SIGNS OF LIFE SANJANA NANODKAR
COVER DESIGN (Hand made): Acrylic on Card FACING PAGE (Visual): Good Luck. The concept is derieved from the tradition of applying the yellow ‘haldi’ (turmeric) and the red ‘kumkum’ (turmeric treated with slaked lime) for good luck in all endevours.
SIGNS OF LIFE
A research essay on ‘Hand Painted Signs’
UNIT 1.2 RESEARCH METHODS
SANJANA NANODKAR MA Graphic Design London College of Communication University of the Arts London Tutor Tony Credland
CONTENTS
1
ESSAY: Introduction, pg 04
2 3 4 5 6
The Sign- Writer and The Designer, pg 06 Rationale for the project, pg 08 What do I say ?, pg 10 The Conclusion, pg 44
RESEARCH SUMMARY, pg 48
7
Bibliography, pg 58
CONTENTS | RESEARCH METHODS | 03
‘Let the baseline drift and wobble, and let the viewer know that a person made this. It can’t be perfect, which is so much the beauty of it.’ Michael Perry 1
INTRODUCTION A walk down a street and our visual senses are flooded with signs. Warning signs, signs for direction, shop signs or posters and many more are put up for the viewers to relate to and be affected by. Before the advent of affordable print medias or the flexible vinyl, art on the streets was personal, informal yet skilled and appealingly honest. Each of the ‘Hand Painted Sign’ was unique and they reflected the characteristics of the untrained hand working over years gathering experience. With no uniformity of computer design and lithographic printing, these were individual pieces of art crafted by artists or ‘sign-writers’, with personal and regional variations in style and techniques. With time the number of ‘Hand rendered’ signboards has decreased. Some survive as heritage; some are put up as they are convenient and temporary while some exist to avoid the mere cost of changing them. Whatever the reason, every sign tells a story.
1 Extract from: ‘THE HAND JOB’, Perry M. pg 13. INTRODUCTION | RESEARCH METHODS | 05
2 Referred from: ‘DESIGN AS ART’, Munari B. pg 29 3 Referred from: ‘THE ENGLISH LETTERING TRADITION’, Bartram A. Pg 7-8 06 | RESEARCH METHODS | THE SIGN- WRITER AND THE DESIGNER
THE SIGN- WRITER AND THE DESIGNER The unconventional beauty in the art of the hand painting is in the fact that a graphic designer may or may not have designed it, but the final product is not printed. It is the translation of the message onto a medium by a ‘craftsmen’ or ‘artist craftsmen’. ‘Sign-writing’, however, as a profession is unique as the writer is not only the craftsman but also the ‘ideator’. ‘A designer’, says Bruno Munari, ‘is a planner with an aesthetic sense’. Munari was one of the most influential designers of the twentieth century and he insisted that design be looked at as an art, that it be beautiful, functional and accessible. 2 Does this mean that a ‘craftsman’ does not have the aesthetic sense? But then, his art is beautiful to the viewer, it is functional and is definitely accessible. So why is hand painted sign- writing considered merely a ‘craft’? And how do we decode the message that these signs convey if they are ‘crafted’ and not ‘designed’? The difference between the designer and sign-writer is based not only the work they produce, but the process that they follow.
The trade letterer works within a tradition handed down from master to apprentice, or from father to son, unlike the designers who have learnt the technical aspects in schools. Over the years, these groups of craftsmen have applied their skills in more creative ways and in ways that meet the needs of the changing times. These tradesmen derive their designs and ideas from the tradition in which he has been taught, forms which have already been used in similar situations, although he may contribute personal mannerism; the designer, however, is more concerned with solving an often self- inflicted intellectual problem, with creating a personal and possibly original interpretation and is liable to draw inspiration from a wide variety of sources- often from areas quite outside that for which he is designing. Variations within the vernacular traditions are often the result not only of conscious modification, but also of ineptitude, which has its own charm. On the contrary, a designer’s ineptitude usually simply looks inept.5 THE SIGN- WRITER AND THE DESIGNER | RESEARCH METHODS | 07
08 | RESEARCH METHODS | RATIONALE FOR THE PROJECT
RATIONALE FOR THE PROJECT
Having lived in a country with a vibrant and bright cultural existence, India, the fascination with hand rendered signs was predisposed. While gathering references for this in London there was a realization that the characteristics of signs here and in India were contrasting in nature. Each sign had an individual personality and they conveyed a message, political, commercial, promotional or personal. This project is a documentation and aesthetic study of the various aspects of hand painted signs on one street each in two cities with different cultural backgrounds.
