Week 2- Golden Age of Illustration

How did the work of Alphonse Mucha promote a combination of graphic design and illustration as a form of advertisement?

Alphonse Mucha (1860-1939) was one of the most widely recognised artists of the Art Nouveau movement, and pioneered the use of illustration in advertising along with artists such as Toulouse-Lautrec and Cheret. Paris was deemed the artistic centre of this 'new art' and led the foray into new ways of advertising and promoting products through the medium of illustration, and in particular the poster. 

The poster is one of the most widely seen forms of advertising- they can be placed almost anywhere and can reach an unlimited amount of people at any given time. They can be tailored specifically to target precise audiences but can also appeal to the masses which is why they are so popular. They can also give messages to the public without trying to sell a product, as stated by the Muller-Brockmanns:

"Posters are barometers of social, economic, political and cultural events, as well as mirrors of our everyday lives... On a practical level, a poster can give information about the political situation, government intentions, and topical financial issues, as well as conventional or imaginative solutions to problems... [it] can also vividly illustrate more esoteric subjects, such as the changing form of the fine arts, an area that, in turn, influences poster artists themselves." [1]

A poster must be eye catching, interesting and informative to be successful and illustration as a style of poster design is nowadays quite common. However, before Senefelder's discovery of lithography (Mucha's primary commercial medium), coloured posters were made with wood or copper engravings and were almost always monochromatic. Text was often just added on top of the poster but not integrated with the image. A turning point in poster art was when Jules Cheret started to take advantage of the new printing methods- he was the owner of a lithographic printing studio and as such was able to produce his own designs quickly and cheaply:

"... he produced designs that were very vivid and direct, with an illustration and a few bright colours in large, coherent shapes. He often only left a single figure in the picture and used large, clear lettering... He was the first to launch the pin-up girl of our time, an effective publicity motif in poster design." [2]

One of Mucha's most iconic posters, and indeed the one that shot him to fame, was the 1895 poster Gismonda, produced for the popular theatre artist Sarah Bernhardt. 

Fig 1. A. Mucha, Gismonda, 1895

"Mucha had ignored the square shape of current poster art and produced a thin, oblong-shaped poster, with a near full-length image of Bernhardt in the title role." [3]

As well as using unusual dimensions, Mucha used soft colours and muted shades in the poster which made it stand out visually amidst the other, more average designs of the time. This poster in particular led to a 6 year contract with Bernhardt and a flurry of other commissions, for everything from perfumes, cigarettes and exhibitions. 

His poster design for Job cigarettes led to an increase in female smokers- usually portrayed in literature as being wayward and 'loose'; his depiction of the female smoker was sensual and soft, showing smoking as a luxurious pastime. 

Fig 2. A. Mucha, Job, 1896

The Byzantine influences in his poster work were previously unseen in Paris and again led to even more commission work. Mucha's design work extended to biscuit boxes, tables, chairs, architecture and clothing, and even set designs in theatre productions. His skill base was huge and was constantly expanding; the Lance Parfum Rodo poster of 1896 shows his skills in portraying a particular product whilst keeping the much sought-after decorative elements his work was known for. 

Fig 3. A. Mucha, Lance Parfum Rodo, 1896

Again, the subject of the poster is a beautiful young woman. This typical personification of beauty was a constant throughout his work and helped lead to his commercial success; all Parisian woman wanted to be like them, and the men wanted to attract women like them. Thus this style of advertising became even more popular with the general public because everyone could appreciate these universal beauties. 

In 1904 Mucha left Paris for New York; his poster work for Sarah Bernhardt had been used to advertise her tour in the US and there he was famous. Upon his arrival he was celebrated with a feature in the 3 April Sunday supplement edition of the New York Daily News, who hailed him as 'Mucha, Prince of Poster Artists'[4]:

"Advertisements on billboards featured a full-length photograph of Mucha, publicised at 'the world's greatest decorative artist' to promote the special issue."[5]

[1]  J. Muller-Brockmann and S. Muller-Brockmann, History of the Poster, London, Phaidon Press Ltd, 2004, p12
[2]  J. Muller-Brockmann and S. Muller-Brockmann, History of the Poster, London, Phaidon Press Ltd, 2004, p39
[3] R. Ormiston, Alphonse Mucha: Masterworks, London, Flame Tree Publishing, 2007, p49
[4] R. Ormiston, Alphonse Mucha: Masterworks, London, Flame Tree Publishing, 2007, p62
[5] R. Ormiston, Alphonse Mucha: Masterworks, London, Flame Tree Publishing, 2007, p62

Figure 1. A. Mucha, Gismonda, 1895, http://www.muchafoundation.org/ accessed 27/10/14
Figure 2. A. Mucha, Job, 1896, R. Ultmer, Mucha, London, Taschen, 2000, p39
Figure 3. A. Mucha, Lance Parfum Rodo, 1896, R. Ormiston, Alphonse Mucha: Masterworks, London, Flame Tree Publishing, 2007, p26

Week 1- Japanese Culture and Bladerunner

How did Japanese culture influence the film Bladerunner?

Released in 1982, Bladerunner was directed by Ridley Scott and starred Harrison Ford. The movie is of the science fiction genre but also has roots in film noir and cyberpunk, and is sometimes categorised as an action film. Set in a disparate 2019 Los Angeles, the film drew many influences from different sources which helped set the scenes they filmed.

One of the biggest influences seen subtly in the film is Japanese culture. At many parts in the film, characterised signage and advertisements can be seen and even the layout and shape of the buildings can be linked to it.

Fig. 1. Blade Runner, concept art, 1980s

In the 80's, Japan was seen to be highly technologically advanced and so a lot of American science fiction films drew upon this, especially when creating cities and environments. The neon lights associated with Japan would be perfect for a futuristic, technological themed film and so were included wherever possible. It also helps to connect the film to things we know- there are elements of 'real life' in there so it makes us feel like the film is a more viable production.

Fig. 2 Bladerunner (screenshot from film), 1982

Parts of the Japanese language and its characters were one of the most often seen parts of the culture within the film. Tariffs on taxi cabs and shop and street signs in neon brights were commonplace in the film and helped solidify the visual influence within each scene. There can also be seen within the film Japanese cuisine and fashion- at one point Ford is at a street food vendor which sells oriental looking dishes, and the vendor himself wears a karate gee-like tunic patterned with a typical 'Japanese' print. The lady sat next to him is also obviously Asian and wears a yellow conical hat, a style of clothing often depicted in traditional prints and paintings.

Fig. 3 Bladerunner (screenshot from film), 1982

Figure 1. Blade Runner concept art, 1980s, D. Shay, Blade Runner: The Inside Story, London, Titan Books, 2000, p13
Figure 2. Blade Runner (screenshot from film), 1982, Dir. Ridley Scott, The Ladd Company, Shaw Brothers, Warner Bros.
Figure 3. Blade Runner (screenshot from film), 1982, Dir. Ridley Scott, The Ladd Company, Shaw Brothers, Warner Bros.