your book 

  I called them! I spoke to a really helpful lady on the phone who took my details and said that she would email me anything she could find. She wished me luck with my book.

Case Study - Dan Metcalfe

I asked Ripon locals (via social media) for their knowledge, experiences and opinions of the tower on How Hill. As I expected, I didn't get much response because people didn't know what I was talking about!

What tower?

I've never heard of it!

But I did get one reply, from Dan Metcalfe.

He has several stories about How Hill and has a huge emotional connection with the location. This is where he proposed to his girlfriend.

Pilgrimage

'The purpose of the chapel is unclear. Was it for celebrations, the reception of pilgrims or to provide for the spiritual needs of the inhabitants of the Vill or the servants at the granges of Morker and Haddockstones?'

http://www.nidderdaleaonb.org.uk/Documents/Walks/MarkenfieldHall_web.pdf

In searching for more information about pilgrimage and the Chapel, I stumbled upon this video.

Every Boxing Day in Ripon, there is a walk from Ripon Cathedral to Fountains Abbey, recreating the pilgrimage walk of the Cistercian monks on Christmas.

I hoped that this would include some more information about worship at the Chapel of St Michael de Monte but there was no mention of How Hill.

Just because the original Chapel no longer exists, I believe that it is still an important part of the monks' story and that the pilgrimage should acknowledge so. People don't know about the history of How Hill...

I wonder if the Cathedral itself has any religious documents relating to the history of the Chapel.

'The Pilgrimage of Grace was the worst uprising of Henry VIII's reign. It was a direct result of the dissolution of the monasteries, a policy which confused and angered most Englishmen.'
http://www.historylearningsite.co.uk/tudor-england/the-pilgrimage-of-grace/

'Pilgrimage of Grace' and the divine, spiritual ideologies referenced in these documents made me think of Jeff Buckley. The kinda vibe I'd like to entice within my book...

 

BUCKLEY IS GOD.

 He's ethereal, magical and he's always speaking on a spiritual level. I also believe that his death was suspicious, but that's a story for another day.

'The Cistercian craving for isolation found expression in the destruction of villages like Cayton and Herleshow in Yorkshire in the twelfth century.'
http://www.britishlandscape.org/reading-the-landscape/files/0c706b75fd753632746b0b7d4b30c468-13.htm 

ISOLATION was the reason that brought Cistercian monks to Herleshow. Isolation is a feeling that I think is still very prominent in that 'neck 'o' woods'. 

Isolation is a feeling that is universal and that anyone can relate to, which might help to make my book relatable.

Towers in Fairy Stories

My tower is the format of a traditional fairy tale tower, the kind that you could imagine Rapunzel's hair dangling from the top window.

But it's also forgotten and abandoned, an old and disowned building in the middle of nowhere.

I was watching one of my favourite films today (not Labyrinth again), Return to Oz, and the scene in which Dorothy finds the ruins of the Emerald City made me think of the state that How Hill is in. It's been repaired and isn't in the mess that it was a few years ago, but it is still not sparkling and shining in the way that it should be.

My Emerald City.

 My Yellow Brick Road. Still there, but not as it should be.

Damaged and broken and I'm the only one who cares.

This shot in particular reminds me of Herleshow and how this once majestic view in the distance is just overlooked and is barely noticed.

TEXTURE

I've loved working with shape and approaching image making with a collage process.

I like to build images and characters on the page, rather than directly interpret from observation. Cutting and arranging items on paper feels much more natural and fluid than that of structured drawing from life, although I have learned that this too is a valuable illustrative skill.

I enjoyed the work I made during SHAPE, but I don't think that it is an example of my best work. Even though I put in extra time to re-make the images a second time, I don't think that I committed to the brief enough for that to show in the work I produced. When I look at those images, I just see characters spooled out of my head, I don't see outfits or shapes being showcased there.

This week I am trying to stick solidly to the task at hand and not zone out into Jayland. So what if you're not interested in fashion? FIND FASHION THAT INTERESTS YOU.

Looking back on the work I made for LINE, I really don't like that either. I didn't push myself. I stuck to what I know and I wasn't very experimental. Line is a basic but really powerful tool. If I have time over Christmas I would like to revisit LINE.

Shape can help to simplify and reconstruct the basic elements of a subject, and texture is a way of bringing information (about light, material and surface) back into the frame.