The two streets that were selected after some research: the Borough High Street in London, UK and Mohamed Ali road in Mumbai, India. They are similar in location, but different in nature and lead up to wholesale markets. All hand painted signs, formal or informal were documented and referred to. The signs ranged from shop signs, advertising boards, hand written notes to promotional notices. The focus was largely on the type based signs so as to stream line the project and the vernacular signs (in Mumbai) were avoided as far as possible as they would add another variant to the viewing of these signs.
RATIONALE FOR THE PROJECT | RESEARCH METHODS | 09
WHAT DO
10 | RESEARCH METHODS | WHAT DO I SAY ?
SAY ?
‘Sign is something which stands for somebody for something in some respect or capacity. It addresses somebody, that is, creates in the mind of that person an equivalent sign, or perhaps a more developed sign.’ 4
4 Zeman J. Quote Extract from: ‘VISIBLE SIGNS’, Crow. D, pg 23. WHAT DO I SAY ? | RESEARCH METHODS | 11
A shop front on the Borough High Street (Facing Page) Various ‘hand painted signs’ in one shop: the formal sign board and services offered board, and promotional signs (Above) WHAT DO I SAY ? | RESEARCH METHODS | 13
LETTERS
‘An alphabet is only a beginning; the way in which it is used is at least as important as the type which is chosen.’ 5
Anonymous sign writers often create letterforms spontaneously. With no typebooks or trade magazines to follow, they sometimes construct highly original letterforms using a variety of materials. From a simple script to elaborate block letters laboriously drawn, they make their way through the alphabet. The charm of these writers is their lack of pretense; the style comes from their hearts.6
‘I was mesmerized by the horizontal and vertical strokes of the painter’s hand, the sweeping curves and shadows. Above all, I always knew when there was a good artist behind the sign. A particular mark of skill was to be found in the corners of letters: corners were sometimes done with a certain finesse and panache that few lettering artists had’ 7 The work is often done at breathtaking speed and in many cases with a mere skeleton of the letterforms first sketched in between two horizontal guidelines. Some craftsmen however work out the design on paper, then pounce through pinholes following the design, or transfer it down.8 the English lettering tradition. The tradition and cultural background of the sign writers affects their use of type and the styles of rendering. The shadows, the serifs, the bevels, the overlapping, the highlights, the rhythm, the flow and the placement of letters all of these together add to the presentation of the sign. 14 | RESEARCH METHODS | WHAT DO I SAY ? | LETTERS
5 Extract from: ‘LETTERING ON BUILDINGS’, Gray. N, pg 61. 6 Referred from: ‘SIGN LANGUAGE’, Baeder. J, pg 74. 7 Extract from: ‘SIGN LANGUAGE’, Baeder. J, pg 19. 8 Referred from: ‘THE ENGLISH LETTERING TRADITION’, Bartram. A, pg 12.
Images from Mohamed Ali Road (top and bottom) LETTERS | WHAT DO I SAY ? | RESEARCH METHODS | 15
16 | RESEARCH METHODS | WHAT DO I SAY ? | LETTERS
Images from Mohamed Ali Road (top and facing page) LETTERS | WHAT DO I SAY ? | RESEARCH METHODS | 17
18 | RESEARCH METHODS | WHAT DO I SAY ? | LETTERS
Images from Borough High Street (top and facing page) and Bourough Market (facing page, top). LETTERS | WHAT DO I SAY ? | RESEARCH METHODS | 19
Images of one sign board on the Borough High Street. This board is a great example of Type, Colour, Texture and Space division.
