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A poster is any piece of printed paper designed to be attached to a wall or vertical surface. They typically include both textual and graphic elements, although it may be either wholly graphical or wholly text. Posters are designed to be both eye-catching and informative and may be used for many purposes. They are a frequent tool of advertisers (particularly of  events, musicians and films), propagandists,

protestors and other groups trying to communicate a message.

Posters are also used for reproductions of artwork, particularly famous works, and are generally low-cost compared to the original artwork. The modern poster, as we know it, however, dates back to the 1840s and 1850s when the printing industry perfected color lithography and made mass production possible.

According to the French historian Max Gallo, "for over two hundred years, posters have been displayed in public places all over the world. Visually striking, they have been designed to attract the attention of passers-by, making us aware of a political viewpoint, enticing us to attend specific events, or encouraging us to purchase a particular product or service."

The modern poster, as we know it, however, dates back to the mid-nineteenth century, when several separate but related changes took place. First, the printing industry perfected color lithography and made mass production of large and inexpensive images possible. Second, government censorship of public spaces in countries like France was lifted. And finally, advertisers began to market mass-produced consumer goods to a growing populace in urban areas.

"In little more than a hundred years", writes poster expert John Barnicoat, "it has come to be recognized as a vital art form, attracting artists at every level, from painters like Toulouse-Lautrec and Mucha to theatrical and commercial designers. “They have ranged in styles from Art Nouveau, Symbolism, Cubism, and Art Deco to the more formal Bauhaus and the often incoherent hippie posters of the 1960s.

Mass Production: Posters, in the form of placards and posted bills, have been used since earliest times, primarily for advertising and announcements. Purely textual posters have a long history: they advertised the plays of Shakespeare and made citizens aware of government proclamations for centuries. However, the great revolution in posters was the development of printing techniques that allowed for cheap mass production and printing, including notably the technique lithography which was invented in 1796 by the German Alois Senefelder. The invention of lithography was soon followed by chromolithography, which allowed for mass editions of posters illustrated in vibrant colours to be printed.

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By the 1890s, the technique had spread throughout Europe. A number of noted French artists created poster art in this period, foremost amongst them Henri de Toulouse-Lautrec, Jules Chart, Eugene Grasset, Adolphe Willette, Pierre Bonnard, Louis Anguentin, Alfred Choubrac, Georges de Fear and Henri-Gabriel Ibels. Chéret is considered to be the "father" of advertisement placards. He was a pencil artist and a scene decorator, who founded a small lithography office in Paris in 1866. He used striking characters, contrast and bright colours, and created over 1000 advertisements, primarily for exhibitions, theatres, and products. The industry soon attracted the service of many aspiring painters who needed a source of revenue to support themselves. Chéret developed a new lithographic technique that suited better the needs of advertisers: he added a lot more colour which, in conjunction with innovative typography, rendered the poster much more expressive. Not surprisingly, Chéret is said to have introduced sex in advertising or, at least, to have exploited the feminine image as an advertising ploy. In contrast with those previously painted by Toulouse-Lautrec, Chéret's laughing and provocative feminine figures, often called "chérettes," meant a new conception of art as being of service to advertising.

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Posters soon transformed the thoroughfares of Paris, making the streets into what one contemporary called "the poor man’s picture gallery." Their commercial success was such that some fine artists took up poster design in earnest. Some of these artists were, like Alphonse Mucha, in great demand and theatre stars personally selected their own favorite artist to do the poster for an upcoming performance. The popularity of poster art was such that in 1884 a major exhibition was held in Paris.

By the 1890s, poster art had widespread usage in other parts of Europe, advertising everything from bicycles to bullfights. By the end of the 19th century, during an era known as the Belle Époque, the standing of the poster as a serious artform was raised even further. Between 1895 and 1900, Jules Chéret created the Maîtres de I'Affiche (Masters of the Poster) series that became not only a commercial success but is now seen as an important historical publication. Alphonse Mucha and Eugène Grasset were also influential poster designers of this generation, known for their Art Nouveau style and stylized figures, particularly of women. Advertisement posters became a special type of graphic art in the modern age. Poster artists such as Théophile Steinlen, Albert Guillaume, Leonetto Cappiello, Henri Thiriet and others became important figures of their day, their art form transferred to magazines for advertising as well as for social and political commentary.. Indeed, as design historian Elizabeth Guffey notes, “As large, colorful posters began to command the spaces of public streets, markets, and squares, the format itself took on a civic respectability never afforded to Victorian handbills.”

In the United States, posters underwent a slightly different evolution. By the 1850s, the advent of the traveling circus brought colorful posters to tell citizens that a carnival was coming to town. While many of these posters were beautifully printed, the earliest were mass-produced woodcuts; that technique, as well as their subject matter, crowded style, and bright colors, was often derided by contemporary critics. As chromo-lithography began to reshape European posters, American artists began to take the medium more seriously. Indeed, with work of designers like Edward Penfield, or Will Bradley gained an audience in Europe as well as America.