Making Collections of Marks and Textures: 

(my favourites are marked in bold)

Dry brush,

Acrylic paint,

ink,

brusho dyes,

crayon,

half-dead felt tip pens,

AND several actions using each media:

Scratching

stabbing

scrawling

scribbling

scraping

dabbing

dotting

dragging

I became quite fond of the rough textures achieved through applying a little Quink to a dry brush and dragging this across the page. Using paper with lots of surface fibre (bumpy, not smooth!) allowed the dark media to find these lumps'n'bumps and show them off.

Self Portrait

I hate the feeling of sugar paper. It soaks up water much too quickly and it's so flimsy. I like a sturdier stock that ain't so gross to touch. It's got to be bumpy, but not quite as dry and grainy as sugar paper next time, hmm...

other people in the studio were making really funny portraits of themselves, using shape to convey humour and skew proportions.

I had a go at this. I made my hair, which I was wearing in a ponytail, much shorter than it really is, but to reflect the way that I see myself. A silly hairstyle and a stupid expression on my face. A big nose and a noisy background.

SECOND ATTEMPT

Desperately trying to be funny was pulling me away from the focus of texture. I took this task home and concentrated on the challenge of TEXTURE in my room, where I couldn't worry about what other people may be doing in relation to the task.

IT DOESN'T MATTER WHAT THEY ARE DOING! HOW THEY INTERPRET THE TASK IS NOTHING TO DO WITH YOU.

CRAYON! I love my Stabilo Woody pencils - these hugeass pencil crayons that are also water soluble and smudgeyable. I made several more pages full of textures using this pencil and then chopped them up to make a second attempt at a self portrait.

It doesn't look like me.

But it does feature several different textures; it is an image bursting with information - but too much? Is there a limit to how much texture should be described before it begins to take AWAY from the image?

I'm pretty proud of myself for having another go, even when I have a lot on schedule already and it wasn't mandatory to do anymore work. I feel productive for doing so, but what I've done still isn't good enough.

Goddam hate being a perfectionist. It'll never be PERFECT but it's got to be up to Jaystandards, and by Jaystandards, Jay's work doesn't cut it.

THIRD ATTEMPT

this time using pre-made textures too. The black background is black carbon paper.

Having a stronger contrast between foreground and background/light and dark has made this image much stronger than the previous attempt, since it is easier to look at and the shapes are much more defined against their constrasting neighbours. Blacks are shadows and whites are highlights, rather than shades of grey (although these are still present and have power too, I prefer the image to have the perfect balance of tone and levels).

The outfit needs much more attention, it is flat and ugly. There is no suggestion of posture or body shape. Zoom out the composition to see a little more of the arms?

LEAVING OUT THE MOUTH WAS A MISTAKE. I dropped the fragment of paper I'd cut for her mouth, but liked how this mouth-less face seemed so confused. 

I'M NOT HAPPY AND I'M NOT SAD. 

Saint Michaelmas Day

Interviewing Ripon locals about the tower:

"When I was younger, we used to walk up there when it was dark. And it just felt so scary. We couldn't stay long." 

Ian Aspinall, Ripon local

--------------------

1350. — On Michaelmas Day, John de Baildon, a Lay Brother of Fountains Abbey, 

was murdered on Micklehow (now called redundantly Micklehow Hill), near Ripon. 
William Lister of Ripon, senior, was accused of the murder, but was acquitted. 3 
Micklehow is a lofty eminence in the township of Markington-cum-Wallerthwaite 
about five miles from Ripon, formerly belonging to Fountains. Upon the summit of 
the hill was a chapel, dedicated to S. Michael, and known as S. Michael's de Monte, 
built by the Abbey about 1200. 4 

[Source: http://www.ebooksread.com/authors-eng/william-paley-baildon/baildon-and-the-baildons-a-history-of-a-yorkshire-manor-and-family-volume-3-lia/page-11-baildon-and-the-baildons-a-history-of-a-yorkshire-manor-and-family-volume-3-lia.shtml]

There is literally no other reference ANYWHERE to this murder? I cannot find any other information about it. How odd.

And what is Michaelmas day?

29 September
Michaelmas Day is the feast of Saint Michael the Archangel, celebrated on 29 September. St. Michael is the patron saint of the sea and maritime lands, of ships and boatmen, of horses and horsemen. He was the Angel who hurled Lucifer (the devil) down from Heaven for his treachery.