LETTERS | WHAT DO I SAY ? | RESEARCH METHODS | 21
SPACE A trained or practicing painter can judge the available area and place the lettering and graphics in the given space thoughtfully, sometimes even without rough markings. This can be seen in the ‘Chalkboard’ signs. The artists are familiar with their tool and surfaces and usually use the free hand type. The sign painters work with type in two distinct ‘spaces’, the space within which the sign is painted and the space where the sign is placed. Both these affect the final outcome. The painters translate words, thoughts and ideas into specific shapes and use the space of the artwork creatively. These signs reflect the thought process in execution combined with the need to convey information in a relevant manner: in specified forms, sizes and areas. The space where the sign is placed is also of great importance as the visibility and size of letterforms and the treatment given are altered accordingly. Sometimes the space or surface of the sign is stationary and not easily accessible to the artist. This is challenging and affects the approach. The artist either designs a separate structure or works with available resources and alters his style accordingly.
22 | RESEARCH METHODS | WHAT DO I SAY ? | SPACE
SPACE | WHAT DO I SAY ? | RESEARCH METHODS | 23
24 | RESEARCH METHODS | WHAT DO I SAY ? | SPACE
Images of Chalk Board signs from Borough High Street (Right) and Mohamed Ali Road (Facing Page). One can notice that the signs in London are more professionally written. SPACE | WHAT DO I SAY ? | RESEARCH METHODS | 25
26 | RESEARCH METHODS | WHAT DO I SAY ? | GRAPHICS
GRAPHICS
9 Derieved from the analysis of the photographic documentation.
Today the job of a sign- writer often includes both painting and decorating. In the older times the visuals used as signs were detailed and elaborate it was a specialization of those artists. In today’s fast world people in cities rarely have time stop and read the signs. Either the signs need to be unusually bright and flashy or the graphic element should convey what the words are in a quick and effective way. The use of graphics or visuals is most commonly seen in food establishments like restaurants, cafes, wine shops, pubs, food stalls, wholesale shops fast food places 9. Sometimes the elements are simple and basic, but sometimes they are realistic and elaborate. They entice the viewer as the viewer can easily decode the message. GRAPHICS | WHAT DO I SAY ? | RESEARCH METHODS | 27
Images from Borough High Street. The traditional signs of the Pubs have very detaild visuals as signs.(Left) Images from Borough Market. The graphic imagery on some boards of food establishments. (Facing Page) 28 | RESEARCH METHODS | WHAT DO I SAY ? | GRAPHICS
GRAPHICS | WHAT DO I SAY ? | RESEARCH METHODS | 29
SURFACE
The factors that affect the visual outcome are the tools used, the surface and the intention. The artist may decide to use these to his advantage or he may paint the sign regardless of the effects. The crude and unfinished look of the sign adds to the eniter visual experience. Virginia Postrel in her article, ‘The Substance of Style’, says,
‘Although we often equate aesthetics with beauty, that definition is too limited. Contrary to some assertions, we have not gone from a world in which everything must be smooth to one in which everything must be rough, from an age of only straight edges to an age of only curves, or from industrialism to primitivism. All these styles coexist, sharing equal social status.’ 10 30 | RESEARCH METHODS | WHAT DO I SAY ? | SURFACE
10 Extract from: ‘THE SUBSTANCE OF STYLE’, Postrel V.
These images from Borough High Street give a very clear idea of the effect of surface on the visual outcome of the sign. SURFACE | WHAT DO I SAY ? | RESEARCH METHODS | 31
These Images from Borough Market, are examples of cleverly used surface. The wall is painted brown to suit the lettering which include the words ‘chocolate’ and ‘coffee’. The sign adds to the entire ambience of the cafe. (Above and Below)
32 | RESEARCH METHODS | WHAT DO I SAY ? | SURFACE
These Images from Muhammad Ali Road, Mumbai, are examples of lettering that is affcected by the surface used. This work can be related to illusion in lettering. (Above and Below)
SURFACE | WHAT DO I SAY ? | RESEARCH METHODS | 33
34 | RESEARCH METHODS | WHAT DO I SAY ? | INFORMAL SIGNS
INFORMAL SIGNS In some ‘hand written signs’ the space for the artwork is sometimes a cardboard, a discarded piece of wood, the side of a box, a crate slat, a simple piece of paper or other scraps. These signs are usually temporary in nature and are prepared by inexperienced people, usually the shop owners or staff and hence can be called the ‘informal’ signs. They usually have characteristics of a handwriting. The sketchy and imperfect nature of these signs makes them unique and attractive. These are probably the most common form of hand painted signs seen today. They are the cheapest medium to express what the shopkeepers want to convey at that moment. There is an improvisational quality inherited in the total expression of these signs. The makers of such signs work on instinct.
