A Little Art History

Poster Art

In recent times, many have displayed Henri de Toulouse-Lautrec posters in their homes as decorative wall art. These posters often illustrated Moulin Rouge cancan dancers in white ruffled bloomers, which is fairly tame subject matter by today's standards. But in 1891, when this type of promotional was displayed in the streets of Paris, it caused quite a stir.

At the time, not only was the portrayal of a woman kicking her leg in the air considered indecent, but the poster's skewed perspective and abstract composition distressed viewers with its vivid, avant-garde style. Regardless, the concept of the poster had been born as it achieved its intended purpose: to attract attention to itself and (hopefully) covey a message.

At first, laws were written to protect the innocent from this type of publicly-displayed visual assault. Eventually, these ordinances were relaxed as artfully-innovative posters began to appear in the city streets of Europe. Before long, posters were hawking everything from breakfast muffins to literary journals. Classic posters of this type include Pierre Bonnard's lively illustration for France-Champagne and Maurice Denis' graceful design for the La Depreche de Toulouse newspaper.

From this simple but masterfully-executed beginning, poster art has become a worldwide phenomenon ranging from movie posters to art lithographs to gigantic billboard advertisements. With the advent of computerized photolithographic equipment, just about any type of image or message can now be quickly and faithfully mass-reproduced.

Since the poster tends to affect viewers at different levels, it has also been used throughout the world for patriotic and political purposes. Remember the poster image of Uncle Sam pointing at the viewer in an effort to recruit armed service enlistees? How about the giant images of a provincial despot plastered about the streets (just so you don't forget who's in control)? Currently, no political rally or group convention is complete without sophisticated posters that both touch and inspire their beholders.

Originally, many artists avoided translating their art into posters because it required an unwanted alliance with the printmaker. Other artists explored the new medium in order to obtain a certain type of look that could not be achieved by painting alone. Some struggling artists saw poster commissions as a way to make some quick money while gaining instant mass recognition. Most that contributed to this genre concentrated on the art, realizing that it's the message that's important and not so much the media.

A young Toulouse-Lautrec became excited by the possibilities of this new medium after viewing an exhibition of illustrations by Jules Cheret, who is now considered the founder of Parisian poster art. Inspired, he gained his first commission by winning a poster design contest that was sponsored by the Moulin Rouge cabaret.

From these preliminary works, Toulouse-Lautrec went on to create some of his most famous poster art, including the works that featured the red-haired dancer Jane Avril and Yvette Guilbert, who was usually clad in signature long black gloves. These posters excelled in highlighting the personality of the entertainer, a concept that has successfully transcended into today's celebrity advertising.

In their earliest form, poster prints were created by cutting or etching away material from wood, stone, or metal blocks to produce a relief plate. This plate was then inked by roller and the image transferred to paper by press. Since the relief plate was durable, many prints could be created from one impression, either identically or in various ink styles.

Traditional types of poster relief prints included woodblock, cast plaster block, stone lithography, and linocut. In all cases, the background portion of the image is cut from the material and the remaining relief is inked and transferred to paper. This type of print technique is mostly mechanical and usually performed by hand.

As technology advanced, engraving and chemical etching processes developed into intaglio printmaking techniques. This type of print design allowed artists to create more detailed images that contained extremely fine lines and gradients of color. An intaglio print plate has its relief surface wiped clean (the opposite of relief printing) while ink remains within the fine, incised lines of the plate. When pressed, this pigment is transferred to paper.

Stencil and screen prints have also been successfully used to create poster art. In screen printing, the printmaker attaches a stencil to a screen fabric that is stretched over a frame. Using a flat squeegee, ink can be pressed through the non-stencil portion of the screen to produce an image on the underlying paper. By using different colored inks and multiple screen stencils, many variations of poster image can be quickly created.

Today, most mass-produced posters are made from sophisticated computerized printers. In digital form, images can be taken directly from photograph or film cell and printed. Art illustrations can be created by using advanced computer graphics software that allows the artist to paint images on a computer screen and then instantly print the results.

Whatever the medium, posters are here to stay. Today, they are everywhere that people congregate and travel. You can't find a major airport, bus terminal, or train station that does not have a copious supply of promotional poster art. Even the inside (and outside) of public transportation contains images that are designed to educate, provoke thought, or elicit emotion, etc., from the viewer. Whether you consider poster art a lively enhancement to public space or visual pollution depends upon your point of view.