Further Research

I am enjoying research so much! I just want to find out as much as I can. I want to be an expert on the tower and its history and I don't want to miss anything important.

The etching above demonstrates the struggle I have had with identifying information about How Hill. It is always in the shadows of Fountains Abbey. Mentioned briefly in texts about the famous Abbey, there is just so little known about How Hill and it is only ever spoken about in relation to the Abbey.

[Source: https://books.google.co.uk/booksid=VkJjAAAAcAAJ&pg=PA220&lpg=PA220&dq=chapel+of+saint+michael+de+monte+pilgrim+ripon&source=bl&ots=3655OLRjHv&sig=ZQlGbHMyB1f_DbfrfA2USalzNWk&hl=en&sa=X&ved=0ahUKEwjfz8-GwMzJAhVCKB4KHZuBDXwQ6AEIODAF#v=onepage&q&f=false]

 

Mickelhow

More interesting information. I'm sure that someone just keeps throwing little clues into the abyss of the internet for me. It's some kind of cruel scavenger hunt. Just as I'm giving up, along comes a fantastic little nugget of history! 

I love that the history is fractured and that the answer isn't clear - it is an untold story that isn't well known, like that of Fountains Abbey or Ripon Cathedral. 

The beauty of this story is that it is a mystery. It's complex and scattered, my job is to pick up the pieces.

The monument includes the site of a medieval chapel of Fountains Abbey and a section of the monastic deer park boundary known as a park pale. The monument occupies the prominent natural hill known as How Hill. The whole of the western flank and part of the northern and eastern flanks are included in the protected area. The top of the hill is dominated by an 18th century tower, which was constructed as part of the designed landscape of Studley Royal, 1.7km to the north west. How Hill was part of a larger tract of land granted to Fountains Abbey by Robert de Sartis in 1134. This was the first endowment given to the Abbey after its foundation and enabled the Abbey to become a viable concern. The first documentary reference to a chapel on How Hill is in 1346 when a chapel dedicated to St Michael de Mont is recorded. The chapel is known to have been repaired during the time of Abbot Huby between 1494 and 1526. It is thought to have been for the use of workers on the nearby monastic granges of Haddockstanes, Morker and possibly from the adjacent deer park. There is also a reference, supported by the dedication, that the chapel may have been a pilgrimage centre. The chapel fell into disuse at the dissolution of Fountains Abbey in 1539 when the chapel and surrounding lands passed into the Weeks family of Sawley. In 1716 How Hill and the chapel were bequeathed to John Aislabie of Studley Royal. The chapel was partly robbed of stone in 1719 when a tower was built on the hill and it appears to have been an extant ruin in the 19th century. Although there are now no surface remains of the chapel, there is a 19th century reference to ruins standing next to the tower. The tower is built on the eastern edge of the hill, on partly made up ground, and it is suggested that this location was chosen to avoid the standing ruins of the chapel lying to the west. The level top of the hill where the chapel site is thought to be measures approximately 30m square. Excavations in the 19th century uncovered a number of human burials on How Hill assumed to be associated with the chapel. Further possible burials were identified by geophysical survey to the south of the tower. The tower is a square two storey building with a stone pyramid shaped roof. The four faces each have a round-headed window with simple `Y'-shaped stone tracery. The building reused stone from the former chapel to the west, in particular there is a decorative frieze with the Latin inscription `Sol Deo Honor MH et Gloria' around the south side of the tower, the `MH' standing for Marmaduke Huby, Abbot of Fountains Abbey. The tower was part of the wider designed landscape of the Studley Royal estate located 1.7km to the north east. It was built primarily as the focal point at the end of a grand axial vista extending along the canal through the water gardens and was designed to be seen in conjunction with the remains of the adjacent chapel. As such the whole building was constructed with a church like appearance. Soon after its completion an external stair turret was added in order to increase the usable space inside as the tower became more of a functional building and there is evidence of its occasional use for gaming. In the 19th century a series of domestic buildings were added to the east side of the tower. These were partly cut into the hillside so that the tower and chapel ruins were still a visible landmark and was thus still an important detached element of the wider designed landscape. The tower was occupied until the mid-20th century. Both it and the adjacent buildings are Listed Grade II*. On the western and northern flanks of the hill there are a series of earthwork features associated with the monastic and post-monastic use of the site. On the western flank there is a substantial earth and stone bank extending north to south for 150m. This measures up to 7m wide and 1.75m high. It forms a boundary between the area surrounding the chapel and the arable agriculture to the west and may have originally defined the curtilage of the chapel. Between the bank and the top of the hill there are a series of terraces and platforms, interpreted as the site of buildings and trackways giving access to the top of the hill. Some of these are thought to be modified natural features. On the northern flank of the hill there are further trackways, a large platform and quarry scoops. Immediately to the west of the boundary bank there is an area of ridge and furrow extending east to west. A further area of ridge and furrow lies to the north west, extending parallel to the deer park boundary. Both these areas are currently undated but are included in the monument as they represent agricultural exploitation of the area by the monastic community or in the immediate post-medieval period and will preserve information about the relationship between other features in the monument. 
[Source: https://historicengland.org.uk/listing/the-list/list-entry/1020119]