INFORMAL SIGNS | WHAT DO I SAY ? | RESEARCH METHODS | 35
36 | RESEARCH METHODS | WHAT DO I SAY ? | INFORMAL SIGNS
Images from Muhammad Ali Road. (Right and Facing Page) INFORMAL SIGNS | WHAT DO I SAY ? | RESEARCH METHODS | 37
Images from Borough High Street. (Left and Facing Page) 38 | RESEARCH METHODS | WHAT DO I SAY ? | INFORMAL SIGNS
INFORMAL SIGNS | WHAT DO I SAY ? | RESEARCH METHODS | 39
INFORMAL SIGNS
Another form of Informal signage is ‘Graffiti’. It is essentially considered the art of free expression. Is it considered an art or is it merely vandalism? This is a vast subject and an ongoing arguement. Graffiti is a message, an emotion that is expressed on many surfaces around the world, from footpaths to the post boxes. But it is generally considered vandalism as is unauthorized and desecrates public and private property. According to the David Crow, a designer and academician,
40 | RESEARCH METHODS | WHAT DO I SAY ? | INFORMAL SIGNS
there is no general view about the causes and motives underlying this vandalism; however some identified possible motives could be- financial gain, peer group pressure, aesthetic pleasure and manufactured malice. Further he states that Graffiti reflects the vernacular and is broadly seen as the work that is undersigned. This draws from a range of visual communication made by amateurs giving it an informal and unofficial flavour.11
11 Referred from: ‘VISIBLE SIGNS’, Crow. D, pg 113.
INFORMAL SIGNS | WHAT DO I SAY ? | RESEARCH METHODS | 41
Images from Muhammad Ali Road. Vandalism of Public property can be seen clearly. (Left and facing page bottom) The two images (Facing page top) are examples of expressions of emotions in public paces.
42 | RESEARCH METHODS | WHAT DO I SAY ? | INFORMAL SIGNS
INFORMAL SIGNS | WHAT DO I SAY ? | RESEARCH METHODS | 43
CONCLUSION In this era of technological advancement and globalization, the art of hand painting and sign- writing is fast fading. The effect of global economic and cultural exchange is seen on the art in the streets. The need to expand businesses and the concept of ‘brand image’ gives rise to the need to produce in quantity with uniformity. The availability of cheaper, faster and flexible options are a challenge to the art of sign writing. Many render the unique art of hand painting ineffective, but some small and traditional businesses and enthusiasts have kept the custom going. According to my observations and research, ‘the hand painted sign’ has a unique personality and individuality that technology can never recreate. The viewer can feel the life in the crude and unfinished signs that can never be achieved by flat or precise printed signs.
The words of Lewis Blackwell most appropriately express the effect of hand rendered signs on viewers,
12 Extract from: ‘LETTERS ON AMERICS’, Fella. E, pg 113.
‘These images open us out to an unfinished, unending, experience and invite us to recognize the best ways the streets feed our eyes in more than the language has methods of defining.’ 12 CONCLUSION | RESEARCH METHODS | 45
RESEARCH SUMMARY
Some of the books and websites document the works of the hand painted artists and sign- writers while some trace the art of hand painters used in various medias of advertising. These are mostly expressions of a personal point of view and this encouraged me to give my opinion on hand painted signs by documenting the signs on two streets. It was a challenge. The entire essay- ‘SIGNS OF LIFE’ is an outcome of extensive referencing, documenting the signs on the two streets and analyzing. 48 | RESEARCH METHODS | VISUAL SUMMARY
Pages from: 1. THE ENGLISH LETTERING TRADITION, Bartram A. (Above) 2. LETTERS ON AMERICA, Fella E. (Below)
VISUAL SUMMARY | RESEARCH METHODS | 49
Pages from: SIGN LANGUAGE- Street Signs as Folk Art, Baeder J.