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Other times of great turmoil also produced great posters. The first widespread use of illustrated posters for political ends occurred during the First World War. War bond drives and recruitment posters soon replaced commercial advertisements. German graphic designers, who had pioneered the simple Sachplakat style in the years leading up to the war, applied their talents to the war effort. Artists working for the Allied cause also made over their art in wartime, as well.

The 1960s saw the rise of pop art and protest movements throughout the West; both made great use of posters and contributed to the poster's revitalization at this time. Perhaps the most acclaimed posters were those produced by French students during the so-called "événements" of May 1968. During the 1968 Paris student riots and for years to come, Jim Fitzpatrick's stylized poster of Marxist revolutionary Che Guevara (based on the photo Guerrillero Heroico), also became a common youthful symbol of rebellion.

After the September 11 attacks, in the United States, public schools across the country posted "In God We Trust" framed posters in their "libraries, cafeterias and classrooms." The American Family Association supplied several 11-by-14-inch posters to school systems.

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As part of my Refferal Research, I went to the African Museum on Parque Ibirapuera. It was a great experience and I ended up having lots of inspirations for my Zine Project, that would’ve turned out a lot better if I had done this primary research. The story in my Zine has as one of the main characteristic plants in bizarre shapes and colours, and the first thing I saw when I got there was pictures of flowers I had never seen before, in colours you never expected to see a plant (Photo 1). Then there were sculptures that looked like trees fading in ash, just like the story (Photo 2) and painting and pictures that seemed just like I had puctured the story in my imagination (Photos 3 - 9). I was amazed about how that museum related to my work, not only in visual references, but in the uncomfortable feeling I had there. For me, the most amazing thing was a Slave’s Ship (Photo 10) I saw in the end of the exposition. Although it had visually nothing to do with the story, in its end, the characters run away from the farm because of the things they saw there, and they get out as fast as the can with a shiver down their spine. That was exacly what I felt looking at that ship. Somehow I could feel a dark energy coming from it, all the pain and death endured there and, as the characters, I got out of there as quick as I could, with a shiver down my spine.

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This was the drawing i did based on a painting i saw on the museum. I chose this artwork to do my drawing because it gave me the feeling of madness and helpless that the story of my Zine gives me.

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Wood and Metal:

This is the carcasse of a Slave’s Ship, and in the back you can see the instruments of torture that were used to restrain them. This was the last thing that I saw before leaving, because of how it made me feel. I could not stand there longer. Although the theme itself has nothing to do with my Zine, in the end of the story told in it, the characters leave the farm with that same urgency.

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Oil on Canvas:

I’m not entirely sure why did i choose this one. I think it made me feel that helplessness. Although it has light and it is supposed to be pretty, for me it feels a little suffocating.

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Oil on Canvas Painting:

In the story it is said that the plants grow really quick, specially on the main gate of the property. That esthetic reminded me a lot of that description.

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Hi Isabella, you have made good progress on this research and your improving of your own learning evaluation. Please include your drawing, three more photos and your written review of the exhibition. Will you be coming in today to discuss with me as we planned on Friday?

I’m sorry, i cant make it today. I am really sick, but i already have everything and it will be done by tomorrow 10 am. I will try to go to class tomorrow so we can discuss further. Thank you for your reminder and feedback.

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Oil on Canvas Painting:

The animals are uneasy and everything feels like a mess, like something is wrong. That happends when all living things in the farm “go crazy” before fading into ash.

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Videos and Pictures:

The color on the plants and landscapes are vivid and beautiful, but at the same time they give discomfort for looking too strong and unnatural.

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Pictures:

I cant say that the colors of the picture looks like the ones in the farm, because they are not acually described in the story, but it gave me the same feeling of when i read it.

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Coal and Oil on Paper:

The coal and oil paint on paper in this artwork gives us the feeling of decay and helplesness that the story wants us to feel.

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Oil on Canvas:

This reminds me of how the life started to fade away, with colors that were bright, but did not gave us a good felling.

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Unknown Material:

Besides the bizarre colors, the trees and plants, and all the life in the farm, started to turn to ash.

I could not find in the artwork’s description what material it was made of.

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Picture:

In my Zine, the horror in story was made through colors and sounds. The plants of the farm grew with different and bizarre colours.

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How I Will Use the Foundation Experience to Improve

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How I Will Use the Foundation Experience to Improve

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Overall i have a good communication with the staff and the other students. Sometimes i dont listen to the teachers feedback as much as i should, probably because they are not in the same context i am, as they are there to help us, not to develop their own projects. As the other students are on “the same ship” as i am is easier for me to relate to their critics. I think it would be better for me if i could trust more on their experiences, not only as teachers, but as artists as well, wich would allow me to grown through their experiences.

I’ve always had problems to manage my time and workspace. I get easily distracted so I usually take more time than other people to do the same things. I end up using too much of my time on the beginning of the project and having to hurry to finish it afterwards, what does not give me the best results. If i can plan my activities with the time i have, it will be easier to focus and gain better results and i think i can do that making a written schedule of my studio hours.

From now on, i will try to spend more time, not only in the studio, but with the teachers, writing down their instructions and making a list of what i have to do and when i have to do it. The meetings i had with Carlos helped me a lot and i intend to spend more time in his study sessions to improve not only my Padlet but my writing communication in general.