Whether the first occupation of the crown of the hill as a place of Christian worship was caused by the spiritual wants of the inhabitants of this vill ; or a Chapel was subsequently erected there by the Convent for the benefit of their servants at the granges of Morker and Haddockstanes, or as a place for special celebrations, or for the reception of pilgrims or others who may have been attracted to the spot by a traditional belief in its sanctity, can now be only a matter of speculation, like the selection of the saint to which this and other religious edifices on similar high places were dedicated. The marble capital of a triple nook shaft for a window which still remains here, and some mouldings of similar character, which might lately have been seen in the wall of a barn on the site, may suggest the idea that a chapel had been built here in the early part of the thirteenth century; but the earliest mention of such an edifice which I have found in records occurs in the year 1346, when the receipt of oblations and obveutions, particularly on St. Michael's Day,
After the dissolution of Fountains, the Chapel, no doubt, fell into ruin. In the next century the estate on which it stood became the property of the family of Weelks of Sawley,
After the estate came into the possession of Mr. Aislabie, he erected a tower on the summit of the hill, in 1718, with materials brought from South Stainley Hall, the family mansion of the Swales'. Some stones, however, which retain masons' marks, may have been taken from the ruins of the Chapel, of which, judging from the background of an old painting at Studley-Royal, a portion then remained.

[Source: http://www.forgottenbooks.com/readbook_text/The_Publications_of_the_Surtees_Society_1000708173/297]

InDesign Workshop

Notes to remember for InDesign:

(because I will forget)

Work at actual size

know the specific dimensions of the book pages

White trim edge - bleed compensates for any inaccuracies in trimming

3mm standard bleed

Be prepared to lose 3mm of a full bleed image - changes composition

framing

can inform how you choose to compose your images

slug for printer's marks and fold lines

Facing pages is for folded bind

'Reader's spreads' pages display on screen exactly as they will once they are printed and bound

Photoshop image prep:

300ppi

CMYK/grayscale

tiff or psd

never copy and paste into indesign

file and place

overprint preview

save in the same folder - contains images and indesign document

take whole folder with you

linked files

Making frames on the book document to use as guides when making the images actual size

Or approximate size

Scale percentage by stretching the image to the page

Right-click the linked image to edit with Photoshop

Apply scale percentage on original Photoshop document

Tick resample if it is the DPI/PPI you need… IF NOT, MAKE IT 300

To resize, change scale measurement to percent

When saves, it will automatically update the image on the InDesign document

MAKE SURE YOU ARE 100% SURE THAT THIS IS THE SIZE YOU WANT IT

THIS SHOULD BE THE LAST THING YOU DO

Adding colour in InDesign is the same as in Illustrator

Add a colour frame (rectangle without the cross inside)

Use the colour pallet and apply either a fill or stroke

Book formats:

16 page saddle stitch book
200mm wide x 280mm high max
front, back, 2 end pages and 12 pages of content

12 page concertina book + front cover + back cover if needed
200mm wide x 280mm high max
consider potential for full bleed image across entire concertina

The saddle stitch requires pages in of multiples of 4
The first page is always a right-hand page
FOR PRINTING: Reordering pages into printer's spreads so that they are in the right order in the bound book
To work it out manually - make a paper mock-up, number them and then break it apart. You can see which pages go next to which.
INDESIGN MAKES IT EASY!
PRINT BOOKLET OPTION
Always tick the 'print blank pages' box
Crop marks and use document's bleed settings