Competitions

--The American Academy of Equine Art Juried Exhibition at the International Museum of the Horse, Sept.-Oct., is open to 2- and 3-dimensional fine art media depicting the horse. Send SASE to AAEA, Dept. T, P.O. Box 1315, Middleburg, VA 20118; 540-687-6701. Slide Deadline: May 6.

--The 21st Annual Non-Members Exhibition, June 1-19, is open to all artists--oil, watercolor, pastel, acrylic, mixed media and graphics. Send SASE to Non-Members Exhibition, Salmagundi Club, 47 5th Ave., New York, NY 10003. Slide Deadline: March 14.

--The Sixth Biennial North American Open Show sponsored by the New England Watercolor Society is open to all artists in Canada and the U.S. At the Federal Reserve Bank Gallery, Boston, MA, beginning June 10. Aquamedia only. Juror: Al Brouillette, AWS. Send #10 SASE to Carolyn Latanision, 28 Church St., #3, Winchester, MA 01890. Slide Deadline: April 7.

--The Colored Pencil Society of America Sixth International Juried Exhibition is open to all artists 18 years old plus. July 22-August 21. Colored pencil only; no mixed media. Juror: M. Stephen Doherty. Send #10 SASE with 55 cents postage to: CPSA '98 Exhibition, Dept. A, Brenda Peterson, 7416 Range Road, Alexandria, VA 22306; or see website http://www.cpsa.org. Slide Deadline: April 20.

--The Night Walker '98 3rd Annual Juried Exhibition, Sept. 3-Oct. 31, is open to all U.S. and Canadian 2-D media artists (except photography). Broad Native American subject matter: history, portraiture, landscape and wildlife; traditional and contemporary. Juror: Dee Toscano. Send SASE to Night Walker '98, 144 N. College Ave., Ft. Collins, CO 80524.

Watermedia

Watermedia Techniques

Originally, watercolor was the only established water-based medium. It wasn't until the 1960's that new water-based mediums, such as acrylic and vinyl, were developed to rival and enhance watercolor paint.

With the advent of these new mediums, the term "watercolor" suddenly became inaccurate, so the term "watermedia" was offered to include them all. Now, "watermedia on paper" is the accepted classification used to describe any water-based paint that can be used to illustrate anything from transparent abstracts to opaque impasto works.

Acrylic is quite effective for use with transparent applications, and when mixed properly with water, it can be virtually indistinguishable from watercolor. When applied as a thin wash on white paper, the paper remains visible through the paint, which in turn affects the look of the paint. If properly planned for, "whites" are achieved in a painting by lack of paint and not by applying white paint.Transparent effects can be further enhanced by laying down multiple washes of color after each previous glaze layer has sufficiently dried. To help accelerate drying time, try using a hair dryer.

Most watermedia also perform well in wet-on-wet applications where wet layers of paint are applied over washes of color that are still wet. To keep the paint wet and increase flow and dynamics, a spray mister with water can be used to increase moisture levels on works in progress.

Most watermedia are available in semi-liquid form contained within tubes or jars. When applied undiluted, these pigments remain rich in color quality and appear opaque. Depending upon the type of paint used, the final effect can appear glossy or matte. If necessary, white paint can be used to lighten watermedia where solid colors obscure the underlying lightness of the paper support.

For variation with opaque applications, try using a palette knife to scrape away portions of a top coat of fresh paint to reveal a previously-applied layer of dried paint. Palette knives are also effective for smearing wet paint in patterns or adding impasto texture with choppy swirls.

Since texture is so prevalent in the world, it is essential to understand the watermedia techniques that can be used to faithfully represent these impressions. One effective technique involves spattering small droplets of paint on a canvas. Simple as it may seem, this technique allows you to quickly introduce tiny points of color in much the same way that this kind of texture is naturally created. This application works well for representing splashing water, dusty wind, stone surfaces, volcanic eruptions, flying snow, and the like.

To apply spattered dots, use a brush charged with paint and tap the handle against your palm. When you do, droplets of color will fly from the brush bristles and land on the paper support. For a fine spray of paint, use a toothbrush dipped in paint and initiate spattering by pulling your thumb across the bristles.

Effective variations for this technique include laying down a base color and then applying droplets in the areas required. Multiple spatterings with different colors will add more depth and realism. Use a template to mask droplets from certain areas so that they appear only where you want them. Adjusting the template height from the canvas will produce varying degrees of mask edges from diffused to hard.

