by A. Schutte
This work was printed at Nexus Press in Atlanta, in October 1992. It was produced on a Mac IIsi using various computer and photographic technologies including Photoshop, Word, Quark and Freehand. The work was Imageset to negative film from computer files by the Microcomputer Publishing Company (MPC) in New York, sometimes as full page impositions and duotones. The book was printed on Heidelberg KORD on Warren's LOE dull coated, alkaline, smythe sewn, in an edition of 500 copies.
by J. Drucker
typographic: Playing with conventions of book and narrative format, very 1960s French nouvel, and using Bodoni for its clean, clear, classicism.
imagery: The images range from regular photographs to Photoshop manipulations, from researched and archival materials, to things we created for the book specifically. The book is meant to have a "look" to it at the outset that recalls 1960s travel books and other non-fiction forms.
graphical: A structured layout that gradually breaks down, the format signals, as does the color, the transformation of Jane's state of mind.
openings: As with the rest of the design, these progress from standard to unusual to reinforce the plot as effect.
turnings: Only later in the book do the turnings become dramatic as the normative layout dissolves and the color shifts peak.
development: Narrative, graphic, design, and color all reinforce each other in a gradual dissolution of boundaries and peak experience.
sequence: A contrast between the earlier, staid, conventional sequence and those in the last sections of the book shows the dramatic shift in the events.
other features: Color plays a major narrative and design role in this book.
Since narrative is a force in this work, the emphatic underscoring of its trajectory by the design and the use of color are both important moves within the design. This book has certain classic features of an artists' book project, not the least of which is the fact that it didn't exist in advance of being plated and printed. No other version, even a proof, exists of the book showing the color and its effects. In that regard, this book is a carefully made and exquisitely detailed object. The design page by page is very careful, balancing the typographic elements and images so that they really work together as a whole while existing in active dialogue to create a peculiar system of belief and unbelief, pseudo-document and fiction.
Otherspace: Martian Ty/opography
born: United States
active: United States
citizenship: United States
active: United States
citizenship: United States
edition type: editioned
publisher: Nexus Press and Interplanetary Publications
place: Atlanta, GA and New York City
note: Interplanetary Publications was a name we made up to have an identity for our collaborative work. We didn't use it again, and then switched to JABBOOKS once Brad started publishing the Journal of Artists' Books. [J. Drucker]
horizontal: 6.7 inches closed
vertical: 6.8 inches closed
depth: .4 inches closed
binding: smyth sewing (AAT)
bookBlock: paper Warren's LOE dull coated
other materials: none
format: codex (AAT)
cover: Trade bound and covered in a grim film that dulled the colors and flattened the look of the book.
pagination: paginated 100 pages
This book was conceived at the National Air and Space Museum in Washington D.C. in December 1990 and printed at Nexus Press in Atlanta, in October 1992. In the interim it was produced on a Mac IIsi in New York City using various computer and photographic technologies. The pages of this book were created electronically making use of all manner of source materials in labor-intensive manipulations. The images do not exist in any other form but were created here as originals. Photoshop, Word, Quark and Freehand programs were used in the process, sometimes letter by letter or pixel by pixel. The work was Imageset to negative film from computer files by the helpful staff at Microcomputer Publishing Company (MPC) in New York, sometimes as full page impositions and duotones. Brad Freeman created the images in a combination of traditional and electronic darkrooms; Johanna Drucker synthesized the text and rendered it in Adobe Bodoni (sometimes misshappen). Pre-press production took about 1200 hours. Special thanks go to Amy Komisarek for allowing us to use her image and for securing photo sites. Thanks to Layren Miller for her alphabet. Thanks go to Gino Lee for him usual sage advice on all matters technical. Special thanks to Anne Noonan, Steve Hudson and Al Wiener at Soho Services, NYC, for space, time, and interest. finally, much appreciation to Nexus Press for a press grant and to Michael Goodman and Joanne Paschall for their kind assistance. The book was printed on Heidelberg KORD on Warren's LOE dull coated, alkaline, smythe sewn, in an edition of 500 copies.