50 | RESEARCH METHODS | VISUAL SUMMARY
Pages from: STREET GRAPHICS INDIA, Dawson B.
VISUAL SUMMARY | RESEARCH METHODS | 51
Pages from: GRAPHICSWALLAH, Lovegrov K. 52 | RESEARCH METHODS | VISUAL SUMMARY
Screen Shots from: www. handpaintedtype.com KURESHI H.
VISUAL SUMMARY | RESEARCH METHODS | 53
Screen Shots from: www.ijusi.co.za
54 | RESEARCH METHODS | VISUAL SUMMARY
Screen shots from: www.edfello.com FELLA E. VISUAL SUMMARY | RESEARCH METHODS | 55
Specimen of old hand rendered posters and advertisements: VICTORIA AND ALBERT MUSEUM, London. 56 | RESEARCH METHODS | VISUAL SUMMARY
UNMARKED PLATES
Pg 03 Borough High Street, London, UK. Pg 04 Muhammad Ali Road, Mumbai, India Pg 05 Muhammad Ali Road, Mumbai, India Pg 06 Notting Hill, London, UK Pg 08 Muhammad Ali Road, Mumbai, India Pg 08 Borough High Street, London, UK. Pg 10 Borough High Street, London, UK. Pg 12 Borough High Street, London, UK. Pg 13 Borough High Street, London, UK. (All) Pg 23 Borough High Street, London, UK. Pg 26 Borough Market, London, UK. Pg 34 Muhammad Ali Road, Mumbai, India Pg 40 Borough High Street, London, UK. Pg 44 Borough High Street, London, UK. Pg 46 Borough High Street, London, UK. (All) Pg 47 Borough High Street, London, UK.
VISUAL SUMMARY | RESEARCH METHODS | 57
BIBLIOGRAPHY
Aber.ac.uk (1931) Semiotics for Beginners: Signs. [online] Available at: http://www. aber.ac.uk/media/Documents/S4B/sem02.html [Accessed: 10 Mar 2012]. Adweek.com (2010) [online] Available at: http://www.adweek.com/adfreak/stellalooks-dying-art-hand-painted-ads-12788 [Accessed: 10 Feb 2012]. Baeder, J. (1996) Sign Language. New York: Harry N Abrams Inc.. Bartram, A. (1986) The English Lettering Tradition. London: Lund Humphries. Crow, D. (2010) Visible Signs. 2nd ed. London: AVA Publishing. Dawson, B. (2001) Street Graphics India. London: Thames and Hudson. Fella, E. (2000) Letters On America. New York: Princeton Architectural Press. Gray, N. (1960) Lettering On Buildings. London: Architectural Press. Gritshop (2010) Grits Chatta Box: The Dying Art Of Hand-Painted Ads. [online] Available at: http://weargrits.blogspot.co.uk/2010/08/dying-art-of-hand-paintedads.html [Accessed: 10 Mar 2012]. Handpaintedtype.com (2011) [online] Available at: http://www.handpaintedtype. com/ [Accessed: 10 Feb 2012]. 58 | RESEARCH METHODS | BIBLIOGRAPHY
Lovegrove, K. (2003) Graphicswallah. London: Laurence King. Lupton, E. (2004) Thinking With Type. New York: Princeton Architectural Press. Munari, B. (2008) Design As Art. London: Penguin Books. New.pentagram.com (2012) [online] Available at: http://new.pentagram.com/ [Accessed: 28 Feb 2012]. Perry, M. (2007) Hand Job- A Catalogue Of Type. New York: Princeton Architectural Press. Postrel, V. (2003) The Substance Of Style. New York: Harper Collins. Signindustry.com (1933) The Story Of A Country Sign Painter. [online] Available at: http://www.signindustry.com/painted/articles/091800countrypainter.php3 [Accessed: 20 Mar 2012]. Stellaartois.com (n.d.) Up There Film. [online] Available at: http://www.stellaartois. com/upthere/film.html [Accessed: 16 Feb 2012]. White, A. (2005) Thinking In Type. New York: Allworth Press.
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