You can also try spattering a nearly dry wash of color with fresh water droplets. This will lighten the areas where the water has landed, creating an interesting, dynamic look. Deliberate patterns can also be created by using a water-charged brush to pull lines and shades in the same nearly dry wash.

Rubbing alcohol can be used as a substitute for water droplets. When introduced in the same fashion, each drop of alcohol will push the still-wet color away in circular patterns, creating many interesting visual effects.

More of these same kinds of textural patterns can be randomly achieved by sprinkling small amounts of table salt on a freshly painted transparent wash. As the color dries, some of the paint-charged water will be absorbed by the grains of salt. When the surface has dried completely, the remaining salt can be wiped off to leave a rich textural field of patterns.

To enhance the use of negative values in a work, latex resist can first be applied to paper support and then allowed to dry. Later, a transparent wash(es) of color can be applied and also allowed to dry. When finished, the latex can be rubbed off, leaving the unpigmented white paper showing through. Acrylic works well with this technique, since it will not smear or lift once it has dried. This type of application can be applied in patterns or with stencil images. It can also be used on intermediate wash layers (that have dried) and then have additional washes introduced, producing similar masking effects.

For the adventurous, common items such as plastic wrap, tin foil, or sponges can be employed to introduce random textural patterns by rolling or blotting the material on a freshly pigmented painting. Later, when the surface has dried, these same materials can pick up new paint on a palette to apply new patterns over previous ones.

These techniques can be used singularly or in combination with others, and different kinds of watermedia can be compatibly used in concert. With a few simple materials and a bit of imagination and practice, a large range of visual impressions can be easily and effectively created.

  Art Marketplace

Valentine's Day Offer

That special day for sweethearts and loved ones is quickly approaching. What better way for cupid to shoot his arrow than with a personally designed greeting card! Available from Strathmore (in addition to their plain Blank Greeting Cards and Envelopes for all occasions) are Blank Greeting Cards with a red deckle edge. Each pack contains ten cards and envelopes along with a FREE Valentine's Day stencil to aid you in your design. See your local retailer.

New Artbag for Artists on the Move

Daler-Rowney's new range of slimline Artbags is a stylish and affordable way to transport artwork from home to school, from design studio to client or printer, and a safe means of transporting works-in-progress to and from class. European-made of strong, clear, acid-free and laser-safe polypropylene with smart black trim and rigid insert, the Artbag is an attractive and convenient carrying case for everyday use. A unique fold-over top (the handle carefully folds over the opening and secures with Velcro) keeps artwork safe. Besides being fashionable, these bags are also lightweight, durable, anti-static, waterproof and 100% recyclable. Available in three sizes to accommodate a variety of projects: 14x18, 20x25, and 25x35 from your art materials retailer.

New Lightbox Packaging

Gagne, Inc., is pleased to announce the introduction of its all-new four-color packaging for all 1012 model Porta-Trace lightboxes. Its snappy new format includes: color photos of products, typical application ideas, colorful graphics, color photo of accessories--slide/negative sorter trays and carry bags, and UPC codes. See these products at your local art supply store.

In the Spotlight: "The Masters"

from General Pencil Company

Your brushes are your tools, and to do your best work, you must keep those tools in the best possible condition. That's why "The Masters" Brush Cleaner & Preserver was developed. It was created by an artist for artists to make brush care easier, simpler, safer, more effective and more economical. It's safe and easy so even children can use it.

"The Masters" comes in a single hard-cake form that works with just water. It contains no harsh thinners, is non-flammable, and environmentally safe.

As a Cleaner--It removes oils, acrylics, watercolors, stains and varnishes and helps prevent paint buildup in the ferrule. It also prevents the hardening and build-up of acrylic paints. "The Masters" can be used on the finest sable and bristle brushes as well as nylon and synthetic brushes. It conditions the brush to hold more color and help lay down a smoother, more even flow.

1. Wipe brush to remove excess paint.

2. Wet brush and/or "The Masters" with water.

3. Swirl brush in "The Masters" and work into a lather.

4. Rinse in clean water.

5. Repeat if necessary until brush is clean.

You can clean one color after another without removing the previous colors from "The Masters" first.

As a preserver--It was formulated in conjunction with a cosmetic laboratory to help condition and preserve your brushes with the same care and thought as products you use on your hair. "The Masters" keeps your brushes like new so they'll retain the same snap and luster as the day you bought them.

1. Clean brush as above.

2. Leave clear lather on bristles, shape and allow to dry.

3. Shake powder off bristles when ready to use again.

As a restorer--Don't throw away old brushes with dried-on oil paint. "The Masters" restores old, stiff brushes to like-new condition.

