Marking the centenary of the end of the War, Cullen's design critiques the senselessness of warfare and the continued use of emotional blackmail in army recruitment poster campaigns. Darren Cullen's 2018 poster Great War brings the story full circle by parodying a famous First World War army recruitment poster from 1915, Daddy, What did YOU do in the Great War?. While the poster no longer dominates today's media environment, it continues to have a powerful impact, perhaps most critically in the realm of politics and activism. In the digital age, the rise of the internet meme – an image or piece of text that is copied and spread rapidly by internet users – can be seen as the digital descendent of the poster. © Victoria and Albert Museum, LondonĬyrk, colour lithograph poster, Hubert Hilscher, 1970, Poland. © Victoria and Albert Museum, London Otis Rush, colour offset lithograph poster, Wes Wilson, 1967, US. This visual dynamism was also advanced in Poland in the 1960s and 70s, with a strong school of poster artists designing for cinema and the arts, pulling together distinctive Surrealist elements and a vibrant colour palette.ĬIA v UFO, colour screenprint poster, Michael English and Nigel Waymouth, 1967, UK. Groups such as Michael English and Nigel Waymouth's 'Hapshash and the Coloured Coat' experimented with the rich intensity of silkscreen colour, while in America, the San Francisco 'Big Five' psychedelic poster designers (Rick Griffin, Alton Kelley, Victor Moscoso, Stanley Mouse, and Wes Wilson) largely continued with lithography. In the 1960s, the motifs and mannerisms of Art Nouveau were recycled to create psychedelic graphics. © Victoria and Albert Museum, London Quinquina Dubonnet, Apéritif Dans tous les Cafés, colour lithograph poster, Left to right: Bal du Moulin Rouge, Place Blanche, colour lithograph poster, Jules Chéret, 1889, France. Most posters are still printed lithographically with a mechanised offset process, where the image is transferred from a metal plate onto a rubber roller before being printed. The waxy drawn areas repel the water and soak up the ink, before being transferred to the paper. In lithographic printing, the design is drawn in waxy crayon onto a smooth surface, typically limestone blocks (later metal plates) which are then doused with water and covered with an oil-based ink. The pioneering French poster artist Jules Chéret (1836 – 1932) is credited with producing the first colour lithograph posters in 1866, having finessed the black and white process invented by Alois Senefelder in 1798. © Victoria and Albert Museum, London Jack Sheppard, poster, woodcut and letterpress, printed by S. Left to right: The Siege of Troy or The Giant Horse of Sinon, poster, woodcut and letterpress, printed by Thomas Romney, England, 1833. By the 19th century, text-heavy posters printed from woodblocks were commonplace, but the rise of the colourful pictorial poster didn't come about until the middle of the century, following significant advances in printing techniques. The advert was printed by William Caxton, who introduced the printing press to Britain and was the first person in the country to make a living printing and selling books, having opened a shop near Westminster Abbey in 1476. One of the earliest known examples of printed advertising in Britain dates from 1477 – a small dark block of text advertising a handbook for priests in Salisbury, south-west England. The process of posting up hand-drawn public notices can be traced back to antiquity.
0 Comments
Leave a Reply. |