Evan Lorenzen
As the maker of this book, I view this project as an exquisite experiment in dichotomy and precision. It also holds a layer of symbolism in regards to the current moment in time in which we share such a symbiotic role with technology.
It’s a poignant interplay of the ancient human craft of bookbinding juxtaposed with use of contemporary technology in its making and in facilitating its journey beyond our atmosphere.
For me, this project was a fascinating, and sometime frustrating, exercise in the polarity of extremes. The dichotomy of a minuscule 1 cm³-sized-book traveling approximately 384,400,000,000 centimeters to reach the moon is both an absurd and impactful concept, so when I was asked to be the one tasked with printing and assembling this book, I was completely intrigued, befuddled, and grateful. Given the specific limitations on size, paired with the length of the book, which had already been compiled, it was a huge challenge to try to fit all 80 pages of content within the confines of 1cm.
As a result, the materiality of the paper in the book became the crucial component for ensuring both legibility and durability while adhering to the spatial limitations. We had to find a perfect paper that was thin, opaque enough to be able to print on both sides without it showing through, and with the perfect surface that would be receptive to the level of detail required of the book. It was engrossing and extensive to test so many different types of papers with five different types of printing techniques (inkjet, laserjet, photo, giclée, and archival pigment printing) to try to determine the optimal combination of materiality and technology.
it encapsulates the human inclination of striving for precision and exploration through both new technology and old craft.
I find this project to be such an intriguing endeavor because it encapsulates the human inclination of striving for precision and exploration through both new technology and old craft. The challenges faced both technically and physically when putting this book together makes its construction all the more rewarding; I was able to learn so much more about the intricate nuances of printing and assembling through the process of this prototyping experimentation. For example, because we were trying to fit about 2 to 3 lines of text per millimeter on each page, we had to find a printing technique that was capable of delivering legibility of text while also giving us images that were rich and accurate; it took dozens of combinations to figure out the right combination of paper type, file settings, and printing intricacies. Eventually, I ended up printing it with an Epson P700 Printer with archival pigments rated to last 200-400 years and a maximum resolution of 5760 dots per inch that allowed us the precision and longevity required of this project. Once the printing technique was determined, it was crucial to troubleshoot producing prints with perfect alignment on both sides of the page- given the size, this alignment needed to be exact within half a millimeter.
When it came to assembling the book, there were some other fantastic learning opportunities that I’m glad I encountered on the prototypes before working on the final version. In the process of binding together the pages into the text block, I was using the thinnest needle I could find, however, I realized that the eye of the needle was larger than the rest of the needle and would have ripped the pages, so I had to pivot to sewing the whole book using the monofilament by hand without a needle. When working on miniature books like this, I don’t use any magnifying instruments during the assembly in the hopes that I can really push the limitations of my senses of sight and touch, so this project was an incredibly rewarding challenge to craft. Working on such a small scale, I’ve learned a lot about troubleshooting limitations when it comes to the interface of technology and material, while also being reminded that sometimes even the smallest things can take an enormous amount of effort to bring to reality. I’m so grateful to have been able to contribute, in my own little-big way, to this innovative project: a teeny-tiny representation of the exquisite breadth of human creativity.
Evan Lorenzen (Art and Such Evan) is a multi-disciplinary artist that resides in Denver, Colorado. He currently spends most of his time working on miniature illustrations, woodworking, and animation. To test his natural limits, Evan does not use any magnifying instruments during the miniature drawing process. Additionally, Evan considers it very awkward and unsettling to write biographies in the third person as he found out in the construction of this traditionally-styled artist’s bio.
Focusing on the relationships between painting and animation, he graduated in 2013 from Marlboro College with a Bachelor of the Arts. Evan worked as a designer at a screen printing shop in Denver before becoming a full-time artist and tattooer. He started exploring the realm of micro, handmade books, which led to his current interest in miniature illustrations- most of which are around 1 inch tall. Primarily working in pen and ink as well as watercolor, Evan currently finds himself influenced by mythology, medieval woodblock prints, cartoons, and the natural world.