1. Clean brush as above, but use hot water.

2. Allow lather to remain on bristles a few minutes.

3. If necessary, tap bristles on hard surface to work paint out.

4. To clean paint from ferrule, allow lather to remain on bristles for several hours and repeat cleaning process.

5. Leave clear lather on bristles, shape and allow to dry.

"The Masters" has been endorsed by artists around the world, from working professionals to dabbling amateurs, from students to teachers. See your art supply retailer for this product that is essential to all painters.

Framing

Prints Vs. Posters
by Janean S. Thompson

Both prints and posters offer you variety and economy, but there are some distinctions between them from an investment standpoint. Prints can be categorized into two groups: limited edition and unlimited. Limited editions have "limitations" in that a set number only is printed, and no additional copies will be available. This means that, quite likely, limited prints will steadily escalate in value as time passes and they are sought after by more people. Quality prints are available in both limited editions and unlimited series. Each artist chooses the type of print to offer.

Posters are classified as unlimited. This means that there may be several hundred or several thousand posters exactly alike available on the market. They often are created in support of special events or for gallery openings, etc. Because of their availability in such numbers, posters are usually not costly, nor do they escalate in value. Posters are nevertheless great ways to decorate and can be framed in ways that belie the fact that they are less expensive. Posters can be signed or "remarked" by the artist during special promotions, and although such additions make them more "collectable" and special, this does not add greatly to their value.

If you received a beautiful print or poster as a holiday gift, you might be considering ways to mount, mat and frame the work. Prints are often matted and framed as if they were original works. That is, the mats and backing might be all-rag content and archival. Posters are usually matted and framed with less expensive materials, as they are changed or replaced frequently. These decisions are up to you, but matching the quality of work with the quality of presentation materials is always a good practice.

Let's consider the differences in framing a limited edition print and framing a poster. Since the purchase price for the limited edition is higher and the paper is usually of better quality, archival materials are usually warranted to preserve the artwork. The nature of posters makes them more "recyclable," so investing in all-rag content matting and mounting board is usually unnecessary. While the specialty features offered in frame shops might increase the eye-appeal of any print or poster, limited prints are far more likely to be worth those additional investments.

Posters are economical and full of the vitality of the original work of art, yet printed on paper and with printing methods that do not support long life. True, posters can be matted and framed exactly as any original or limited edition print and look very nice, but the trend is not to do so. Poster art is likely used in places where the subject matter, color and emotion are the issues, not the creation of an heirloom art presentation.

The difference in framing limited edition prints and unlimited

prints/posters is the method by which the artwork is held in place behind the mats. Mounting is a crucial factor in the care of an artwork--no matter what type of art--because improper mounting can diminish or destroy the value. Any alteration that is not fully reversible has the potential to affect the value of the work, so it is unwise to use masking tape, duct tape, white glue, rubber cement, double-faced tape or any other material that cannot be removed without surface change to the artwork.

Although this may sound difficult, in actuality there are many products that will make mounting simple. Special framers' corner pockets or mounting strips hold the corners and edges of the work in place and allow mats to surround the image so that not a single drop of glue or other adhesive touches the artwork. Other methods are documented in framing books, such as Matting and Framing Made Easy (by Janean S. Thompson, Watson-Guptill Publications). There are several easy methods for which materials are available in any art supply store.

Posters, on the other hand, lend themselves to mounting in other ways. Spray adhesive or roll-on/brush-on adhesives are great to attach posters and unlimited prints to backing and substrate. They are not major investments and can be approached with a bit more directness in their attachment and positioning in a frame. Often, because mats are not part of the plan when framing posters, attaching them directly to a substrate will keep them flat and allow for an acceptable and appealing presentation.

There is no way to get around the fact that, in order to frame an artwork, you have to consider several points--not only the quality of the art itself, but the materials you decide to use in the presentation of that art. You may choose to mount, mat and frame any work in any way, but attention to preservation methods is the best way to protect a work that is important to you. And it may be important for sentimental reasons (such as an heirloom) and not necessarily because of its economic value.

Additionally, decorations on the mat might be something you want to include with your print or poster framing. There are many simple yet dramatic methods to create a "one-of-a-kind" look--perhaps a mat that you paint on or add a decorative marbled paper strip. Possibly a couple of gold metallic or complementary colored lines around the window would set off the image nicely. You can even faux finish the surface of the top mat with acrylic paints and sponge "stamping".

