Emily Martin's Fly Away: Difference between revisions
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===Physical Object=== | ===Physical Object=== | ||
The book is made out of Sakamoto paper, and the cover is a hard cover wrapped in Moriki Paper. Moriki Paper is an authentic Japanese paper that is usually brightly colored and best for artist materials like water colors and relief printing. It’s thickness and durability make it an optimal material for book covers and end papers. The type used on the cover and for the contents of the book is a mixture of letterpress, inkjet and pochoir. Inkjet is a common printing technique used by authors and artists to easily reproduce their own work, which Emily Martin most likely did with her printing press mentioned above. Similarly, letterpress is another type of printing used for reproduction, but is more like relief printing, where an inked raised surface is pressed directly onto the paper. Lastly, pochoir is French for “stenciling” and is a type of printing very similar to stenciling. Pochoir is seen in one of the very first books that is considered an artist book, La Prose du Transsibérien et de la Petite Jehanne de France, by Sonia Delaunay-Terk. This book was referred to as the “first simultaneous book” which connected how an object visually impacts its observer with the ever changing thrill of the modern world (XXX). Delaunay-Terk used pochoir in this book to emphasize this cross section with bright color, similar to Martin’s use of pochoir to include the yellow brick road in a bright yellow media, further emphasizing the intersection of art and the classic codex.These methods are common techniques used by many pioneering artist book creators, as they help emphasize the cross section between original book publishing, and classic art, as it was known at the time. | The book is made out of Sakamoto paper, and the cover is a hard cover wrapped in Moriki Paper. Moriki Paper is an authentic Japanese paper that is usually brightly colored and best for artist materials like water colors and relief printing. It’s thickness and durability make it an optimal material for book covers and end papers. The type used on the cover and for the contents of the book is a mixture of letterpress, inkjet and pochoir. Inkjet is a common printing technique used by authors and artists to easily reproduce their own work, which Emily Martin most likely did with her printing press mentioned above. Similarly, letterpress is another type of printing used for reproduction, but is more like relief printing, where an inked raised surface is pressed directly onto the paper. Lastly, pochoir is French for “stenciling” and is a type of printing very similar to stenciling. Pochoir is seen in one of the very first books that is considered an artist book, La Prose du Transsibérien et de la Petite Jehanne de France, by Sonia Delaunay-Terk. This book was referred to as the “first simultaneous book” which connected how an object visually impacts its observer with the ever changing thrill of the modern world (XXX). Delaunay-Terk used pochoir in this book to emphasize this cross section with bright color, similar to Martin’s use of pochoir to include the yellow brick road in a bright yellow media, further emphasizing the intersection of art and the classic codex.These methods are common techniques used by many pioneering artist book creators, as they help emphasize the cross section between original book publishing, and classic art, as it was known at the time. | ||
This book resembles a Japanese double leaved album, with the pages folded inside the covers in an accordion style. The most notable feature of this book is its triangular shape, making it much easier to manipulate and interact with, but potentially making it more difficult to read and interpret. From the front cover, the book can be read in a classic codex style from each corner, with flipping the pages from each corner giving the reader a different story. The pages are not individual cut pages like a classic codex, but the book can be unfolded, revealing that each “page” that is seen in the codex reading view, is actually just different folds of the same, single page. Although the book consists of only one page, it seems to be multiple pieces of paper glued together, to create this accordion style reading experience. The pages can also be unfolded and laid flat on a surface to reveal the two sides of the single page in a zig zag layout. There is no binding to this book, as the pieces of paper are just glued together, and glued to the covers. Since this is a modern day artist book, the lack of a traditional binding isn’t surprising. | This book resembles a Japanese double leaved album, with the pages folded inside the covers in an accordion style. The most notable feature of this book is its triangular shape, making it much easier to manipulate and interact with, but potentially making it more difficult to read and interpret. From the front cover, the book can be read in a classic codex style from each corner, with flipping the pages from each corner giving the reader a different story. The pages are not individual cut pages like a classic codex, but the book can be unfolded, revealing that each “page” that is seen in the codex reading view, is actually just different folds of the same, single page. Although the book consists of only one page, it seems to be multiple pieces of paper glued together, to create this accordion style reading experience. The pages can also be unfolded and laid flat on a surface to reveal the two sides of the single page in a zig zag layout. There is no binding to this book, as the pieces of paper are just glued together, and glued to the covers. Since this is a modern day artist book, the lack of a traditional binding isn’t surprising. | ||
Revision as of 00:00, 8 May 2023
Fly Away
Overview
Fly Away by Emily Martin is an artist's book published and copyrighted in 2005 by Emily Martin herself. Emily Martin published many of her earlier books under the publishing company “The Naughty Dog Press” which is her own, as she prints all of her books on a Vandercook SP15 printing press. She works out of Iowa City, Iowa, and seems to work solo, as all marks on the book only indicate her involvement, including the copyright. The University of Pennsylvania’s Kislak Center for Special Collections bought this book directly from the author, making Penn the first owner of the book, which shows as the book seems to lack markings, marginalia, and aging that are most prominent in books that pass through many owners.
The History of Artists' Books
Physical Object
The book is made out of Sakamoto paper, and the cover is a hard cover wrapped in Moriki Paper. Moriki Paper is an authentic Japanese paper that is usually brightly colored and best for artist materials like water colors and relief printing. It’s thickness and durability make it an optimal material for book covers and end papers. The type used on the cover and for the contents of the book is a mixture of letterpress, inkjet and pochoir. Inkjet is a common printing technique used by authors and artists to easily reproduce their own work, which Emily Martin most likely did with her printing press mentioned above. Similarly, letterpress is another type of printing used for reproduction, but is more like relief printing, where an inked raised surface is pressed directly onto the paper. Lastly, pochoir is French for “stenciling” and is a type of printing very similar to stenciling. Pochoir is seen in one of the very first books that is considered an artist book, La Prose du Transsibérien et de la Petite Jehanne de France, by Sonia Delaunay-Terk. This book was referred to as the “first simultaneous book” which connected how an object visually impacts its observer with the ever changing thrill of the modern world (XXX). Delaunay-Terk used pochoir in this book to emphasize this cross section with bright color, similar to Martin’s use of pochoir to include the yellow brick road in a bright yellow media, further emphasizing the intersection of art and the classic codex.These methods are common techniques used by many pioneering artist book creators, as they help emphasize the cross section between original book publishing, and classic art, as it was known at the time.
This book resembles a Japanese double leaved album, with the pages folded inside the covers in an accordion style. The most notable feature of this book is its triangular shape, making it much easier to manipulate and interact with, but potentially making it more difficult to read and interpret. From the front cover, the book can be read in a classic codex style from each corner, with flipping the pages from each corner giving the reader a different story. The pages are not individual cut pages like a classic codex, but the book can be unfolded, revealing that each “page” that is seen in the codex reading view, is actually just different folds of the same, single page. Although the book consists of only one page, it seems to be multiple pieces of paper glued together, to create this accordion style reading experience. The pages can also be unfolded and laid flat on a surface to reveal the two sides of the single page in a zig zag layout. There is no binding to this book, as the pieces of paper are just glued together, and glued to the covers. Since this is a modern day artist book, the lack of a traditional binding isn’t surprising.