But whether or not you choose to decorate the mats, your color and texture choices in matting--as well as the border width choices--will help create a look that is uniquely your own. Framing can be very creative and offers much latitude for personal expression, not to mention a sense of accomplishment each time you view that special print or poster hanging on the wall.

 Airbrush

Compatible Surfaces

The airbrush is an extremely versatile artist's tool. Because virtually any type of liquid medium can be sprayed, a wide variety of surfaces are compatible with its use. The key, no matter if the artist is using a paint brush or an airbrush, is the suitability of the surface for the paint that is applied. When selecting and preparing a surface, there are some considerations to bear in mind because of the particular techniques utilized in developing images with spray equipment.

Paper--This is the most commonly used material in airbrush technique. Most people, when learning the technique (no matter what the end application), will begin with paper. Because moisture is sprayed onto the surface of the paper, you should work on a sheet that is thick enough so that buckling does not occur. Normally, a weight of 145 lb. or heavier is recommended. Also consider the picking quality of the paper's surface. When using self-adhering frisket film, stencils, or found objects, make sure that the paper will not tear upon their removal. Therefore, a 50% rag content or higher is recommended.

Two textures of paper are normally used: hot press(smooth) and cold press (with a slight tooth). The heavier the texture, the more evident it will be in the end artwork.

Illustration Board--The same characteristics desirable in paper also apply to illustration board. The difference here is that illustration board is rigid; and in some instances where the artist desires to scan the artwork, the top layer of the illustration board must be removed for application to the scanning drum (although today flat bed scanners are becoming more readily available).

Airbrush Board--This is a clay-coated surface on a Masonite backing that is extremely smooth and extremely white. With this surface, you can use both an airbrush and a paint brush and then remove the paint for highlights and special effects as in scratchboard technique.

Canvas--When painting on canvas with an airbrush, you can work on both primed and unprimed canvas, depending on the materials being sprayed. On unprimed canvas, the paints will be absorbed into the weave; while on primed canvas, the paint must be able to adhere to gesso. Therefore, you must work with different air pressures: high air pressure on unprimed canvas to push the paint into the weave, but lower pressure on primed canvas so the paint won't bead.

Extremely smooth gessoed surfaces can be achieved by sanding the gesso between coats with No. 600 sandpaper. Also available is commercially manufactured airbrush canvas that is extremely smooth and has a special clear coating to enhance adhesion of frisket film.

Any surface that can be painted on with a brush can also be painted on with an airbrush. Success is not dependent upon the tool used, but on the compatibility of the surface with the paint.

ArtPourri

Record Donation Given--Josephine Ford, a sister of Henry Ford 2d, is the donor of the largest gift ever given to any private college of art and design. Beneficiary of the $20 million gift is the Center for Creative Studies in Detroit, with a reputation for turning out car designers. It will fund a three-story building to include studios and classrooms for computer-based design and will be the centerpiece of a campus expansion plan.

Close Encounter--It wasn't a case of like father, like son. Although painter Paul Cezanne's father wanted him to also become a banker, Cezanne, of course, chose to be a painter. New to France's monetary system is a 100-franc bank note which includes a portrait of Cezanne on one side and a copy of his "Pommes et Biscuits" on the other. Touch‚!

Process Exhibited--An exhibition on public sculptures from commissioning through installation may be viewed at the National Academy Museum, NYC. Included are drawings, models, photos and finished figurative and abstract sculptures representing works by 32 artists. Through March 8. (212) 369-4880.

Sculpture Vandalized--A woman tourist at the White House recently used a 3" can of spray paint to deface two historic sculptures. The marble busts of Christopher Columbus and Amerigo Vespucci date to 1815 and are among the oldest in the White House collection. Her motive is unknown and she was charged with destruction of property.

Awards Made--The recipient of this year's Wolf Prize for the arts is sculptor James Turrell of Flagstaff, AZ. The $100,000 prize will be presented in Jerusalem in May. And among the winners of the Eisies, the Alfred Eisenstaedt Awards for Magazine Photography given by the Graduate School of Journalism at Columbia U., are: Matt Mahurin for Cover of the Year Award (Rolling Stone); Bruce Weber for Individual Portraiture (W); and David LaChapelle for Style-Fashion (Vanity Fair). Winners of the Eisies in 20 categories will each receive $1,500 and a keepsake designed by Steuben. Winning photos will appear in a special issue of Life available March 30.

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Copyright ARTtalk Vol. 8 No. 4 -- February 1998